Building the Creative Content Access Alliance a...“Hung Up” as performed by Madonna •4...
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{ Building a Creative Content Access Alliance A presentation to the Digital Agenda Assembly Workshop ICT and Management of Creative Content Mark Bide, Rightscom Brussels: 17 June 2011
Transcript of Building the Creative Content Access Alliance a...“Hung Up” as performed by Madonna •4...
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Building a Creative Content Access Alliance
A presentation to the Digital Agenda Assembly Workshop
ICT and Management of Creative Content
Mark Bide, Rightscom Brussels: 17 June 2011
The internet is a great example of interoperability - numerous devices and applications working together anywhere in the world. Europe must ensure that new IT devices, applications, data repositories and services interact seamlessly anywhere - just like the internet. The Digital Agenda identifies improved standard-setting procedures and increased interoperability as the keys to success.
A Digital Agenda for Europe - COM(2010) 245 final/2
In the EU 2020 Strategy, we have committed to create "smart growth"– an economy based on knowledge and innovation….Smart growth is essential for the cultural and creative sectors and for ensuring that artists can receive a fair remuneration…It is time for us to live up to our European potential ...I am pragmatic about the solution we need to find. And just as I share your values and passion for the creative arts, so I hope that you will share my pragmatism. If we do it right, the Digital Single Market can boost Europe's economy, boost the diversity of our creative output, and boost artist rewards too.
Copyright for the Single Market – good for artists, good for consumers, good for the economy
Neelie Kroes, Vice-President of the European Commission responsible for the Digital Agenda
CISAC World Copyright Summit, Brussels, 7 June 2011
Through copyright, society values the role of creators – the
author and composer, the photographer and musician – and
grants them the right to choose how their creations are used
In the three centuries since it was codified in law, copyright has
been the engine through which a diverse and exciting media
sector has developed
Copyright as law is broadly fit for purpose in the 21st Century –
as in the past, its central tenets hold good for each change in
technology
Increasingly traditional copyright practice is no longer fit for
purpose: “the answer to the machine is in the machine”
The best big ideas are the simplest
Against this backdrop the Commission…will encourage and support projects undertaken by various stakeholders to develop automated and integrated standards based rights management infrastructures Interoperable online data bases should help identify right holders and foster development of licensing infrastructures…. Users who integrate copyright-protected materials in their own creations which are uploaded on the internet must have recourse to a simple and efficient permissions system.
A Single Market for Intellectual Property Rights: Boosting creativity and innovation to provide economic growth, high quality jobs and first class products and services in Europe
The European Commission IPR Strategy, May 2011
…Emphasises that IPR are a fundamental asset for creative companies and an incentive for individual creativity and investment in creation; calls, therefore, for schemes to help CCI adapt to the digital shift via new online services based on new forms of rights management promoting authors' rights.
Unlocking the potential of cultural and creative industries Resolution of the European Parliament adopted 12 May 2011
It is widely acknowledged that the solution to these difficulties lies in the very technologies that created the problem. Just as digital technology provide new and exciting way of using content, they offer a means of transforming the efficiency of licensing
Digital Opportunity – A review of Intellectual Property and Growth The “Hargreaves report” to the UK Government, May 2011
25 Use Cases – 3 themes
Movies
Television
Software
Music
Magazines
Books
Newspapers
Journals
1. We need to be able to communicate more effectively about rights and permissions within our supply chain
2. We need to be able to communicate more effectively about rights and permissions to our users
3. We need more effective tools for transactional licensing – automated and semi-automated
There is little of what is needed that hasn’t already been done, somewhere….
…but developments have been in sectoral silos
As content distribution channels converge on the Internet we cannot expect users to know or care about our internal sectoral distinctions
Convergence is inescapable
Facilitate a standards-based infrastructure for the identification and description of rights (communication not enforcement) A relationship mechanism that allows copyright content to be
connected with its rightsholder
Based on creating interoperability between the many technical building blocks that already exist
The role of an Alliance is to facilitate not to participate Recognising that various sectors are already laying the cables,
and building the routers, maximise consistency and interoperability
Enabling and facilitating the development of market-driven services, delivered by both current and entrepreneurial new entrants
Flexibility essential Not tied to particular business models or business architectures
Responsive to environment (consumer, regulatory, commercial, technical)
What needs to be done by an Alliance
Creation of “rights servers” and related services – many already exist, others will come into existence to build on the infrastructure
Compulsory participation – rightsholders should participate because it is in their interests to do so
What does not need to be done by an Alliance
{ ACAP 2.0 and the Newspaper Licensing Agency
Improving communication within the supply chain
{ The Copyright Licensing Agency
Improving communication with end users
{ Elsevier Science and ONIX-PL
Improving communication with end users
On Web Page
Embedded in PDF
RAW XML – an implementation of ONIX-PL
IJSCR Licenses/Terms
License Full View
Usage terms
{ CCC’s RightsLink
Providing machine support to rights clearance
6/16/2011
Publishers’ supported “Types of Use”
6/16/2011
Publishers’ qualifying questions
6/16/2011
6/16/2011
6/16/2011
{ EMI Music Publishing
Building a rights registry – the Global Repertoire Database
Global Repertoire Database
For Musical Works
GRD for Musical Works
The problem
The current system means:
• 27 different, un-reconciled CRM databases in Europe maintained on a
national basis or with a national picture
• Huge duplication of cost, inconsistent transparency, inconsistent
business processes and a failure to rigorously apply industry
standards and identifiers
• a wide variation in the quality and completeness of the national
datasets with limited user and rights-holder access and no pan-
European database
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GRD for Musical Works
Example
“Hung Up” as performed by Madonna
• 4 different writers
• each with different society affiliations
• each with different publisher relationships
Current System for EU Registrations
• 108 separate registrations (4x27)
• 27 national unreconciled records
• no pan European rights picture
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GRD for Musical Works
The vision
• Comprehensive transparent authoritative multi-territory openly accessible
database available to all CRMs rights holders creators and service providers
• Increased efficiency and accuracy of administration and reduced
administration costs and complexity for all stakeholders in the value chain
• Opening up multi territorial licensing opportunities and increasing stakeholder
confidence in licensing solutions
Leading to more innovative legitimate services, broader availability of content
to consumers, more effective efficient and flexible licensing for CRMs and
improved rewards for rights holders and creators
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GRD for Musical Works
GRD Working Group – progress to date
• The online roundtable leads to formation of the Global Repertoire Database Working
Group
• Cross stakeholder group: Apple i-Tunes, Amazon, Nokia, PRS, STIM, SACEM,
Universal Music Publishing and EMI Music Publishing
• April 2010 GRD WG issues RFI
• July 2010 GRD WG issues RFP
• December 2010 GRD WG issues comprehensive recommendations
• April 2011 ICMP joins GRD WG
• May 2011 ECSA joins GRD WG
• June 2011 CISAC joins GRD WG
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The Agreement
Hierarchy can easily
be accessed
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Drilling down an Agreement Hierarchy
– the key to displaying work ownership
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The Agreement Hierarchy –
offering world coverage
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Another work entry and another chain of
agreements, but displaying the same flexibility
– in this case ownership for the territory of UK
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Same work but for the territory of Netherlands –
again made possible via the agreement hierarchy
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Same work but for the territory of Switzerland
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Same work but for the territory of Australia
… and so on
GRD for Musical Works
Next steps
• Broader WG stakeholder participation – Google and EDIMA expected to join shortly
• Scoping and stakeholder consultation project anticipated to take 6 months. Launching July 2011
• Build of final 2 modules of the ICE technology for the purposes of providing full GRD functionality anticipated for completion in 2012
• Music industry to fully adopt and use ISRC/ISWC/DDEX/CCID/CWR/CRD data standards and exchanges in a consistent way
• Integration with a sound recording and audiovisual works database (already near completion)
The adoption and consistent application of data format and data exchange standards throughout the EU is key to delivering licensing and administration solutions fit for the digital age and consistent with a single market approach
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Some initial conclusions
Lots of great work already happening.
We’re embracing digital.
We need to work together to maximise potential.
Collaborative
Supportive of any business model or workflow
Open and transparent
Equally sensitive to user and rightsholder rights
All standards deployed open and non-proprietary
We must work together in a cross-media Alliance
Some of the organisations which will
need to be consulted
Global Repertoire Database
Book Rights Registry
Building a Creative Content Access Alliance Our presenters and panel:
Antony Bebawi (EMI Music Publishing) [email protected]
Mark Bide (Rightscom) [email protected]
Simon Juden (Pearson) [email protected]
Norman Paskin (International DOI Foundation) [email protected]
Bill Thompson (BBC Archive) [email protected]
Angela Mills Wade (European Publishers Council) [email protected]
Dominic Young (Ytrium) [email protected]
ICT and the Management of Creative Content: Brussels: 17 June 2011
{ Bill Thompson
Communicating permissions and tracking use
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How does this relate to User Generated Content?
Dominic Young
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How much of the infrastructure is already in place?
Norman Paskin
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What are the next steps?
Simon Juden
Facilitate the development of basic standards and protocols for greater automation in rights licensing, building on existing work and tying it together, identifying gaps and seeking ways to fill them by extending existing standards rather than by reinventing them
Acting as a coordination point for standards which become integrated into the various industry protocols
Facilitate interoperability between standards for rights servers online
Facilitating the interoperability between different rights servers and databases
Promote trusted source of reliable information and keep databases and information exchanged secure
creating an information exchange to encourage innovation and investment in content creation and licensing
The tasks for an Alliance
Building a Creative Content Access Alliance Our presenters and panel:
Antony Bebawi (EMI Music Publishing) [email protected]
Mark Bide (Rightscom) [email protected]
Simon Juden (Pearson) [email protected]
Norman Paskin (International DOI Foundation) [email protected]
Bill Thompson (BBC Archive) [email protected]
Angela Mills Wade (European Publishers Council) [email protected]
Dominic Young (Ytrium) [email protected]
ICT and the Management of Creative Content: Brussels: 17 June 2011
