May 12, 2024

Software HD-DVD/Blu-ray Players Updated

The central authority that runs AACS (the anticopying/DRM system used on commercial HD-DVD and Blu-ray discs) announced [April 6, 2007 item] last week the reissue of some software players that can play the discs, “[i]n response to attacks against certain PC-based applications”. The affected applications include WinDVD and probably others.

Recall that analysts had previously extracted from software players a set of decryption keys sufficient to decrypt any disc sold thus far. The authority could have responded to these attacks by blacklisting the affected applications or their decryption keys, which would have limited the effect of the past attacks but would have rendered the affected applications unable to play discs, even for law-abiding customers – that’s too much collateral damage.

To reduce the harm to law-abiding customers, the authority apparently required the affected programs to issue free online updates, where the updates contain new software along with new decryptions keys. This way, customers who download the update will be able to keep playing discs, even though the the software’s old keys won’t work any more.

The attackers’ response is obvious: they’ll try to analyze the new software and extract the new keys. If the software updates changed only the decryption keys, the attackers could just repeat their previous analysis exactly, to get the new keys. To prevent this, the updates will have to restructure the software significantly, in the hope that the attackers will have to start their analysis from scratch.

The need to restructure the software explains why several months expired between the attacks and this response. New keys can be issued quickly, but restructuring software takes time. The studios reportedly postponed some planned disc releases to wait for the software reissue.

It seems inevitable that the attackers will succeed, within a month or so, in extracting keys from the new software. Even if the guts of the new software are totally unlike the old, this time the attackers will be better organized and will know more about how AACS works and how implementations tend to store and manage keys. In short, the attackers’ advantage will be greater than it was last time.

When the attackers manage to extract the new keys, a new round of the game will start. The player software will have to be restructured again so that a new version with new keys can replace the old. Then it will be the attackers’ turn, and the game will continue.

It’s a game that inherently favors the attackers. In my experience, software analysts always beat the obfuscators, if the analysts are willing to work hard, as they are here. Every round of the game, the software authors will have to come up with new and unexpected tricks for restructuring their software – tricks that will have to resist the attackers’ ever-growing suite of analysis tools. And each time the attackers succeed, they’ll be able to decrypt all existing discs.

We can model the economic effect of this game. The key parameter is the attackers’ reaction time, that is, how long it takes the attackers to extract keys from each newly issued version of the player software. If this time is short – say, a few weeks – then the AACS authority won’t benefit much from playing this game, and the authority would be nearly as well off if it simply gave up and let the extracted keys remain valid and the exploited software stay in the field.

My guess is that the attackers will extract keys from the new software within about three weeks of its availability.

EMI To Sell DRM-Free Music

EMI, the world’s third largest record company, announced yesterday that it will sell its music without DRM (copy protection) on Apple’s iTunes Music Store. Songs will be available in two formats: the original DRMed format for the original $0.99 price, or a higher-fidelity DRM-free format for $1.29.

This is a huge step forward for EMI and the industry. Given the consumer demand for DRM-free music, and the inability of DRM to stop infringement, it was only a matter of time before the industry made this move. But there was considerable reluctance to take the first step, partly because a generation of industry executives had backed DRM-based strategies. The industry orthodoxy has been that DRM (a) reduces infringement a lot, and (b) doesn’t lower customer demand much. But EMI must disbelieve at least one of these two propositions; if not, its new strategy is irrational. (If removing DRM increases piracy a lot but doesn’t create many new customers, then it will cost EMI money.) Now that EMI has broken the ice, the migration to DRM-free music can proceed, to the ultimate benefit of record companies and law-abiding customers alike.

Still, it’s interesting how EMI and Apple decided to do this. The simple step would have been to sell only DRM-free music, at the familiar $0.99 price point, or perhaps at a higher price point. Instead, the companies chose to offer two versions, and to bundle DRM-freedom with higher fidelity, with a differentiated price 30% above the still-available original.

Why bundle higher fidelity with DRM-freedom? It seems unlikely that the customers who want higher fidelity are the same ones who want DRM-freedom. (Cory Doctorow argues that customers who want one are probably less likely to want the other.) Given the importance of the DRM issue to the industry, you’d think they would want good data on customer preferences, such as how many customers will pay thirty cents more to get DRM-freedom. By bundling DRM-freedom with another feature, the new offering will obscure that experiment.

Another possibility is that it’s Apple that wants to obscure the experiment. Apple has taken heat from European antitrust authorities for using DRM to lock customers in to the iTunes/iPod product line; the Euro-authorities would like Apple to open its system. If DRM-free tracks cost thirty cents extra, Apple would in effect be selling freedom from lockin for thirty cents a song – not something Apple wants to do while trying to convince the authorities that lockin isn’t a real problem. By bundling the lockin-freedom with something else (higher fidelity) Apple might obscure the fact that it is charging a premium for lockin-free music.

One effect of selling DRM-free music will be to increase the market for complementary products that make other (lawful) uses of music. Examples include non-Apple music players, jukebox software, collaborative recommendation systems, and so on. (DRM frustrates the use of such complements.) Complements will multiply and improve, which over time will make DRM-free music even more attractive to consumers. This process will take some time, so the full benefits of the new strategy to EMI won’t be evident immediately. Even if the switch to DRM-free music is only a break-even proposition of EMI in the short run, it will look better and better in the long run as complements create customer value, some of which will be capturable by EMI through higher prices or increased sales.

The growth of complements will also increase other companies’ incentives to sell DRM-free music. And each company that switches to DRM-free sales will only intensify this effect, boosting complements more and making DRM-free sales even more attractive to the remaining holdout companies. Expect a kind of tipping effect among the major record companies. This may not happen immediately, but over time it seems pretty much inevitable.

In the meantime, EMI will look like the most customer-friendly and tech-savvy major record company.

AACS: Slow Start on Traitor Tracing

[Previous posts in this series: 1, 2, 3, 4, 5, 6, 7, 8.]

Alex wrote on Thursday about the next step in the breakdown of AACS, the encryption scheme used on next-gen DVD discs (HD-DVD and Blu-ray): last week a person named Arnezami discovered and published a processing key that apparently can be used to decrypt all existing discs.

We’ve been discussing AACS encryption, on and off, for several weeks now. To review the state of play: the encryption scheme serves two purposes: key distribution and traitor tracing. Key distribution ensures that every player device, except devices that have been blacklisted, can decrypt a disc. Traitor tracing helps the authorities track down which player has been compromised, if key information is leaked. The AACS authorities encode the header information for each disc in such a way that keys are distributed properly and traitor tracing can occur.

Or that’s the theory, at least. In practice, the authorities are making very little use of the traitor tracing facilities. We’re not sure why this is. They surely have an interest in tracing traitors, and failing to encode discs to facilitate traitor tracing is just a lost opportunity.

The main traitor tracing feature is the so-called sequence key mechanism. This mechanism is not used at all on any of the discs we have seen, nor have we seen any reports of its use.

A secondary traitor tracing feature involves the use of processing keys. Each player device has a unique set of a few hundred device keys, from which it can calculate a few billion different processing keys. Each processing key is computable by only a fraction of the players in the world. Each disc’s headers include a list of the processing keys that can decrypt the disc; any one of the listed processing keys is sufficient to decrypt the disc.

For some reason, all existing discs seem to list the same set of 512 processing keys. Each player will be able to compute exactly one of these processing keys. So when Arnezami leaked a processing key, the authorities could deduce that he must have extracted it from a player that knew that particular processing key. In other words, it narrowed down the identity of his player to about 0.2% of all possible players.

Because all existing discs use the same set of processing keys, the processing key leaked by Arnezami can decrypt any existing disc. Had the authorities used different sets of processing keys on different discs – which was perfectly feasible – then a single processing key would not have unlocked so many discs. Arnezami would have had to extract and publish many processing keys, which would have made his job more difficult, and would have further narrowed down which player he had.

The ability to use different processing key sets on different discs is part of the AACS traitor tracing facility. In failing to do this, the authorities once again failed to use the traitor tracing mechanisms at their disposal.

Why aren’t the authorities working as hard as they can to traitor-trace compromised players? Sure, the sequence key and processing key mechanisms are a bit complex, but if the authorities weren’t going to use these mechanisms, then why would they have gone to the difficulty and expense of designing them and requiring all players to implement them? It’s a mystery to us.

AACS: A Tale of Three Keys

[Previous posts in this series: 1, 2, 3, 4, 5, 6, 7.]

This week brings further developments in the gradual meltdown of AACS (the encryption scheme used for HD-DVD and Blu-Ray discs). Last Sunday, a member of the Doom9 forum, writing under the pseudonym Arnezami, managed to extract a “processing key” from an HD-DVD player application. Arnezami says that this processing key can be used to decrypt all existing HD-DVD and Blu-Ray discs. Though currently this attack is more powerful than previous breaks, which focused on a different kind of key, its usefulness will probably diminish as AACS implementers adapt.

To explain what’s at stake, we need to describe a few more details about the way AACS manages keys. Recall that AACS player applications and devices are assigned secret device keys. Devices can use these keys to calculate a much larger set of keys called processing keys. Each AACS movie is encrypted with a unique title key, and several copies of the title key, encrypted with different processing keys, are stored on the disc. To play a disc, a device figures out which of the encrypted title keys it has the ability to decrypt. Then it uses its device keys to compute the necessary processing key, uses the processing key to decrypt the title key, and uses the title key to extract the content.

These three kinds of keys have different security properties that make them more or less valuable to attackers. Device keys are the most useful. If you know the device keys for a player, you can decrypt any disc that the player can. Title keys are the least useful, because each title key works only for a single movie. (Attacks on any of these keys will be limited by disc producers’ ability to blacklist compromised players. If they can determine which device has been compromised, they can change future discs so that the broken player, or its leaked device keys, won’t be able to decrypt them.)

To date, no device keys have been compromised. All successful breaks, before Arnezami, have involved extracting title keys from player software. These attacks are rather cumbersome–before non-technical users can decrypt a movie, somebody with the means to extract the title key needs to obtain a copy of the disc and publish its title key online. Multiple web sites for sharing title keys have been deployed, but these are susceptible to legal and technical threats.

So is the new attack on the processing key comparable to learning a venerable device key or a lowly title key? The answer is that, due to a strange quirk in the way the processing keys used on existing discs were selected, the key Arnezami published apparently can be used to decrypt every HD-DVD or Blu-Ray disc on the market. For the time being, knowing Arnezami’s processing key is as powerful as knowing a device key. For instance, someone could use the processing key to build a player or ripper that is able to treat all current discs as if they were unencrypted, without relying on online services or waiting for other users to extract title keys.

Yet this power will not last long. For future discs, processing key attacks will probably be no more valuable than title key attacks, working only on a single disc or a few discs at most. We’ll explain why in tomorrow’s post.

SonyBMG (Accidentally?) Giving Away MP3 of New Billy Joel Song

Billy Joel’s new song, “All My Life” is being released in stages. Presently it’s available for free streaming from People Magazine’s site. Later in the month it will be available for purchase only at the iTunes Music store. After that it will be released in other online stores. Or at least that was the plan of the record company, SonyBMG.

As an anonymous reader points out, although the People site looks like it is streaming the song, thus giving users no easy way to copy it, what the site actually does is download a high-quality MP3 file (unencumbered by any copy protection) to the user’s computer, and then play the MP3. The MP3 is dropped in a place where ordinary users won’t stumble across it, but if you know where to look you’ll find it sitting on your computer after you listen to the “stream”. In other words, SonyBMG is, perhaps inadvertently, giving away high-quality MP3s of “All My Life.”

(Technical details, for those who care: The “streaming” control is actually a Flash object that downloads and plays an MP3. It uses the normal browser mechanism to do the downloading, which means that the browser (Firefox, at least) automatically squirrels away a copy of the downloaded file. Result: the MP3 file is left on the user’s system.)

The obvious question is why SonyBMG did this. It could be (1) a mistake by an engineer who didn’t realize that the canned music-player control he was using operated by downloading an MP3. Or perhaps (2) the engineer didn’t realize that the browser would keep a copy of the file. Or it could be that (3) SonyBMG knew about all of this and figured users wouldn’t notice, or (4) they figured that any user who could find the MP3 could capture an ordinary stream anyway. For what it’s worth, my money is on (2).