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.
如果你是今天的觀眾之一, 又或者你正在某個時候的某個地方觀看這場演講的影片, 那麼你就是數位版權生態體系的一員。 不管你是一位藝術家、科技人、 律師、或粉絲, 版權的管理將會直接影響到你的生活。 現在,版權不再只是 版權擁有者的議題, 而是一個複雜的利害關係, 也是我們文化面向中很重要的一部分。 Youtube深切地關心影音內容所有人的權利, 但為了讓他們在面對別人複製、重製或做其他的動作時, 能選擇適當的處理方式, 我們需要先確認 這些受版權保護的影音資料是何時上傳到YouTube的。
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.
讓我們以一個影片為例,來了解這是如何運作的。 兩年前,一位歌手Chris Brown 為他的單曲"Forever",發行了官方音樂錄影帶, 一位歌迷在電視上看到了, 就用手機錄下影帶, 然後上傳到YouTube。 由於Sony Music已經在我們的影音註冊系統裡, 替Chris Brown的音樂錄影帶註冊了, 所以在影片開始上傳的幾秒鐘內, 我們就已經偵測到了影片內容是有版權保護的, 讓SONY可以選擇如何因應。
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.
究竟我們是如何得知使用者的影片是非經授權使用呢? 嗯,版權的所有者, 將他們受版權保護的內容和其使用政策, 一併傳到我們的資料庫, 所以當我們偵測到與其吻合的結果時,能有處理的依據。 我們把每個上傳影片, 與我們資料庫裡的參考資料作比較, 這張比對圖表將告訴你, 這套系統是如何運作的。 在這裡,我們可以將原始的資料 與使用者製作的內容做比較, 這套系統隨時都在進行相互比對, 來看是否有互相吻合的記錄。 即使使用者上傳的內容,只用了原始影音 檔案的一部分,或將影帶以慢速撥放, 或是降低影音的播放品質, 我們都能找出相互吻合的記錄。 一有影片上傳到YouTube, 我們就會開始比對。 我們每分鐘要比對超過20小時的影片內容, 一旦發現吻合的資料, 我們就會依循版權所有人當初定下的對策作出回應。
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.
這套系統的運算速度和處理規模, 非常的驚人, 我們所討論的不是幾支影片而已, 我們每天面對的是 長達100年的影片長度, 我們要把已上傳和新上傳的影片, 定期在我們的網站上進行交互比對。 當我們比對那些長度加起來有幾百年的影音資料時, 是用我們資料庫中 數百萬筆的檔案進行比對, 這就像有3萬6千人 每天同時盯著3萬6千台電腦螢幕一樣, 而且還沒有休息時間。
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.
當我們發現比對吻合時會怎麼做? 大部分的版權所有人,都會同意 讓上傳的影片曝光,而非封鎖內容。 然後他們也因為影片曝光, 而帶來廣告及相關收益。 還記得Chris Brown的影片"Forever"嗎? 它曾經盤據排行榜,然後就跌出排行榜了, 這看起來像是故事的結局, 但在去年,一對年輕的情侶結婚, 這是他們的結婚影片。 你可以能有看過。
(Music)
(音樂)(Chris Brown的Forever)
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.
這真的很讓人驚訝! 如果婚禮的過程可以這麼有趣, 那你能夠想像婚禮的接待會多麼有趣嗎? 我的意思是,這些人是何方神聖? 我超級想參加那個婚禮的!
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.
他們的結婚影片吸引了 超過四千萬人次的點閱率, SONY不但沒有禁止影片播放, 他們反而允許這段影片上傳, 他們還趁勢推出廣告, 還把連結連到iTunes上, 讓這首已經推出了18個月的歌, 重新站回iTunes排行榜的第四名。 SONY的作為得到了一箭雙鵰的好處, 而Jill和Kevin這對甜蜜的新婚夫妻, 在他們度完蜜月回來後, 才發現他們的影片已被瘋狂點閱, 接著眾多的脫口秀爭相邀請他們上節目, 他們利用了這個機會為自己創造了不平凡的經驗。 這支影片也吸引了超過2萬6千美金的捐款, 用在改善美國國內的暴力現象。 "JK婚禮進場舞步"熱門到 連NBC的"辦公室風雲"當季的最後一集, 都在搞笑模仿這舞步。 這真的是一個文化生態體系, 因為不只是觀眾會模仿電視公司的點子, 有時候電視公司也會模仿觀眾的點子。
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.
藉由提供版權所有者不同的選擇,我們創造了一個充滿機會的文化, 這是透過版權認證之後,所衍生出來的選擇, 也才能全盤改變整個生態。 那之前都沒有人解決版權問題嗎? 因為這是一個難解的問題, 不但複雜而且難以處理。 一支影片有多位版權所有人, 是很常見的事, 市場上有很多的音樂品牌, 也有很多的唱片公司, 不同的國家也有不同的品牌、公司, 我們有很多案例 是牽扯到很多版權所有人的, 所以我們必須處理同時有多人針對同一支影片, 主張所有權的問題。
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的影音註冊系統正是在處理這方面的事情, 但這系統需要 版權所有人的參與才能夠運作, 如果你有作品被其他人上傳到YouTube, 你應該要在影音註冊系統上註冊, 然後你就可以選擇 怎樣讓別人使用你的影音內容。 別忘了仔細思考你的版權使用政策, 假如你拒絕了所有的使用請求, 你將會錯過成為新的藝術型態的機會、 錯失新的觀眾、 新的散佈管道、 和新的獲利來源。
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.
但這不只是關於金錢和形象而已, 看看所有透過先進的 版權管理系統和新式科技 所散播的歡樂, 我想我們都同意,歡樂是值得散播的。
Thank you. (Applause)
謝謝大家。 (掌聲)