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21
Blog / Article 17 full text (formally Article 13)
« Last post by kat on May 06, 2019, 06:03:17 PM »
Full adopted text for Article 17 (formally Article 13), the 'meme ban'.
Quote

Article 17

Use of protected content by online content-sharing service providers

  1. Member States shall provide that an online content-sharing service provider performs an act of communication to the public or an act of making available to the public for the purposes of this Directive when it gives the public access to copyright-protected works or other protected subject matter uploaded by its users.

    An online content-sharing service provider shall therefore obtain an authorisation from the rightholders referred to in Article 3(1) and (2) of Directive 2001/29/EC, for instance by concluding a licensing agreement, in order to communicate to the public or make available to the public works or other subject matter.

  2. Member States shall provide that, where an online content-sharing service provider obtains an authorisation, for instance by concluding a licensing agreement, that authorisation shall also cover acts carried out by users of the services falling within the scope of Article 3 of Directive 2001/29/EC when they are not acting on a commercial basis or where their activity does not generate significant revenues.

  3. When an online content-sharing service provider performs an act of communication to the public or an act of making available to the public under the conditions laid down in this Directive, the limitation of liability established in Article 14(1) of Directive 2000/31/EC shall not apply to the situations covered by this Article.

    The first subparagraph of this paragraph shall not affect the possible application of Article 14(1) of Directive 2000/31/EC to those service providers for purposes falling outside the scope of this Directive.

  4. If no authorisation is granted, online content-sharing service providers shall be liable for unauthorised acts of communication to the public, including making available to the public, of copyright-protected works and other subject matter, unless the service providers demonstrate that they have:

    1. made best efforts to obtain an authorisation, and

    2. made, in accordance with high industry standards of professional diligence, best efforts to ensure the unavailability of specific works and other subject matter for which the rightholders have provided the service providers with the relevant and necessary information; and in any event

    3. acted expeditiously, upon receiving a sufficiently substantiated notice from the rightholders, to disable access to, or to remove from, their websites the notified works or other subject matter, and made best efforts to prevent their future uploads in accordance with point (b).

  5. In determining whether the service provider has complied with its obligations under paragraph 4, and in light of the principle of proportionality, the following elements, among others, shall be taken into account:

    1. the type, the audience and the size of the service and the type of works or other subject matter uploaded by the users of the service; and

    2. the availability of suitable and effective means and their cost for service providers.

  6. Member States shall provide that, in respect of new online content-sharing service providers the services of which have been available to the public in the Union for less than three years and which have an annual turnover below EUR 10 million, calculated in accordance with Commission Recommendation 2003/361/EC1, the conditions under the liability regime set out in paragraph 4 are limited to compliance with point (a) of paragraph 4 and to acting expeditiously, upon receiving a sufficiently substantiated notice, to disable access to the notified works or other subject matter or to remove those works or other subject matter from their websites.

    Where the average number of monthly unique visitors of such service providers exceeds 5 million, calculated on the basis of the previous calendar year, they shall also demonstrate that they have made best efforts to prevent further uploads of the notified works and other subject matter for which the rightholders have provided relevant and necessary information.

  7. The cooperation between online content-sharing service providers and rightholders shall not result in the prevention of the availability of works or other subject matter uploaded by users, which do not infringe copyright and related rights, including where such works or other subject matter are covered by an exception or limitation.

    Member States shall ensure that users in each Member State are able to rely on any of the following existing exceptions or limitations when uploading and making available content generated by users on online content-sharing services:

    1. quotation, criticism, review;

    2. use for the purpose of caricature, parody or pastiche.

  8. The application of this Article shall not lead to any general monitoring obligation.

    Member States shall provide that online content-sharing service providers provide rightholders, at their request, with adequate information on the functioning of their practices with regard to the cooperation referred to in paragraph 4 and, where licensing agreements are concluded between service providers and rightholders, information on the use of content covered by the agreements.

  9. Member States shall provide that online content-sharing service providers put in place an effective and expeditious complaint and redress mechanism that is available to users of their services in the event of disputes over the disabling of access to, or the removal of, works or other subject matter uploaded by them.

    Where rightholders request to have access to their specific works or other subject matter disabled or those works or other subject matter removed, they shall duly justify the reasons for their requests. Complaints submitted under the mechanism provided for in the first subparagraph shall be processed without undue delay, and decisions to disable access to or remove uploaded content shall be subject to human review. Member States shall also ensure that out-of-court redress mechanisms are available for the settlement of disputes. Such mechanisms shall enable disputes to be settled impartially and shall not deprive the user of the legal protection afforded by national law, without prejudice to the rights of users to have recourse to efficient judicial remedies. In particular, Member States shall ensure that users have access to a court or another relevant judicial authority to assert the use of an exception or limitation to copyright and related rights.

    This Directive shall in no way affect legitimate uses, such as uses under exceptions or limitations provided for in Union law, and shall not lead to any identification of individual users nor to the processing of personal data, except in accordance with Directive 2002/58/EC and Regulation (EU) 2016/679.

    Online content-sharing service providers shall inform their users in their terms and conditions that they can use works and other subject matter under exceptions or limitations to copyright and related rights provided for in Union law.
  1. As of …[date of entry into force of this Directive] the Commission, in cooperation with the Member States, shall organise stakeholder dialogues to discuss best practices for cooperation between online content-sharing service providers and rightholders. The Commission shall, in consultation with online content-sharing service providers, rightholders, users' organisations and other relevant stakeholders, and taking into account the results of the stakeholder dialogues, issue guidance on the application of this Article, in particular regarding the cooperation referred to in paragraph 4. When discussing best practices, special account shall be taken, among other things, of the need to balance fundamental rights and of the use of exceptions and limitations. For the purpose of the stakeholder dialogues, users' organisations shall have access to adequate information from online content-sharing service providers on the functioning of their practices with regard to paragraph 4.
22
Blog / Article 15 full text (formally Article 11)
« Last post by kat on May 06, 2019, 06:02:43 PM »
Full adopted text of Article 15 (formally Article 11), the 'link tax'. Using links containing copyrights content is exempted for NON-COMMERCIAL or PRIVATE use.
Quote

Article 15

Protection of press publications concerning online uses

  1. Member States shall provide publishers of press publications established in a Member State with the rights provided for in Article 2 and Article 3(2) of Directive 2001/29/EC for the online use of their press publications by information society service providers.

    The rights provided for in the first subparagraph shall not apply to private or non-commercial uses of press publications by individual users.

    The protection granted under the first subparagraph shall not apply to acts of hyperlinking.

    The rights provided for in the first subparagraph shall not apply in respect of the use of individual words or very short extracts of a press publication.

  2. The rights provided for in paragraph 1 shall leave intact and shall in no way affect any rights provided for in Union law to authors and other rightholders, in respect of the works and other subject matter incorporated in a press publication. The rights provided for in paragraph 1 shall not be invoked against those authors and other rightholders and, in particular, shall not deprive them of their right to exploit their works and other subject matter independently from the press publication in which they are incorporated.

When a work or other subject matter is incorporated in a press publication on the basis of a non-exclusive licence, the rights provided for in paragraph 1 shall not be invoked to prohibit the use by other authorised users. The rights provided for in paragraph 1 shall not be invoked to prohibit the use of works or other subject matter for which protection has expired.

  1. Articles 5 to 8 of Directive 2001/29/EC, Directive 2012/28/EU and Directive (EU) 2017/1564 of the European Parliament of the Council1 shall apply mutatis mutandis in respect of the rights provided for in paragraph 1 of this Article.

  2. The rights provided for in paragraph 1 shall expire two years after the press publication is published. That term shall be calculated from 1 January of the year following the date on which that press publication is published.

    Paragraph 1 shall not apply to press publications first published before [date of entry into force of this Directive].

  3. Member States shall provide that authors of works incorporated in a press publication receive an appropriate share of the revenues that press publishers receive for the use of their press publications by information society service providers.
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Blog / Article 11 » 15, Article 13 » 17, EU Copyright Apr 2019 (provisional)
« Last post by kat on May 06, 2019, 06:02:00 PM »
Provisionally adopted text of the European Parliaments "Copyright in the Digital Single Market" for Apr 2019. 150 pages, mostly preamble that sets the Directive's context, the environment within which is functions. Pertinent text/clauses pg. 87 onwards.

Important changes:
Article 11 is now Article 15 ("Protection of press publications concerning online uses", pg.117),
Article 13 is now Article 17 ("Use of protected content by online content-sharing service providers", pg.121)



Additional Reading
- European Commission on the Copyright Directive, Article 11 & Article 13
- Article 13, YouTube (BigTech) & #SaveYourInternet astroturfing
- Article 11 of the EU Copyright Directive (link tax)
- Article 13 of the EU Copyright Directive
- EU Commission & Restricting YouTube for the Public Good
- "Net Neutrality" has been hoodwinked, yet again!
- Two tier Internet - Net Neutrality has been hoodwinked
24
Blog / Game Streaming Services: How will it affect eSports? [sponsored]
« Last post by kat on May 05, 2019, 04:52:47 PM »
SponsoredeSports and game streaming have gone hand-in-hand for many years. Who are the big players and how are they affected by change? Find out here!

As a gaming genre, eSports has exploded in the last decade. Whether people are fighting it out in the Battle Royale of Fortnite or taking on another team in Overwatch, there are hundreds of games out there where you can make your mark as a player. Improve your skills enough and you could even find yourself with a lucrative eSports career.

What about the rest of us? We can play the games for ourselves but many also like to turn to streaming services to see how the pros play. Let’s take a look at some of the top streaming platforms and how they are affecting the world of eSports.

Steam TV
This platform is worth mentioning simply because of its developer, Valve. They are behind the software distribution platform Steam and some of the most popular games of all time like Half-Life and Portal. More importantly, however, they are the developers of Dota 2 and Counter-Strike: Global Offensive; two of the most popular games in esports today. While other streaming services currently have right to their games, we can predict that Valve may take them back soon and open themselves up as one of the big competitors in the streaming world.


YouTube Gaming
YouTube has a long history of being good to gamers, from people who dabble in multiple genres to those who prefer to stick to one game like Minecraft or The Sims. It also has a dedicated platform for streaming live content, allowing you to watch people play all your favourite titles with the UI being easy for anyone to navigate.

Most crucially, you can rewind the stream whenever you want to and replay your favourite parts. This is key for attracting viewers who like this aspect of control. It also allows anyone tuning in late to the stream to rewind it to catch up what they have missed. YouTube Gaming is the current unofficial home of many streams for games such as Clash Royale and FACEIT’s eSports Championship series. With the amount of support they can give both the streamers and the viewers, we can only expect great things to continue to come from them.

Twitch
Twitch was launched back in 2011 to be a streaming platform for video games and it has only gone from strength to strength. You can now find Twitch channels dedicated to all types of games from MMOs, slot games at online casinos to table-top RPGs as demonstrated by the massively popular D&D show, Critical Role.

The platform is currently in the middle of a two-year deal to broadcast the Overwatch League and they also have rights to the NBA 2K League. The tournament organiser DreamHack, masterminds behind four different eSports festivals plus games, also has a long-running partnership with Twitch which is unlikely to end anytime soon. We can only expect Twitch to remain as King of the streaming platforms for a long time to come.

eSports and streaming go hand in hand. The industries are keeping up with each other very successfully and it will be interesting to see how this progresses in the future. While Twitch is likely to remain at the forefront for a very long time to come, it will be interesting to see which of its competitors can rise to the second place spot in the future.
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Blog / Hidden Easter Eggs in Video Games You Had Not Noticed [sponsored]
« Last post by kat on May 05, 2019, 04:43:59 PM »
SponsoredEver found an easter egg in a video game? Here are 4 from popular game series which we are certain you will have missed!

Video games create some of the best worlds we have ever seen and players will happily spend hours there to ensure that they can see everything there is to see. To reward those players who spend more time searching than others, developers love to put in hidden details called easter eggs. These could be links to other games or aspects of pop culture, or simply could be fun and ridiculous. Let’s take a look at some of the best easter eggs we have seen.

Saints Row 2
Many people love this sandbox of a city and Volition already filled it with references to other games in their library. However, if you head to three different islands in the outer reaches of the map, a monstrous pink bunny will rise from the sea. It is utterly ridiculous and completely fits within the world of Saints Row 2.

FIFA 18
The kit selection screen is one which many FIFA players are likely to ignore. All they want to do is select a kit and progress on to the match. However, if you have picked two teams which have a real-life rivalry, the players modelling the kits will turn to each other and glare and growl instead of being good models.

These rivalries make for great matches in the real world as well as a virtual one and the outcomes can be very difficult to call. If you are interested in following these rivalries, check out NetBet sports betting for some of the best odds in upcoming derby matches.


Grand Theft Auto: San Andreas
When driving about the game map, you have probably encountered the bridge between San Fierro and Las Venturas. Find a way to fly to the very top and you will find a small sign which reads “There are no Easter Eggs up here. Go Away.”

Someone at Rockstar clearly has a sense of humour and knows the lengths players will go to when easter egg hunting.

The Elder Scrolls V: Skyrim
Bethesda has made some of the best easter eggs in video games ever. In both the Elder Scrolls and Fallout universes, you will encounter the same characters in different games, references to previous events, and even simple snatches of dialogue reminiscent of something you might have already encountered. However, we are going to round out this article by discussing the easter egg which is Erik the Slayer.

Visit the village of Rorikstead and you are likely to see the NPC named Erik farming in the fields. When you talk to him, he will express a desire to go out adventuring and you will gain a quest to go convince his father to let him do so.

Erik is based around a real-life fan of the series also named Erik, who went by the name of Immok the Slayer on Bethesda’s forums. He died of cancer in 2011 and was immortalised in the game so he could become a companion of the Dragonborn and travel Tamriel forever.

If you ever needed proof that developers cared about their fans, this is the perfect example.
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News / Re: Blender 2.8 Knowledgebase
« Last post by ratty redemption on April 29, 2019, 04:30:41 PM »
sounds good.
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News / Blender 2.8 Knowledgebase
« Last post by kat on April 29, 2019, 02:13:20 PM »

A new section has been added to KatsBits, the "Blender 2.8 Knowledgebase", that provides updated information, tutorials and resources for anyone looking to learn Blender 2.8 or use the application to make content for games and interactive media.

The new Blender 2.8 knowledgebase will carry on from KatsBits tutorials section, which will remain available (intermittently updated where appropriate), and will be more easily searchable, by 'tags', 'categories' or normal words and phrases. New content is added frequently answering question creators have using Blender in real life production situations. Drop on by!.
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General Content Creation / Re: Missing Action in Dope Sheet Editor
« Last post by kat on April 17, 2019, 05:07:59 PM »
Mouse over the Dope Sheet and press "Home" to see if that resets the view - sometimes the Editor can be zoomed making it appear as though nothing is present (although bone or control channels should still be shown). Otherwise it might just be that an appropriate Action hasn't been created yet as it is possible to create/edit/generate animations without Actions being duplicated for the Dope Sheet and/or Action Editor.

As an aside, when using flickr as an image host, select the BBCode 'share' option, those short codes don't work as they link to the page hosting the image rather than the image itself.
29
General Content Creation / Missing Action in Dope Sheet Editor
« Last post by ACDmvmkr on April 16, 2019, 10:00:30 PM »
Why won't my f-ing armature show up in the dopesheets????!!??

Been playing around with this problem all day now....never had it before.....
Imported this file multiple times from 249 into 257.
Suzi's armature will NOT show up in the dopesheets so I can do an f-curve burn on it.

Thanks,


Snapshot 725 by osukent302, on Flickr

[EDIT] change title to be more descriptive of the problem and corrected image link. kat.
30
FAQ on games, gaming & IT / Delete *.asf files
« Last post by kat on April 11, 2019, 12:10:10 PM »
ASF files are data containers a little like MP3 files, that can contain video and audio information but for some reason Windows, particularly Windows 7, has trouble deleting or moving them once created (typically this might be done converting or exporting a video in another format to *.asf using VLC or similar software), which can cause Windows Explorer, or the PC being used, to hang or become unresponsive.

To delete *.asf files try the following;

1) open the Command prompt with administrative privileges (right click cmd.exe and select "Run as administrator").

2) browse to the containing folder, either 'cd' up ('cd..' down) the directory structure;
Code: [Select]
C:\>cd social
C:\social>cd IMVU
C:\social\IMVU>cd furniture
C:\social\IMVU\furniture>

or 'cd' the full system path to containing folder;
Code: [Select]
C:\>cd social\IMVU\furniture
C:\social\IMVU\furniture>

3) type; "del /f [filename.asf]" (where 'filename.asf' is the name of the asf file to be deleted - exclude '[' & ']') then hit Enter;
Code: [Select]
C:\social\IMVU\furniture>del /f filename.asf
If the system appears to hang open Task Manager (right-click the Task Bar, select "Task Manager") and see if "dllhost.exe" is running (the exe is invoked into high usage state when dealing with .asf files and the removal process). If it is (it should be using high resources), select it and click the "End Process" button bottom-right. This kills the process and frees the system to delete the file (it should be deleted outright, bypassing the Recycle Bin).

4) (optional) reboot to make sure the processes that should be running, are.

The above avoids the need to download and install other unknown applications and software that may themselves present issues.
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