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.
好,如果你今天是一名现场观众, 或者你在其他时间或地点观看这段讲话, 你正在处在数字版权生态系统之中。 无论你是一名艺人,一名技师, 或是一名律师或一名粉丝, 如何处理版权问题直接影响了你的生活。 现在,版权管理已不再 是一个简单的拥有权问题。 而是一个充满了各种关系的复杂网络 也是我们文化景观的重要组成部分。 YouTube 深切关注内容所有者的各项权益。 但是,为了给他们选择如何 处理副本,混搭以及其他更多的情况, 我们需要首先确认 当有版权保护的材料被上传到我们的网站上。
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.
让我们来看这段视频,这样你就可以理解这是怎样工作的。 两年前,唱片艺术家克里斯布朗, 发行了他的单曲,“FOREVER”的官方视频。 一名粉丝在电视上看到后, 用她自己的摄像手机录制了下来, 并上传到Youtube。 现在,因为索尼音乐公司已经在我们内容身份识别系统中 注册了克里斯 布朗的音乐视频, 就在她试图上传该视频的几秒钟内, 这个副本就被检测出来, 然后由索尼音乐公司来决定下一步该怎么办。
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.
但是我们是如何知道用户的视频是副本的呢? 它始于内容所有者 将资产交付到我们的数据库中, 一并随同的还有使用协定, 使用协定告诉我们当我们发现一个匹配时,我们该怎样做。 我们将每一个上传的文件 同数据库中所有参考文件进行比对。 这张热图向你们展示了 这个系统的大脑是如何工作的。 这里,我们看到原始的参考文件 正与用户生成的内容相比较。 系统将文件的每分每秒同另一个进行比对, 来决定两者是否匹配。 这意味着我们能决定一个匹配, 即便副本仅使用了原文件的一部分, 用慢动作播放, 降低了音频和视频的质量。 当一个视频被上传到Youtube上来, 我们每次都要进行比对。 每分钟比对超过20个小时的视频。 当我们发现了一个匹配, 我们就应用版权所有者所制定的条例。
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.
这个系统的规模和速度 着实惊人。 我们不是在说少量的视频。 我们说的是每天 处理长达一百多年的视频, 在新上传的视频和我们 定期将网站上所有内容进行的维护性扫描之间。 当我们比对了那些长达百年的视频时, 我们将他们同我们数据库中 成百上千万的参考视频做对比。 这就好比36000个人 每人每天不停地盯着36000个显示器, 连喝咖啡的时间都没有。
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.
那当我们找到一个匹配后,我们做些什么呢? 大多数版权拥有者,不是禁止, 反而允许发行副本。 这样他们从曝光率, 广告和链接销售中获利。 记得克里斯 布朗的视频,“Forever"吗? 它经历了它的光辉岁月后就退出了排行榜。 看起来这就是故事的结局。 但去年的某个时候,一对年轻夫妇结婚了。 这是他们的婚礼视频。 你可能看过了。
(Music)
(♫音乐♫)
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.
这就是这个令人惊叹的地方 如果婚礼列队是这样的有趣, 你能想象接待处那里该会是多么的有趣吗? 我的意思是说,这些人是谁? 我真是想参加那个婚礼。
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.
所以他们这个小小的婚礼视频 有超过4000万次的浏览。 索尼公司没有禁止, 相反他们允许上传这个视频。 他们打广告, 将它链接到iTunes中。 这首歌,发行18个月后, 又重新回到了iTune榜单的第四名。 所以,索尼公司从两方面赚了钱。 吉尔和凯文,这对快乐的夫妇, 当他们从蜜月回来时 发现他们的视频已经在网络上疯传。 最后他们上了几个脱口秀。 他们将这个变成一个可以创造不同的机会。 这个视频激发了26000美元的捐赠 用于结束家庭暴力。 “JK婚礼入场舞蹈”大受欢迎以至于 NBC在当季的”The Office"的结局中模仿它。 这表明了 这是个真正的文化生态系统。 因为它不只是业余爱好者从大制片厂借点子, 而是大制片厂(从业余爱好者那里)借。
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.
赋予选择以权利,我们能创造出一个富于机会的文化。 改变周围的事情仅仅靠 允许通过版权鉴定的选择权。 为什么以前从来没有人解决这个问题呢? 因为这是一个大问题, 很复杂也很凌乱。 一个视频属于多个版权所有者的现象 一点也不稀奇。 还有音乐商标。 我们有多个音乐出版商。 每个都随国家的不同而改变。 很多情况下 不止一个作品组成在一起。 所以我们需要应付针对同一个视频的 多种说法。
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内容识别系统解决了所有的这些情况。 但是系统仅仅适用于 参与了的版权所有者。 如果你的内容被其他用户上传到Youtube, 你应该注册到内容识别系统中, 这样当属于你的内容被使用, 你有权作出选择。 要仔细想清楚附在内容中的条款。 仅仅是禁止所有的重新使用, 你就失去了新的艺术形式, 新的观众, 新的分销渠道 和新的收入来源。
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.
但这不仅仅是美元和大众印象。 仅是看那些快乐, 通过进步的版权管理和新技术 所传播的快乐。 我认为我们都同意快乐绝对是一个值得传播的好点子。
Thank you. (Applause)
谢谢大家。 (鼓掌)