Internet TV News

The BBFC has added TalkTalk to the BBFC.online classification service.

TalkTalk will launch YouView in Spring 2012, and subscribers viewing film content will see the same classification symbols and content information as those the BBFC provides for cinema releases and DVDs. The BBFC's information will make it easier for consumers to make informed decisions about the films they and their families watch.

David Cooke, Director of the BBFC, said We're delighted to add TalkTalk to our BBFC.online service. Parents have told us it's important for them to see the classification symbols they recognise before they stream a film for family consumption. We asked parents for their views and 82% said they would prefer to download films that are classified with the trusted BBFC symbols and Consumer Advice.

Max Alexander, Director of TV at TalkTalk, said It's important that our customers trust the suitability of content they are about to watch and this agreement with the BBFC gives them what they want. Working with the BBFC shows our ongoing commitment to ensure that we help protect our customers across all products and services they use with us.

Universal Music Group has suggested it has the power to make YouTube take down any video it wants, even if it doesn't own the content or the copyright, thanks to a secret agreement with Google.

The world's largest record company apparently exercised that power when it ordered the removal of a competitor's star-studded video, as well as a news report about the controversy.  The video features a song and endorsements from a dozen celebrities, including Kim Kardashian, will.i.am, P. Diddy, Kanye West and Chris Brown.

The movie in question is called Megaupload Mega Song , a promotional video created by the Hong Kong-based file-sharing service Mega Upload. Record companies aren't impressed by the service and claim Mega Upload knowingly hosts pirated music and flouts international copyright laws.

For years, Universal has used the Digital Millennium Copyright Act to file take-down notices, requiring websites to remove copyrighted content owned by Universal. But in this case Universal have no rights to the Megaupload video content. The song is original and does not belong to Universal.

So Mega Upload sued the record company, alleging it acted outside the bounds of copyright law.

But Universal responded with a brief saying that their agreement with Google to remove YouTube videos is not limited to copyright claims.

For the moment the video is back on YouTube, but the legal action is continuing.

The Retired Life TV has just been closed down.

The operator of the site, online video pioneer Chris Gosling, says that the Government Video On Demand Regulator ATVOD is too difficult to work with for him to wish to continue.

My main intention with Retired Life was to operate a video site which would help retired people make choices, improve their lives and have fun. It was something which I thought would make an interesting retirement project for myself, and a potentially worthwhile resource for older people, I also thought that, like other projects I've been responsible for, it might make a worthwhile small-scale TV programme for satellite or internet broadcast.

After a three month trial period, I was quite willing to continue it as a personal project even if it didn't generate any income, and cost money from my own pocket, but the immediate hostility I had from ATVOD makes me think that attempting to work with them would be a wasted effort. I don't need the stress of dealing with a Quango which seems to have a serious anti-small business and anti-enterprise standpoint.

ATVOD's main objective, Gosling says, is to be funded by major broadcasters and to work closely with them:

They are keen to work with large organisations to whom a few thousand a year in licensing is petty cash -- but they seem only to want to pay lip-service to working with smaller operators. I, as a one-person enterprise whose total business turnover was less than one-third of the ATVOD chief executive's salary, only blipped on their radar because I believe we should fight to get the best deal for the UK's small business sector.

Gosling says that he believes that ATVOD will damage the UK's smallest TV operators and will inhibit the development of new online services and methods of working:

The world of communication, especially in TV and video, is changing rapidly, and I believe that high-cost, low-benefit regulation like that being imposed by ATVOD is inappropriate in the online arena. Law-of-the-land regulation, through advertising, libel, and other normal laws and regulation is sufficient to regulate this area, although I do believe that there should be a register of small video publishers to ensure that legal oversight can operate.

Vivid Entertainment, one of the world's major adult film studios, has said that it will launch Vivid for Google TV, the first TV app designed to make sexually explicit content available through the new Google TV set top device. The new channel will stream content in high definition to subscriber television sets and computer screens.

Vivid for Google TV will be available at no additional cost to subscribers to www.vivid.com, which currently offers a package of features such as streaming of Vivid's award-winning adult movies, celebrity sex tapes, XXX parodies of popular superheroes, educational videos and other content. Access to the site is restricted to persons over 18 years old.

People with Google TV set top devices can now access the new system.

Vivid for Google TV gives our fans a new way to enjoy Vivid movies in high quality HD and with other benefits that provide a very appealing, highly enjoyable, and user friendly experience, said Steven Hirsch, co-founder and co-chairman of Vivid. It is a central part of our making Vivid available everywhere concept, which gives fans unified access to our content through their personal computers, mobile devices, tablets, television sets and DVD players.

Hirsch said no other adult companies are currently deploying a true Internet system that includes 24/7 access and constantly streaming movie content. We spent more than a year developing a code base for a robust, standalone Internet-TV channel with a friendly interface for the consumer that can be used with the current Google TV technology and other Internet protocol presentation methods now in development, he said.

Cult cinema fans may like to knowthat Severin Films has partnered with TLACult.com, the cult, horror and exploitation online superstore, to offer some of Severin's erotic films via streaming rental.

The initial batch of films available to stream instantly at TLACult.com includes:

• 1979's Felicity starring gorgeous Glory Annen as a teen girl experiencing her sexual awakening;
• In the Folds of the Flesh, an ultra-lurid giallo epic starring Pier Angeli;
• Emanuelle in Bangkok starring sexploitation goddess Laura Gemser; and
• Vanessa , a 70s sexploitation coming-of-age tale starring the exceptionally beautiful Olivia Pascal.

Dan Reed, Managing Editor of TLACult.com said:

We've been huge admirers of Severin's for years and, when they came to us saying they needed a VOD home for their legendary erotic exploitation movies, we knew right away it was a perfect fit. We're large enough to have a platform for streaming rentals in place, but small enough to be free of the content restrictions against taboo materials and full-frontal nudity that the industry giants impose on themselves. Plus, our customers have purchased quite a lot of Severin DVDs over the years, so making these films available for our customers to stream was an absolute no-brainer.

The initial batch of films is available now for streaming rental. Other selections include films by noted exploitation directors Joe D'Amato, Gerard Kikoine and Lucio Fulci. TLA and Severin also plan to make more films available to stream in the next few months.

Each film is available to stream worldwide for $3.99 (for a 7 day rental) at TLACult.com and will also be available on TLA's adult site TLARAW.com.

SeeSaw video-on-demand television website has shut down.

SeeSaw once claimed over 2 million user visits per month before losing some of its content deals. The website had been online less than two years, offering content from BBC Worldwide, Channel 4, Channel Five and several production companies.

SeeSaw was created by the media services company, Arqiva, in February 2010. It used assets from the aborted catch-up TV platform, Project Kangeroo, which had been rejected by the UK's competition regulator.

It offered a range of free-to-watch programmes supported by advertising, with an optional fee to turn the adverts off. It also had premium pay-to-watch shows.

Channel 4's former chief executive, Michael Jackson, was announced as the firm's new chairman designate. However reports suggest he walked away from the post in September shortly after Channel 4 pulled its content. Channel Five removed its shows around a fortnight later.

In the end they didn't have the backing they needed to make it - the kind of content that drives significant levels of usage, said Ian Maude, head of Internet at Enders Analysis: They were in a very competitive market. ITV wouldn't supply them content, and Channel 4 only did for a while. With competition from Google's YouTube they just didn't have a chance.

US film and TV rental firm Netflix is to launch a streaming service in the UK and the Irish Republic next year.

Netflix said it would provide a subscription service in the UK offering unlimited TV shows and movie streaming over the internet.

The company said further details about the service, including pricing and content will be announced closer to launch in early 2012.

In the US, the company has been losing customers since it increased prices for its US DVD service. The company is trying to re-build its business from being primarily a US-based DVD rental service to a global film and TV streaming operation. It recently expanded its subscription streaming service to Canada and is reportedly looking to launch in other European countries.

The viewing of television VoD comprises a small proportion of total online video consumption in the UK, according to new research from ComScore and Attentional. The findings showed that internet video consumption in the UK was broadly flat last year.

The research, from a consumer panel of hundreds of thousands of people, showed that only an average of 4.2% of video views were from services such as the BBC iPlayer and ITV Player.

The mainstays of video views are porn which provides 57% of video viewed and YouTube like sites that provided 38% of videos viewed.

Overall, it was found that an average person in the UK spends 19 minutes a day watching internet videos on computers, compared with nearly four hours a day watching live television, and a further 18 minutes watching recorded TV content.

Election Promise: A Conservative government will introduce a powerful new Star Chamber cabinet committee, to be chaired by Ken Clarke, which will enforce a stringent One In – One Out requirement where any new law must include cuts in old laws.	.
New law in: Repressive new website registration law driving much of the UK internet business offshore	Old Law out: Shops will be allowed to sell liquor chocolates without an alcohol licence.

ATVOD have announced a long list of websites that are under investigation for not registering with them, and of course, not paying their burdensome registration fee required to keep the red tape administrators in business.

ATVOD explained that the Website Registration Act requires that nearly all websites incorporating video need to notify ATVOD by 30 April 2010.

By the end of April 2010 it was apparent to ATVOD that a significant number of websites had not registered.

ATVOD therefore began an investigation process in order to ensure that such services were identified, were informed of their obligations, and were given an opportunity to notify or to make representations on the issue.

See  the long List of Websites under Investigation [pdf]

Government minister Jeremy Hunt wrote an open letter of 16 May 2011 on 'A Communications Review for the Digital Age'. This included the question:

Q13. Where has self- and co-regulation worked successfully and what can be learnt from specific approaches? Where specific approaches haven't worked, how can the framework of content regulation be made sufficiently coherent and not create barriers to growth, but at the same time protect citizens and enable consumer confidence?

Ruth Evans replied as chair of ATVOD:

As you would expect, the answer we are in a particularly good position to answer concerns models of self and co-regulation in the content arena:

...

Co- and self-regulation are particularly appropriate in rapidly developing sectors where the nature of services and the scope of potential consumer protection is subject to frequent change. Our experience is that co-regulation of video on demand services has proved capable of yielding nimble, economical solutions and the promise of establishing a broad consensus around light touch regulation. In our short life we have worked through some complex issues with the industry (e.g. the scope of the Regulations and determining where to draw the line on the protection of children from harmful content) in an efficient manner and have delivered more equitable funding arrangements for our second year, with concessionary rates for small scale providers and new market entrants.

We have taken a definitive stance on what video material might seriously harm children (and therefore an ODPS must make provisions so that children cannot access the material) and we suggest that in the area of child protection online some rules might benefit from greater clarity and certainty, building on the guidance we have determined.

The UK must not lose sight of the fact that the global nature of services accessible via the internet presents special challenges in respect of editorial regulation of VOD services. We are unable to regulate services sitting outside the UK which are accessible to UK internet users. We suggest that a combination of action in respect of services which are subject to ATVOD regulation and action by other internet intermediaries in support of parents will be necessary going forward. Action such as promoting use of filtering tools and greater awareness of the risks and protections that exist online will be important and complimentary to pure regulatory activity. Consideration should also be given by Government to what can done to harmonise actions on an international level in this regard.

What ATVOD really means is that it has invented a very expensive censorial regime for practically every website with video based in the UK, and for no benefit to them whatsoever. ATVOD has also imposed an almost impenetrable barrier to trade on all British adult sites that include hardcore video.

Online TV service SeeSaw has been saved from closure by a consortium of investors including the former Channel 4 chief executive, Michael Jackson, in a deal led by a US private equity firm.

Criterion Capital Partners has taken a controlling stake in SeeSaw, which is owned by transmission business Arqiva, in a deal estimated to be worth over £ 10m.

Arqiva retainins a 25% stake in the business and a seat on the new board. Criterion, which will hold a majority stake in SeeSaw, has appointed Jackson as chairman.

An interesting comment from  lawdit.co.uk suggesting that ATVOD will trawl the website looking for contributors to its very hungry funding money pit:

I understand from a very good source that every adult website in the UK will be contacted over the next 12 months and asked to comment on whether or not it ought to be registered and if not why not. It is going to be difficult for many providers to argue that it ought not be registered and many adult websites will find themselves looking abroad as they ship their business affairs overseas.

It sounds a pretty tall order to try and track down all British adult websites though. It is not often obvious from the website who is behind it, nor their location.

Newspaper and magazine publishers face paying thousands of pounds in fees if they continue using video content on their websites, industry groups have warned.

ATVOD has ruled that short video clips on publishers' websites provide a TV-like service.

This means publishers must register with ATVOD and pay an annual fee - a ruling strongly opposed by the Professional Publishers Association (PPA) and the Newspaper Society. While last year's annual fee was £ 2,900, the PPA claims that, depending on company turnover, that figure could rise to as much as £ 25,000.

PPA chief executive Barry McIlheney said: Essentially the disproportionate regulatory fees being charged by ATVOD are damaging innovative digital businesses and putting them at a disadvantage compared to their European counterparts.

A number of publications - including The Sun, News of the World, The Sunday Times and Elle magazine - are appealing the decision, after ATVOD ruled they were in breach of the Communications Act 2003 by failing to notify the watchdog they were operating video on demand services.

The Newspaper Society's political, editorial and regulatory affairs director Santha Rasaiah argues that under the EU's Audiovisual Media Services Directive, newspapers and magazines should be expressly excluded from the regulation.

ATVOD have wisely decided against their first year £2900 fixed fee approach and replaced it with a graduated fee dependent on company revenue and the number of services run by that company.

The year 2 annual fees in £ are:

• non commercial: 100 + 100 for additional services
• commercial, revenue < 50k: 150 + 150 for additional services
• commercial, revenue < 100k: 200 + 200 for additional services
• commercial, revenue < 6.5m: 800 + 400 for additional services, max 25k
• commercial, revenue < 25.9m: 5175 + 800 for additional services, max 25k
• commercial, revenue > 25.9m: 10350 + 800 for additional services, max 25k

It has emerged that the government has not acted on a recommendation from the TV and internet  censor Ofcom, which said last year that the law should be changed so that sexually explicit content on video-on-demand websites could not be seen by children.

The government asked Ofcom last year to examine whether the law should be changed to protect children from pornographic material that was easily available on some adult sites, including Playboy.tv, which allowed paying members to download a wide range of pornographic material.

Many of them also offer some sexual material as try before you buy content that can be easily viewed without a credit card or account number.

Ofcom recommended in a report passed to the Department for Culture, Media and Sport (DCMS) nine months ago that the government should pass legislation forcing those sites to protect their free trial content with a pin number. But the coalition has not published Ofcom's report or acted on its recommendations.

Predictably Labour has tried to claim a few morality votes from this technically infeasible Ofcom suggestion.

Ivan Lewis, the shadow culture secretary, said: David Cameron's commitment to act on Bailey's recommendations rings hollow now we know his government has suppressed this important report. It is either incompetence or a deliberate attempt to keep the public and parliament in the dark. Ofcom's report should be published without delay so we can consider its findings and take the necessary action.

The DCMS said the report was still being considered by ministers. It said: The government is committed to protecting children from accessing harmful material and DCMS has requested advice from Ofcom and others regarding regulation of video-on-demand services. There is a range of views on whether new measures are required and we are currently considering options.

The proposals would only affect UK websites that are monitored by ATVOD, the internet video on demand censor.

Arqiva is set to close online TV venture SeeSaw after failing to find an investment partner or buyer to keep the service alive. It is expected to close around 20 June.

[SeeSaw] no longer fits with the strategic direction in which we are taking Arqiva and requires considerable investment to succeed in an increasingly competitive market, a spokesman for Arqiva said. We have tried to find an investment partner, however this has not proved possible.

SeeSaw was launched using the assets of ITV, Channel 4 and BBC Worldwide's defunct VoD venture Project Kangaroo, which Arqiva acquired for about £ 8m.

At its launch in February last year, SeeSaw offered 3,000 hours of free programmes including Skins, Kingdom and Doc Martin. Three months later it began offering paid-for content, with 1,000 hours of shows including South Park and Spooks, and struck deals with US broadcasters including MTV and NBC Universal.

But third-party internet TV aggregators have strugged to compete with broadcasters' own in-house on-demand services, and SeeSaw failed to gain a significant following compared to rival offerings such as the BBC's iPlayer, ITV Player and Channel 4's on-demand service, 4oD.

SeeSaw's predecessor, Kangaroo, was originally conceived as a way for the BBC's commercial arm, BBC Worldwide, to monetise the corporation's content. While iPlayer programmes are free, they are only available for a limited window after broadcast.

Parental warning logos are set to be introduced before songs and music videos on services such as Spotify and YouTube that contain explicit material, following recent 'concern' about supposedly risque music content available to children online.

Music industry body BPI is to update its 15-year-old Parental Advisory Scheme. Updated guidelines will expand the scheme for the well known advisory logo to appear with songs and videos available to stream or download on UK digital music and music video services.

Most audio and video streaming services including Google-owned YouTube, Spotify, Napster and Vevo do not currently have a uniform parental guidance system, according to the BPI.

We think it is important for parents to get the same standards of guidance and information online as they get when buying CDs or DVDs on the high street, said Geoff Taylor, chief executive of the BPI. We are updating our scheme for the digital age to ensure that explicit songs and videos are clearly labelled.

Newspaper and magazine trade organisations are speaking out in opposition to the UK's new VOD ATVOD. Several individual newspaper and magazine publishers are already protesting being included under ATVOD's oversight and having to pay through the nose for the privilege.

The Newspaper Society's director for policy, editorial and regulatory affairs, Santha Rasaiah, told paidContent:UK:

Electronic versions of newspapers and magazines are expressly excluded from the scope of the AVMS directive. Throughout negotiations on the directive and its implementation into UK law, assurances were repeatedly given, including during the course of Parliamentary debate, that publishers' current online activities, including video clips, would not be caught by the new legislation and did not satisfy the definition of 'TV-like' programme services for regulation by ATVOD. These recent determinations by ATVOD are therefore surprising and of concern to the industry. It is important that press freedom is not curbed by unintended regulatory creep.

See  article from  mediaweek.co.uk

The magazine business' Periodical Publishers Association, working with the Association of Online Publishers, complains that

Atvod has determined that short video clips, collected together on a section of a publisher’s website, fall under the definition of "TV-like" services, as set out in the Audiovisual Media Services Regulations (AVMS).

The PPA argues, however, that video clips on publishers’ websites are not TV-like and therefore do not fall within Atvod’s remit. It is in the process of appealing to media regulator Ofcom.

Barry McIlheney, chief executive of the PPA, said: Essentially, the disproportionate regulatory fees being charged by Atvod are damaging innovative digital businesses and putting them at a disadvantage compared to their European counterparts.

According to the PPA, ATVOD fees can rise to £ 25.000 whereas the next-highest equivalent fee in Europe is (EUR712) per company.

  Creative Industries Minister Ed Vaizey, has welcomed the BBFC's new Watch and Rate scheme, which provides classifications for straight to download content, as good for the industry and good for the public.

Speaking after seeing a demonstration of the new scheme, he said:

The Watch and Rate scheme is a welcome addition to the work done by the BBFC.

The internet has completely changed the way we access videos and music so it is good to see the BBFC adapting to meet the demands of the online world.

The BBFC is providing industry with a quick and cost effective classification system for straight-to-download content and the public with an age rating system they trust and understand.

Age ratings will help parents protect their children from inappropriate content and provide people with more confidence about the content they and their families are watching.

Since 2008 the BBFC has been working with the UK video industry to provide a content labelling system for film, video and TV content supplied by internet, wireless or mobile signal which the public can trust and understand. By giving over 200,000 titles a digital classification the BBFC has provided consumers with access to labelling and content information for a massive back catalogue of films and television programmes which are available through video-on-demand, digital rental/sell through, streaming, mobile platforms and connected TV.

Platforms and e-tailers using the BBFC's classifications for their online content pay a licensing fee under the BBFC.online service. As well as the back catalogue all their new content classified by the BBFC is given an online certificate for digital distribution.

For material which is going straight to online the BBFC has developed a brand new classification service, known as Watch and Rate which provides digital e-tailers and platforms with a robust labelling and child protection system for the online world at a cost and speed which reflects the needs of digital distribution.

David Cooke, Director of the BBFC said:

Our new service for straight to online content will provide the industry with a service which will ensure that they can get their content, along with BBFC labelling, out into the rapidly moving digital space. For parents it will offer labelling and content advice they know and trust in what is, for many, an unfamiliar landscape.

We have an exciting part to play in the film and video industry's digital future. For almost 100 years, we have supported innovation in the moving image industries, and our latest service is designed to support the ever-increasing technological development in our second century. Issuing 200,000 certificates at a stroke is a major step towards this.

Lavinia Carey, Director General of the British Video Association said:

The BBFC's act of issuing 200,000 'online' certificates has shown a major commitment to the digital development of home entertainment. At a time when the film and video industry is reinventing itself, the BBFC's role and contribution to the digital future is hugely appreciated and supported by our members .

Stephen Joy, Production Manager of Entertainment One said:

Watch & Rate enables us to distribute certified works digitally without the costs of marketing a physical DVD. Having their trusted symbols attached to our products in the digital space has allowed entry to key on-demand platforms fast, and at low cost.

Eric Stevens, Head of Independent Distribution for Independent Film Company said:

BBFC's Watch & Rate provided us with a cost effective way of certifying products for use in the On Demand space. Licensing and sign-up was quick, service costs were cost effective, for a content owner of our size and online submission was straightforward and streamlined.

A group of Ukraine lawmakers has drafted a bill proposing to end the licensing and censorship of internet video

I very much hope that our committee (the committee for freedom of speech and information) will support this bill, and it will be considered this month, one of the authors of the bill, MP Olha Bodnar of the BYT-Batkivschyna faction, said at a press conference.

According to her, the bill proposes amending some laws, in particular, to stipulate that the distribution of video on the Internet is not subject to licensing and censorship by the public authorities. T he responsibility for disseminating Internet child pornography and materials that are a threat to national security interests, would lies with the owners of the Web site.

The culture secretary, Jeremy Hunt, has been speaking about increasing censorship requirements for the internet and in particular, internet TV

He spoke after addressing media industry executives at the Oxford Media Convention.

Hunt admitted that while he did not believe it was possible to introduce blanket regulation for the internet, he was keen to put online content rules under scrutiny.

TV content on the internet is subject to lesser regulation than broadcast TV, in particular, that there are no taste and decency or impartiality requirements.

Hunt told reporters: I do want to look at what can be done to strengthen child protection on the internet and whether the structures we have in place are the best way to give reassurance to parents that their children are not going to have easy access to unsuitable content.

In his address he announced a review of media and communications that will lead to new Communications Act. He explained the timetable:

Over the next few months we will be coming to talk to you; asking for your answers to the key questions that need to be addressed. I want to hear how a new Communications Act can create regulatory certainty.

The certainty that people need to continue to develop and invest in the high-quality technology and content that is made here but enjoyed by consumers all over the world.

I am prepared to radically rethink the way we do things.

To take a fresh look at what we regulate, whether we regulate, and how we regulate. To consider whether there are areas we might move out of regulation altogether. And to think hard about what we mean by public service content.

As parents we want programmes to be suitable for our children. As citizens we want impartial news. And as consumers we want high-quality programmes we know and trust.

Whether we’re watching a broadcast live or though catch-up services, via a TV or a computer, it’s the content that matters, rather than the delivery mechanism.

So should it continue to be the case that the method of delivery has a significant impact on the method of regulation? Or should we be looking at a more platform-neutral approach?

What do we need to do to help our businesses grow and evolve between now and 2025? Where can regulation help and where is it a barrier? What can we do collectively to enhance the whole UK market?

This is not about tweaking the current system, but redesigning it – from scratch if necessary – to make it fit for purpose.

On the basis of what we hear from you, we will publish a Green Paper at the end of the year that will set out the full scope of a Bill.

One that will be put in place in 2015 and that will last for at least a decade.

And to make up for all the banned sexy, fun and opinionated internet content. Hunt proposes to bore us to death with his pet project of a new local TV channel.

In the latest move to bring the BBFC's widely recognised and trusted classifications to the world of digitally distributed content, every VHS, DVD and Blu-Ray title classified by the BBFC since 1985 has been given a digital certificate.

Since 2008 the BBFC has been working with the UK video industry to provide a content labelling system for film, video and TV content supplied by internet, wireless or mobile signal which the public can trust and understand. By giving over 200,000 titles a digital classification the BBFC has provided consumers with access to labelling and content information for a massive back catalogue of films and television programmes which are available through video-on-demand, digital rental/sell through, streaming, mobile platforms and connected TV.

Platforms and e-tailers using the BBFC's classifications for their online content pay a licensing fee under the BBFC.online service. As well as the back catalogue all their new content classified by the BBFC is given an online certificate for digital distribution.

For material which is going straight to online the BBFC has developed a brand new classification service, known as Watch and Rate which provides digital e-tailers and platforms with a robust labelling and child protection system for the online world at a cost and speed which reflects the needs of digital distribution.

David Cooke, Director of the BBFC said:

Our new service for straight to online content will provide the industry with a service which will ensure that they can get their content, along with BBFC labelling, out into the rapidly moving digital space. For parents it will offer labelling and content advice they know and trust in what is, for many, an unfamiliar landscape.

We have an exciting part to play in the film and video industry's digital future. For almost 100 years, we have supported innovation in the moving image industries, and our latest service is designed to support the ever-increasing technological development in our second century. Issuing 200,000 certificates at a stroke is a major step towards this.

Lavinia Carey, Director General of the British Video Association said:

The BBFC's act of issuing 200,000 'online' certificates has shown a major commitment to the digital development of home entertainment. At a time when the film and video industry is reinventing itself, the BBFC's role and contribution to the digital future is hugely appreciated and supported by our members .

Stephen Joy, Production Manager of Entertainment One said:

Watch & Rate enables us to distribute certified works digitally without the costs of marketing a physical DVD. Having their trusted symbols attached to our products in the digital space has allowed entry to key on-demand platforms fast, and at low cost.

Eric Stevens, Head of Independent Distribution for Independent Film Company said:

BBFC's Watch & Rate provided us with a cost effective way of certifying products for use in the On Demand space. Licensing and sign-up was quick, service costs were cost effective, for a content owner of our size and online submission was straightforward and streamlined.

Italian newspaper La Repubblica reports that the Italian Authority for Communications has passed two resolutions on internet video and internet radio respectively, that classify YouTube, Vimeo and other sites whose content is entirely user generated as television stations.

The reasoning is that if a site in any way curates their user generated content, even with automatic algorithms, this amounts to editorial control, and the site should be held to the same rules that apply to Italy's broadcast television stations. This would subject these sites to a small tax, would require them to take down videos within 48 hours of the request of anyone who feels they have been slandered, and to not broadcast videos unsuitable for children at certain times of day (whatever that would actually mean for a completely online service).

Most importantly, however, the new resolutions would make YouTube and other sites legally responsible for all of their content.

Italy has been trying for a while to pin YouTube and Google employees for videos uploaded on to YouTube by parties who had nothing to do with any of the companies' employees.

Another dispute with Google is that Mediaset, a company owned by Italian Prime Minister Silvio Berlusconi, is currently suing YouTube in Italian courts for about €500 million because it allowed users to upload copyrighted video taken from their broadcasts.

Independent TV producer Chris Gosling has launched a new online campaign aimed at fighting for fair censorship charges for small-scale web-TV operators.

Gosling, who produces specialist TV shows about caravanning and boating for satellite platforms, is specifically concerned about the Association for Television on Demand (ATVOD), a new body established to regulate video on-demand content.

ATVOD, which took over VOD regulation duties from Ofcom in March last year, has imposed a flat-rate fee of £2,900 (rising to £3850 for 2011) on the services of all notified VOD providers in the UK, from the small to the enormous like SeeSaw and Virgin Media.

Gosling has launched a new website, called SmallScale TV , aimed at representing the hundreds and thousands of people in Great Britain and Europe who make online video content in a professional, responsible way [in] a recreational or small business environment .

I see a future in which small producers like me can make highly specialist programmes to play online, showing to maybe just a few hundred or a few thousand viewers every week or month - but instituting regulator fees that may be in excess of such a programme's annual budget is going to kill small enterprises like these stone dead.

Surprise surprise, consulting the big guys results in a fee structure to stiff the small guys

Based on article from smallscale.tv

The above story about the campaign featured in the media section of well-respected TV website Digital Spy spurred an almost immediate response from ATVOD Director Peter Johnson, defending the new regime.

For the first time on record, Johnson confirmed that ATVOD is now charging a concessionary fee of £150 for the current year to a number of organisations, although we only know of one such. Our understanding is that this organisation is a charity, which we don't believe should be charged in any event.

Johnson also said that ATVOD is fully aware of the concerns of smaller enterprises that fall within scope of the flat rate fee set for the first year of the new arrangements, claiming that this is a fee set after a public consultation held jointly by ATVOD and Ofcom. [and no doubt all the big TV media companies contributed. They have a bit of vested interest in keeping their fees down whilst being able to use censorship to keep small competitors out of the market]

It was certainly the case that in September 2010, when this writer had his first conversation with ATVOD's Peter Johnson, that no concessionary fee was available – or even available for discussion. During this and subsequent conversations, Johnson said that no smaller providers had come forward at the time of the original consultation, and that if his decision was that a service fell within scope, ATVOD would take any non-payer to court to force payment. ATVOD's currently online statement regarding concessionary fees on went online on 12th November 2010, apparently after extensive lobbying from a number of disgruntled parties.

But even the possibility of concessionary regulatory fees for small-scale video on demand doesn't hold out much hope for businesses considering developing online services.