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| {{Short description|Inevitable vulnerability in copy protection}} | |||
| ⚫ | The '''analog hole''' is a fundamental and inevitable ] in ] schemes for noninteractive works in ] formats which can be exploited |
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| {{Original research|date=September 2009}} | |||
| ⚫ | The '''analog hole''' (also known as the '''analog loophole''' or '''analog gap''') is a perceived fundamental and inevitable ] in ] schemes for noninteractive works in ] formats which can be exploited to duplicate copy-protected works using ] means. Once digital information is converted to a human-perceptible (analog) form, it is a relatively simple matter to digitally recapture that analog reproduction in an unrestricted form, thereby fundamentally circumventing any and all restrictions placed on ]ed digitally distributed work. Media publishers who use ] (DRM), to restrict how a work can be used, perceive the necessity to make it visible or audible as a "hole" in the control that DRM otherwise affords them.<ref>{{Cite book|last=Haber|first=Stuart|date=2003|chapter=If piracy is the problem, is DRM the answer?|chapter-url=http://www.aladdin.cs.cmu.edu/papers/pdfs/y2004/piracyprobl.pdf|title=Digital Rights Management|series=Lecture Notes in Computer Science|volume=2770|pages=224–233|doi=10.1007/10941270_15|isbn=978-3-540-40465-1}}</ref> | ||
| The term "analog hole" was first popularized by the ] and some of its members during speeches and legislative advocacy in 2002; this term later fell into disrepute within the industry after it was abbreviated to "a. hole" (which was misconstrued as an allusion to the vulgar "]"), thus being replaced by '''analog reconversion problem''', '''analog reconversion issue''' and similar terms. | |||
| == Overview == | == Overview == | ||
| Although the technology for creating ] has existed for some time, it was not necessarily viewed as a "hole" until the widespread deployment of DRM in the late 1990s. However, if the correct equipment is not used to perform the conversion, the resulting copy may have distinguishable ] (or other deformations) compared to the analog (or digital) original.<ref>{{Cite journal|last=Sicker|first=Douglas C.|date=2006|title=The analog hole and the price of music: An empirical study|url=http://www.jthtl.org/content/articles/V5I3/JTHTLv5i3_SickerOhmGunaji.PDF|journal=Telecomm. & High Tech|volume=5|pages=573}}</ref> | |||
| Regardless of any digital or ] copy control mechanisms, if ] can be captured by a ], it can be either ] by analog means (e.g. ]), or stored digitally. And if images (static images or video/film), including ], can be seen by a camera, they can also be recorded. In the case of text the image can be converted back to text using ] (OCR). In the case of ] services, software exists that can digitally capture the analog output of a personal computer's ], and then save in a portable music format with no perceptible loss in quality. | |||
| Although the technology for creating digital recordings from analog sources has existed for some time, it was not necessarily viewed as a "hole" until the widespread deployment of DRM in the late 1990s. It should be pointed out that this kind of duplication is not a direct digital copy, and therefore has flaws, the magnitude of which depends on the nature of the reproduction methods used. This kind of reproduction is, in many ways, similar to the initial digitization of any analog medium or performance, with all the pitfalls and benefits of such digitization. For example, ] films may have poor ], or highly washed-out video. At a minimum, ] can be circumvented for types of material whose value is ], and does not depend on its exact digital duplication. In general, performing a digital-to-analog conversion followed by an analog-to-digital conversion results in the addition of noise in an ] sense relative to the original digital signal. This noise can be measured and quantified. Naturally, the use of high quality conversion equipment reduces the amount of noise added, to the point where such noise is essentially imperceptible to the human senses. For instance, playing a video in a DVD player and using a DVD recorder to record the output can create a high quality copy of the video. | |||
| == Response == | |||
| Regardless of any digital or ] copy control mechanisms, if ] can be played on ]s, it can also be ], at the very least, with a microphone. And just as ] can be ]ed or displayed, it can also be ]ned and ], at the very least, with a camera and a screen. Because of the way modern computers load programs from random access media such as CDs and DVDs, software cannot usually be copied in this manner. However, software supplied on audio cassettes (a popular format on 1980s home computers) is not random access, and can often be copied by simply recording the cassette's analogue audio signal on another cassette, without the need for a computer or any digital equipment. In the 1980s, many European radio stations experimented with free software distribution using this method, which sounded to human listeners as several minutes of apparently random beeps. Listeners recorded the beeping part of the radio programme to cassette, and then played it back in their computers' cassette drives to load software. | |||
| ⚫ | In 2002 and 2003, the U.S. motion picture industry publicly discussed the possibility of legislation to "close the analog hole"—most likely through regulation of digital recording devices, limiting their ability to record analog video signals that appear to be commercial audiovisual works. These proposals are discussed in the ], ], and ]. Inventors of ] technologies were particularly interested in this possibility because of the prospect that recording devices could be required to screen inputs for the presence of a particular watermark (and hence, presumably, their manufacturers would need to pay a ] royalty to the watermark's inventor). | ||
| ⚫ | In 2002 and 2003, the U.S. motion picture industry publicly discussed the possibility of legislation to "close the analog hole" |
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| The motion picture industry has also pursued several private-sector approaches to eliminating the analog hole; these might be implemented without additional legislation. | The motion picture industry has also pursued several private-sector approaches to eliminating the analog hole; these might be implemented without additional legislation. | ||
| * Analog signals can be degraded in ways that interfere with or confuse some recording devices. For example, ] attempts to defeat recording by ]s by outputting a deliberately distorted ], crippling the ] for ], causing the ] to fluctuate wildly. While this is only supposed to happen to copies, it may, as an inadvertent side-effect, happen when viewing the original video as well. Some vendors claim to have developed equivalent techniques for preventing recording by video capture cards in ]s. Devices exist, however, to counteract this measure. | * Analog signals can be degraded in ways that interfere with or confuse some recording devices. For example, ] attempts to defeat recording by ]s and ] players by outputting a deliberately distorted ], crippling the ] for ], causing the ] to fluctuate wildly. While this is only supposed to happen to copies, it may, as an inadvertent side-effect, happen when viewing the original video as well. Some vendors claim to have developed equivalent techniques for preventing recording by video capture cards in ]s. Devices exist, however, to counteract this measure. | ||
| ⚫ | * Manufacturers of recording devices can be required to screen analog inputs for watermarks (or ] or ] or ]) and limit recording as a condition of private ]s. For example, a manufacturer who licenses patents or ]s associated with a particular DRM scheme might also be obliged as a purely contractual matter to add recording limitations to digital recording products. | ||
| ⚫ | * Manufacturers of certain playback devices such as ]es can be required, as a condition of private contracts, to allow publishers or broadcasters to disable analog outputs entirely, or to degrade the analog output quality, when particular programming is displayed. This capability is one example of ]. A broadcaster could then prevent all recording of a broadcast program by indicating that compliant receiving devices should refuse to output it through analog outputs at all. On some of the latest playback devices, analog outputs have been eliminated completely. | ||
| ⚫ | In theory, it is possible to bypass all these measures by constructing a player that creates a copy of every frame and sound it plays. Although this is not within the capability of most people, many bootleggers simply record the video being displayed with a video camera or use recording and playing devices that are not designed to use the protection measures. In fact, the ] has recommended use of a camcorder as an alternative to circumventing the ] on DVDs.<ref>Jacqui Cheng. "". ''Ars Technica''. May 7, 2009. Accessed May 22, 2009.</ref> | ||
| ⚫ | * Manufacturers of recording devices can be required to screen analog inputs for watermarks (or Macrovision or ]) and limit recording as a condition of private ]s. For example, a manufacturer who licenses patents or ]s associated with a particular DRM scheme might also be obliged as a purely contractual matter to add recording limitations to digital recording products. | ||
| ⚫ | * Manufacturers of certain playback devices such as ] can be required, as a condition of private contracts, to allow publishers or broadcasters to disable analog outputs entirely, or to degrade the analog output quality, when particular programming is displayed. This capability is one example of ]. A broadcaster could then prevent all recording of a broadcast program by indicating that compliant receiving devices should refuse to output it through analog outputs at all. | ||
| ⚫ | In theory, it is possible to bypass all these measures by constructing a player that creates a copy of every frame and sound it plays. Although this is not within the capability of most people, many bootleggers simply |
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| But by far, one of the most effective ways for a publisher to defeat analog reconversion is to make the work interactive. | |||
| Analog reconversion methods can copy only signals, not the rules used to generate those signals. | |||
| If the rules are such that the sequence of user input has a strong effect on the output, especially in the case of a ], analog reconversion becomes much less useful. | |||
| ==Engineering vs. business and political views== | |||
| {{POV|date=December 2007}} | |||
| {{Weasel}} | |||
| The notion of "plugging the analog hole" may be based on fundamental misconceptions of the meaning of analog and digital. | |||
| There is a history of business and political desires combined with core misunderstandings of technology leading to legislation and industry practices that are counterproductive or fundamentally flawed on an engineering theory level. | |||
| One example was an early law passed by the European Parliament to support DRM in response to widespread buzz about unauthorized digital music downloads being held in computer memory caches. Apparently reasoning by analogy to "caches of arms", the use of computer memory caches was outlawed. The legislators, hearing a very general piece of computer jargon ] associated with infringement, banned it, not realizing it was a basic digital storage technique found in most modern equipment. A BBC article describing the controversy, itself demonstrates the difficulty of explaining to legislators and the general public the aspect that every computer and most digital devices of any kind would have to be destroyed were the law to be evenly enforced. Far from a specialized illegality, caching is a universally used computer memory technique, leading to comparisons of this law to the classic "urban myth" of the ]. | |||
| A body of opinion in the engineering community puts the buzz about the "analog hole" in the same category: an impossible strategy based on fundamental misunderstandings by people who are not engineers that will not solve the stated problem but cause expense and confusion. | |||
| Both "analog to digital" and "digital to analog" conversion are such basic technologies, with so many possible implementations, that the idea of being able to block conversion by these means is unrealistic. Engineers are aware of mathematical and physical principles that often begin with "It is not possible to..." which sometimes come in direct conflict with business and political goals. One does not have to be an engineer to understand that it is simply not possible to simultaneously display and conceal a signal. In particular, an audio signal must be converted to analog before it reaches the speaker. | |||
| In addition to this general principle, theory says that digital watermarking and other restrictions on the "analog hole" can be simply defeated by a variety of well-known techniques, such as ]ing. | |||
| ==Copyright law vs. particular techniques== | |||
| Copyright law has been defined in terms of general definitions of infringement in any concrete medium. This classically focused such law on whether there is infringement, rather than focus on particular engineering techniques. Detecting infringement within the social and legal system avoids a legacy of outlawing generic, universal, popular, widespread, useful, and possibly uncontrollable engineering techniques in response to specific misuses. | |||
| ==Consumer vs. professional equipment== | |||
| In every copy restricted medium, there are two grades of equipment, consumer, which may include copy restriction, and professional, which by necessity, allows access in a way that is above copy restriction. In most countries, the sale of professional equipment is not regulated per se, although price alone prevents most users from getting access to it. The price may not put off piracy organisations that still regard it as a good return on investment, especially as the cost of such equipment continues to drop and as direct digital piracy becomes more difficult. | |||
| ==See also== | ==See also== | ||
| * ] | |||
| * ] | * ] | ||
| ⚫ | * ] | ||
| * ] | |||
| * ] | |||
| * ] | |||
| * ] | * ] | ||
| * ] | |||
| * ] | * ] | ||
| * ] | |||
| ⚫ | * ] | ||
| ⚫ | ==References== | ||
| {{Reflist}} | |||
| == External links == | == External links == | ||
| ⚫ | * | ||
| * | |||
| * , a program to remove ] | |||
| * | |||
| ⚫ | * | ||
| * A weekly ] about gaming and discussions about Digital Rights issues in the news as it pertains to gaming. | |||
| {{Digital rights management}} | |||
| ⚫ | ==References== | ||
| <references/> | |||
| ] | ] | ||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
| ] | |||
Latest revision as of 16:07, 8 January 2025
Inevitable vulnerability in copy protection | This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (September 2009) (Learn how and when to remove this message) |
The analog hole (also known as the analog loophole or analog gap) is a perceived fundamental and inevitable vulnerability in copy protection schemes for noninteractive works in digital formats which can be exploited to duplicate copy-protected works using analog means. Once digital information is converted to a human-perceptible (analog) form, it is a relatively simple matter to digitally recapture that analog reproduction in an unrestricted form, thereby fundamentally circumventing any and all restrictions placed on copyrighted digitally distributed work. Media publishers who use digital rights management (DRM), to restrict how a work can be used, perceive the necessity to make it visible or audible as a "hole" in the control that DRM otherwise affords them.
Overview
Although the technology for creating digital recordings from analog sources has existed for some time, it was not necessarily viewed as a "hole" until the widespread deployment of DRM in the late 1990s. However, if the correct equipment is not used to perform the conversion, the resulting copy may have distinguishable low fidelity (or other deformations) compared to the analog (or digital) original.
Regardless of any digital or software copy control mechanisms, if sound can be captured by a microphone, it can be either recorded by analog means (e.g. magnetic tape), or stored digitally. And if images (static images or video/film), including text, can be seen by a camera, they can also be recorded. In the case of text the image can be converted back to text using optical character recognition (OCR). In the case of streaming music services, software exists that can digitally capture the analog output of a personal computer's sound card, and then save in a portable music format with no perceptible loss in quality.
Response
In 2002 and 2003, the U.S. motion picture industry publicly discussed the possibility of legislation to "close the analog hole"—most likely through regulation of digital recording devices, limiting their ability to record analog video signals that appear to be commercial audiovisual works. These proposals are discussed in the Content Protection Status Report, Consumer Broadband and Digital Television Promotion Act, and Analog Reconversion Discussion Group. Inventors of digital watermark technologies were particularly interested in this possibility because of the prospect that recording devices could be required to screen inputs for the presence of a particular watermark (and hence, presumably, their manufacturers would need to pay a patent royalty to the watermark's inventor).
The motion picture industry has also pursued several private-sector approaches to eliminating the analog hole; these might be implemented without additional legislation.
- Analog signals can be degraded in ways that interfere with or confuse some recording devices. For example, Macrovision attempts to defeat recording by VCRs and DVD players by outputting a deliberately distorted signal, crippling the automatic gain control for video, causing the brightness to fluctuate wildly. While this is only supposed to happen to copies, it may, as an inadvertent side-effect, happen when viewing the original video as well. Some vendors claim to have developed equivalent techniques for preventing recording by video capture cards in personal computers. Devices exist, however, to counteract this measure.
- Manufacturers of recording devices can be required to screen analog inputs for watermarks (or Macrovision or DCS Copy Protection or CGMS-A) and limit recording as a condition of private contracts. For example, a manufacturer who licenses patents or trade secrets associated with a particular DRM scheme might also be obliged as a purely contractual matter to add recording limitations to digital recording products.
- Manufacturers of certain playback devices such as set-top boxes can be required, as a condition of private contracts, to allow publishers or broadcasters to disable analog outputs entirely, or to degrade the analog output quality, when particular programming is displayed. This capability is one example of selectable output control. A broadcaster could then prevent all recording of a broadcast program by indicating that compliant receiving devices should refuse to output it through analog outputs at all. On some of the latest playback devices, analog outputs have been eliminated completely.
In theory, it is possible to bypass all these measures by constructing a player that creates a copy of every frame and sound it plays. Although this is not within the capability of most people, many bootleggers simply record the video being displayed with a video camera or use recording and playing devices that are not designed to use the protection measures. In fact, the Motion Picture Association of America has recommended use of a camcorder as an alternative to circumventing the Content Scrambling System on DVDs.
See also
- Cam (bootleg)
- Copyright law of Japan
- Digital Transition Content Security Act
- Fair use
- High-bandwidth Digital Content Protection
- Secure cryptoprocessor
- Trusted Computing
- Trusted Platform Module
References
- Haber, Stuart (2003). "If piracy is the problem, is DRM the answer?" (PDF). Digital Rights Management. Lecture Notes in Computer Science. Vol. 2770. pp. 224–233. doi:10.1007/10941270_15. ISBN 978-3-540-40465-1.
- Sicker, Douglas C. (2006). "The analog hole and the price of music: An empirical study" (PDF). Telecomm. & High Tech. 5: 573.
- Jacqui Cheng. "MPAA: teachers should videotape monitors, not rip DVDs". Ars Technica. May 7, 2009. Accessed May 22, 2009.
External links
| Broadcast encryption and digital rights management | |
|---|---|
| Conditional access | |
| DVB | |
| Smart cards and encryption | |
| Digital video disc |
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| DRM | |
| Data security | |
| Analogue broadcast encoding | |
| See also free-to-view and pay television | |