At the moment when the pause button is pressed for offline performances, online performances are becoming more and more frequent, however, chaos is also breeding.
On the evening of May 7, a live link of a video account of the popular Broadway musical "Hamilton" was forwarded in the circle of friends, and then caused public outrage. With the joint complaints of many people, the "live broadcast" was finally interrupted. "This is a pirated live broadcast without copyright." Many industry insiders reported to The Paper.
The night before, the self-media also broadcasted the musical "The Phantom of the Opera" through a video account. Also because there was no copyright, the "live broadcast" was interrupted under the complaint.
"The reason why we are angry is that one is that the other party does not have the performance copyright, and the other is that the other party uses pirated resources to build a community and attract traffic, and the traffic can be realized. This is an infringement." Several industry insiders told The Paper.
Such chaos is not uncommon these days. Prior to this, concerts by star pianists such as Argerich and Yuja Wang were also sent to everyone through similar "live broadcast" methods, and these videos were often the most popular and most popular. Streaming performance resources.
In this regard, NewLive, a new site that has long imported high-definition drama works from abroad, said, "It is such an infuriating and helpless fact: the cost of rights protection is several times higher than the cost of illegality."
MusicToday, which has been engaged in the dissemination of classical music for a long time, advocates, "To combat piracy, start it around, don't forward, don't spread."
So, what is the correct broadcast path for online performances?
In response to the call of "Going forward with art", recently, various literary and art units in Shanghai have taken out their performance resources to broadcast online, sending spiritual feasts to Shanghai people who are isolated at home. They have done their best to obtain performance rights, especially international performance rights, and have set a good example.
The concert was a cultural event of 2018. This year, conductor Yu Long and the Shanghai Symphony Orchestra signed a contract with the world-renowned classical label DG. On the occasion of DG's 120th anniversary global celebration, the Taimiao Temple of the Forbidden City with a history of nearly 600 years was selected as the first stop of the celebration, and the Shanghai Symphony Orchestra, with a history of nearly 140 years, was invited to open the ceremony.
The Forbidden City at night is full of brilliance. Yu Long conducts the Shanghai Symphony Orchestra, and together with the Vienna Singing Academy, soprano Aida Gariflina and other artists, staged the masterpiece "Bran Poems" with a super lineup of more than 200 people. . Against the bone-chilling wind, pianist Daniel Trifonov and violinist Mary Samuelson also gave unforgettable performances that night.
"Online, as always, we hope to provide the audience with the best quality concerts, so we specially chose DG for this one." Qian Yinfeng, the media director of the Shanghai Symphony Orchestra, told reporters that shortly after the performance, the orchestra got the video materials. , but it is only used as an archive. "The producer of this show is DG. From the shooting and production of the show to the publishing and distribution of the images, the copyright is all in DG. If you want to broadcast it online, you must obtain the authorization of the other party."
Two days after the email, DG sent a reply from Germany, agreeing to broadcast it for free. Both parties have made strict agreements on the details of the broadcast form, broadcast cycle, broadcast platform, regional restrictions, and whether it is a commercial activity.
The Chamber Music Society of Lincoln Center is one of the 11 resident art groups of the Lincoln Center for the Performing Arts, the largest performing arts complex in the world, and has performed at the Shanghai Concert Hall many times. In this special spring, CMS artistic directors Wu Han and David Fink specially selected 4 concerts that were well received by the association, and crossed the ocean to send blessings and cheers to the citizens of Shanghai.
The 4 concerts were broadcast free of charge through the official video account of Shanghai Concert Hall, and they were very popular. "It feels like waltzing in the palace." The excited audience commented.
"The agreement requires that it can only be broadcast on our platform, and only once." Hu Shiyao, media director of Shanghai Concert Hall, introduced to reporters. Before the broadcast, the Shanghai Concert Hall also communicated with the other party about copyright, and the other party also put forward strict requirements on the broadcast format, broadcast cycle, broadcast platform, etc. The premise is that it is not for commercial use: no ticket sales, no advertising.
Counting back the time, from March 30 to April 25, the Shanghai Grand Theater sent 14 selected programs to the audience for free through two rounds of online broadcasts. From the Royal Ballet's "Sleeping Beauty", "Alice in Wonderland" and "Winter's Tale" to the English National Ballet's "Giselle" and the Royal Opera House's "La Traviata"... The high-quality performances have won high popularity and high reputation for the Shanghai Grand Theater.
Through various official platforms of the Shanghai Grand Theater, as well as various media platforms such as The Paper, Migu Video, etc., in the end, the two rounds of the Shanghai Grand Theater's broadcast received 29.064 million views.
It is worth mentioning that these programs are all selected from the first season of "Tour Zero Station" which will be launched in 2020.
"Tour No. 0" is co-presented by Shanghai Grand Theater, Broadway On-Demand Network and British Drama On-Demand Network. It is the first comprehensive online streaming media platform for performing arts produced by theaters in China. Through "Tour No. 0 Station", you don't have to fly abroad, you can also directly watch the opera, ballet, musicals and concerts of the world's top theaters through the unique vision of Shanghai Grand Theater.
At that time, the Shanghai Grand Theater handled copyright matters and paid the relevant copyright fees through Hongyang International, the sister company of Broadway On Demand in Asia. When it was broadcast again this year, "We also explained the situation through Hongyang International and the copyright owner, and only after obtaining the permission of the other party and paying the copyright fee again can we proceed to the next step." Zhang Xiaoding, general manager of Shanghai Grand Theater, mentioned in particular that in When Migu Video broadcasts these programs, the other party also has strict copyright requirements: not only the authorization letter from the Shanghai Grand Theater, but also the authorization letter from the copyright owner.
However, the infringement of piracy still occurred. After the online premiere of the hit Kunqu Opera "Six Records of a Floating Life", the staff of the Shanghai Grand Theater found that a number of UP masters uploaded the pirated copy of "Six Records of a Floating Life" to station B.
"We hurriedly contacted the UP master of station B. Some people had a good attitude and deleted it, but it was posted again after two days, and some people just ignored it." Zhang Xiaoding sighed that the cost of rights protection is too high, and the copyright owner needs to provide a series of materials, and because of working from home, many of their materials are difficult to access. In the end, station B directly took down the video of the entire drama. However, it still happens from time to time that "Six Records of a Floating Life" is uploaded in separate folds by re-editing, renaming, and erasing the LOGO and watermark of the Shanghai Grand Theater.
Because the epidemic has hindered offline performances, the online "Tour Zero Station" came into being to create a richer theater experience for the audience. "We hope that the online 'Tour No. 0' will eventually achieve offline tours and form a warm-up and connection with the theater's future offline performances." Zhang Xiaoding said. At present, the second season of "Tour Zero Station" is in full preparation.
"Practitioners need to be aware of copyright, respect art, respect artists, and thrive in a healthy industry ecological environment." Qian Yinfeng's words also represent the aspirations of many industry insiders. Online performances are a powerful complement to offline performances, but they should not be distracting, because the lack of copyright awareness will disrupt the existing performance market.
On the evening of May 7, a live link of a video account of the popular Broadway musical "Hamilton" was forwarded in the circle of friends, and then caused public outrage. With the joint complaints of many people, the "live broadcast" was finally interrupted. "This is a pirated live broadcast without copyright." Many industry insiders reported to The Paper.
The night before, the self-media also broadcasted the musical "The Phantom of the Opera" through a video account. Also because there was no copyright, the "live broadcast" was interrupted under the complaint.
"The reason why we are angry is that one is that the other party does not have the performance copyright, and the other is that the other party uses pirated resources to build a community and attract traffic, and the traffic can be realized. This is an infringement." Several industry insiders told The Paper.
Such chaos is not uncommon these days. Prior to this, concerts by star pianists such as Argerich and Yuja Wang were also sent to everyone through similar "live broadcast" methods, and these videos were often the most popular and most popular. Streaming performance resources.
In this regard, NewLive, a new site that has long imported high-definition drama works from abroad, said, "It is such an infuriating and helpless fact: the cost of rights protection is several times higher than the cost of illegality."
MusicToday, which has been engaged in the dissemination of classical music for a long time, advocates, "To combat piracy, start it around, don't forward, don't spread."
So, what is the correct broadcast path for online performances?
In response to the call of "Going forward with art", recently, various literary and art units in Shanghai have taken out their performance resources to broadcast online, sending spiritual feasts to Shanghai people who are isolated at home. They have done their best to obtain performance rights, especially international performance rights, and have set a good example.
On the evening of May 13, the Shanghai Symphony Orchestra will broadcast "Deutsche Grammophon's 120th Anniversary Celebration - Shanghai Symphony Orchestra Taimiao Concert" through its official video account, The Paper, and Kanan News.
Recently, every Friday, the Shanghai Symphony Orchestra will meet the audience online and broadcast high-quality concerts for free. On the evening of May 13, the Shanghai Symphony Orchestra will broadcast "Deutsche Grammophon's 120th Anniversary Celebration - Taimiao Concert of the Shanghai Symphony Orchestra" through its official video account, The Paper, and Kanan News. - Deutsche Grammophon (DG) sent a communication email.The concert was a cultural event of 2018. This year, conductor Yu Long and the Shanghai Symphony Orchestra signed a contract with the world-renowned classical label DG. On the occasion of DG's 120th anniversary global celebration, the Taimiao Temple of the Forbidden City with a history of nearly 600 years was selected as the first stop of the celebration, and the Shanghai Symphony Orchestra, with a history of nearly 140 years, was invited to open the ceremony.
The Forbidden City at night is full of brilliance. Yu Long conducts the Shanghai Symphony Orchestra, and together with the Vienna Singing Academy, soprano Aida Gariflina and other artists, staged the masterpiece "Bran Poems" with a super lineup of more than 200 people. . Against the bone-chilling wind, pianist Daniel Trifonov and violinist Mary Samuelson also gave unforgettable performances that night.
"Online, as always, we hope to provide the audience with the best quality concerts, so we specially chose DG for this one." Qian Yinfeng, the media director of the Shanghai Symphony Orchestra, told reporters that shortly after the performance, the orchestra got the video materials. , but it is only used as an archive. "The producer of this show is DG. From the shooting and production of the show to the publishing and distribution of the images, the copyright is all in DG. If you want to broadcast it online, you must obtain the authorization of the other party."
Two days after the email, DG sent a reply from Germany, agreeing to broadcast it for free. Both parties have made strict agreements on the details of the broadcast form, broadcast cycle, broadcast platform, regional restrictions, and whether it is a commercial activity.
The Shanghai Concert Hall broadcasted 4 concerts from the Chamber Music Society of Lincoln Center (CMS) in New York. Several large characters were clearly printed on the broadcast page: Copyright belongs to CMS, and reprinting must be investigated
Just past the May Day holiday, the Shanghai Concert Hall aired 4 concerts from the Chamber Music Society of Lincoln Center (CMS) in New York. Several large characters were clearly printed on the broadcast page: Copyright belongs to CMS, and dubbing must be investigated.The Chamber Music Society of Lincoln Center is one of the 11 resident art groups of the Lincoln Center for the Performing Arts, the largest performing arts complex in the world, and has performed at the Shanghai Concert Hall many times. In this special spring, CMS artistic directors Wu Han and David Fink specially selected 4 concerts that were well received by the association, and crossed the ocean to send blessings and cheers to the citizens of Shanghai.
The 4 concerts were broadcast free of charge through the official video account of Shanghai Concert Hall, and they were very popular. "It feels like waltzing in the palace." The excited audience commented.
"The agreement requires that it can only be broadcast on our platform, and only once." Hu Shiyao, media director of Shanghai Concert Hall, introduced to reporters. Before the broadcast, the Shanghai Concert Hall also communicated with the other party about copyright, and the other party also put forward strict requirements on the broadcast format, broadcast cycle, broadcast platform, etc. The premise is that it is not for commercial use: no ticket sales, no advertising.
Counting back the time, from March 30 to April 25, the Shanghai Grand Theater sent 14 selected programs to the audience for free through two rounds of online broadcasts. From the Royal Ballet's "Sleeping Beauty", "Alice in Wonderland" and "Winter's Tale" to the English National Ballet's "Giselle" and the Royal Opera House's "La Traviata"... The high-quality performances have won high popularity and high reputation for the Shanghai Grand Theater.Through various official platforms of the Shanghai Grand Theater, as well as various media platforms such as The Paper, Migu Video, etc., in the end, the two rounds of the Shanghai Grand Theater's broadcast received 29.064 million views.
It is worth mentioning that these programs are all selected from the first season of "Tour Zero Station" which will be launched in 2020.
"Tour No. 0" is co-presented by Shanghai Grand Theater, Broadway On-Demand Network and British Drama On-Demand Network. It is the first comprehensive online streaming media platform for performing arts produced by theaters in China. Through "Tour No. 0 Station", you don't have to fly abroad, you can also directly watch the opera, ballet, musicals and concerts of the world's top theaters through the unique vision of Shanghai Grand Theater.
At that time, the Shanghai Grand Theater handled copyright matters and paid the relevant copyright fees through Hongyang International, the sister company of Broadway On Demand in Asia. When it was broadcast again this year, "We also explained the situation through Hongyang International and the copyright owner, and only after obtaining the permission of the other party and paying the copyright fee again can we proceed to the next step." Zhang Xiaoding, general manager of Shanghai Grand Theater, mentioned in particular that in When Migu Video broadcasts these programs, the other party also has strict copyright requirements: not only the authorization letter from the Shanghai Grand Theater, but also the authorization letter from the copyright owner.
However, the infringement of piracy still occurred. After the online premiere of the hit Kunqu Opera "Six Records of a Floating Life", the staff of the Shanghai Grand Theater found that a number of UP masters uploaded the pirated copy of "Six Records of a Floating Life" to station B."We hurriedly contacted the UP master of station B. Some people had a good attitude and deleted it, but it was posted again after two days, and some people just ignored it." Zhang Xiaoding sighed that the cost of rights protection is too high, and the copyright owner needs to provide a series of materials, and because of working from home, many of their materials are difficult to access. In the end, station B directly took down the video of the entire drama. However, it still happens from time to time that "Six Records of a Floating Life" is uploaded in separate folds by re-editing, renaming, and erasing the LOGO and watermark of the Shanghai Grand Theater.
Because the epidemic has hindered offline performances, the online "Tour Zero Station" came into being to create a richer theater experience for the audience. "We hope that the online 'Tour No. 0' will eventually achieve offline tours and form a warm-up and connection with the theater's future offline performances." Zhang Xiaoding said. At present, the second season of "Tour Zero Station" is in full preparation.
"Practitioners need to be aware of copyright, respect art, respect artists, and thrive in a healthy industry ecological environment." Qian Yinfeng's words also represent the aspirations of many industry insiders. Online performances are a powerful complement to offline performances, but they should not be distracting, because the lack of copyright awareness will disrupt the existing performance market.
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