Petter Reinholdtsen

I still enjoy Kodi and LibreELEC as my multimedia center at home. Sadly two of the services I really would like to use from within Kodi are not easily available. The most wanted add-on would be one making The Internet Archive available, and it has not been working for many years. The second most wanted add-on is one using the Invidious privacy enhanced Youtube frontent. A plugin for this has been partly working, but not been kept up to date in the Kodi add-on repository, and its upstream seem to have given it up in April this year, when the git repository was closed. A few days ago I got tired of this sad state of affairs and decided to have a go at improving the Invidious add-on. As Google has already attacked the Invidious concept, so it need all the support if can get. My small contribution here is to improve the service status on Kodi.

I added support to the Invidious add-on for automatically picking a working Invidious instance, instead of requiring the user to specify the URL to a specific instance after installation. I also had a look at the set of patches floating around in the various forks on github, and decided to clean up at least some of the features I liked and integrate them into my new release branch. Now the plugin can handle channel and short video items in search results. Earlier it could only handle single video instances in the search response. I also brushed up the set of metadata displayed a bit, but hope I can figure out how to get more relevant metadata displayed.

Because I only use Kodi 20 myself, I only test on version 20 and am only motivated to ensure version 20 is working. Because of API changes between version 19 and 20, I suspect it will fail with earlier Kodi versions.

I already asked to have the add-on added to the official Kodi 20 repository, and is waiting to heard back from the repo maintainers.

As usual, if you use Bitcoin and want to show your support of my activities, please send Bitcoin donations to my address 15oWEoG9dUPovwmUL9KWAnYRtNJEkP1u1b.

While visiting a convention during Easter, it occurred to me that it would be great if I could have a digital Dictaphone with transcribing capabilities, providing me with texts to cut-n-paste into stuff I need to write. The background is that long drives often bring up the urge to write on texts I am working on, which of course is out of the question while driving. With the release of OpenAI Whisper, this seem to be within reach with Free Software, so I decided to give it a go. OpenAI Whisper is a Linux based neural network system to read in audio files and provide text representation of the speech in that audio recording. It handle multiple languages and according to its creators even can translate into a different language than the spoken one. I have not tested the latter feature. It can either use the CPU or a GPU with CUDA support. As far as I can tell, CUDA in practice limit that feature to NVidia graphics cards. I have few of those, as they do not work great with free software drivers, and have not tested the GPU option. While looking into the matter, I did discover some work to provide CUDA support on non-NVidia GPUs, and some work with the library used by Whisper to port it to other GPUs, but have not spent much time looking into GPU support yet. I've so far used an old X220 laptop as my test machine, and only transcribed using its CPU.

As it from a privacy standpoint is unthinkable to use computers under control of someone else (aka a "cloud" service) to transcribe ones thoughts and personal notes, I want to run the transcribing system locally on my own computers. The only sensible approach to me is to make the effort I put into this available for any Linux user and to upload the needed packages into Debian. Looking at Debian Bookworm, I discovered that only three packages were missing, tiktoken, triton, and openai-whisper. For a while I also believed ffmpeg-python was needed, but as its upstream seem to have vanished I found it safer to rewrite whisper to stop depending on in than to introduce ffmpeg-python into Debian. I decided to place these packages under the umbrella of the Debian Deep Learning Team, which seem like the best team to look after such packages. Discussing the topic within the group also made me aware that the triton package was already a future dependency of newer versions of the torch package being planned, and would be needed after Bookworm is released.

All required code packages have been now waiting in the Debian NEW queue since Wednesday, heading for Debian Experimental until Bookworm is released. An unsolved issue is how to handle the neural network models used by Whisper. The default behaviour of Whisper is to require Internet connectivity and download the model requested to ~/.cache/whisper/ on first invocation. This obviously would fail the deserted island test of free software as the Debian packages would be unusable for someone stranded with only the Debian archive and solar powered computer on a deserted island.

Because of this, I would love to include the models in the Debian mirror system. This is problematic, as the models are very large files, which would put a heavy strain on the Debian mirror infrastructure around the globe. The strain would be even higher if the models change often, which luckily as far as I can tell they do not. The small model, which according to its creator is most useful for English and in my experience is not doing a great job there either, is 462 MiB (deb is 414 MiB). The medium model, which to me seem to handle English speech fairly well is 1.5 GiB (deb is 1.3 GiB) and the large model is 2.9 GiB (deb is 2.6 GiB). I would assume everyone with enough resources would prefer to use the large model for highest quality. I believe the models themselves would have to go into the non-free part of the Debian archive, as they are not really including any useful source code for updating the models. The "source", aka the model training set, according to the creators consist of "680,000 hours of multilingual and multitask supervised data collected from the web", which to me reads material with both unknown copyright terms, unavailable to the general public. In other words, the source is not available according to the Debian Free Software Guidelines and the model should be considered non-free.

I asked the Debian FTP masters for advice regarding uploading a model package on their IRC channel, and based on the feedback there it is still unclear to me if such package would be accepted into the archive. In any case I wrote build rules for a OpenAI Whisper model package and modified the Whisper code base to prefer shared files under /usr/ and /var/ over user specific files in ~/.cache/whisper/ to be able to use these model packages, to prepare for such possibility. One solution might be to include only one of the models (small or medium, I guess) in the Debian archive, and ask people to download the others from the Internet. Not quite sure what to do here, and advice is most welcome (use the debian-ai mailing list).

To make it easier to test the new packages while I wait for them to clear the NEW queue, I created an APT source targeting bookworm. I selected Bookworm instead of Bullseye, even though I know the latter would reach more users, is that some of the required dependencies are missing from Bullseye and I during this phase of testing did not want to backport a lot of packages just to get up and running.

Here is a recipe to run as user root if you want to test OpenAI Whisper using Debian packages on your Debian Bookworm installation, first adding the APT repository GPG key to the list of trusted keys, then setting up the APT repository and finally installing the packages and one of the models:

curl https://geekbay.nuug.no/~pere/openai-whisper/D78F5C4796F353D211B119E28200D9B589641240.asc \
  -o /etc/apt/trusted.gpg.d/pere-whisper.asc
mkdir -p /etc/apt/sources.list.d
cat > /etc/apt/sources.list.d/pere-whisper.list <<EOF
deb https://geekbay.nuug.no/~pere/openai-whisper/ bookworm main
deb-src https://geekbay.nuug.no/~pere/openai-whisper/ bookworm main
EOF
apt update
apt install openai-whisper

The package work for me, but have not yet been tested on any other computer than my own. With it, I have been able to (badly) transcribe a 2 minute 40 second Norwegian audio clip to test using the small model. This took 11 minutes and around 2.2 GiB of RAM. Transcribing the same file with the medium model gave a accurate text in 77 minutes using around 5.2 GiB of RAM. My test machine had too little memory to test the large model, which I believe require 11 GiB of RAM. In short, this now work for me using Debian packages, and I hope it will for you and everyone else once the packages enter Debian.

Now I can start on the audio recording part of this project.

As usual, if you use Bitcoin and want to show your support of my activities, please send Bitcoin donations to my address 15oWEoG9dUPovwmUL9KWAnYRtNJEkP1u1b.

Merry Christmas to you all. Here is a small gift to all those with IP cameras following the ONVIF specification. There is finally a nice command line and GUI tool in Debian to manage ONVIF IP cameras. After working with upstream for a few months and sponsoring the upload, I am very happy to report that the libonvif package entered Debian Sid last night.

The package provide a C library to communicate with such cameras, a command line tool to locate and update settings of (like password) the cameras and a GUI tool to configure and control the units as well as preview the video from the camera. Libonvif is available on Both Linux and Windows and the GUI tool uses the Qt library. The main competitors are non-free software, while libonvif is GNU GPL licensed. I am very glad Debian users in the future can control their cameras using a free software system provided by Debian. But the ONVIF world is full of slightly broken firmware, where the cameras pretend to follow the ONVIF specification but fail to set some configuration values or refuse to provide video to more than one recipient at the time, and the onvif project is quite young and might take a while before it completely work with your camera. Upstream seem eager to improve the library, so handling any broken camera might be just a bug report away.

The package just cleared NEW, and need a new source only upload before it can enter testing. This will happen in the next few days.

As usual, if you use Bitcoin and want to show your support of my activities, please send Bitcoin donations to my address 15oWEoG9dUPovwmUL9KWAnYRtNJEkP1u1b.

Recently I have been looking at how to control and collect data from a handful IP cameras using Linux. I both wanted to change their settings and to make their imagery available via a free software service under my control. Here is a summary of the tools I found.

First I had to identify the cameras and their protocols. As far as I could tell, they were using some SOAP looking protocol and their internal web server seem to only work with Microsoft Internet Explorer with some proprietary binary plugin, which in these days of course is a security disaster and also made it impossible for me to use the camera web interface. Luckily I discovered that the SOAP looking protocol is actually following the ONVIF specification, which seem to be supported by a lot of IP cameras these days.

Once the protocol was identified, I was able to find what appear to be the most popular way to configure ONVIF cameras, the free software Windows tool named ONVIF Device Manager. Lacking any other options at the time, I tried unsuccessfully to get it running using Wine, but was missing a dotnet 40 library and I found no way around it to run it on Linux.

The next tool I found to configure the cameras were a non-free Linux Qt client ONVIF Device Tool. I did not like its terms of use, so did not spend much time on it.

To collect the video and make it available in a web interface, I found the Zoneminder tool in Debian. A recent version was able to automatically detect and configure ONVIF devices, so I could use it to set up motion detection in and collection of the camera output. I had initial problems getting the ONVIF autodetection to work, as both Firefox and Chromium refused the inter-tab communication being used by the Zoneminder web pages, but managed to get konqueror to work. Apparently the "Enhanced Tracking Protection" in Firefox cause the problem. I ended up upgrading to the Bookworm edition of Zoneminder in the process to try to fix the issue, and believe the problem might be solved now.

In the process I came across the nice Linux GUI tool ONVIF Viewer allowing me to preview the camera output and validate the login passwords required. Sadly its author has grown tired of maintaining the software, so it might not see any future updates. Which is sad, as the viewer is sightly unstable and the picture tend to lock up. Note, this lockup might be due to limitations in the cameras and not the viewer implementation. I suspect the camera is only able to provide pictures to one client at the time, and the Zoneminder feed might interfere with the GUI viewer. I have asked for the tool to be included in Debian.

Finally, I found what appear to be very nice Linux free software replacement for the Windows tool, named libonvif. It provide a C library to talk to ONVIF devices as well as a command line and GUI tool using the library. Using the GUI tool I was able to change the admin passwords and update other settings of the cameras. I have asked for the package to be included in Debian.

As usual, if you use Bitcoin and want to show your support of my activities, please send Bitcoin donations to my address 15oWEoG9dUPovwmUL9KWAnYRtNJEkP1u1b.

Update 2022-10-20: Since my initial publication of this text, I got several suggestions for more free software Linux tools. There is a ONVIF python library (already requested into Debian) and a python 3 fork using a different SOAP dependency. There is also support for ONVIF in Home Assistant, and there is an alternative to Zoneminder called Shinobi. The latter two are not included in Debian either. I have not tested any of these so far.

The layered video playout server created by Sveriges Television, CasparCG Server, entered Debian today. This completes many months of work to get the source ready to go into Debian. The first upload to the Debian NEW queue happened a month ago, but the work upstream to prepare it for Debian started more than two and a half month ago. So far the casparcg-server package is only available for amd64, but I hope this can be improved. The package is in contrib because it depend on the non-free fdk-aac library. The Debian package lack support for streaming web pages because Debian is missing CEF, Chromium Embedded Framework. CEF is wanted by several packages in Debian. But because the Chromium source is not available as a build dependency, it is not yet possible to upload CEF to Debian. I hope this will change in the future.

The reason I got involved is that the Norwegian open channel Frikanalen is starting to use CasparCG for our HD playout, and I would like to have all the free software tools we use to run the TV channel available as packages from the Debian project. The last remaining piece in the puzzle is Open Broadcast Encoder, but it depend on quite a lot of patched libraries which would have to be included in Debian first.

As usual, if you use Bitcoin and want to show your support of my activities, please send Bitcoin donations to my address 15oWEoG9dUPovwmUL9KWAnYRtNJEkP1u1b.

My movie playing setup involve Kodi, OpenELEC (probably soon to be replaced with LibreELEC) and an Infocus IN76 video projector. My projector can be controlled via both a infrared remote controller, and a RS-232 serial line. The vendor of my projector, InFocus, had been sensible enough to document the serial protocol in its user manual, so it is easily available, and I used it some years ago to write a small script to control the projector. For a while now, I longed for a setup where the projector was controlled by Kodi, for example in such a way that when the screen saver went on, the projector was turned off, and when the screen saver exited, the projector was turned on again.

A few days ago, with very good help from parts of my family, I managed to find a Kodi Add-on for controlling a Epson projector, and got in touch with its author to see if we could join forces and make a Add-on with support for several projectors. To my pleasure, he was positive to the idea, and we set out to add InFocus support to his add-on, and make the add-on suitable for the official Kodi add-on repository.

The Add-on is now working (for me, at least), with a few minor adjustments. The most important change I do relative to the master branch in the github repository is embedding the pyserial module in the add-on. The long term solution is to make a "script" type pyserial module for Kodi, that can be pulled in as a dependency in Kodi. But until that in place, I embed it.

The add-on can be configured to turn on the projector when Kodi starts, off when Kodi stops as well as turn the projector off when the screensaver start and on when the screesaver stops. It can also be told to set the projector source when turning on the projector.

If this sound interesting to you, check out the project github repository. Perhaps you can send patches to support your projector too? As soon as we find time to wrap up the latest changes, it should be available for easy installation using any Kodi instance.

For future improvements, I would like to add projector model detection and the ability to adjust the brightness level of the projector from within Kodi. We also need to figure out how to handle the cooling period of the projector. My projector refuses to turn on for 60 seconds after it was turned off. This is not handled well by the add-on at the moment.

As usual, if you use Bitcoin and want to show your support of my activities, please send Bitcoin donations to my address 15oWEoG9dUPovwmUL9KWAnYRtNJEkP1u1b.

I VHS-kassettenes tid var det rett frem å ta vare på et TV-program en ønsket å kunne se senere, uten å være avhengig av at programmet ble sendt på nytt. Kanskje ønsket en å se programmet på hytten der det ikke var TV-signal, eller av andre grunner ha det tilgjengelig for fremtidig fornøyelse. Dette er blitt vanskeligere med introduksjon av digital-TV og webstreaming, der opptak til harddisk er utenfor de flestes kontroll hvis de bruker ufri programvare og bokser kontrollert av andre. Men for NRK her i Norge, finnes det heldigvis flere fri programvare-alternativer, som jeg har skrevet om før. Så lenge kilden for nedlastingen er lovlig lagt ut på nett (hvilket jeg antar NRK gjør), så er slik lagring til privat bruk også lovlig i Norge.

Sist jeg så på saken, i 2016, nevnte jeg at youtube-dl ikke kunne bake undertekster fra NRK inn i videofilene, og at jeg derfor foretrakk andre alternativer. Nylig oppdaget jeg at dette har endret seg. Fordelen med youtube-dl er at den er tilgjengelig direkte fra Linux-distribusjoner som Debian og Ubuntu, slik at en slipper å finne ut selv hvordan en skal få dem til å virke.

For å laste ned et NRK-innslag med undertekster, og få den norske underteksten pakket inn i videofilen, så kan følgende kommando brukes:

youtube-dl --write-sub --sub-format ttml \
  --convert-subtitles srt --embed-subs \
  https://tv.nrk.no/serie/ramm-ferdig-gaa/MUHU11000316/27-04-2018

URL-eksemplet er dagens toppsak på tv.nrk.no. Resultatet er en MP4-fil med filmen og undertekster som kan spilles av med VLC. Merk at VLC ikke viser frem undertekster før du aktiverer dem. For å gjøre det, høyreklikk med musa i fremviservinduet, velg menyvalget for undertekst og så norsk språk. Jeg testet også '--write-auto-sub', men det kommandolinjeargumentet ser ikke ut til å fungere, så jeg endte opp med settet med argumentlisten over, som jeg fant i en feilrapport i youtube-dl-prosjektets samling over feilrapporter.

Denne støtten i youtube-dl gjør det svært enkelt å lagre NRK-innslag, det være seg nyheter, filmer, serier eller dokumentater, for å ha dem tilgjengelig for fremtidig referanse og bruk, uavhengig av hvor lenge innslagene ligger tilgjengelig hos NRK. Så får det ikke hjelpe at NRKs jurister mener at det er vesensforskjellig å legge tilgjengelig for nedlasting og for streaming, når det rent teknisk er samme sak.

Programmet youtube-dl støtter også en rekke andre nettsteder, se prosjektoversikten for en komplett liste.

When I set out a few weeks ago to figure out which multimedia player in Debian claimed to support most file formats / MIME types, I was a bit surprised how varied the sets of MIME types the various players claimed support for. The range was from 55 to 130 MIME types. I suspect most media formats are supported by all players, but this is not really reflected in the MimeTypes values in their desktop files. There are probably also some bogus MIME types listed, but it is hard to identify which one this is.

Anyway, in the mean time I got in touch with upstream for some of the players suggesting to add more MIME types to their desktop files, and decided to spend some time myself improving the situation for my favorite media player VLC. The fixes for VLC entered Debian unstable yesterday. The complete list of MIME types can be seen on the Multimedia player MIME type support status Debian wiki page.

The new "best" multimedia player in Debian? It is VLC, followed by totem, parole, kplayer, gnome-mpv, mpv, smplayer, mplayer-gui and kmplayer. I am sure some of the other players desktop files support several of the formats currently listed as working only with vlc, toten and parole.

A sad observation is that only 14 MIME types are listed as supported by all the tested multimedia players in Debian in their desktop files: audio/mpeg, audio/vnd.rn-realaudio, audio/x-mpegurl, audio/x-ms-wma, audio/x-scpls, audio/x-wav, video/mp4, video/mpeg, video/quicktime, video/vnd.rn-realvideo, video/x-matroska, video/x-ms-asf, video/x-ms-wmv and video/x-msvideo. Personally I find it sad that video/ogg and video/webm is not supported by all the media players in Debian. As far as I can tell, all of them can handle both formats.

Where I set out to figure out which multimedia player in Debian claim support for most file formats.

A few years ago, I had a look at the media support for Browser plugins in Debian, to get an idea which plugins to include in Debian Edu. I created a script to extract the set of supported MIME types for each plugin, and used this to find out which multimedia browser plugin supported most file formats / media types. The result can still be seen on the Debian wiki, even though it have not been updated for a while. But browser plugins are less relevant these days, so I thought it was time to look at standalone players.

A few days ago I was tired of VLC not being listed as a viable player when I wanted to play videos from the Norwegian National Broadcasting Company, and decided to investigate why. The cause is a missing MIME type in the VLC desktop file. In the process I wrote a script to compare the set of MIME types announced in the desktop file and the browser plugin, only to discover that there is quite a large difference between the two for VLC. This discovery made me dig up the script I used to compare browser plugins, and adjust it to compare desktop files instead, to try to figure out which multimedia player in Debian support most file formats.

The result can be seen on the Debian Wiki, as a table listing all MIME types supported by one of the packages included in the table, with the package supporting most MIME types being listed first in the table.

The best multimedia player in Debian? It is totem, followed by parole, kplayer, mpv, vlc, smplayer mplayer-gui gnome-mpv and kmplayer. Time for the other players to update their announced MIME support?

Det kommer stadig nye løsninger for å ta lagre unna innslag fra NRK for å se på det senere. For en stund tilbake kom jeg over et script nrkopptak laget av Ingvar Hagelund. Han fjernet riktignok sitt script etter forespørsel fra Erik Bolstad i NRK, men noen tok heldigvis og gjorde det tilgjengelig via github.

Scriptet kan lagre som MPEG4 eller Matroska, og bake inn undertekster i fila på et vis som blant annet VLC forstår. For å bruke scriptet, kopier ned git-arkivet og kjør

nrkopptak/bin/nrk-opptak k https://tv.nrk.no/serie/bmi-turne/MUHH45000115/sesong-1/episode-1

URL-eksemplet er dagens toppsak på tv.nrk.no. Argument 'k' ber scriptet laste ned og lagre som Matroska. Det finnes en rekke andre muligheter for valg av kvalitet og format.

Jeg foretrekker dette scriptet fremfor youtube-dl, som nevnt i 2014 støtter NRK og en rekke andre videokilder, på grunn av at nrkopptak samler undertekster og video i en enkelt fil, hvilket gjør håndtering enklere på disk.

After asking the Norwegian Broadcasting Company (NRK) why they can broadcast and stream H.264 video without an agreement with the MPEG LA, I was wiser, but still confused. So I asked MPEG LA if their understanding matched that of NRK. As far as I can tell, it does not.

I started by asking for more information about the various licensing classes and what exactly is covered by the "Internet Broadcast AVC Video" class that NRK pointed me at to explain why NRK did not need a license for streaming H.264 video:

According to a MPEG LA press release dated 2010-02-02, there is no charge when using MPEG AVC/H.264 according to the terms of "Internet Broadcast AVC Video". I am trying to understand exactly what the terms of "Internet Broadcast AVC Video" is, and wondered if you could help me. What exactly is covered by these terms, and what is not?

The only source of more information I have been able to find is a PDF named AVC Patent Portfolio License Briefing, which states this about the fees:

• Where End User pays for AVC Video
  • Subscription (not limited by title) – 100,000 or fewer subscribers/yr = no royalty; > 100,000 to 250,000 subscribers/yr = $25,000; >250,000 to 500,000 subscribers/yr = $50,000; >500,000 to 1M subscribers/yr = $75,000; >1M subscribers/yr = $100,000
  • Title-by-Title - 12 minutes or less = no royalty; >12 minutes in length = lower of (a) 2% or (b) $0.02 per title
• Where remuneration is from other sources
  • Free Television - (a) one-time $2,500 per transmission encoder or (b) annual fee starting at $2,500 for > 100,000 HH rising to maximum $10,000 for >1,000,000 HH
  • Internet Broadcast AVC Video (not title-by-title, not subscription) – no royalty for life of the AVC Patent Portfolio License

Am I correct in assuming that the four categories listed is the categories used when selecting licensing terms, and that "Internet Broadcast AVC Video" is the category for things that do not fall into one of the other three categories? Can you point me to a good source explaining what is ment by "title-by-title" and "Free Television" in the license terms for AVC/H.264?

Will a web service providing H.264 encoded video content in a "video on demand" fashing similar to Youtube and Vimeo, where no subscription is required and no payment is required from end users to get access to the videos, fall under the terms of the "Internet Broadcast AVC Video", ie no royalty for life of the AVC Patent Portfolio license? Does it matter if some users are subscribed to get access to personalized services?

Note, this request and all answers will be published on the Internet.

The answer came quickly from Benjamin J. Myers, Licensing Associate with the MPEG LA:

Thank you for your message and for your interest in MPEG LA. We appreciate hearing from you and I will be happy to assist you.

As you are aware, MPEG LA offers our AVC Patent Portfolio License which provides coverage under patents that are essential for use of the AVC/H.264 Standard (MPEG-4 Part 10). Specifically, coverage is provided for end products and video content that make use of AVC/H.264 technology. Accordingly, the party offering such end products and video to End Users concludes the AVC License and is responsible for paying the applicable royalties.

Regarding Internet Broadcast AVC Video, the AVC License generally defines such content to be video that is distributed to End Users over the Internet free-of-charge. Therefore, if a party offers a service which allows users to upload AVC/H.264 video to its website, and such AVC Video is delivered to End Users for free, then such video would receive coverage under the sublicense for Internet Broadcast AVC Video, which is not subject to any royalties for the life of the AVC License. This would also apply in the scenario where a user creates a free online account in order to receive a customized offering of free AVC Video content. In other words, as long as the End User is given access to or views AVC Video content at no cost to the End User, then no royalties would be payable under our AVC License.

On the other hand, if End Users pay for access to AVC Video for a specific period of time (e.g., one month, one year, etc.), then such video would constitute Subscription AVC Video. In cases where AVC Video is delivered to End Users on a pay-per-view basis, then such content would constitute Title-by-Title AVC Video. If a party offers Subscription or Title-by-Title AVC Video to End Users, then they would be responsible for paying the applicable royalties you noted below.

Finally, in the case where AVC Video is distributed for free through an "over-the-air, satellite and/or cable transmission", then such content would constitute Free Television AVC Video and would be subject to the applicable royalties.

For your reference, I have attached a .pdf copy of the AVC License. You will find the relevant sublicense information regarding AVC Video in Sections 2.2 through 2.5, and the corresponding royalties in Section 3.1.2 through 3.1.4. You will also find the definitions of Title-by-Title AVC Video, Subscription AVC Video, Free Television AVC Video, and Internet Broadcast AVC Video in Section 1 of the License. Please note that the electronic copy is provided for informational purposes only and cannot be used for execution.

I hope the above information is helpful. If you have additional questions or need further assistance with the AVC License, please feel free to contact me directly.

Having a fresh copy of the license text was useful, and knowing that the definition of Title-by-Title required payment per title made me aware that my earlier understanding of that phrase had been wrong. But I still had a few questions:

I have a small followup question. Would it be possible for me to get a license with MPEG LA even if there are no royalties to be paid? The reason I ask, is that some video related products have a copyright clause limiting their use without a license with MPEG LA. The clauses typically look similar to this:

This product is licensed under the AVC patent portfolio license for the personal and non-commercial use of a consumer to (a) encode video in compliance with the AVC standard ("AVC video") and/or (b) decode AVC video that was encoded by a consumer engaged in a personal and non-commercial activity and/or AVC video that was obtained from a video provider licensed to provide AVC video. No license is granted or shall be implied for any other use. additional information may be obtained from MPEG LA L.L.C.

It is unclear to me if this clause mean that I need to enter into an agreement with MPEG LA to use the product in question, even if there are no royalties to be paid to MPEG LA. I suspect it will differ depending on the jurisdiction, and mine is Norway. What is MPEG LAs view on this?

According to the answer, MPEG LA believe those using such tools for non-personal or commercial use need a license with them:

With regard to the Notice to Customers, I would like to begin by clarifying that the Notice from Section 7.1 of the AVC License reads:

THIS PRODUCT IS LICENSED UNDER THE AVC PATENT PORTFOLIO LICENSE FOR THE PERSONAL USE OF A CONSUMER OR OTHER USES IN WHICH IT DOES NOT RECEIVE REMUNERATION TO (i) ENCODE VIDEO IN COMPLIANCE WITH THE AVC STANDARD ("AVC VIDEO") AND/OR (ii) DECODE AVC VIDEO THAT WAS ENCODED BY A CONSUMER ENGAGED IN A PERSONAL ACTIVITY AND/OR WAS OBTAINED FROM A VIDEO PROVIDER LICENSED TO PROVIDE AVC VIDEO. NO LICENSE IS GRANTED OR SHALL BE IMPLIED FOR ANY OTHER USE. ADDITIONAL INFORMATION MAY BE OBTAINED FROM MPEG LA, L.L.C. SEE HTTP://WWW.MPEGLA.COM

The Notice to Customers is intended to inform End Users of the personal usage rights (for example, to watch video content) included with the product they purchased, and to encourage any party using the product for commercial purposes to contact MPEG LA in order to become licensed for such use (for example, when they use an AVC Product to deliver Title-by-Title, Subscription, Free Television or Internet Broadcast AVC Video to End Users, or to re-Sell a third party's AVC Product as their own branded AVC Product).

Therefore, if a party is to be licensed for its use of an AVC Product to Sell AVC Video on a Title-by-Title, Subscription, Free Television or Internet Broadcast basis, that party would need to conclude the AVC License, even in the case where no royalties were payable under the License. On the other hand, if that party (either a Consumer or business customer) simply uses an AVC Product for their own internal purposes and not for the commercial purposes referenced above, then such use would be included in the royalty paid for the AVC Products by the licensed supplier.

Finally, I note that our AVC License provides worldwide coverage in countries that have AVC Patent Portfolio Patents, including Norway.

I hope this clarification is helpful. If I may be of any further assistance, just let me know.

The mentioning of Norwegian patents made me a bit confused, so I asked for more information:

But one minor question at the end. If I understand you correctly, you state in the quote above that there are patents in the AVC Patent Portfolio that are valid in Norway. This make me believe I read the list available from <URL: http://www.mpegla.com/main/programs/AVC/Pages/PatentList.aspx > incorrectly, as I believed the "NO" prefix in front of patents were Norwegian patents, and the only one I could find under Mitsubishi Electric Corporation expired in 2012. Which patents are you referring to that are relevant for Norway?

Again, the quick answer explained how to read the list of patents in that list:

Your understanding is correct that the last AVC Patent Portfolio Patent in Norway expired on 21 October 2012. Therefore, where AVC Video is both made and Sold in Norway after that date, then no royalties would be payable for such AVC Video under the AVC License. With that said, our AVC License provides historic coverage for AVC Products and AVC Video that may have been manufactured or Sold before the last Norwegian AVC patent expired. I would also like to clarify that coverage is provided for the country of manufacture and the country of Sale that has active AVC Patent Portfolio Patents.

Therefore, if a party offers AVC Products or AVC Video for Sale in a country with active AVC Patent Portfolio Patents (for example, Sweden, Denmark, Finland, etc.), then that party would still need coverage under the AVC License even if such products or video are initially made in a country without active AVC Patent Portfolio Patents (for example, Norway). Similarly, a party would need to conclude the AVC License if they make AVC Products or AVC Video in a country with active AVC Patent Portfolio Patents, but eventually Sell such AVC Products or AVC Video in a country without active AVC Patent Portfolio Patents.

As far as I understand it, MPEG LA believe anyone using Adobe Premiere and other video related software with a H.264 distribution license need a license agreement with MPEG LA to use such tools for anything non-private or commercial, while it is OK to set up a Youtube-like service as long as no-one pays to get access to the content. I still have no clear idea how this applies to Norway, where none of the patents MPEG LA is licensing are valid. Will the copyright terms take precedence or can those terms be ignored because the patents are not valid in Norway?

Last oktober I was involved on behalf of NUUG with recording the talks at MakerCon Nordic, a conference for the Maker movement. Since then it has been the plan to publish the recordings on Frikanalen, which finally happened the last few days. A few talks are missing because the speakers asked the organizers to not publish them, but most of the talks are available. The talks are being broadcasted on RiksTV channel 50 and using multicast on Uninett, as well as being available from the Frikanalen web site. The unedited recordings are available on Youtube too.

This is the list of talks available at the moment. Visit the Frikanalen video pages to view them.

• Evolutionary algorithms as a design tool - from art to robotics (Kyrre Glette)
• Make and break (Hans Gerhard Meier)
• Making a one year school course for young makers (Olav Helland)
• Innovation Inspiration - IPR Databases as a Source of Inspiration (Hege Langlo)
• Making a toy for makers (Erik Torstensson)
• How to make 3D printer electronics (Elias Bakken)
• Hovering Clouds: Looking at online tool offerings for Product Design and 3D Printing (William Kempton)
• Travelling maker stories (Øyvind Nydal Dahl)
• Making the first Maker Faire in Sweden (Nils Olander)
• Breaking the mold: Printing 1000’s of parts (Espen Sivertsen)
• Ultimaker — and open source 3D printing (Erik de Bruijn)
• Autodesk’s 3D Printing Platform: Sparking innovation (Hilde Sevens)
• How Making is Changing the World – and How You Can Too! (Jennifer Turliuk)
• Open-Source Adventuring: OpenROV, OpenExplorer and the Future of Connected Exploration (David Lang)
• Making in Norway (Haakon Karlsen Jr., Graham Hayward and Jens Dyvik)
• The Impact of the Maker Movement (Mike Senese)

Part of the reason this took so long was that the scripts NUUG had to prepare a recording for publication were five years old and no longer worked with the current video processing tools (command line argument changes). In addition, we needed better audio normalization, which sent me on a detour to package bs1770gain for Debian. Now this is in place and it became a lot easier to publish NUUG videos on Frikanalen.

Television loudness is the source of frustration for viewers everywhere. Some channels are very load, others are less loud, and ads tend to shout very high to get the attention of the viewers, and the viewers do not like this. This fact is well known to the TV channels. See for example the BBC white paper "Terminology for loudness and level dBTP, LU, and all that" from 2011 for a summary of the problem domain. To better address the need for even loadness, the TV channels got together several years ago to agree on a new way to measure loudness in digital files as one step in standardizing loudness. From this came the ITU-R standard BS.1770, "Algorithms to measure audio programme loudness and true-peak audio level".

The ITU-R BS.1770 specification describe an algorithm to measure loadness in LUFS (Loudness Units, referenced to Full Scale). But having a way to measure is not enough. To get the same loudness across TV channels, one also need to decide which value to standardize on. For European TV channels, this was done in the EBU Recommondaton R128, "Loudness normalisation and permitted maximum level of audio signals", which specifies a recommended level of -23 LUFS. In Norway, I have been told that NRK, TV2, MTG and SBS have decided among themselves to follow the R128 recommondation for playout from 2016-03-01.

There are free software available to measure and adjust the loudness level using the LUFS. In Debian, I am aware of a library named libebur128 able to measure the loudness and since yesterday morning a new binary named bs1770gain capable of both measuring and adjusting was uploaded and is waiting for NEW processing. I plan to maintain the latter in Debian under the Debian multimedia umbrella.

The free software based TV channel I am involved in, Frikanalen, plan to follow the R128 recommondation ourself as soon as we can adjust the software to do so, and the bs1770gain tool seem like a good fit for that part of the puzzle to measure loudness on new video uploaded to Frikanalen. Personally, I plan to use bs1770gain to adjust the loudness of videos I upload to Frikanalen on behalf of the NUUG member organisation. The program seem to be able to measure the LUFS value of any media file handled by ffmpeg, but I've only successfully adjusted the LUFS value of WAV files. I suspect it should be able to adjust it for all the formats handled by ffmpeg.

Helt siden jeg i 2012 fikk beskjed fra MPEG LA om at NRK trengte patentavtale med dem hvis de distribuerte H.264-video til sluttbrukere, har jeg lurt på hva som gjør at NRK ikke har slik avtale. For noen dager siden fikk jeg endelig gjort noe med min undring, og sendte 2015-05-28 følgende epost til info (at) nrk.no med tittel "Hva gjør at NRK kan distribuere H.264-video uten patentavtale med MPEG LA?":

Jeg lurer på en ting rundt NRKs bruk av H.264-video på sine websider samt distribusjon via RiksTV og kabel-TV. Har NRK vurdert om det er behov for en patentavtale med MPEG LA slik det står i programvarelisensene til blant annet Apple Final Cut Studio, Adobe Premiere Pro, Avid og Apples Final Cut Pro X?

Hvis dere har vurdert dette, hva var utfallet av en slik vurdering?

Hvis dere ikke har vurdert dette, har NRK planer om å vurdere behovet for patentavtale?

I følge en artikkel på NRK Beta i 2012 har NRK brukt eller testet både Apple Final Cut Studio, Adobe Premiere Pro, Avid og Apples Final Cut Pro X til bruk for å redigere video før sending. Alle disse har bruksvilkår understøttet av opphavsretten som sier at de kun kan brukes til å lage filmer til personlig og ikke-kommersiell bruk - med mindre en har en lisensavtale med MPEG LA om bruk av patenter utstedt i USA for H.264. Se f.eks. bruksvilkårene for Avid, Adobe Premiere og Apple Final Cut Studio og søk etter "MPEG LA".

Dette får meg til å lure på om det er brudd på opphavsretten å bruke disse verktøyene i strid med bruksvilkårene uten patentavtale med MPEG LA. Men NRK bruker jo tilsynelatende disse verktøyene uten patentavtale med MPEG LA.

I følge forfatteren av Open Broadcast Encoder finnes det to typer H.264-relaterte avtaler en kan få med MPEG LA. Det er én for å lage programvare og utstyr som produserer H.264-video, og en annen for å kringkaste video som bruker H.264. Dette forteller meg at selv om produsentene av utstyr og programvare som NRK bruker har en slik avtale med MPEG LA, så trenges det en egen avtale for å kringkaste video på det formatet.

I følge Ryan Rodriguez hos MPEG LA, da jeg spurte ham på epost i juni 2012, har NRK ikke en slik avtale med MPEG LA. Han sa videre at NRK trenger en slik avtale hvis NRK tilbyr H.264-kodet video til sluttbrukere. Jeg sjekket listen med organisasjoner med avtale med MPEG LA og NRK står fortsatt ikke der.

Jeg lurer dermed på hva som gjør at NRK kan bruke de overnevnte videoredigeringsverktøyene, som tilsynelatende har krav om avtale med MPEG LA for å kunne brukes slik NRK bruker dem, til å lage videofiler for distribusjon uten å ha en avtale med MPEG LA om distribusjon av H.264-video? Dette er spesielt interessant å vite for oss andre som også vurderer å spre H.264-video etter å ha redigert dem med disse mye brukte videoredigeringsverktøyene.

Samme dag fikk jeg automatisk svar om at min henvendelse hadde fått saksid 1294699. Jeg fikk deretter følgende respons fra NRK 2015-06-09:

Hei, beklager lang svartid, men det tok litt tid å finne ut hvem som kunne svare på dette.

For selskaper som leverer h.264 til sluttbrukere på nett (f.eks NRKs nett- tv utgaver som bruker h.264) - og som leverer slike tjenester uten betaling fra forbrukere – er det heller ikke påkrevd noen patentavtale.

http://www.businesswire.com/news/home/20100825006629/en/MPEG-LA%E2%80%99s-AVC-License-Charge-Royalties-Internet#.VWb2ws_774Y

Med vennlig hilsen
Gunn Helen Berg
Informasjonskonsulent, Publikumsservice

NRK
Strategidivisjonen
Sentralbord: +47 23 04 70 00
Post: NRK Publikumsservice, 8608 Mo i Rana
nrk.no / info (at) nrk.no

Da dette ikke helt var svar på det jeg lurte på, sendte jeg samme dag oppfølgerepost tilbake:

[Gunn Helen Berg]
> Hei, beklager lang svartid, men det tok litt tid å finne ut hvem som
> kunne svare på dette.

Takk for svar. Men det besvarte ikke helt det jeg spurte om.

> For selskaper som leverer h.264 til sluttbrukere på nett (f.eks NRKs
> nett- tv utgaver som bruker h.264) - og som leverer slike tjenester
> uten betaling fra forbrukere – er det heller ikke påkrevd noen
> patentavtale.
>
> http://www.businesswire.com/news/home/20100825006629/en/MPEG-LA%E2%80%99s-AVC-License-Charge-Royalties-Internet#.VWb2ws_774Y

Spørsmålet er ikke kun om MPEG LA krever patentavtale eller ikke (hvilket ikke helt besvares av pressemeldingen omtalt over, gitt at pressemeldingen kom i 2010, to år før MPEG LA ansvarlige for internasjonal lisensiering egen Ryan Rodriguez fortalte meg på epost at NRK trenger en lisens.

Det er uklart fra pressemeldingen hva "Internet Broadcast AVC Video" konkret betyr, men i følge en presentasjon fra MPEG LA med tema "AVC PAtent Portfoli License Briefing" datert 2015-05-15 gjelder "Internet Broadcast AVC Video" kun kringkasting på Internet som ikke tilbyr valg av enkeltinnslag ("not title-by-title"), hvilket jo NRK gjør på sine nettsider. I tillegg kringkaster jo NRK H.264-video også utenom Internet (RiksTV, kabel, satelitt), hvilket helt klart ikke er dekket av vilkårene omtalt i pressemeldingen.

Spørsmålet mitt er hvordan NRK kan bruke verktøy med bruksvilkår som krever avtale med MPEG LA for det NRK bruker dem til, når NRK ikke har avtale med MPEG LA. Hvis jeg forsto spørsmålet riktig, så mener NRK at dere ikke trenger avtale med MPEG LA, men uten slik avtale kan dere vel ikke bruke hverken Apple Final Cut Studio, Adobe Premiere Pro, Avid eller Apples Final Cut Pro X for å redigere video før sending?

Mine konkrete spørsmål var altså:

• Hvis NRK har vurdert om det er behov for en patentavtale med MPEG LA slik det er krav om i programvarelisensene til blant annet Apple Final Cut Studio, Adobe Premiere Pro, Avid og Apples Final Cut Pro X, hva var utfallet av en slik vurdering? Kan jeg få kopi av vurderingen hvis den er gjort skriftlig?
• Hvis NRK ikke har vurdert dette, har NRK planer om å vurdere behovet for patentavtale?
• Hva slags saksnummer fikk min henvendelse i NRKs offentlige postjournal? Jeg ser at postjournalen ikke er publisert for den aktuelle perioden ennå, så jeg fikk ikke sjekket selv.

Det hjelper å ha funnet rette vedkommende i NRK, for denne gangen fikk jeg svar tilbake dagen etter (2015-06-10), fra Geir Børdalen i NRK:

Hei Petter Reinholdtsen

Jeg har sjekket saken med distribusjonssjef for tv, Arild Hellgren (som var teknologidirektør da bakkenettet ble satt opp). NRK v/ Hellgren hadde møte med MPEG LA sammen med den europeiske kringkastingsunionen EBU før bakkenettet for TV ble satt opp (igangsatt høsten 2007). I dette møtet ble det avklart at NRK/EBU ikke trengte noen patentavtale for h.264 i forbindelse med oppsett av bakkenettet eller bruk av MPEG4 h.264 som kompresjonsalgoritme fordi tjenesten «in full»(nor: helt) var betalt av utsendelseselskapene og ikke av forbrukerne.

http://www.nrk.no/oppdrag/digitalt-bakkenett-1.3214555

Det er også klart slått fast at selskaper som leverer video basert på MPEG4 h.264 til sluttbrukere på nett, heller ikke påkrevd noen patentavtale – så lenge de leverer slike tjenester uten betaling fra sluttbrukere.

http://www.businesswire.com/news/home/20100825006629/en/MPEG-LA%E2%80%99s-AVC-License-Charge-Royalties-Internet#.VWb2ws_774Y

“MPEG LA announced today that its AVC Patent Portfolio License will continue not to charge royalties for Internet Video that is free to end users (known as “Internet Broadcast AVC Video”) during the entire life of this License. MPEG LA previously announced it would not charge royalties for such video through December 31, 2015 (see http://www.mpegla.com/Lists/MPEG%20LA%20News%20List/Attachments/226/n-10-02-02.pdf), and today’s announcement makes clear that royalties will continue not to be charged for such video beyond that time. Products and services other than Internet Broadcast AVC Video continue to be royalty-bearing.”

Vi har derfor ikke noe behov for å vurdere noen patentavtale med MPEG LA.

Understreker for øvrig at NRK ikke er låst til MPEG4 – h.264 som utsendelsesformat – og at vi har brukt og bruker flere andre alternativer i våre tjenester. Ulike «devicer» har ofte behov for forskjellige løsninger – og NRK har forsøkt å levere med best mulig kvalitet /økonomi /stabilitet avhengig av plattform. Produksjonsformater i NRK spenner for øvrig over en rekke forskjellige formater – hvor MPEG4 bare er en av disse. Når NRK kjøper teknisk utstyr er betaling for kodekstøtte ofte en del av anskaffelsesprisen for denne maskinvaren (enten dette er spesialiserte enkodere eller forskjellige typer produksjonsutstyr).

Vennlig hilsen
Geir Børdalen

________________________________________
Geir Børdalen
Investeringsansvarlig NRK / Hovedprosjektleder - Origo
Avdeling for utvikling, innovasjon, investering og eiendom
NRK medietjenester
Sentralbord: +47 23 04 70 00
Post: NRK, AUTV (RBM5), Pb. 8500 Majorstuen, 0340 Oslo
nrk.no

Et godt og grundig svar, som var informativt om hvordan NRK tenker rundt patentavtale med MPEG LA, men heller ikke helt besvarte det jeg lurte på, så jeg sendte epostoppfølging samme dag.

[Geir Børdalen]
> Hei Petter Reinholdtsen

Hei, og takk for raskt svar. Er min henvendelse journalført slik at den dukker opp i NRKs postjournal?

Svaret ditt var meget nyttig, og jeg forstår ut fra det du skriver at avklaringen med MPEG LA rundt H.264-distribusjon via bakkenettet gjelder alle TV-kanaler i Norge. Hvilke saksnummer fikk dokumenter som ble opprettet i forbindelse med det omtalte møtet NRK v/Hellgren og EBU hadde med MPEG LA (dvs. referater, avtaler, etc), f.eks. dokumentet der formuleringen "in full" som du omtaler finnes?

Men det er et par ting jeg fortsatt ikke forstår. Det ene er hvorfor NRKs forståelse av hva "Internet Broadcast AVC Video" dekker ser ut til å avvike fra det som presenteres i lysark fra MPEG LA i mai, der MPEG LA på lysark med overskriften "AVC/H.264 License Terms Participation Fees" og undertittel "Where remuneration is from other sources" skriver "Internet Broadcast AVC Video (not title-by-title, not subscription) – no royalty for life of the AVC Patent Portfolio License".

Her leser jeg MPEG LA dithen at det kun er kringkasting uten abonnement via Internet som er dekket at vilkårne omtalt i pressemeldingen, mens jeg forstår deg dithen at NRK mener NRKs nettsider som også har enkeltfilmer og innslag (som jeg forstår dekket av formuleringen "title-by-title") dekkes av "Internet Broadcast AVC Video" fra MPEG LA. Hva baserer dere denne tolkningen på? Jeg har ikke sett noe skriftlig fra MPEG LA som støtter NRKs tolkning, og lurer på om dere har andre kilder enn den pressemeldingen fra 5 år tilbake, der NRKS forståelse av hva "Internet Broadcast AVC Video" dekker er beskrevet?

Det andre er at eposten din ikke nevnte spørsmålet mitt om bruksvilkårene til videoredigeringsverktøyene som NRK bruker. Disse har som tidligere nevnt krav om at de kun skal brukes til private og ikke-kommersielle formål med mindre en har avtale med MPEG LA, og uten avtale med MPEG LA kan det jo virke som om NRK bruker verktøyene i strid med bruksvilkårene. Hva gjør at disse bruksvilkårene ikke gjelder for NRK?

Noen minutter senere får jeg foreløpig siste svar i føljetongen:

Hei igjen

Vårt dokumentarkiv har fått en kopi (journalføringsnr kan jeg dessverre ikke gi deg).

> Svaret ditt var meget nyttig, og jeg forstår ut fra det du
> skriver at avklaringen med MPEG LA rundt H.264-distribusjon via
> bakkenettet gjelder alle TV-kanaler i Norge.

Svar: Kan ikke svare for andre enn for NRK/EBU - og for bakkenettet i Norge er det kun NRK som er et lisensbasert selskap. Kan ikke gi noe svar på saksnr på dokumenter eller ytterligere informasjon da jeg selv ikke var del i dette.

> Men det er et par ting jeg fortsatt ikke forstår. ...

Svar: Kan ikke gå ytterligere inn i dette fra min side og mitt fagfelt som er produksjon/publisering og systemstrukturene bak disse. For øvrig ligger det etter vår formening ingen begrensninger for NRK i mulighetene til publisering mht til kodek i produksjonssystemer. Som tidligere skrevet mener vi at NRK ikke trenger noen avtale med MPEG LA og støtter oss til det vi allerede har kommunisert i forrige epost.

Mvh
Geir Børdalen

Det syntes vanskelig å komme videre når NRK ikke ønsker å gå inn i problemstillingen rundt bruksvilkårene til videoredigeringsverktøyene NRK bruker, så jeg sendte takk for svarene og avsluttet utvekslingen så langt:

Tusen takk for rask respons, og oppklarende forklaring om hvordan NRK tenker rundt MPEG LA.

Jeg vil høre med NRK-arkivet for å se om de kan spore opp de omtalte dokumentene. Jeg setter pris på om du kan dele titler, dato eller annen informasjon som kan gjøre det enklere for arkivet å finne dem.

Når det gjelder hvordan bruksvilkårene til videoredigeringsverktøyene skal tolkes, så skal jeg høre med MPEG LA og produsentene av verktøyene for å forsøke å få klarhet i hva de mener er rikgig rettstilstand.

Jeg ble litt klokere, men fortsatt er det uklart for meg hva som er grunnlaget til NRK for å se bort fra bruksvilkår i videoredigeringsprogramvare som krever MPEG LA-avtale til alt annet enn privat og ikke-kommersiell bruk.

For en stund tilbake spurte jeg Fornyingsdepartementet om hvilke juridiske vurderinger rundt patentproblemstillingen som var gjort da H.264 ble tatt inn i statens referansekatalog over standarder. Stig Hornnes i FAD tipset meg om følgende som står i oppsumeringen til høringen om referansekatalogen versjon 2.0, som jeg siden ved hjelp av en innsynsforespørsel fikk tak i PDF-utgaven av datert 2009-06-03 (saksnummer 200803291, saksbehandler Henrik Linnestad).

Der står det følgende om problemstillingen:

4.4 Patentproblematikk

NUUG og Opera ser det som særlig viktig at forslagene knyttet til lyd og video baserer seg på de royalty-frie standardene Vorbis, Theora og FLAC.

Kommentarene relaterer seg til at enkelte standarder er åpne, men inneholder tekniske prosedyrer som det i USA (og noen andre land som Japan) er gitt patentrettigheter til. I vårt tilfelle berører dette spesielt standardene Mp3 og H.264, selv om Politidirektoratet peker på at det muligens kan være tilsvarende problematikk også for Theora og Vorbis. Dette medfører at det i USA kan kreves royalties for bruk av tekniske løsninger knyttet til standardene, et krav som også håndheves. Patenter kan imidlertid bare hevdes i de landene hvor patentet er gitt, så amerikanske patenter gjelder ikke andre steder enn USA.

Spesielt for utvikling av fri programvare er patenter problematisk. GPL, en "grunnleggende" lisens for distribusjon av fri programvare, avviser at programvare kan distribueres under denne lisensen hvis det inneholder referanser til patenterte rutiner som utløser krav om royalties. Det er imidlertid uproblematisk å distribuere fri programvareløsninger under GPL som benytter de aktuelle standardene innen eller mellom land som ikke anerkjenner patentene. Derfor finner vi også flere implementeringer av Mp3 og H.264 som er fri programvare, lisensiert under GPL.

I Norge og EU er patentlovgivningen langt mer restriktiv enn i USA, men det er også her mulig å få patentert metoder for løsning av et problem som relaterer seg til databehandling. Det er AIF bekjent ikke relevante patenter i EU eller Norge hva gjelder H.264 og Mp3, men muligheten for at det finnes patenter uten at det er gjort krav om royalties eller at det senere vil gis slike patenter kan ikke helt avvises.

AIF mener det er et behov for å gi offentlige virksomheter mulighet til å benytte antatt royaltyfrie åpne standarder som et likeverdig alternativ eller i tillegg til de markedsledende åpne standardene.

Det ser dermed ikke ut til at de har vurdert patentspørsmålet i sammenheng med opphavsrettsvilkår slik de er formulert for f.eks. Apple Final Cut Pro, Adobe Premiere Pro, Avid og Sorenson-verktøyene, der det kreves brukstillatelse for patenter som ikke er gyldige i Norge for å bruke disse verktøyene til annet en personlig og ikke kommersiell aktivitet når det gjelder H.264-video. Jeg må nok lete videre etter svar på det spørsmålet.

The lsdvd project got a new set of developers a few weeks ago, after the original developer decided to step down and pass the project to fresh blood. This project is now maintained by Petter Reinholdtsen and Steve Dibb.

I just wrapped up a new lsdvd release, available in git or from the download page. This is the changelog dated 2014-10-03 for version 0.17.

• Ignore 'phantom' audio, subtitle tracks
• Check for garbage in the program chains, which indicate that a track is non-existant, to work around additional copy protection
• Fix displaying content type for audio tracks, subtitles
• Fix pallete display of first entry
• Fix include orders
• Ignore read errors in titles that would not be displayed anyway
• Fix the chapter count
• Make sure the array size and the array limit used when initialising the palette size is the same.
• Fix array printing.
• Correct subsecond calculations.
• Add sector information to the output format.
• Clean up code to be closer to ANSI C and compile without warnings with more GCC compiler warnings.

This change bring together patches for lsdvd in use in various Linux and Unix distributions, as well as patches submitted to the project the last nine years. Please check it out. :)

I use the lsdvd tool to handle my fairly large DVD collection. It is a nice command line tool to get details about a DVD, like title, tracks, track length, etc, in XML, Perl or human readable format. But lsdvd have not seen any new development since 2006 and had a few irritating bugs affecting its use with some DVDs. Upstream seemed to be dead, and in January I sent a small probe asking for a version control repository for the project, without any reply. But I use it regularly and would like to get an updated version into Debian. So two weeks ago I tried harder to get in touch with the project admin, and after getting a reply from him explaining that he was no longer interested in the project, I asked if I could take over. And yesterday, I became project admin.

I've been in touch with a Gentoo developer and the Debian maintainer interested in joining forces to maintain the upstream project, and I hope we can get a new release out fairly quickly, collecting the patches spread around on the internet into on place. I've added the relevant Debian patches to the freshly created git repository, and expect the Gentoo patches to make it too. If you got a DVD collection and care about command line tools, check out the git source and join the project mailing list. :)

Two years later, I am still not sure if it is legal here in Norway to use or publish a video in H.264 or MPEG4 format edited by the commercially licensed video editors, without limiting the use to create "personal" or "non-commercial" videos or get a license agreement with MPEG LA. If one want to publish and broadcast video in a non-personal or commercial setting, it might be that those tools can not be used, or that video format can not be used, without breaking their copyright license. I am not sure. Back then, I found that the copyright license terms for Adobe Premiere and Apple Final Cut Pro both specified that one could not use the program to produce anything else without a patent license from MPEG LA. The issue is not limited to those two products, though. Other much used products like those from Avid and Sorenson Media have terms of use are similar to those from Adobe and Apple. The complicating factor making me unsure if those terms have effect in Norway or not is that the patents in question are not valid in Norway, but copyright licenses are.

These are the terms for Avid Artist Suite, according to their published end user license text (converted to lower case text for easier reading):

18.2. MPEG-4. MPEG-4 technology may be included with the software. MPEG LA, L.L.C. requires this notice:

This product is licensed under the MPEG-4 visual patent portfolio license for the personal and non-commercial use of a consumer for (i) encoding video in compliance with the MPEG-4 visual standard (“MPEG-4 video”) and/or (ii) decoding MPEG-4 video that was encoded by a consumer engaged in a personal and non-commercial activity and/or was obtained from a video provider licensed by MPEG LA to provide MPEG-4 video. No license is granted or shall be implied for any other use. Additional information including that relating to promotional, internal and commercial uses and licensing may be obtained from MPEG LA, LLC. See http://www.mpegla.com. This product is licensed under the MPEG-4 systems patent portfolio license for encoding in compliance with the MPEG-4 systems standard, except that an additional license and payment of royalties are necessary for encoding in connection with (i) data stored or replicated in physical media which is paid for on a title by title basis and/or (ii) data which is paid for on a title by title basis and is transmitted to an end user for permanent storage and/or use, such additional license may be obtained from MPEG LA, LLC. See http://www.mpegla.com for additional details.

18.3. H.264/AVC. H.264/AVC technology may be included with the software. MPEG LA, L.L.C. requires this notice:

This product is licensed under the AVC patent portfolio license for the personal use of a consumer or other uses in which it does not receive remuneration to (i) encode video in compliance with the AVC standard (“AVC video”) and/or (ii) decode AVC video that was encoded by a consumer engaged in a personal activity and/or was obtained from a video provider licensed to provide AVC video. No license is granted or shall be implied for any other use. Additional information may be obtained from MPEG LA, L.L.C. See http://www.mpegla.com.

Note the requirement that the videos created can only be used for personal or non-commercial purposes.

The Sorenson Media software have similar terms:

With respect to a license from Sorenson pertaining to MPEG-4 Video Decoders and/or Encoders: Any such product is licensed under the MPEG-4 visual patent portfolio license for the personal and non-commercial use of a consumer for (i) encoding video in compliance with the MPEG-4 visual standard (“MPEG-4 video”) and/or (ii) decoding MPEG-4 video that was encoded by a consumer engaged in a personal and non-commercial activity and/or was obtained from a video provider licensed by MPEG LA to provide MPEG-4 video. No license is granted or shall be implied for any other use. Additional information including that relating to promotional, internal and commercial uses and licensing may be obtained from MPEG LA, LLC. See http://www.mpegla.com.

With respect to a license from Sorenson pertaining to MPEG-4 Consumer Recorded Data Encoder, MPEG-4 Systems Internet Data Encoder, MPEG-4 Mobile Data Encoder, and/or MPEG-4 Unique Use Encoder: Any such product is licensed under the MPEG-4 systems patent portfolio license for encoding in compliance with the MPEG-4 systems standard, except that an additional license and payment of royalties are necessary for encoding in connection with (i) data stored or replicated in physical media which is paid for on a title by title basis and/or (ii) data which is paid for on a title by title basis and is transmitted to an end user for permanent storage and/or use. Such additional license may be obtained from MPEG LA, LLC. See http://www.mpegla.com for additional details.

Some free software like Handbrake and FFMPEG uses GPL/LGPL licenses and do not have any such terms included, so for those, there is no requirement to limit the use to personal and non-commercial.

Jeg har fortsatt behov for å kunne laste ned innslag fra NRKs nettsted av og til for å se senere når jeg ikke er på nett, men min oppskrift fra 2011 sluttet å fungere da NRK byttet avspillermetode. I dag fikk jeg endelig lett etter oppdatert løsning, og jeg er veldig glad for å fortelle at den enkleste måten å laste ned innslag er å bruke siste versjon 2014.06.07 av youtube-dl. Støtten i youtube-dl kom inn for 23 dager siden og versjonen i Debian fungerer fint også som backport til Debian Wheezy. Det er et lite problem, det håndterer kun URLer med små bokstaver, men hvis en har en URL med store bokstaver kan en bare gjøre alle store om til små bokstaver for å få youtube-dl til å laste ned. Rapporterte nettopp problemet til utviklerne, og antar de får fikset det snart.

Dermed er alt klart til å laste ned dokumentarene om USAs hemmelige avlytting og Selskapene bak USAs avlytting, i tillegg til intervjuet med Edward Snowden gjort av den tyske tv-kanalen ARD. Anbefaler alle å se disse, sammen med foredraget til Jacob Appelbaum på siste CCC-konferanse, for å forstå mer om hvordan overvåkningen av borgerne brer om seg.

Takk til gode venner på foreningen NUUGs IRC-kanal #nuug på irc.freenode.net for tipsene som fikk meg i mål.

Oppdatering 2014-06-17: Etter at jeg publiserte denne, ble jeg tipset om bloggposten "Downloading HD content from tv.nrk.no" av Ingvar Hagelund, som har alternativ implementasjon og tips for å lage mkv-fil med undertekstene inkludert. Kanskje den passer bedre for deg? I tillegg ble feilen i youtube-dl ble fikset litt senere ut på dagen i går, samt at youtube-dl fikk støtte for å laste ned undertitler. Takk til Anders Einar Hilden for god innsats og youtube-dl-utviklerne for rask respons.

I've been following the Gnash project for quite a while now. It is a free software implementation of Adobe Flash, both a standalone player and a browser plugin. Gnash implement support for the AVM1 format (and not the newer AVM2 format - see Lightspark for that one), allowing several flash based sites to work. Thanks to the friendly developers at Youtube, it also work with Youtube videos, because the Javascript code at Youtube detect Gnash and serve a AVM1 player to those users. :) Would be great if someone found time to implement AVM2 support, but it has not happened yet. If you install both Lightspark and Gnash, Lightspark will invoke Gnash if it find a AVM1 flash file, so you can get both handled as free software. Unfortunately, Lightspark so far only implement a small subset of AVM2, and many sites do not work yet.

A few months ago, I started looking at Coverity, the static source checker used to find heaps and heaps of bugs in free software (thanks to the donation of a scanning service to free software projects by the company developing this non-free code checker), and Gnash was one of the projects I decided to check out. Coverity is able to find lock errors, memory errors, dead code and more. A few days ago they even extended it to also be able to find the heartbleed bug in OpenSSL. There are heaps of checks being done on the instrumented code, and the amount of bogus warnings is quite low compared to the other static code checkers I have tested over the years.

Since a few weeks ago, I've been working with the other Gnash developers squashing bugs discovered by Coverity. I was quite happy today when I checked the current status and saw that of the 777 issues detected so far, 374 are marked as fixed. This make me confident that the next Gnash release will be more stable and more dependable than the previous one. Most of the reported issues were and are in the test suite, but it also found a few in the rest of the code.

If you want to help out, you find us on the gnash-dev mailing list and on the #gnash channel on irc.freenode.net IRC server.

Keeping your DVD collection safe from scratches and curious children fingers while still having it available when you want to see a movie is not straight forward. My preferred method at the moment is to store a full copy of the ISO on a hard drive, and use VLC, Popcorn Hour or other useful players to view the resulting file. This way the subtitles and bonus material are still available and using the ISO is just like inserting the original DVD record in the DVD player.

Earlier I used dd for taking security copies, but it do not handle DVDs giving read errors (which are quite a few of them). I've also tried using dvdbackup and genisoimage, but these days I use the marvellous python library and program python-dvdvideo written by Bastian Blank. It is in Debian already and the binary package name is python3-dvdvideo. Instead of trying to read every block from the DVD, it parses the file structure and figure out which block on the DVD is actually in used, and only read those blocks from the DVD. This work surprisingly well, and I have been able to almost backup my entire DVD collection using this method.

So far, python-dvdvideo have failed on between 10 and 20 DVDs, which is a small fraction of my collection. The most common problem is DVDs using UTF-16 instead of UTF-8 characters, which according to Bastian is against the DVD specification (and seem to cause some players to fail too). A rarer problem is what seem to be inconsistent DVD structures, as the python library claim there is a overlap between objects. An equally rare problem claim some value is out of range. No idea what is going on there. I wish I knew enough about the DVD format to fix these, to ensure my movie collection will stay with me in the future.

So, if you need to keep your DVDs safe, back them up using python-dvdvideo. :)

After the Opus codec made it into IETF as RFC 6716, I had a look to see if there is any activity in IETF to standardise a video codec too, and I was happy to discover that there is some activity in this area. A non-"working group" mailing list video-codec was created 2012-08-20. It is intended to discuss the topic and if a formal working group should be formed.

I look forward to see how this plays out. There is already an email from someone in the MPEG group at ISO asking people to participate in the ISO group. Given how ISO failed with OOXML and given that it so far (as far as I can remember) only have produced multimedia formats requiring royalty payments, I suspect joining the ISO group would be a complete waste of time, but I am not involved in any codec work and my opinion will not matter much.

If one of my readers is involved with codec work, I hope she will join this work to standardise a royalty free video codec within IETF.

Yesterday, IETF announced the publication of of RFC 6716, the Definition of the Opus Audio Codec, a low latency, variable bandwidth, codec intended for both VoIP, film and music. This is the first time, as far as I know, that IETF have standardized a multimedia codec. In RFC 3533, IETF standardized the OGG container format, and it has proven to be a great royalty free container for audio, video and movies. I hope IETF will continue to standardize more royalty free codeces, after ISO and MPEG have proven incapable of securing everyone equal rights to publish multimedia content on the Internet.

IETF require two interoperating independent implementations to ratify a standard, and have so far ensured to only standardize royalty free specifications. Both are key factors to allow everyone (rich and poor), to compete on equal terms on the Internet.

Visit the Opus project page if you want to learn more about the solution.

As I mentioned this summer, I have created a Computer Science song book a few years ago, and today I finally found time to create a public Gitorious repository for the project.

If you want to help out, please clone the source and submit patches to the HTML version. To generate the PDF and PostScript version, please use prince XML, or let me know about a useful free software processor capable of creating a good looking PDF from the HTML.

Want to sing? You can still find the song book in HTML, PDF and PostScript formats at Petter's Computer Science Songbook.

I føljetongen om H.264 forlot jeg leserne i undring om hvor pakken fra MPEG-LA tok veien, og om hvilke selskaper i Norge som har avtale med MPEG-LA. Da Ryan hos MPEG-LA dro på ferie sendte jeg min melding videre til hans kollega, og dagen etter fikk jeg følgende svar derfra:

Date: Fri, 29 Jun 2012 18:32:34 +0000
From: Sidney Wolf <SWolf (at) mpegla.com>
To: Petter Reinholdtsen <pere (at) hungry.com>
Cc: Ryan Rodriguez <RRodriguez (at) mpegla.com>
Subject: RE: Do NRK have a license agreement with MPEG-LA?

Dear Mr. Reinholdtsen,

Thank you for your message. As you know, Ryan is currently our of the office, so it will be my pleasure to assist you.

Per your request, attached please find an electronic copy of the AVC Patent Portfolio License. Please note that the electronic copy of the License is provided as a convenience and for informational purposes only. When concluding the Licenses, only the hard copies provided by MPEG LA may be used.

To your question, MPEG LA lists our Licensees on our website according to each program. The lists are in alphabetical order, so it is very easy to search.

I hope that this was helpful. If we can be of additional assistance, please let me know.

Kind regards,

Sidney A. Wolf
Manager, Global Licensing
MPEG LA

Selv om et epostvedlegg er nyttig for mottakeren, så håpet jeg å få et dokument jeg kunne dele med alle leserne av bloggen min, og ikke et som må deles på individuell basis. Opphavsretten krever godkjenning fra rettighetsinnehaver før en kan gjøre slikt, så dermed fulgte jeg opp med et spørsmål om dette var greit.

Date: Wed, 4 Jul 2012 20:25:06 +0200
From: Petter Reinholdtsen <pere (at) hungry.com>
To: Sidney Wolf <SWolf (at) mpegla.com>
Cc: Ryan Rodriguez <RRodriguez (at) mpegla.com>
Subject: Re: Do NRK have a license agreement with MPEG-LA?

Thank you for your reply.

[Sidney Wolf]
> Per your request, attached please find an electronic copy of the AVC
> Patent Portfolio License. Please note that the electronic copy of
> the License is provided as a convenience and for informational
> purposes only. When concluding the Licenses, only the hard copies
> provided by MPEG LA may be used.

This is useful for me to learn, but the reason I asked for the Internet address of the licensing document was to ensure I could publish a link to it when I discuss the topic of H.264 licensing here in Norway, and allow others to verify my observations. I can not do the same with an email attachment. Thus I would like to ask you if it is OK with MPEG LA that I publish this document on the Internet for others to read?

> To your question, MPEG LA lists our Licensees on our website
> according to each program. The lists are in alphabetical order, so
> it is very easy to search.

I am afraid this do not help me locate Norwegian companies in the list of Licensees. I do not know the name of all companies and organisations in Norway, and thus do not know how to locate the Norwegian ones on that list.

> I hope that this was helpful. If we can be of additional assistance,
> please let me know.

Absoutely helpful to learn more about how MPEG LA handle licensing.

--
Happy hacking
Petter Reinholdtsen

Jeg håpet også at det skulle være mulig å få vite hvilke av de mange hundre som har avtale med MPEG-LA om bruk av H.264 som holdt til i Norge. Begge mine håp falt i grus med svaret fra MPEG-LA.

Date: Thu, 5 Jul 2012 17:42:39 +0000
From: Sidney Wolf <SWolf (at) mpegla.com>
To: 'Petter Reinholdtsen' <pere (at) hungry.com>
Cc: Ryan Rodriguez <RRodriguez (at) mpegla.com>
Subject: RE: Do NRK have a license agreement with MPEG-LA?

Dear Mr. Reinholdtsen,

Thank you for your reply.

We appreciate the additional explanation you have provided and for asking our permission to publish the electronic copy of the License in advance of doing so. Typically, MPEG LA prefers to distribute the electronic copies of our Licenses to interested parties. Therefore, please feel free to send interested parties to the AVC portion of our website, http://www.mpegla.com/main/programs/AVC/Pages/Intro.aspx for their further reference.

As previously mentioned, MPEG LA maintains a list of Licensees in good standing on our website according to each program. Due to the large volume of Licensees, it would be administratively impractical to provide this level of detail to interested parties. Therefore, I am afraid we are not in a position to assist you with your request.

Kind regards,

Sidney A. Wolf
Manager, Global Licensing
MPEG LA

Men takket være epostvedlegget kunne jeg søke på Google etter setningen "WHEREAS, a video standard commonly referred to as AVC has been defined and is referred to in this Agreement as the “AVC Standard” (as more fully defined herein below)" som finnes i avtalen, og lokalisere en kopi fra 2007 av lisensavtalen mellom MPEG-LA og DivX, Inc., slik at mine lesere kan se hvordan avtalen så ut da. Jeg har ikke sammenlignet tekstene for å se om noe har endret seg siden den tid, men satser på at teksten er representativ.

Jeg aner fortsatt ikke hvor FedEx tok veien med pakken fra MPEG-LA.

Update 2012-07-06: Jeg er visst ikke den første som forsøker å få klarhet i problemstillinger rundt H.264, og kom nettopp over en veldig interessant bloggpost fra 2010 hos LibreVideo med tittelen "MPEG-LA answers some questions about AVC/H.264 licensing. Anbefales!

Da fikk jeg nettopp svar fra Departementenes servicesenter (DSS) på mitt spørsmål om avtale rundt bruk av H.264. De har ingen avtale med MPEG LA eller dets representanter. Her er svaret.

Date: Fri, 29 Jun 2012 07:04:42 +0000
From: Nielsen Mette Haga <Mette-Haga.Nielsen (at) dss.dep.no>
To: Petter Reinholdtsen <petter.reinholdtsen (at) ...>
CC: Postmottak <Postmottak (at) dss.dep.no>
Subject: SV: Innsynsbegjæring om MPEG/H.264-relaterte avtaler

DSS har ikke inngått noen egen lisensavtale med MPEG-LA eller noen som representerer MPEG-LA i Norge. Videoløsningen på regjeringen.no er levert av Smartcom:tv. Lisensforholdet rundt H.264 er ikke omtalt i vår avtale med Smartcom.

Vennlig hilsen

Mette Haga Nielsen
Fung. seksjonssjef

Departementenes servicesenter

Informasjonsforvaltning

Mobil 93 09 83 51
E-post mette-haga.nielsen (at) dss.dep.no

Hvis den norske regjeringen representert ved DSS ikke har slik avtale, så kan en kanskje konkludere med at det ikke trengs? Jeg er ikke trygg på at det er god juridisk grunn å stå på, men det er i det minste interessant å vite at hverken NRK eller DSS har funnet det nødvendig å ha avtale om bruk av H.264.

Det forklarer ikke hvordan de kan ignorere bruksvilkårene knyttet til bruk av opphavsrettsbeskyttet materiale de bruker til videoproduksjon, med mindre slike vilkår kan ignoreres av selskaper og privatpersoner i Norge. Har de lov til å bryte vilkårene, eller har de brutt dem og så langt sluppet unna med det? Jeg aner ikke.

Etter at NRK nektet å spore opp eventuell avtale med MPEG-LA eller andre om bruk av MPEG/H.264-video etter at jeg ba om innsyn i slike avtaler, tenkte jeg at i stedet for å forsøke å få NRK til å finne en slik avtale, så burde det være like enkelt å spørre MPEG-LA om de hadde avtale med NRK. Spørsmålet ble sendt før jeg fikk tips fra Kieran Kunhya om hvor listen over lisensinnehavere "in Good Standing" befant seg. MPEG-LA svarte meg i dag, og kan fortelle at NRK ikke har noen avtale med dem, så da er i det minste det slått fast. Ikke overraskende mener MPEG-LA at det trengs en avtale med MPEG-LA for å streame H.264, men deres rammer er jo rettstilstanden i USA og ikke Norge. Jeg tar dermed den delen av svaret med en klype salt. Jeg er dermed fortsatt ikke klok på om det trengs en avtale, og hvis det trengs en avtale her i Norge, heller ikke sikker på om NRK har en avtale med noen andre enn MPEG-LA som gjør at de ikke trenger avtale direkte med MPEG-LA. Jeg håper NRKs jurister har vurdert dette, og at det er mulig å få tilgang til vurderingen uansett om de trenger en avtale eller ikke.

Her er epostutvekslingen med MPEG-LA så langt. Håper ikke utvekslingen fører til NRK plutselig får en litt uventet pakke fra MPEG-LA.

Date: Mon, 25 Jun 2012 15:29:37 +0200
From: Petter Reinholdtsen <pere (at) hungry.com>
To: licensing-web (at) mpegla.com
Subject: Do NRK have a license agreement with MPEG-LA?

Hi. I have a small question for you, that I hope it is OK that I ask.

Is there any license agreements between MPEG-LA and NRK, <URL: http://www.nrk.no/ >, the Norwegian national broadcasting cooperation? I am not sure if they need one, and am just curious if such agreeement exist.

The postal address is

NRK
Postbox 8500, Majorstuen
0340 Oslo
Norway

if it make it easier for you to locate such agreement.

Can you tell me how many entities in Norway have an agreement with MPEG-LA, and the name of these entities?

--
Happy hacking
Petter Reinholdtsen

I dag, to dager senere, fikk jeg følgende svar:

Date: Thu, 28 Jun 2012 14:11:17 +0000
From: Ryan Rodriguez <RRodriguez (at) mpegla.com>
To: Petter Reinholdtsen <pere (at) hungry.com>
CC: MD Administration <MDAdministration (at) mpegla.com>
Subject: RE: Do NRK have a license agreement with MPEG-LA?

Dear Mr. Reinholdtsen,

Thank you for your message and for your interest in MPEG LA. We appreciate hearing from you and I will be happy to assist you.

To begin, I will assume that you are referring to AVC/H.264 technology in your message below, as this technology is commonly used in the transmission of video content. In that case, please allow me to briefly summarize the coverage provided by our AVC Patent Portfolio License.

Our AVC License provides coverage for end products and video services that make use of AVC/H.264 technology. Accordingly, the party offering such end products and video to End Users concludes the AVC License and is responsible for paying the applicable royalties associated with the end products/video they offer.

While the Norwegian Broadcast Corporation (NRK) is not currently a Licensee to MPEG LA's AVC License (or any other Portfolio License offered by MPEG LA), if NRK offers AVC Video to End Users for remuneration (for example, Title-by-Title, Subscription, Free Television, or Internet Broadcast AVC Video), then NRK will need to conclude the AVC License and may be responsible for paying applicable royalties associated with the AVC Video it distributes.

Today I will send you a FedEx package containing a copy of our AVC License for your review. You should receive the License document within the next few days.

Meanwhile, MPEG LA currently has several Norwegian Licensees that can be found under the "Licensees" header within the respective portion of our website. For example, you may find our list of Licensees in Good Standing to our AVC License in the AVC portion of our website, http://www.mpegla.com/main/programs/AVC/Pages/Licensees.aspx

I hope the above information is helpful. If you have additional questions or need further assistance with the AVC License, please feel free to contact me directly. I look forward to hearing from you again soon.

Best regards,

Ryan

Ryan M. Rodriguez
Licensing Associate
MPEG LA
5425 Wisconsin Avenue
Suite 801
Chevy Chase, MD 20815
U.S.A.
Phone: +1 (301) 986-6660 x211
Fax: +1 (301) 986-8575
Email: rrodriguez (at) mpegla.com

Meldingen om utsendt FedEx-pakke var så merkelig at jeg øyeblikkelig sendte svar tilbake og spurte hva i alle dager han mente, da han jo ikke hadde fått noen postadresse som nådde meg.

Date: Thu, 28 Jun 2012 16:36:15 +0200
From: Petter Reinholdtsen <pere (at) hungry.com>
To: Ryan Rodriguez <RRodriguez (at) mpegla.com>
Cc: MD Administration <MDAdministration (at) mpegla.com>
Subject: Re: Do NRK have a license agreement with MPEG-LA?

[Ryan Rodriguez]
> Dear Mr. Reinholdtsen,

Thank you for your quick reply.

> Today I will send you a FedEx package containing a copy of our AVC
> License for your review. You should receive the License document
> within the next few days.

The part about sending a FedEx package confused me, though. I did not
give you my address, nor am I associated with NRK in any way, so I hope
you did not try to send me a package using the address of NRK. If you
would send me the Internet address of to the document, it would be more
useful to me to be able to download it as an electronic document.

> Meanwhile, MPEG LA currently has several Norwegian Licensees that can
> be found under the "Licensees" header within the respective portion
> of our website. For example, you may find our list of Licensees in
> Good Standing to our AVC License in the AVC portion of our website,
> http://www.mpegla.com/main/programs/AVC/Pages/Licensees.aspx

How can I recognize the Norwegian licensees?

--
Happy hacking
Petter Reinholdtsen

Selv om jeg svarte kun noen minutter etter at jeg fikk eposten fra MPEG-LA, fikk jeg eposten under som automatisk var beskjed på min siste epost. Får håpe noen likevel følger opp "FedEx-pakken". For å øke sjansen for at noen revurderer utsending av pakke uten mottaker, videresendte jeg min epost til swolf (at) mpegla.com, så får vi se. Har ikke hørt noe mer 3 timer senere, så jeg mistenker at ingen leste min epost tidsnok.

Date: Thu, 28 Jun 2012 14:36:20 +0000
From: Ryan Rodriguez <RRodriguez (at) mpegla.com>
To: Petter Reinholdtsen <pere (at) hungry.com>
Subject: Automatic reply: Do NRK have a license agreement with MPEG-LA?

Thank you for your message.

I will be out of the office until Thursday, July 5 and will respond to all messages upon my return. If this is a matter that requires immediate attention, please contact Sidney Wolf (swolf (at) mpegla.com)

Best regards,

Ryan

Ryan M. Rodriguez
Licensing Associate
MPEG LA

Litt klokere, men fortsatt ikke klok på mitt opprinnelige spørsmål, som er om en trenger avtale med MPEG-LA for å publisere eller kringkaste H.264-video i Norge.

Jeg fikk nettopp svar fra NRK på min forespørsel om kopi av avtale med MPEG-LA eller andre om bruk av MPEG og/eller H.264. Svaret har fått saksreferanse 2011/371 (mon tro hva slags sak fra 2011 dette er?) hos NRK og lyder som følger:

Svar på innsynsbegjæring i MPEG / H.264-relaterte avtaler

Viser til innsynsbegjæring av 19. juni 2012. Kravet om innsyn gjelder avtale som gjør at NRK «ikke er begrenset av de generelle bruksvilkårene som gjelder for utstyr som bruker MPEG og/eller H.264».

I henhold til offentleglova § 28 annet ledd må innsynskravet gjelde en bestemt sak eller i rimelig utstrekning saker av en bestemt sak. Det er på det rene at det aktuelle innsynskravet ikke gjelder en bestemt sak. Spørsmålet som reiser seg er om identifiseringsgraden er tilstrekkelig. I Justisdepartementets «Rettleiar til offentleglova» står følgende:

«Kravet om at innsynskravet må gjelde ei bestemt sak er til hinder for at eit innsynskrav kan gjelde alle saker av ein bestemt art, utan at den enkelte saka blir identifisert. Ein kan med andre ord i utgangspunktet ikkje krevje innsyn i til dømes alle saker om utsleppsløyve hos Statens forureiningstilsyn frå dei siste tre åra, med mindre ein identifiserer kvar enkelt sak, til dømes med tilvising til dato, partar eller liknande.»

Vedrørende denne begrensningen har Justisdepartementet uttalt følgende (Lovavdelingens uttalelser JDLOV-2010-3295):

«Bakgrunnen for avgrensinga av kva innsynskravet kan gjelde, er fyrst og fremst at meir generelle innsynskrav, utan noka form for identifikasjon av kva ein eigentleg ynskjer, ville vere svært vanskelege å handsame for forvaltninga.»

I samme sak uttaler Lovavdelingen følgende:

«Det følgjer vidare av offentleglova § 28 andre ledd at det `i rimeleg utstrekning' kan krevjast innsyn i `saker av ein bestemt art'. Vilkåret om at eit innsynskrav berre `i rimeleg utstrekning' kan gjelde saker av ein bestemt art, er i hovudsak knytt til kor arbeidskrevjande det vil vere å finne fram til dei aktuelle dokumenta. I tillegg reknar vi med at vilkåret kan gje grunnlag for å nekte innsyn i tilfelle der innsynskravet er så omfattande (gjeld så mange dokument) at arbeidsmengda som ville gått med til å handsame det, er større enn det ein `i rimeleg utstrekning' kan krevje (sjølv om det nok skal mykje til).»

NRK har ikke noen egen sammenstilling over avtaler innenfor bestemte områder som omtales i innsynsbegjæringen. De måtte søkes på vanlig måte. I tillegg finnes ikke noen automatisert måte å finne avtaler som «ikke er begrenset av de generelle bruksvilkårene som gjelder for utstyr som bruker MPEG og/eller H.264». En slik gjennomgang av avtaler måtte gjøres manuelt av en person med spesialistkunnskap. Dette vil kreve at NRK avsetter omfattende ressurser for å finne frem relevante avtaler og for deretter å vurdere om de dekkes av det innsynsbegjæringen omfattes.

På bakgrunn av dette nekter NRK innsyn, med den begrunnelsen at innsynskravet er så omfattende at arbeidsmengden for å håndtere kravet vil være langt større enn det som i rimelig utstrekning kan kreves i henhold til offentleglova § 28 annet ledd.

Avslag på deres innsynsbegjæring kan påklages til Kultur- og kirkedepartementet innen tre uker fra det tidspunkt avslaget kommer frem til mottakeren, i henhold til reglene i offentleglova § 32, jf. forvaltningsloven kapittel VI. Klagen skal stiles til Kultur- og kirkedepartementet, og sendes til NRK.

NRK er imidlertid etter Offentleglova forpliktet å gi ut journaler, slik at en eventuell søknad om innsyn kan tydeligere identifisere hvilke dokumenter som det ønskes innsyn i. NRKs offentlige journaler for inneværende og forrige måned ligger ute på NRK.no/innsyn. Journaler som går lengre tilbake i tid, kan sendes ut på forespørsel til innsyn (at) nrk.no.

Med hilsen
Dokumentarkivet i NRK
v/ Elin Brandsrud
Tel. direkte: 23 04 29 29
Post: RBM3, Postboks 8500 Majorstuen, 0340 Oslo
innsyn (at) nrk.no

Svaret kom i PDF-form som vedlegg på epost. Jeg er litt usikker på hvordan jeg best går videre for å bli klok, men jeg har jo i hvert fall tre uker på å vurdere om jeg skal klage. Enten må nok forespørselen reformuleres eller så må jeg vel klage. Synes jo det er merkelig at NRK ikke har bedre kontroll med hvilke avtaler de har inngått. Det burde jo være noen i ledelsen som vet om de har signert en avtale med MPEG-LA eller ikke...

Oppdatering 2012-06-25 20:20: Et google-søk på "2011/371 nrk" sendte meg til postjournalen for 2012-06-19 og 2012-06-20 hos NRK som viser mine forespørsler og viser at sakens tittel hos NRK er "Graphic Systems Regions MA 2378/10E". Videre søk etter "Graphic Systems Regions" viser at dette er saken til et anbud om "a graphics system for 12 or 13 sites broadcasting regional news" hos Mercell Sourcing Service, også omtalt på Public Tenders og Doffin. Jeg er dog usikker på hvordan dette er relatert til min forespørsel.

Oppdatering 2012-06-25 22:40: Ble tipset av Kieran Kunhya, fra miljøet rundt Open Broadcast Encoder, at listen over de som har lisensavtale med MPEG-LA er tilgjengelig på web. Veldig fint å oppdage hvor den finnes, da jeg må ha lett etter feil ting da jeg forsøke å finne den. Der står ikke NRK, men flere andre "Broadcasting Company"-oppføringer. Lurer på om det betyr at NRK ikke trenger avtale, eller noe helt annet?

Many years ago, while studying Computer Science at the University of Tromsø, I started collecting computer related songs for use at parties. The original version was written in LaTeX, but a few years ago I got help from Håkon W. Lie, one of the inventors of W3C CSS, to convert it to HTML while keeping the ability to create a nice book in PDF format. I have not had time to maintain the book for a while now, and guess I should put it up on some public version control repository where others can help me extend and update the book. If anyone is volunteering to help me with this, send me an email. Also let me know if there are songs missing in my book.

I have not mentioned the book on my blog so far, and it occured to me today that I really should let all my readers share the joys of singing out load about programming, computers and computer networks. Especially now that Debconf 12 is about to start (and I am not going). Want to sing? Check out Petter's Computer Science Songbook.

Trengs det avtale med MPEG-LA for å ha lovlig rett til å distribuere og kringkaste video i MPEG4 eller med videokodingen H.264? H.264 og MPEG4 er jo ikke en fri og åpen standard i henhold til definisjonen til Digistan, så i enkelte land er det ingen tvil om at du må ha en slik avtale, men jeg må innrømme at jeg ikke vet om det også gjelder Norge. Det ser uansett ut til å være en juridisk interessant problemstilling. Men jeg tenkte her om dagen som så, at hvis det er nødvendig, så har store aktører som NRK og regjeringen skaffet seg en slik avtale. Jeg har derfor sendt forespørsel til begge (for regjeringen sin del er det Departementenes Servicesenter som gjør jobben), og bedt om kopi av eventuelle avtaler de har om bruk av MPEG og/eller H.264 med MPEG-LA eller andre aktører som opererer på vegne av MPEG-LA. Her er kopi av eposten jeg har sendt til Departementenes Servicesenter. Forespørselen til NRK er veldig lik.

Date: Tue, 19 Jun 2012 15:18:33 +0200
From: Petter Reinholdtsen
To: postmottak@dss.dep.no
Subject: Innsynsbegjæring om MPEG/H.264-relaterte avtaler

Hei. Jeg ber herved om innsyn og kopi av dokumenter i DSS relatert til avtaler rundt bruk av videoformatene MPEG og H.264. Jeg er spesielt interessert i å vite om DSS har lisensavtale med MPEG-LA eller noen som representerer MPEG-LA i Norge.

MPEG og H.264 er videoformater som brukes både til kringkasting (f.eks. i bakkenett og kabel-TV) og videopublisering på web, deriblant via Adobe Flash. MPEG-LA, <URL: http://www.mpeg-la.com/ >, er en organisasjon som har fått oppgaven, av de kjente rettighetshavere av immaterielle rettigheter knyttet til MPEG og H.264, å selge bruksrett for MPEG og H.264.

Via regjeringen.no kringkastes med MPEG og H.264-baserte videoformater, og dette ser ut til å være organisert av DSS. Jeg antar dermed at DSS har avtale med en eller annen aktør om dette.

F.eks. har Adobe Premiere Pro har følgende klausul i følge <URL: http://news.cnet.com/8301-30685_3-20000101-264.html >:

6.17. AVC DISTRIBUTION. The following notice applies to software containing AVC import and export functionality: THIS PRODUCT IS LICENSED UNDER THE AVC PATENT PORTFOLIO LICENSE FOR THE PERSONAL AND NON-COMMERCIAL USE OF A CONSUMER TO (a) ENCODE VIDEO IN COMPLIANCE WITH THE AVC STANDARD ("AVC VIDEO") AND/OR (b) DECODE AVC VIDEO THAT WAS ENCODED BY A CONSUMER ENGAGED IN A PERSONAL AND NON-COMMERCIAL ACTIVITY AND/OR AVC VIDEO THAT WAS OBTAINED FROM A VIDEO PROVIDER LICENSED TO PROVIDE AVC VIDEO. NO LICENSE IS GRANTED OR SHALL BE IMPLIED FOR ANY OTHER USE. ADDITIONAL INFORMATION MAY BE OBTAINED FROM MPEG LA L.L.C. SEE http://www.mpegla.com.

Her er det kun "non-commercial" og "personal and non-commercial" aktivitet som er tillatt uten ekstra avtale med MPEG-LA.

Et annet tilsvarende eksempel er Apple Final Cut Pro, som har følgende klausul i følge <URL: http://images.apple.com/legal/sla/docs/finalcutstudio2.pdf >:

15. Merknad om H.264/AVC. Hvis Apple-programvaren inneholder funksjonalitet for AVC-koding og/eller AVC-dekoding, krever kommersiell bruk ekstra lisensiering og følgende gjelder: AVC-FUNKSJONALITETEN I DETTE PRODUKTET KAN KUN ANVENDES AV FORBRUKERE OG KUN FOR PERSONLIG OG IKKE- KOMMERSIELL BRUK TIL (i) KODING AV VIDEO I OVERENSSTEMMELSE MED AVC-STANDARDEN ("AVC-VIDEO") OG/ELLER (ii) DEKODING AV AVC-VIDEO SOM ER KODET AV EN FORBRUKER TIL PERSONLIG OG IKKE-KOMMERSIELL BRUK OG/ELLER DEKODING AV AVC-VIDEO FRA EN VIDEOLEVERANDØR SOM HAR LISENS TIL Å TILBY AVC-VIDEO. INFORMASJON OM ANNEN BRUK OG LISENSIERING KAN INNHENTES FRA MPEG LA L.L.C. SE HTTP://WWW.MPEGLA.COM.

Tilsvarende gjelder for andre programvarepakker, kamera, etc som bruker MPEG og H.264, at en må ha en avtale med MPEG-LA for å ha lov til å bruke programmet/utstyret hvis en skal lage noe annet enn private filmer og i ikke-kommersiell virksomhet.

Jeg er altså interessert i kopi av avtaler DSS har som gjør at en ikke er begrenset av de generelle bruksvilkårene som gjelder for utstyr som bruker MPEG og/eller H.264.

Nå venter jeg spent på svaret. Jeg planlegger å blogge om svaret her.

In an article today published by Computerworld Norway, the photographer Eirik Helland Urke reports that the video editor application included with HTC One X have some quite surprising terms of use. The article is mostly based on the twitter message from mister Urke, stating:

"Drøy brukeravtale: HTC kan bruke MINE redigerte videoer kommersielt. Selv kan jeg KUN bruke dem privat."

I quickly translated it to this English message:

"Arrogant user agreement: HTC can use MY edited videos commercially. Although I can ONLY use them privately."

I've been unable to find the text of the license term myself, but suspect it is a variation of the MPEG-LA terms I discovered with my Canon IXUS 130. The HTC One X specification specifies that the recording format of the phone is .amr for audio and .mp3 for video. AMR is Adaptive Multi-Rate audio codec with patents which according to the Wikipedia article require an license agreement with VoiceAge. MP4 is MPEG4 with H.264, which according to Wikipedia require a licence agreement with MPEG-LA.

I know why I prefer free and open standards also for video.

Here in Norway, the Ministry of Government Administration, Reform and Church Affairs is behind a directory of standards that are recommended or mandatory for use by the government. When the directory was created, the people behind it made an effort to ensure that everyone would be able to implement the standards and compete on equal terms to supply software and solutions to the government. Free software and non-free software could compete on the same level.

But recently, some standards with RAND (Reasonable And Non-Discriminatory) terms have made their way into the directory. And while this might not sound too bad, the fact is that standard specifications with RAND terms often block free software from implementing them. The reasonable part of RAND mean that the cost per user/unit is low,and the non-discriminatory part mean that everyone willing to pay will get a license. Both sound great in theory. In practice, to get such license one need to be able to count users, and be able to pay a small amount of money per unit or user. By definition, users of free software do not need to register their use. So counting users or units is not possible for free software projects. And given that people will use the software without handing any money to the author, it is not really economically possible for a free software author to pay a small amount of money to license the rights to implement a standard when the income available is zero. The result in these situations is that free software are locked out from implementing standards with RAND terms.

Because of this, when I see someone claiming the terms of a standard is reasonable and non-discriminatory, all I can think of is how this really is non-reasonable and discriminatory. Because free software developers are working in a global market, it does not really help to know that software patents are not supposed to be enforceable in Norway. The patent regimes in other countries affect us even here. I really hope the people behind the standard directory will pay more attention to these issues in the future.

You can find more on the issues with RAND, FRAND and RAND-Z terms from Simon Phipps (RAND: Not So Reasonable?).

Update 2012-04-21: Just came across a blog post from Glyn Moody over at Computer World UK warning about the same issue, and urging people to speak out to the UK government. I can only urge Norwegian users to do the same for the hearing taking place at the moment (respond before 2012-04-27). It proposes to require video conferencing standards including specifications with RAND terms.

Ofte har jeg lyst til å laste ned et innslag fra NRKs nettsted for å se det senere når jeg ikke er på nett, eller for å ha det tilgjengelig når jeg en gang i fremtiden ønsker å referere til innslaget selv om NRK har fjernet det fra sine nettsider. I dag fant jeg et lite script som fikser jobben.

Scriptet er laget av Jan Henning Thorsen og tilgjengelig fra github, og gjør det veldig enkelt å laste ned. Kjør nrk-downloader.sh http://www1.nrk.no/nett-tv/klipp/582810 for å hente ned et enkelt innslag eller nrk-downloader.sh http://www1.nrk.no/nett-tv/kategori/3521 for å laste ned alle episodene i en serie.

Det er ikke rakettforskning å laste ned NRK-"strømmer", og tidligere gjorde jeg dette manuelt med mplayer. Scriptet til Hr. Thorsen gjør det raskere og enklere for meg, men jeg vil ikke si at det er en revolusjonerende løsning. Jeg mener jo fortsatt at påstanden fra NRKs ansatte om at det er vesensforskjellig å legge tilgjengelig for nedlasting og for streaming er meningsløs.

While at Debconf11, I have several times during discussions mentioned the issues I believe should be improved in Debian for its desktop to be useful for more people. The use case for this is my parents, which are currently running Kubuntu which solve the issues.

I suspect these four missing features are not very hard to implement. After all, they are present in Ubuntu, so if we wanted to do this in Debian we would have a source.

1. Simple GUI based upgrade of packages. When there are new packages available for upgrades, a icon in the KDE status bar indicate this, and clicking on it will activate the simple upgrade tool to handle it. I have no problem guiding both of my parents through the process over the phone. If a kernel reboot is required, this too is indicated by the status bars and the upgrade tool. Last time I checked, nothing with the same features was working in KDE in Debian.
2. Simple handling of missing Firefox browser plugins. When the browser encounter a MIME type it do not currently have a handler for, it will ask the user if the system should search for a package that would add support for this MIME type, and if the user say yes, the APT sources will be searched for packages advertising the MIME type in their control file (visible in the Packages file in the APT archive). If one or more packages are found, it is a simple click of the mouse to add support for the missing mime type. If the package require the user to accept some non-free license, this is explained to the user. The entire process make it more clear to the user why something do not work in the browser, and make the chances higher for the user to blame the web page authors and not the browser for any missing features.
3. Simple handling of missing multimedia codec/format handlers. When the media players encounter a format or codec it is not supporting, a dialog pop up asking the user if the system should search for a package that would add support for it. This happen with things like MP3, Windows Media or H.264. The selection and installation procedure is very similar to the Firefox browser plugin handling. This is as far as I know implemented using a gstreamer hook. The end result is that the user easily get access to the codecs that are present from the APT archives available, while explaining more on why a given format is unsupported by Ubuntu.
4. Better browser handling of some MIME types. When displaying a text/plain file in my Debian browser, it will propose to start emacs to show it. If I remember correctly, when doing the same in Kunbutu it show the file as a text file in the browser. At least I know Opera will show text files within the browser. I much prefer the latter behaviour.

There are other nice features as well, like the simplified suite upgrader, but given that I am the one mostly doing the dist-upgrade, it do not matter much.

I really hope we could get these features in place for the next Debian release. It would require the coordinated effort of several maintainers, but would make the end user experience a lot better.

The Gnash project is still the most promising solution for a Free Software Flash implementation. A few days ago the project announced that it will participate in Google Summer of Code. I hope many students apply, and that some of them succeed in getting AVM2 support into Gnash.

In the latest issue of Linux Journal, the readers choices were presented, and the winner among the multimedia player were VLC. Personally, I like VLC, and it is my player of choice when I first try to play a video file or stream. Only if VLC fail will I drag out gmplayer to see if it can do better. The reason is mostly the failure model and trust. When VLC fail, it normally pop up a error message reporting the problem. When mplayer fail, it normally segfault or just hangs. The latter failure mode drain my trust in the program.

But even if VLC is my player of choice, we have choosen to use mplayer in Debian Edu/Skolelinux. The reason is simple. We need a good browser plugin to play web videos seamlessly, and the VLC browser plugin is not very good. For example, it lack in-line control buttons, so there is no way for the user to pause the video. Also, when I last tested the browser plugins available in Debian, the VLC plugin failed on several video pages where mplayer based plugins worked. If the browser plugin for VLC was as good as the gecko-mediaplayer package (which uses mplayer), we would switch.

While VLC is a good player, its user interface is slightly annoying. The most annoying feature is its inconsistent use of keyboard shortcuts. When the player is in full screen mode, its shortcuts are different from when it is playing the video in a window. For example, space only work as pause when in full screen mode. I wish it had consisten shortcuts and that space also would work when in window mode. Another nice shortcut in gmplayer is [enter] to restart the current video. It is very nice when playing short videos from the web and want to restart it when new people arrive to have a look at what is going on.

I dag la jeg inn en kommentar på en sak hos NRKBeta om hvordan TV-serien Blindpassasjer ble laget i forbindelse med at filmene NRK la ut ikke var tilgjengelig i et fritt og åpent format. Dette var det jeg skrev publiserte der 07:39.

"Vi fikk en kommentar rundt måten streamet innhold er beskyttet fra nedlasting. Mange av oss som kan mer enn gjennomsnittet om systemer som dette, vet at det stort sett er mulig å lure ut ting med den nødvendige forkunnskapen."

Haha. Å streame innhold er det samme som å laste ned innhold, så å beskytte en stream mot nedlasting er ikke mulig. Å skrive noe slikt er å forlede leseren.

Med den bakgrunn blir forklaringen om at noen rettighetshavere kun vil tillate streaming men ikke nedlasting meningsløs.

Anbefaler forresten å lese http://blogs.computerworlduk.com/simon-says/2010/10/drm-is-toxic-to-culture/index.htm om hva som ville være konsekvensen hvis digitale avspillingssperrer (DRM) fungerte. Det gjør de naturligvis ikke teknisk - det er jo derfor de må ha totalitære juridiske beskyttelsesmekanismer på plass, men det er skremmende hva samfunnet tillater og NRK er med på å bygge opp under.

Ca. 20 minutter senere får jeg følgende epost fra Anders Hofseth i NRKBeta:

From: Anders Hofseth <XXX@gmail.com>
To: "pere@hungry.com" <pere@hungry.com>
Cc: Eirik Solheim <XXX@gmail.com>, Jon Ståle Carlsen <XXX@gmail.com>, Henrik Lied <XXX@gmail.com>
Subject: Re: [NRKbeta] Kommentar: "Bakom Blindpassasjer: del 1"
Date: Sat, 30 Oct 2010 07:58:44 +0200

Hei Petter.
Det du forsøker dra igang er egentlig en interessant diskusjon, men om vi skal kjøre den i kommentarfeltet her, vil vi kunne bli bedt om å fjerne blindpassasjer fra nett- tv og det vil heller ikke bli særlig lett å klarere ut noe annet arkivmateriale på lang tid.

Dette er en situasjon NRKbeta ikke ønsker, så kommentaren er fjernet og den delen av diskusjonen er avsluttet på nrkbeta, vi antar konsekvensene vi beskriver ikke er noe du ønsker heller...

Med hilsen,
-anders

Ring meg om noe er uklart: 95XXXXXXX

Ble så fascinert over denne holdningen, at jeg forfattet og sendte over følgende svar. I og med at debatten er fjernet fra NRK Betas kommentarfelt, så velger jeg å publisere her på bloggen min i stedet. Har fjernet epostadresser og telefonnummer til de involverte, for å unngå at de tiltrekker seg uønskede direkte kontaktforsøk.

From: Petter Reinholdtsen <pere@hungry.com>
To: Anders Hofseth <XXX@gmail.com>
Cc: Eirik Solheim <XXX@gmail.com>,
Jon Ståle Carlsen <XXX@gmail.com>,
Henrik Lied <XXX@gmail.com>
Subject: Re: [NRKbeta] Kommentar: "Bakom Blindpassasjer: del 1"
Date: Sat, 30 Oct 2010 08:24:34 +0200

[Anders Hofseth]
> Hei Petter.

Hei.

> Det du forsøker dra igang er egentlig en interessant diskusjon, men
> om vi skal kjøre den i kommentarfeltet her, vil vi kunne bli bedt om
> å fjerne blindpassasjer fra nett- tv og det vil heller ikke bli
> særlig lett å klarere ut noe annet arkivmateriale på lang tid.

Godt å se at du er enig i at dette er en interessant diskusjon. Den vil nok fortsette en stund til. :)

Må innrømme at jeg synes det er merkelig å lese at dere i NRK med vitende og vilje ønsker å forlede rettighetshaverne for å kunne fortsette å legge ut arkivmateriale.

Kommentarer og diskusjoner i bloggene til NRK Beta påvirker jo ikke faktum, som er at streaming er det samme som nedlasting, og at innhold som er lagt ut på nett kan lagres lokalt for avspilling når en ønsker det.

Det du sier er jo at klarering av arkivmateriale for publisering på web krever at en holder faktum skjult fra debattfeltet på NRKBeta. Det er ikke et argument som holder vann. :)

> Dette er en situasjon NRKbeta ikke ønsker, så kommentaren er fjernet
> og den delen av diskusjonen er avsluttet på nrkbeta, vi antar
> konsekvensene vi beskriver ikke er noe du ønsker heller...

Personlig ønsker jeg at NRK skal slutte å stikke hodet i sanden og heller være åpne på hvordan virkeligheten fungerer, samt ta opp kampen mot de som vil låse kulturen inne. Jeg synes det er en skam at NRK godtar å forlede publikum. Ville heller at NRK krever at innhold som skal sendes skal være uten bruksbegresninger og kan publiseres i formater som heller ikke har bruksbegresninger (bruksbegresningene til H.264 burde få varselbjellene i NRK til å ringe).

At NRK er med på DRM-tåkeleggingen og at det kommer feilaktive påstander om at "streaming beskytter mot nedlasting" som bare er egnet til å bygge opp om en myte som er skadelig for samfunnet som helhet.

Anbefaler <URL:http://webmink.com/2010/09/03/h-264-and-foss/> og en titt på <URL: https://people.skolelinux.org/pere/blog/Terms_of_use_for_video_produced_by_a_Canon_IXUS_130_digital_camera.html >. for å se hva slags bruksbegresninger H.264 innebærer.

Hvis dette innebærer at NRK må være åpne med at arkivmaterialet ikke kan brukes før rettighetshaverene også innser at de er med på å skade samfunnets kultur og kollektive hukommelse, så får en i hvert fall synliggjort konsekvensene og antagelig mer flammer på en debatt som er langt på overtid.

> Ring meg om noe er uklart: XXX

Intet uklart, men ikke imponert over måten dere håndterer debatten på. Hadde du i stedet kommet med et tilsvar i kommentarfeltet der en gjorde det klart at blindpassasjer-blogpostingen ikke var riktig sted for videre diskusjon hadde dere i mine øyne kommet fra det med ryggraden på plass.

PS: Interessant å se at NRK-ansatte ikke bruker NRK-epostadresser.

Som en liten avslutning, her er noen litt morsomme innslag om temaet. <URL: http://www.archive.org/details/CopyingIsNotTheft > og <URL: http://patentabsurdity.com/ > hadde vært noe å kringkaste på NRK1. :)

Vennlig hilsen,
--
Petter Reinholdtsen

Some updates.

My gnash pledge to raise money for the project is going well. The lower limit of 10 signers was reached in 24 hours, and so far 13 people have signed it. More signers and more funding is most welcome, and I am really curious how far we can get before the time limit of December 24 is reached. :)

On the #gnash IRC channel on irc.freenode.net, I was just tipped about what appear to be a great code coverage tool capable of generating code coverage stats without any changes to the source code. It is called kcov, and can be used using kcov <directory> <binary>. It is missing in Debian, but the git source built just fine in Squeeze after I installed libelf-dev, libdwarf-dev, pkg-config and libglib2.0-dev. Failed to build in Lenny, but suspect that is solvable. I hope kcov make it into Debian soon.

Finally found time to wrap up the release notes for a new alpha release of Debian Edu, and just published the second alpha test release of the Squeeze based Debian Edu / Skolelinux release. Give it a try if you need a complete linux solution for your school, including central infrastructure server, workstations, thin client servers and diskless workstations. A nice touch added yesterday is RDP support on the thin client servers, for windows clients to get a Linux desktop on request.

The Gnash project is the most promising solution for a Free Software Flash implementation. It has done great so far, but there is still far to go, and recently its funding has dried up. I believe AVM2 support in Gnash is vital to the continued progress of the project, as more and more sites show up with AVM2 flash files.

To try to get funding for developing such support, I have started a pledge with the following text:

"I will pay 100$ to the Gnash project to develop AVM2 support but only if 10 other people will do the same."

- Petter Reinholdtsen, free software developer

Deadline to sign up by: 24th December 2010

The Gnash project need to get support for the new Flash file format AVM2 to work with a lot of sites using Flash on the web. Gnash already work with a lot of Flash sites using the old AVM1 format, but more and more sites are using the AVM2 format these days. The project web page is available from http://www.getgnash.org/ . Gnash is a free software implementation of Adobe Flash, allowing those of us that do not accept the terms of the Adobe Flash license to get access to Flash sites.

The project need funding to get developers to put aside enough time to develop the AVM2 support, and this pledge is my way to try to get this to happen.

The project accept donations via the OpenMediaNow foundation, http://www.openmedianow.org/?q=node/32 .

I hope you will support this effort too. I hope more than 10 people will participate to make this happen. The more money the project gets, the more features it can develop using these funds. :)

A few days ago I had the mixed pleasure of bying a new digital camera, a Canon IXUS 130. It was instructive and very disturbing to be able to verify that also this camera producer have the nerve to specify how I can or can not use the videos produced with the camera. Even thought I was aware of the issue, the options with new cameras are limited and I ended up bying the camera anyway. What is the problem, you might ask? It is software patents, MPEG-4, H.264 and the MPEG-LA that is the problem, and our right to record our experiences without asking for permissions that is at risk.

On page 27 of the Danish instruction manual, this section is written:

This product is licensed under AT&T patents for the MPEG-4 standard and may be used for encoding MPEG-4 compliant video and/or decoding MPEG-4 compliant video that was encoded only (1) for a personal and non-commercial purpose or (2) by a video provider licensed under the AT&T patents to provide MPEG-4 compliant video.

No license is granted or implied for any other use for MPEG-4 standard.

In short, the camera producer have chosen to use technology (MPEG-4/H.264) that is only provided if I used it for personal and non-commercial purposes, or ask for permission from the organisations holding the knowledge monopoly (patent) for technology used.

This issue has been brewing for a while, and I recommend you to read "Why Our Civilization's Video Art and Culture is Threatened by the MPEG-LA" by Eugenia Loli-Queru and "H.264 Is Not The Sort Of Free That Matters" by Simon Phipps to learn more about the issue. The solution is to support the free and open standards for video, like Ogg Theora, and avoid MPEG-4 and H.264 if you can.

In the Debian popularity-contest numbers, the adobe-flashplugin package the second most popular used package that is missing in Debian. The sixth most popular is flashplayer-mozilla. This is a clear indication that working flash is important for Debian users. Around 10 percent of the users submitting data to popcon.debian.org have this package installed.

In the report written by Lars Risan in August 2008 («Skolelinux i bruk – Rapport for Hurum kommune, Universitetet i Agder og stiftelsen SLX Debian Labs»), one of the most important problems schools experienced with Debian Edu/Skolelinux was the lack of working Flash. A lot of educational web sites require Flash to work, and lacking working Flash support in the web browser and the problems with installing it was perceived as a good reason to stay with Windows.

I once saw a funny and sad comment in a web forum, where Linux was said to be the retarded cousin that did not really understand everything you told him but could work fairly well. This was a comment regarding the problems Linux have with proprietary formats and non-standard web pages, and is sad because it exposes a fairly common understanding of whose fault it is if web pages that only work in for example Internet Explorer 6 fail to work on Firefox, and funny because it explain very well how annoying it is for users when Linux distributions do not work with the documents they receive or the web pages they want to visit.

This is part of the reason why I believe it is important for Debian and Debian Edu to have a well working Flash implementation in the distribution, to get at least popular sites as Youtube and Google Video to working out of the box. For Squeeze, Debian have the chance to include the latest version of Gnash that will make this happen, as the new release 0.8.8 was published a few weeks ago and is resting in unstable. The new version work with more sites that version 0.8.7. The Gnash maintainers have asked for a freeze exception, but the release team have not had time to reply to it yet. I hope they agree with me that Flash is important for the Debian desktop users, and thus accept the new package into Squeeze.

For å forstå mer om hvorfor standardkatalogens versjon 2 ble som den ble, har jeg bedt om kopi fra FAD av dokumentene som ble lagt frem for regjeringen da de tok sin avgjørelse. De er nå lagt ut på NUUGs wiki, direkte tilgjengelig via "Referansekatalogen v2.0 - Oppsummering av høring" og "Referansekatalog for IT-standarder i offentlig sektor Versjon 2.0, dd.mm.åååå - UTKAST".

Det er tre ting jeg merker meg i oppsummeringen fra høringsuttalelsen da jeg skummet igjennom den. Det første er at forståelsen av hvordan programvarepatenter påvirker fri programvareutvikling også i Norge når en argumenterer med at royalty-betaling ikke er et relevant problem i Norge. Det andre er at FAD ikke har en prinsipiell forståelse av verdien av en enkelt standard innenfor hvert område. Det siste er at påstander i høringsuttalelsene ikke blir etterprøvd (f.eks. påstanden fra Microsoft om hvordan Ogg blir standardisert og påstanden fra politidirektoratet om patentproblemer i Theora).

Jeg ble glad da regjeringen annonserte versjon 2 av statens referansekatalog over standarder, men trist da jeg leste hva som faktisk var vedtatt etter høringen. De fleste av de valgte åpne standardene er gode og vil bidra til at alle kan delta på like vilkår i å lage løsninger for staten, men noen av dem blokkerer for de som ikke har anledning til å benytte spesifikasjoner som krever betaling for bruk (såkalt royalty-betaling). Det gjelder spesifikt for H.264 for video og MP3 for lyd. Så lenge bruk av disse var valgfritt mens Ogg Theora og Ogg Vorbis var påkrevd, kunne alle som ønsket å spille av video og lyd fra statens websider gjøre dette uten å måtte bruke programmer der betaling for bruk var nødvendig. Når det nå er gjort valgfritt for de statlige etatene å bruke enten H.264 eller Theora (og MP3 eler Vorbis), så vil en bli tvunget til å forholde seg til royalty-belastede standarder for å få tilgang til videoen og lyden.

Det gjør meg veldig trist at regjeringen har forlatt prinsippet om at alle standarder som ble valgt til å være påkrevd i katalogen skulle være uten royalty-betaling. Jeg håper det ikke betyr at en har mistet all forståelse for hvilke prinsipper som må følges for å oppnå likeverdig konkurranse mellom aktørene i IT-bransjen. NUUG advarte mot dette i sin høringsuttalelse, men ser ut til å ha blitt ignorert.

Oppdatering 2012-06-29: Kom over en rapport til FAD fra da versjon 1 av katalogen ble vedtatt, og der er det tydelig at problemstillingen var kjent og forstått.

I Microsoft sin høringsuttalelse til forslag til versjon 2 av statens referansekatalog over standarder, lirer de av seg følgende FUD-perle:

"Vorbis, OGG, Theora og FLAC er alle tekniske spesifikasjoner overordnet styrt av xiph.org, som er en ikke-kommersiell organisasjon. Etablerte og anerkjente standardiseringsorganisasjoner, som Oasis, W3C og Ecma, har en godt innarbeidet vedlikeholds- og forvaltningsprosess av en standard. Det er derimot helt opp til hver enkelt organisasjon å bestemme hvordan tekniske spesifikasjoner videreutvikles og endres, og disse spesifikasjonene bør derfor ikke defineres som åpne standarder."

De vokter seg vel for å nevne den anerkjente standardiseringsorganisasjonen IETF, som er organisasjonen bak HTTP, IP og det meste av protokoller på Internet, og RFC-standardene som IETF står bak. Ogg er spesifisert i RFC 3533, og er uten tvil å anse som en åpen standard. Vorbis er RFC 5215. Theora er under standardisering via IETF, med siste utkast publisert 2006-07-21 (riktignok er dermed teksten ikke skrevet i stein ennå, men det blir neppe endringer som ikke er bakoverkompatibel). De kan være inne på noe når det gjelder FLAC da jeg ikke finner tegn til at spesifikasjonen tilgjengelig på web er på tur via noen standardiseringsorganisasjon, men i og med at folkene bak Ogg, Theora og Vorbis også har involvert seg i Flac siden 2003, så ser jeg ikke bort fra at også den organiseres via IETF. Jeg kjenner personlig lite til FLAC.

Uredelig argumentasjon bør en holde seg for god til å komme med, spesielt når det er så enkelt i dagens Internet-hverdag å gå misvisende påstander etter i sømmene.

As part of the work we do in NUUG to publish video recordings of our monthly presentations, we provide a page with embedded video for easy access to the recording. Putting a good set of HTML tags together to get working embedded video in all browsers and across all operating systems is not easy. I hope this will become easier when the <video> tag is implemented in all browsers, but I am not sure. We provide the recordings in several formats, MPEG1, Ogg Theora, H.264 and Quicktime, and want the browser/media plugin to pick one it support and use it to play the recording, using whatever embed mechanism the browser understand. There is at least four different tags to use for this, the new HTML5 <video> tag, the <object> tag, the <embed> tag and the <applet> tag. All of these take a lot of options, and finding the best options is a major challenge.

I just tested the experimental Opera browser available from labs.opera.com, to see how it handled a <video> tag with a few video sources and no extra attributes. I was not very impressed. The browser start by fetching a picture from the video stream. Not sure if it is the first frame, but it is definitely very early in the recording. So far, so good. Next, instead of streaming the 76 MiB video file, it start to download all of it, but do not start to play the video. This mean I have to wait for several minutes for the downloading to finish. When the download is done, the playing of the video do not start! Waiting for the download, but I do not get to see the video? Some testing later, I discover that I have to add the controls="true" attribute to be able to get a play button to pres to start the video. Adding autoplay="true" did not help. I sure hope this is a misfeature of the test version of Opera, and that future implementations of the <video> tag will stream recordings by default, or at least start playing when the download is done.

The test page I used (since changed to add more attributes) is available from the nuug site. Will have to test it with the new Firefox too.

In the test process, I discovered a missing feature. I was unable to find a way to get the URL of the playing video out of Opera, so I am not quite sure it picked the Ogg Theora version of the video. I sure hope it was using the announced Ogg Theora support. :)

Recently I have spent some time evaluating the multimedia browser plugins available in Debian Lenny, to see which one we should use by default in Debian Edu. We need an embedded video playing plugin with control buttons to pause or stop the video, and capable of streaming all the multimedia content available on the web. The test results and notes are available on the Debian wiki. I was surprised how few of the plugins are able to fill this need. My personal video player favorite, VLC, has a really bad plugin which fail on a lot of the test pages. A lot of the MIME types I would expect to work with any free software player (like video/ogg), just do not work. And simple formats like the audio/x-mplegurl format (m3u playlists), just isn't supported by the totem and vlc plugins. I hope the situation will improve soon. No wonder sites use the proprietary Adobe flash to play video.

For Lenny, we seem to end up with the mplayer plugin. It seem to be the only one fitting our needs. :/