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如果你是今天在聽眾席中的一員,也許你在其他時間或地點看過這場演講。你是數位版權生態系統的一員,無論你是一位藝術家、技師、律師或愛好者,版權的處理直接影響你的生活。現在,版權管理不再僅僅是所有權的問題,這是一個複雜的關係網路,也是我們文化現況的重要組成部分。YouTube深切關注內容所有者的權利,但為了給他們關於副本、混搭程式等等可以做什麼的選擇,我們首先需要確定版權作品何時上傳到我們的網站。
我們來看一個影片,你就會瞭解這是如何進行的。兩年前,錄音藝術家Chris Brown發表了他的單曲《Forever》的官方影片,一位歌迷在電視上看到了,就用她的照相手機錄下影片,並上傳到YouTube。因為Sony音樂已註冊Chris Brown的影片到我們的內容認證系統,幾秒鐘內,試圖上傳的影片副本就被偵測到了,
這給了Sony採取下一步動作的選擇。
但我們怎麼知道用戶的影片是副本?一開始,是內容所有者提供資料到我們的資料庫,附帶一個使用政策,告訴我們當發現有匹配檔案時該怎麼做。我們比較每個上傳檔,與我們資料庫中所有參考資料相比。現在,這個熱圖要向你顯示系統的大腦如何運行。我們可以看到原來的參考檔案,與用戶發出的內容相比較。系統比較每一時刻,逐一比對,看看是否有匹配情形。這表示我們確定有匹配情形,即使副本只使用原始檔案的一部分,將它用慢動作播放,並降低聲音和影片品質。當影片上傳到YouTube時,我們每次都會這麼做。每分鐘有超過20個小時長度的影片上傳,當我們找到匹配情形,我們就使用所有權人定下的政策。
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以下為系統擷取之英文原文
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. Now, 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, mash-ups and more, we need to first identify when copyrighted material is uploaded to our site.
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 with her camera phone, and uploaded it to Youtube. Now because Sony Music had registered Chris Brown's video in our content I.D. system, within seconds of attempting to upload the video, the copy was detected, giving Sony the choice of what to do next.
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. Now 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. Now 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.
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這個系統的規模和速度確實令人吃驚。我們指的不只是幾部影片;我們指的是超過100年來每天製作的影片。比對每天新上傳檔案和過往留存的畫面,我們一向對這個網站中所有內容都這麼做。我們比較那些百年來的影片,我們將它們與資料庫中數百萬計的參考檔案比較。這就像36,000 個人,每天不間斷的盯著36,000個螢幕,連休息的咖啡時間都沒有。
當找到匹配檔案時,我們會怎麼做?大部分版權所有人不會阻止,而會允許副本張貼。他們藉由影片曝光而受益、打廣告、並連結銷售點。還記得Chris Brown的影片《Forever》嗎?它風光了一天,然後掉出排行榜外。這似乎是故事的結局了。但去年某個時候,一對年輕夫婦結婚,這是他們的婚禮影片,你可能已經看過了。
(音樂)
多令人驚喜啊!如果婚禮過程充滿這麼多樂趣,你能想像接待者擁有多少樂趣?我的意思是,這些人是誰?我真想參加這場婚禮。
因此,他們的小小婚禮影片被流覽超過四千萬次。不像Sony之前的阻止行動,他們允許影片上傳,將廣告放入影片背景,並將它連結到iTunes。而這首發行18個月之久的歌,回升到iTunes排行榜第4名。因此,Sony由這兩種管道受益。Jill 和 Kevin這對快樂的夫婦,當他們度蜜月回來,發現他們的影片像病毒一樣瘋狂流傳,結果是他們上了一堆談話節目。他們把它當作一個機會,造成一些改變。這部影片鼓動了超過 26,000美元的捐款,用以幫助終結家庭暴力。而「Jk的婚禮進場舞蹈」變得相當受歡迎;NBC的喜劇「辦公室」在季末完結篇模仿這個橋段。這只是顯示出,它確實是一個文化生態系統;因為不只是業餘者借用大電影公司的點子,有時是大電影公司回頭來借用這些點子。
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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 this site. And 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.
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.
(Music)
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.
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, well 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. And 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.
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藉由賦予選擇,我們可以創造一種機會文化,這一切使情況改變;就是藉由所有權認證來允許選擇。之前為什麼沒有人解決這個問題?因為它是一個大問題,它是複雜和混亂的。單一影片擁有多個版權所有人並不稀罕,音樂公司、多位音樂發行者,因國家而有所差異。很多情況是,會有一種以上作品混合在一起。因此,對同一部影片來說,我們要管理眾多版權聲明。
YouTube的內容認證系統會處理所有案例,但系統運作只能藉由版權所有人的參與達成。如果你是其他人上傳到YouTube影片內容的所有者,你應該在內容認證系統註冊,你就可以選擇這些內容如何被使用。仔細考慮你附加於內容的政策聲明;一味阻止所有資源的再使用,會使你錯過新的藝術形式、新的觀眾、新的散佈管道和新的收入來源。
但它不只是關於美元和印象,只要看看所有的歡樂,它的傳播是藉由先進的所有權管理和新的技術達成。我想我們都同意,這種樂趣絕對是一個值得散播的想法。
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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. And 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 I.D. 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 I.D. 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.
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 that we can all agree that joy is definitely an idea worth spreading.
Thank you.