European and American legal systems differ in many points, including copyright. When an American film flow company calls for music making for its movie and its new series, in most cases, they want to buy one of its copyrights. The Creator who receives one salary about his work is later that he does not receive any revenues at all,
However, the film generates profits, partly due to its intellectual product.
the In such contracts It happens that the film producer pays a fixed wage – let's offer an example of 15,000 euros (six million forts), and it is not an overwhelming number – for the author to make work music. This is not only the author's salary, but he also has to pay the costs of manufacturing, band, studio rental, sound engineer, and the author will only have part of the revenues.
Millions
The work that is offered in tens of thousands, in cases, can bring hundreds of thousands, or provide them on broadcasting platforms for years, tens of thousands of euros, but instead the entire revenue is still. This is the case at the GSAC Conference (European Authors Association), which was attended by Artisjus from our country.
Films flow is a relatively new form of use. In previous models, even in the already designed cinema, these legal conflicts have already been made. When one of the Hungarian viewers goes to the cinema and watches a movie, it is natural that after each show, Artisjus divides and pushes it even if it is an American movie and even if it is the Hungarian
– Peter Tottin Benjamin, a business director in Artisjus says.
According to the expert, there have been a long time ago and inconsistencies in the interests between Anglo -Saxon (especially in the United States) and European continental law. Although copyright in many cases has already been protected through different regulations, there are still tasks about the flow.
European continental regulations are not seen, because of their own and personal participation in its establishment, as the creator of property, but as the Creator of spiritual creation. There is an ideological idea behind this, which the authors remain with some rights. Separate legislation states that the author cannot abandon some rights in the contract. One of these is the subsequent uses fees. The author has more rewards even if a contract is no longer able to live
Expert details.
According to him, joint rights organizations (even artisjus) are responsible for protecting and expanding these rights to protect the authors. Although there are some differences in each country, it is generally correct for these organizations to protect creative rights on our continent. It was like this before The organizations fought this The property rights for films that are operated on cable TV must be revenue for creators (writer, director, photographer, etc.), not only for distributors.
European action, American law
Péter Tóth Benjamin emphasizes that the current situation is not recent, as there were efforts to buy in other issues of American law, and broadcast is one of the latest models.
This position is not resolved alone, only if there is appropriate legislation. Currently, European authors are also contracting on the basis of American law and customers enter into an American court in the contract. However, with European legislation, these contracts can be overcome under American legislation for European use, but as long as there is nothing like this (as shown in the current situation), the American contract prevails.
In Europe, a long and tiring process has long been made, as organizations and groups discuss different policies and interests the question. There will always be deputies in the European Parliament who protect the interests of artists, and there will always be those who prefer the interests of technology companies and large companies, but according to Péter Tóth Benjamin, the French usually lead to such matters.
They have a protective position, which protects the interests of creators in the first place.
The amount of revenues in some countries is Netflix's Netflix offer revenue Forent Exactly the amount of film professionals is worth everywhere. According to the expert, it will be important to know this data, but since the question is multiple factors, it differs everywhere, so you cannot say accurate numbers. This amount also depends on subscription fees in the country, the number of films, the viewers of the chains that viewers view, and the agreements between large manufacturers of films, legal managers and broadcast service providers.
Seconds value
The expert confirms that when dividing music royalties for each film, they make a second settlement, and thus fit with the distributed amount. If a specific movie music appears on music broadcast platforms like Spotify or Apple Music, royalties are also divided into many actors. Thus, not only the author, but also on the publisher of music, performance and recording publisher, he receives traffic.
Péter Tóth Benjamin emphasizes that they are confident that the professional discourse that started recently can result in the result of European legislation over time that can result in a flowing and profitable result of music and songs book. Although there are only a small number of Hungarian authors who are negatively affected by this type of broadcast policy, in light of the future, it may be important for all creators to make a good decision.
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