Re: Dispute with model over Trade for Copies photo shoot

"Pete" <available.on.request@xxxxxxxxxxxxxxx> wrote in message
news:2010091622354518234-availableonrequest@xxxxxxxxxxxxxxxxx

Thanks for your posts, Floyd. It took me a while to understand the meaning
of an original digital image, but I'm very glad that I got there in the
end. I'll put it to good use when I create more than one version in a NEF
file. My photography will probably never be good enough to need a
traceable method for version control, but I'll make it a habit just in
case.

With games content this is usually a case of keeping the source content
under lock and key, and contracts. Provenance plays a large role in
determining what is original and what is a licensed copy. That's why it's
unlawful to acquire a 'pirate' copy of something even if you (literally)
have the original stored on a retail disc.

Plenty of developers have used unlicensed content in the past after suitably
munging it but those wild west days have gone. It /could/ be done today but
if you get caught you're almost certainly going to face a painful lawsuit
and be frozen out of the industry. *Nobody* will touch you.

Actually, that's a thought. I keep my (shit) raws+jpegs as proof of
ownership but something like an SHA-1 hash in a contract can be proof of
ownership even if you pass on the original raw+jpeg. I'm not sure how that
works out in workflow or legal terms but it's something to chew on.

Here's a funny story: Monolith own the sourcecode rights to Blood. They're
happy to release it but the problem is they've lost it. Atari have a copy of
the original sourcecode in their archives but don't have the will or the
rights to release it. Result? Deadlock.

I've found that games development has been locked in its own bubble for
years which is why established norms and standards and, indeed, skillsets
and knowledge taken for granted in other industries are foreign. That's
changing now but photography is equally guilty in its own way.

--
Charles E Hardwidge

.

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