Transcript 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

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
Movies
Software
Magazine
s
2. We need to be able to
communicate more
effectively about rights
and permissions to our
users
Music
Books
Newspapers
Journals
1. We need to be able to
communicate more
effectively about rights
and permissions within
our supply chain
Television
3. We need more
effective tools for
transactional licensing –
automated and semiautomated
25 Use Cases – 3 themes

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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

A standards-based infrastructure for the identification and
description of rights (communication not enforcement)

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The role of an Alliance is to facilitate not to participate

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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
To lay the cables, and build the routers, not to fashion the
services built on
A level playing field, 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
Able to adjust to environment (consumer, regulatory,
commercial, technical)
What needs to be done by an Alliance

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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
Improving
communication within
the supply chain
{
ACAP 2.0 and the Newspaper
Licensing Agency
Improving
communication with
end users
{
The Copyright Licensing Agency
Improving
communication with
end users
{
Elsevier Science and ONIX-PL
Embedded in PDF
Can also be embedded
in XMP and similar tools
On Web Page
The License
RAW XML – an implementation of ONIX-PL
Usage terms
License Full View
IJSCR Licenses/Terms
Improving interface tools
Improving
communication with
end users
{
D-LIB Magazine
Automating rights
clearance
{
CCC’s RightsLink
11/7/2015
11/7/2015
Publishers’ supported “Types of Use”
11/7/2015
Publishers’ qualifying questions
11/7/2015
11/7/2015
Building a rights
registry – the Global
Repertoire Database
{
Antony Bebawi
EMI Music Publishing
Global Repertoire Database
Brussels 17th June 2011
The advent of global distribution and multi-territory licensing
presents fundamental challenges to the music industry
Early 2000’s....
2005
EC vision;
Development of
online and multiterritory
services...
• Encourage
competition
between
societies
• Drive to achieve a
single market for
multi-territory
licensing
EC intervention
(2005)
•Recommendation
to adopt “Option
3” -one collective
rights manager to
licence on behalf
of a rights holder
across Europe
2005 - present
• Multi-territory
licensing
• Repertoirespecific
licensing
Multi-territory and repertoire-specific licensing create increased complexity →
A pressing need for the development of one authoritative source of multi-territory rights
ownership information
It also creates a logic for consolidation of common data-related functions/services
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Global Repertoire Database
The EC and the Online Roundtable
•
In September 2008, then Competition Commissioner Neelie Kroes launched a series of
Roundtable meetings
•
Brokering dialogue between industry stakeholders on legal and administrative barriers to the
online distribution of music
•
General agreement on the need for a common framework for consolidating and maintaining
accurate data regarding musical works, their ownership and authority to license
•
A potential solution was the development of a Global Repertoire Database (GRD)
•
As an action from the work of the Roundtable a GRD Working Group was established to
explore the possibilities of a GRD further
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Global Repertoire Database
A GRD Working Group was established by the European
Commission to look at how a GRD for musical works can be
created
and implemented
The membership of the Working Group (WG) originally comprised representatives from music
•
service providers, publishers and collecting societies.
•
31
The following organisations are WG members:
Music Service
Providers (MSPs)
•
•
•
iTunes
Amazon
Nokia
Collecting Societies
•
•
•
PRS for Music
SACEM
STIM
Publishers
•
•
EMI Music Publishing
Universal Music Publishing
Global Repertoire Database
We issued a Request for Information and a Request for Proposal
which set out our high level requirements for the GRD
•
The GRD WG started meeting in late 2009 initially focusing on determining how best a common
framework for rights ownership information could be achieved
•
The conclusion of these discussions was that a central repository of authoritative information is
needed, the high-level requirements of which are set out in the Request for Information and
Request for Proposals
80 organisations
Request for Information
April 2010
30
Request for Proposals
July 2010
14
Oral Presentations
November 2010
7
32
Global Repertoire Database
Drilling down an Agreement Hierarchy – the key to displaying work
ownership
The Agreement
Hierarchy can easily
be accessed
33
The Agremeent Hierarchy – offering world coverage
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Another work entry and another chain of agreements, but displying the
same flexibility – in this case ownership for the territory of UK
35
Same work but for the territory of Netherlands – again made possible via
the agreement hierarchy
36
Same work but for the territory of Switzerland
37
Same work but for the territory of Australia... and so on
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As a result of this process, we concluded that Deloitte should work
with ICE to carry out a Scoping and Stakeholder Consultation Study
•
The Scoping and Stakeholder Consultation Study
focuses on:
− High level view of how the GRD solution will
work from a number of perspectives, including:
 Funding and governance models
 Top level business processes and
organisation design
Technology
Solution
Roadmap for
Delivery
 Technical enhancements required to deliver
the GRD
 Data cleanse and population options
 Geographic locations
Data Solution
GRD
Business
Case
Process &
People
 Business case and roadmap
− How the GRD solution will fit into the wider
industry landscape
•
The intention is to ensure significant consultation
with key stakeholder groups
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Global Repertoire Database
Stakeholder
Commitment
Governance
& Funding
The GRD Working Group will now embark on the Stakeholder
Consultation Study with a much broader representation from
across the online value chain
•
The following organisations are WG members:
Music Service
Providers (MSPs)
Collecting Societies
Publishers
Creators
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Global Repertoire Database
•
•
•
iTunes
Google
EDiMA representing the European online retailing
community, including Amazon and Nokia
•
•
•
•
PRS for Music
SACEM
STIM
CISAC representing the worldwide community of collection
societies and authors & composers
•
•
•
EMI Music Publishing
Universal Music Publishing
ICMP representing the worldwide publishing community
•
ECSA representing the European community of authors &
composers of musical Works
The GRD will provide benefits to everyone in the market
Composers and
Authors
Publishers
Collecting Societies
Music Service
Providers (MSPs)
Consumers
•
More royalties distributed more quickly
•
Working capital costs avoided
•
More efficient interaction with CMOs
•
More effective and transparent licensing
•
Easier to manage licences
•
Less time spent resolving disputes arising from data
discrepancies
•
Easier to identify who needs to be contacted to acquire licences
•
Easier to reconcile royalty invoices
•
Making licensing easier and therefore encouraging more
licensed music services
GRD is a fundamental building block for new industry initiatives such as and without
accurate, trustworthy data we cannot find “the answer in the machine”
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Global Repertoire Database
Some initial
conclusions
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Collaborative
Not for profit (but adequately funded)
Supportive of any business model or workflow
Open, transparent and accountable for its operations and
decision-making
Equally sensitive to user and rightsholder rights
All standards deployed open and non-proprietary
We must work to develop a
cross-media Alliance
Some of the organisations which will
need to be consulted
Book Rights Registry
Global Repertoire Database
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
Communicating
permissions and
tracking use
{
Bill Thompson
How does this relate to
User Generated
Content?
{
Dominic Young
How much of the
infrastructure is
already in place?
{
Norman Paskin
What are the next
steps?
{
Simon Juden
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defining basic standards and protocols for automated 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
developing a clear and unambiguous iconography for
permissions communication
acting as a coordination point for standards which become
integrated into the Alliance protocols
developing appropriate governance and sustainability models
defining conditions and standards to be met by anyone
operating a rights server online
operating the “root” rights servers on the internet, an
authoritative record of who owns and controls rights
acting as a 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