-
This page provides answers to frequently asked questions about potential patent license fees for content providers and software developers who use MPEG-4 video. The following information pertains only to the terms of MPEG LA's MPEG-4 Visual Patent Portfol
-
DMEX is designed to help content owners of all sizes find platform operators who would like to licence their material in different countries and on different devices, and help operators find content for their digital services. The service uniquely focuses
-
Believe it or not, as a consumer, there is absolutely no way for me to obtain any of these rights. There's no button to click in iTunes, no publisher's site to visit, no way to find out who owns what. In fact, iTunes doesn't even tell you who the composer
-
Google is partnering with British broadcaster BSkyB, licensing YouTube’s video-sharing tools, as well as other Google technology like email and internet telephony, according to reports. The YouTube technology will be added to BSkyB’s recently launched
-
it would nearly double the amount of money it pays for video clips to $400. The money is even better for animated videos which, due to the complexity of their production, will fetch up to $2,000.
-
Most of YouTube Inc.'s agreements with record labels don't address royalties for music publishers, who control the copyrights to the words and music underlying the recordings. YouTube or its partners must locate parties ranging from studios to actors, and
-
It's perfection and elegance have attracted many smart people to believe in it and at the same time have prevented its fans from realizing that it's never, ever, ever going to happen. Incremental solutions virtually always win. Collective licensing is
-
Google is frantically making payouts of “tens of millions of dollars” to the content companies. One unnamed film and TV company is receiving $100 million to license its content over a two-year period, according to the report.
-
1. Take the money, promotion and revenue share.2. Keep your content exclusively for your own site and let users access and post content from there.3. Do a cross licensing deal with other content rights owners.
-
Die Sender brauchen strikte Terms und Conditions um sich gegen verletzungen abszusichern. Auf der anderen Seite bekommen die Künster oftmals nur den Ruhm und keine finanzielle Entschädigung.
-
Das Regelkorsett der GEMA ist für Podcaster, die gelegentlich einen Song aus dem Repertoire benötigen, vielleicht praktikabel, für Musikpodcaster, die in erster Linie Bands und Künstler vorstellen möchten, sind die Lizenzen eng und erdrückend.
-
Don’t ask! Hell, record execs are too busy in marketing meetings figuring out how to get their wares placed in the few existing slots on radio so they don’t get fired to pay attention to your wacky idea until it gets traction.
-
Ideen zum Umgang mit Copyrightverletzunge: 1. günstige und einfach Lizenzierungsmöglichkeiten. 2. Werbeeinnahmen werden geteilt. 3. Verwenden der Verletzungen als Promotionwerkzeug
