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.
Ako ste danas u publici, ili možda gledate ovaj govor na nekom drugom mjestu ili vremenu, vi ste sudionik u ekosustavu digitalnih prava. Bez obzira jeste li umjetnik, tehnolog, odvjetnik ili obožavatelj, upravljanje autorskim pravima (copyright) izravno utječe na vaš život. Upravljanje pravima više nije naprosto pitanje vlasništva. Ono je složena mreža odnosa i kritičan dio našeg kulturnog krajolika. YouTube duboko brine za prava vlasnika nekog sadržaja. Ali kako bismo im pružili izbor koji mogu učiniti s kopijama, mash-upovima i drugome, prvo moramo identificirati kada je zaštićeni materijal poslan na našu stranicu.
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.
Pogledajmo konkretan video da vidite kako to funkcionira. Prije dvije godine, glazbenik Chris Brown, izdao je službeni video svog singla "Forever". Obožavatelj ga je vidio na televiziji, snimio s fotoaparatom na mobitelu, i podigao ga na YouTube. Budući da je Sony Music registrirao video Chrisa Browna u našem sustavu identifikacije sadržaja, u roku od nekoliko sekundi od pokušaja uploada videa, kopija je otkrivena, omogućavajući Sonyju da odluči što će slijedeće učiniti.
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.
Ali kako znamo da je korisnikov video kopija? Pa, početak je da vlasnici sadržaja unesu svoju imovinu u našu bazu, zajedno s politikom korištenja koja nam daje uputu što učiniti kad naiđemo na kopiju. Uspoređujemo svaki upload sa svim referentnim zapisima u našoj bazi podataka. Ova će vam toplotna karta pokazati kako mozak sustava radi. Ovdje vidimo originalni referentni zapis koji se uspoređuje sa sadržajem dobivenim od korisnika. Sustav uspoređuje svaki trenutak jednoga i drugoga da vidi podudaraju li se. To znači da možemo identificirati podudarnost čak i ako upotrijebljena kopija predstavlja samo dio izvornog zapisa, ako je usporena i ako ima zvuk i sliku slabije kvalitete. I to činimo svaki puta kad se video podiže na YouTube. A govorimo od preko 20 sati videa svake minute. Kad otkrijemo podudaranje, primjenjujemo politiku koju je propisao vlasnik prava.
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.
Veličina i brzina ovog sustava doista oduzima dah. Ne govorimo o samo nekoliko videa. Govorimo o preko 100 godina videa svakoga dana, uključujući novopristigle filmove i zaštićene skenove koje redovito obrađujemo na čitavom sadržaju stranica. A kad uspoređujemo te stotine godina videa, Uspoređujemo ih s milijunima referentnih zapisa u našoj bazi podataka. To vam je kao da 36.000 ljudi zuri u 36.000 monitora baš svakoga dana, bez i najmanje pauze za kavu.
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.
No, što činimo kada nađemo podudarnost? Pa, većina vlasnika prava, umjesto blokade, dopuštaju objavljivanje kopije. I oni zatim imaju koristi od izloženosti, promocije i s time povezane prodaje. Sjećate se videa Chrisa Browna, "Forever"? Pa, doživio je svoj sunčani dan, a zatim je ispao s top liste. I to je izgledalo kao kraj priče. Ali u neko doba lani, mladi par se vjenčao. Ovo je video njihovog vjenčanja. Možda ste ga vidjeli.
(Music)
(Glazba)
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.
Ovdje je zapanjujuće to, što ako je službeni dio vjenčanja tako zabavan, možete li zamisliti koliko je zabavna bila večera? Mislim, tko su ti ljudi? Totalno želim otići na to vjenčanje.
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.
Pa je njihov mali video skupio preko 40 milijuna gledanja. I umjesto da Sony to blokira, dopustili su upload. I uz to su ubacili promociju i napravili poveznicu na iTunes. I pjesma, 18 mjeseci stara, popela se na broj četiri na top listi iTunesa. Pa Sony ostvaruje prihod na obje strane. A Jill i Kevin, sretan par, vratili su se sa svog medenog mjeseca i otkrili da im je video postao ludi virus. I završili su na hrpi talk show emisija. Oni su to iskoristili kao mogućnost da donesu nešto drugačije. Video je nadahnuo preko 26.000 dolara donacija u prilog borbe protiv domaćeg nasilja. A "Ulazni ples JK vjenčanja" postao je toliko popularan da ga je NBC parodirao u finalu sezone serije "Ured" što samo pokazuje, da je zaista riječ o kulturnom ekosustavu. Zato što ne posuđuju samo amateri od velikih studija, već katkada i veliki studiji posuđuju zauzvrat.
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.
Dajući ljudima izbor, možemo stvoriti kulturu mogućnosti. A sve što je trebalo da se stvari preokrenu bilo je dopustiti izbor putem identifikacije prava. Pa zašto onda nitko ranije nije riješio taj problem? Zato što je to velik problem, kompliciran je i nejasan. Nije neobično da jedan video ima više vlasnika prava. Postoje glazbene marke. Postoje mnogi glazbeni izdavači. I svi oni mogu varirati od zemlje do zemlje. A ima i mnogo slučajeva u kojima je više uradaka pomiješano. Pa moramo upravljati mnogim zahtjevima za prava na isti video.
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.
YouTube-ov sustav identifikacije sadržaja pokriva sve ove slučajeve. Ali sustav djeluje samo uz suradnju vlasnika prava. Ako imate sadržaj koji drugi podižu na YouTube, trebate se registrirati u sustav identifikacije sadržaja, i tada ćete moći odabrati kako se vaš sadržaj koristi. I razmislite pažljivo o politici koju propisujete za sadržaj. Jednostavnom blokadom ponovnog korištenja, propustit ćete nove umjetničke oblike, novu publiku, nove distribucijske kanale i nove tijekove prihoda.
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.
Ali nije riječ samo o dolarima i utiscima. Pogledajte samo na sve to zadovoljstvo koje se raširilo progresivnim upravljanjem pravima i novom tehnologijom. I mislim da se svi možemo složiti da je zadovoljstvo definitivno ideja koju vrijedi širiti.
Thank you. (Applause)
Hvala vam. (Pljesak)