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There are moments in life that remind us of what really matters — not likes, not views, not numbers — but connection, humanity, and the small things we can do to make someone else's day just a little bit better. Today was one of those days.

As part of an ongoing commitment to support those in need, we set out this morning with 200 freshly prepared yakisoba meals and 200 ice-cold Guaravita drinks. Our mission was simple: bring warmth, nourishment, and dignity to the streets of Rio de Janeiro — specifically to the neighborhoods of Lapa, Glória, and Centro, where many people face life’s harshest realities every day.

While a full video recap will follow soon, we’re already sharing this story to remind ourselves and our community: we are all capable of doing good. Until the new video is online, feel free to watch our previous missions — and thank you for being part of this movement. One warm meal, one act of compassion, one human at a time.

⚖️ Case Study ⚖️

In our previous report on Phoenix TV’s reproductions of our Uruguay footage, we documented how the Hong Kong broadcaster again relied on independently created One Man Wolf Pack recordings as B-roll without any identified license, attribution, or authorization. That case concerned the use of various Punta del Este drone sequences far removed from the conflict-oriented contexts examined in earlier Syria and Iran case studies.

The Uruguay analysis identified five distinct drone sequences matching our original recordings, in which Phoenix TV overlaid its own broadcast graphics while the visible One Man Wolf Pack authorship mark (logo) — present and clearly visible in the original source material — was no longer visible in Phoenix TV’s published versions following frame-level modification or other broadcast processing.

⚖️ Case Study ⚖️

In two prior articles in this series, we documented a recurring pattern in which third-party creator footage appears in programming of Phoenix Satellite Television (Phoenix TV of Hong Kong) without identified license, attribution, or authorization, based exclusively on preserved evidence, public records, and Phoenix TV’s own publications.

First, in “Phoenix TV used Damascus footage without authorization, despite Fu Xiaotian’s 2015 on-site reporting with a full camera crew, raising questions about the broadcaster's public ‘IP respect’ claims,” we showed how Phoenix TV incorporated One Man Wolf Pack’s Damascus recordings into multiple Syria-related productions — despite Phoenix TV’s own public reporting confirming that its team had on-site access in Damascus in 2015.

⚖️ Case Study ⚖️

After documenting Phoenix TV’s unauthorized reproductions of our 2019 Damascus, Syria recordings – footage gathered amid the Syrian conflict and reused in their broadcasts dating back to 2021-2022, and ultimately removed or became unavailable from YouTube presences by August/September 2025, after our DMCA enforcement actions (see article: “Phoenix TV used Damascus footage without authorization, despite Fu Xiaotian’s 2015 on-site reporting with a full camera crew, raising questions about the broadcaster's public 'IP respect' claims”) – further research uncovered an even wider pattern of infringement.

Multiple unauthorized reproductions of our Tehran, Iran recordings, including both exclusive drone aerials and ground-level street scenes, inserted as B-roll across separate Phoenix TV productions, e.g. on their principal (former) YouTube channel (unavailable as of Jan 2026). These individual productions were partly also uploaded (as copies) on Phoenix TV's websites fengshows.com and ifeng.com.

⚖️ Case Study ⚖️

Phoenix Satellite Television (Phoenix TV) reproduced One Man Wolf Pack's exclusive Damascus footage in multiple Syria productions, despite, according to Phoenix TV’s own reporting, dispatching star anchor Fu Xiaotian to the war-torn capital in late 2015 with professional camera equipment for interviews and location reporting.

The Syrian Arab News Agency (SANA) explicitly credited the exclusive Assad interview to the “Chinese PHOENIX TV Channel,” conducted at the former Damascus presidential palace (article publication date: November 22, 2015).

Phoenix TV's very own article (来源：凤凰卫视) on ifeng.com confirms its team's presence at the Omayyad Mosque (“倭马亚清真寺进行采访”), precisely the same location of various reproduced sequences of our works.

🚨 Update as of 27/09: Reuters’ Epic Fail Deepens — Thai Broadcasters Identify Reuters as Source of Unlicensed Footage »

At One Man Wolf Pack, we dedicate our lives to capturing the beauty of our planet through cinematic, high-resolution drone footage—often filmed in countries we've come to love, respect, and feel deeply connected to. Our content is 100% original and carefully protected by copyright law, with several of our most important works registered with the U.S. Copyright Office.

It is therefore extremely troubling to discover that one of our most personal creations—“🇹🇼 4K Drone Footage TAIPEI 🔥 Capital of Taiwan 🔥🔥🔥 [DJI Phantom 4]”—was used without our knowledge or permission in a series of news reports with clear geopolitical messaging, including military-related broadcasts distributed globally. 🔶 Read the full article on this infringement of our copyright »

⚖️ Case Study ⚖️

When people talk about systematic copyright theft in Latin America, most assume the problem is limited to small regional outlets, newsrooms cutting corners, or the occasional lazy editor who “just grabbed something from YouTube.” But nothing — absolutely nothing — comes close to the scale, duration, and boldness of what TyC Sports from Argentina has been doing systematically for years.

This article documents how Tele Red Imagen S.A. (TyC Sports) evolved into what can only be described as Latin America’s largest, most persistent, and most shameless copyright-theft machine — a broadcaster that continued stealing even after being warned, after admitting unlicensed use, after nearly having their YouTube channel terminated, and even after being sued in court.

⚖️ Case Study ⚖️

On April 1, 2025, the Chinese People’s Liberation Army (PLA) released a polished propaganda video combining military imagery, nationalistic messaging, and territorial signaling toward Taiwan. Inside that video — without permission, license, or attribution — appeared one sequence of our U.S.-registered Taiwan drone footage. From there, the sequence began appearing around the world.

Reuters syndicated the video to outlets worldwide. Channels in Asia and beyond published it without due diligence. Newsrooms around the world distributed PLA propaganda. By early October, we found the same stolen footage resurfaced on platforms operated by one broadcaster we would not have expected: Nippon Television Network Corporation (NTV) — Japan’s largest private TV station.

⚖️ Case Study ⚖️

The footage was reproduced across CGTN's YouTube channel, official website, and Twitter/X account, under the pretext of “sourcing” it from a TikTok account. When confronted, CGTN apologized in writing and claimed to “take full responsibility.” Yet, once informed that resolution must include all CCTV and CCTV+ infringements under one global settlement, they went entirely silent — mirroring the same pattern of bad faith already seen with CCTV and CCTV+. All evidence and CGTN’s written admission are preserved.

Legal action will now be consolidated in the United States, with additional jurisdictions expressly reserved.

⚖️ Case Study ⚖️

In mid-2023, one of Brazil’s largest broadcast groups, the BAND Network, learned first-hand how unforgiving YouTube’s copyright enforcement system can be. The episode began after One Man Wolf Pack filed copyright takedown notices against several regional channels that were operating under the BAND branding, including Rádio Bandeirantes Goiânia and Rádio BandNews Goiânia. Both accounts were removed in June 2023 for repeated copyright violations.

YouTube’s internal policy treats related or jointly-managed accounts as part of the same network; when one violates the platform’s terms, others can automatically fall with it. The idea is simple: stopping serial infringement across an organization, not just an individual upload.

⚖️ Case Overview ⚖️

Plaintiff: Miroslaw Tadeusz Wawak (One Man Wolf Pack)
Defendant: Carolina Pintos de Britto (YouTube channel "Carolina Britto Designer de Interiores")
Court: 3ª Vara Cível de Gravataí — Tribunal de Justiça do Estado do Rio Grande do Sul | Date: Ruling published November 3, 2025

Copyright Infringement: The Court confirmed that Carolina Pintos de Britto used 3 minutes and 58 seconds of Miroslaw Wawak’s copyrighted drone footage — without authorization, license, or credit — in her YouTube channel. She also copied the original video title and removed the logo and opening sequences identifying the original author.

⚖️ Case Overview ⚖️

Plaintiff: Miroslaw Tadeusz Wawak (One Man Wolf Pack)
Defendant: Rafael Delgado Garcia (YouTube channel "The Finest")
Court: Juzgado de lo Mercantil Nº 12, Madrid, Spain | Date: May 13, 2025

Copyright Infringement: The court confirmed that Rafael Delgado García used 139 seconds of Wawak’s copyrighted drone footage — across six monetized YouTube videos — without any form of license, rights transfer, or authorization. The court explicitly rejected the defendant’s "Fair Use" defense.

Cease & Desist: The ruling includes a binding court order requiring the removal of the infringing videos, establishing a firm legal precedent for further enforcement under EU and international IP law.

🚨 Update: CCTV’s copyright scandal is escalating. On ↗️ CopyCatTV.com, we are now publishing detailed evidence showing how China’s state broadcaster not only stole U.S.-registered footage but also lied under oath in the DMCA system.

Instead of negotiating in good faith, CCTV filed fraudulent counter-notifications on YouTube — swearing they used “2–3 seconds” when in fact they copied 14 sequences totaling nearly a full minute. Their lies were submitted under penalty of perjury, locking them into U.S. jurisdiction and exposing them to statutory damages, fraud liability, and global accountability. On CopyCatTV.com, we will gradually expose the entire case:

• CCTV’s bad faith defenses and fraudulent filings
• Their ignored emails and attempts at confidential back-channeling
• The #GreatWallOfSilenceAndShame built around their propaganda operations

Picture: This is where it began — peaceful footage of Taiwan’s Capital Taipei, later hijacked for military propaganda. Today, justice was served. © One Man Wolf Pack

Over the past month, two European creators (Filip from “Amazing Planet” and myself, “One Man Wolf Pack”) have faced an unprecedented copyright war—one waged not by individuals or even ordinary companies, but by China’s state broadcaster CCTV. Instead of defending global creators, YouTube enabled the abuse, leaving us exposed to Beijing’s censorship and trampling on the rights of every independent creator in the world.

Twice in a single month, CCTV’s official YouTube channel triggered the “7-day grace period”—the infamous “404 Monkey Countdown”—by racking up at least three active copyright strikes. Under YouTube’s own rules, this triggers a channel lockdown: no new uploads, and seven days until permanent termination unless the matter is resolved.

Picture: While the world celebrates freedom and light, YouTube sides with darkness & censorship.
© One Man Wolf Pack

The Email Heard Around the Courtroom: In a thread dated May 5, 2025, a Reuters Account Manager for Latin America confirms that the footage in question — sourced from the Chinese Army, redistributed by Reuters, and then published by RECORD — was indeed withdrawn from Reuters Connect (Video Edit “3178-China-Taiwan-Military”). And even better: Reuters communicated on April 14, 2025, that all clients should cease using it immediately.

“...we have communicated to all Reuters customers that received the footage via us that they should make no further use of the video.”

You heard that right. RECORD had more than two weeks to remove the footage. They didn’t. Only after the YouTube strikes were issued did they panic. Now they’re pleading to have the strikes lifted, citing Reuters as the origin. But here's the truth...

Picture: When the Dragon fuels lies, the Tiger stays silent — but the Wolf brings justice.
© One Man Wolf Pack

⚖️ Case Overview ⚖️

Plaintiff: Miroslaw Tadeusz Wawak (One Man Wolf Pack)
Defendants: Rádio e Televisão Bandeirantes S.A. and related entities, including their YouTube and Facebook channels
Court: 22ª Vara Cível, São Paulo, Brazil | Date: Ruling published February 24, 2025

Copyright Infringement: The court recognized that BAND and its affiliates used Wawak’s original video works—including marked and watermarked footage—across multiple platforms without authorization or payment.

Material Damages: The court awarded damages at US$90 per second of unauthorized video use, meticulously calculated from provided evidence and confirmed by blockchain-preserved records (Verifact).

Picture: Two slots, two speeds — but for BAND, no delivery could outrun accountability. © OMWP

For the first time, China’s information warfare didn’t rely solely on social media or state-controlled platforms like CCTV. It was broadcast on Brazil’s second-largest television network — RECORD — lending the propaganda a veneer of legitimacy and authority that such a platform inherently carries. The content aired without scrutiny, without fact-checking, and without any apparent concern for its origin.

How Did It Happen? On April 1, 2025, RECORD News aired a segment that included my aerial drone footage of Taipei 101 — a globally recognized symbol of Taiwan’s democracy and resilience. This footage was never licensed, never authorized. Worse still, it was embedded in a Chinese military propaganda video, one that visually framed Taipei as a target of simulated People’s Liberation Army (PLA) strikes.

Picture: A City of Resilience: Taipei's Iconic Landscape Amidst the Battle for Truth and Copyright Protection © One Man Wolf Pack

In a world where headlines move faster than ethics, even the most respected names in journalism can find themselves compromising their integrity. This time, that name is Reuters.

Rather than simply reporting the news, Reuters played a far more dangerous role: they helped deliver it — straight from the media playbook of an authoritarian regime. The video in question wasn’t journalism. It was a slickly produced piece of narrative warfare, crafted by China’s military propaganda arm, pushed through global channels via Reuters' platforms, and picked up by broadcasters across multiple continents.

And what was inside this “newsworthy” package? A direct threat toward Taiwan — wrapped in war drums, drone views, and cinematic pacing. All dressed up and labeled: Breaking News.

Picture: Glass vs Glass. A poetic contrast of transparency vs. opacity © One Man Wolf Pack

In 2012, a string of grisly murders sent shock waves through the Berlin party scene. The killer remained at large — until one of his targets survived: Miroslaw Wawak - Survivor of the "Darkroom Killer".

In 2012, a mysterious series of murders terrorizes Berlin. The victims, seemingly chosen at random, are drugged with an unusual substance — a trace that baffles investigators. As news of the gruesome murders make headlines across Germany and more mysterious cases emerge, pressure on the investigators to solve the case intensifies.

The 3x40min docuseries Crime Scene Berlin: Nightlife Killer, developed by Beetz Brothers Film Production and Joe Berlinger, tells a true-crime case based on a shocking story that unfolds in the midst of Berlin's nightlife.

Sources: Photo © Netflix | Text © Netflix / Beetz Brothers Film Production