Så, hvis du er blandt publikum idag, eller du måske ser denne video på et andet tidspunkt og sted er du en deltager i de digitale rettigheders økosystem. Uanset om du er kunstner, tekniker, advokat eller en fan, så har håndtering af copyright direkte indvirkning på dit liv. Nu er rettighedsforvaltning ikke længere et spørgsmål om ejerskab. Det er et indviklet net af relationer og en kritisk del af vores kulturelle landskab. YouTube bekymrer sig dybt om indholdets ejeres rettigheder. Men for at give dem valgmuligheder, hvad de kan gøre med kopier, mash-ups og meget mere, bliver vi først nødt til at identificere hvornår copyright-materiale er uploadet til vores hjemmesider.
So, if you're in the audience today, or maybe you're watching this talk in some other time or place, you are a participant in the digital rights ecosystem. Whether you're an artist, a technologist, a lawyer or a fan, the handling of copyright directly impacts your life. Rights management is no longer simply a question of ownership, it's a complex web of relationships and a critical part of our cultural landscape. YouTube cares deeply about the rights of content owners, but in order to give them choices about what they can do with copies, mashups and more, we need to first identify when copyrighted material is uploaded to our site.
Lad os se på en specifik video, så du kan se, hvordan det fungerer For to år siden frigav musikeren Chris Brown, den officielle video til hans single, "Forever". En fan så den på TV, optog den med kameraet på mobilen, og uploadede den til YouTube. Fordi Sony Music havde registreret Chris Brown's video i deres Content ID system, kunne de indenfor få sekunder opdage kopieringen, og dernæst bestemme, hvad der så skulle gøres.
Let's look at a specific video so you can see how it works. Two years ago, recording artist Chris Brown released the official video of his single "Forever." A fan saw it on TV, recorded it with her camera phone, and uploaded it to YouTube. Because Sony Music had registered Chris Brown's video in our Content ID system, within seconds of attempting to upload the video, the copy was detected, giving Sony the choice of what to do next.
Men hvordan ved man at en brugers video er en kopi? Tja, det starter med at ejerne af indholdet leverer aktiver ind i vores database, sammen med en skik politik der fortæller os, hvad der skal gøres, når vi finder en match. Vi sammenligner hver upload med alle referencefilererne i vores database. Nu vil dette zonekort vise dig hvordan hjernen af systemet virker. Her kan vi se den orginale referencefil blive sammenlignet med brugergenereret indhold. Systemet sammeligner hvert minut af dem alle for at se om der er en match. Det betyder at vi kan identificere en match selvom den anvendte kopi blot er en del af den oprindelige fil, spilles i slow motion og har forringet lyd- og videokvalitet. Og det gør vi hver gang en video bliver uploadet til YouTube. Og det er over 20 timers video hvert minut. Når vi har en match, anvender vi den politik, som de rettighedsejeren har fastsat.
But how do we know that the user's video was a copy? Well, it starts with content owners delivering assets into our database, along with a usage policy that tells us what to do when we find a match. We compare each upload against all of the reference files in our database. This heat map is going to show you how the brain of the system works. Here we can see the original reference file being compared to the user generated content. The system compares every moment of one to the other to see if there's a match. This means that we can identify a match even if the copy used is just a portion of the original file, plays it in slow motion and has degraded audio and video quality. And we do this every time that a video is uploaded to YouTube. And that's over 20 hours of video every minute. When we find a match, we apply the policy that the rights owner has set down.
Og skalaen og hastigheden af systemet er virkelig betagende. Vi snakker ikke bare om få videoer. Vi snakker omkring over 100 år af videoer hver dag, imellem nye uploads og de scanninger, som vi jævnligt foretager i alt indhold på webstedet. Og når vi sammenligner de 100 år af videoer, sammenligner vi dem med millioner af referencefiler i vores database. Det ville svare til, at 36.000 mennesker stirrer på 36.000 skærme hver eneste dag, uden så meget som at holde kaffepause.
And the scale and the speed of this system is truly breathtaking. We're not just talking about a few videos, we're talking about over 100 years of video every day, between new uploads and the legacy scans we regularly do across all of the content on the site. When we compare those hundred years of video, we're comparing it against millions of reference files in our database. It would be like 36,000 people staring at 36,000 monitors each and every day, without so much as a coffee break.
Hvad gør vi, når vi finder en match? Tja, de fleste rettighedsejere vil, istedet for en blokering, give tilladelse til at kopieringen offentliggøres. Og så kan de nyde godt gennem eksponering, reklamen og forbundne salg. Husker I Chris Brown's video, "Forever"? Det havde sin dag i solen og derefter faldt den ud af hitlisterne. Og det lignede slutningen på dénhistorie. Men på et tidspunkt sidste år, blev et ungt par gift. Dette er deres bryllupsvideo. Du har nok set den.
Now, what do we do when we find a match? Well, most rights owners, instead of blocking, will allow the copy to be published. And then they benefit through the exposure, advertising and linked sales. Remember Chris Brown's video "Forever"? Well, it had its day in the sun and then it dropped off the charts, and that looked like the end of the story, but sometime last year, a young couple got married. This is their wedding video. You may have seen it.
(Musik)♫♫♫
(Music)
Det fantastiske omkring den er, hvis bryllupsceremonien var så sjov, kan du så forestille dig, hvor sjov receptionen må have været? Jeg mener, hvem er disse mennesker? Jeg ville vildt godt med til det bryllup.
What's amazing about this is, if the processional of the wedding was this much fun, can you imagine how much fun the reception must have been? I mean, who are these people? I totally want to go to that wedding.
Deres lille bryllupsvideo blev set over 40 millioner gange. Og istedet for at blokere, tillod Sony at videoen blev uploadet. Og de reklamerede for den og forbandt den til iTunes. Og sangen, 18 måneder gammel, kom tilbage på 4. pladsen på iTunes's hitliste. Så Sony får indtægter fra begge af disse. Og Jill og Kevin, det lykkelige par, de kom tilbage fra deres bryllupsrejse og konstaterede, at deres video var blevet vanvittigt viral. Og de blev inviteret til en masse talkshows. Og de brugte muligheden til at gøre en forskel. Denne video gav over 26.000 dollars i donation til kampen mod vold i hjemmet. Og "JK Wedding Entrance Dance" blev så populær at NBC parodierede den på sæsonfinalen af "The Office," hvilket bare beviser, at det er virkelig et økosystem af kulturen. Fordi det ikke bare amatører som låner fra store studier, men indimellem store studier, som låner fra amatører.
So their little wedding video went on to get over 40 million views. And instead of Sony blocking, they allowed the upload to occur. And they put advertising against it and linked from it to iTunes. And the song, 18 months old, went back to number four on the iTunes charts. So Sony is generating revenue from both of these. And Jill and Kevin, the happy couple, they came back from their honeymoon and found that their video had gone crazy viral. And they've ended up on a bunch of talk shows, and they've used it as an opportunity to make a difference. The video's inspired over 26,000 dollars in donations to end domestic violence. The "JK Wedding [Entrance] Dance" became so popular that NBC parodied it on the season finale of "The Office," which just goes to show, it's truly an ecosystem of culture. Because it's not just amateurs borrowing from big studios, but sometimes big studios borrowing back.
Ved at give et valg, kan vi skabe en kultur med muligheder. Og alt hvad det tog at ændre tingene, var at give mulighed for valg gennem rettighedsidentifikation. Hvorfor er der ingen, der har løst dette problem før? Fordi det er et stort problem, og indviklet og rodet. Det er ikke ualmindeligt, at en enkelt video har flere rettighedesejere. Der er musikalske selskaber. Der er flere musikudgivere. Og hver af disse kan variere fra land til land. Og der er masser af tilfælde hvor vi har mere end ét værk presset sammen. Så vi er nødt til at administrere mange krav til den samme video.
By empowering choice, we can create a culture of opportunity. And all it took to change things around was to allow for choice through rights identification. So why has no one ever solved this problem before? It's because it's a big problem, and it's complicated and messy. It's not uncommon for a single video to have multiple rights owners. There's musical labels. There's multiple music publishers. And each of these can vary by country. There's lots of cases where we have more than one work mashed together. So we have to manage many claims to the same video.
YouTube's Content ID system behandler alle disse sager. Men systemet fungerer kun med deltagelse af rettighedsejerne. Hvis du har indhold, som andre uploader til YouTube, skal du registere dig i Content ID systemet, og så vil du have mulighed for at bestemme, hvordan indholdet bliver brugt. Og tænk grundigt over de politikker, du tillægger det pågældende indhold. Ved blot at blokere alt genbrug, kan du gå glip af nye kunstformer, nyt publikum, nye distributionskanaler og nye indtægtskilder.
YouTube's Content ID system addresses all of these cases. But the system only works through the participation of rights owners. If you have content that others are uploading to YouTube, you should register in the Content ID system, and then you'll have the choice about how your content is used. And think carefully about the policies that you attach to that content. By simply blocking all reuse, you'll miss out on new art forms, new audiences, new distribution channels and new revenue streams.
Men det handler ikke kun om dollars og indtryk. Bare se på al glæden der spredtes via progressiv forvaltning af rettigheder og ny teknologi. Og vi kan alle blive enige om, at glæde absolut er en idé, som er værd at sprede.
But it's not just about dollars and impressions. Just look at all the joy that was spread through progressive rights management and new technology. And I think we can all agree that joy is definitely an idea worth spreading.
Tak. Klappesalver
Thank you. (Applause)