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，
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.
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。
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.
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.
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.