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Overview of Collective Licensing Models and of DRM Systems and Technologies Used for IPR Protection and Management Overview of collective licensing models and of DRM systems and technologies used for IPR protection and management ECP-2007-DILI-517005 ATHENA Overview of collective licensing models and of DRM systems and technologies used for IPR protection and management Deliverable number D6.2 Dissemination level Public Delivery date 31 October 2009 Status Final Barbara Dierickx (PACKED) & Dimitrios Author(s) Tsolis (University of Patras) eContentplus This project is funded under the eContentplus programme1, a multiannual Community programme to make digital content in Europe more accessible, usable and exploitable. 1 OJ L 79, 24.3.2005, p. 1. 1/125 Overview of collective licensing models and of DRM systems and technologies used for IPR protection and management Table of Contents EXECUTIVE SUMMARY .............................................................................................................................................. 4 PART ONE – OVERVIEW OF COLLECTIVE LICENSING MODELS ................................................................. 5 1. GENERAL INTRODUCTION .............................................................................................................................. 5 1.1. INTRODUCTION 5 1.2. CULTURAL HERITAGE IN AN ONLINE ENVIRONMENT 7 2. THE SCOPE OF COPYRIGHT............................................................................................................................. 8 2.1. SCOPE AND EXCEPTIONS 8 2.2. THE EUROPEAN FRAMEWORK 9 2.3. SPECIAL POINTS OF INTEREST 9 3. THE COLLECTIVE LICENSING OF RIGHTS ............................................................................................... 13 3.1. THE COLLECTIVE MANAGEMENT OF RIGHTS 13 3.2. VOLUNTARY COLLECTIVE LICENSING 16 3.3. COUNTRY SPECIFIC REGIMES FOR ORPHAN WORKS 17 3.4. EXTENDED COLLECTIVE LICENSING 21 4. OPEN AND NEW LICENSING MODELS......................................................................................................... 23 4.1. INTRODUCTION 23 4.2. OPEN CONTENT LICENSES: CREATIVE COMMONS AS AN EXAMPLE 23 4.3. THE APPLICATION OF OPEN CONTENT LICENSES BY CULTURAL HERITAGE INSTITUTIONS 26 4.4. EXAMPLES & CASES OF BEST PRACTICE 27 5. GENERAL CONCLUSION.................................................................................................................................. 36 PART TWO – OVERVIEW OF DRM TECHNIQUES ............................................................................................. 37 1. GENERAL INTRODUCTION ............................................................................................................................. 37 2. DIGITAL RIGHTS MANAGEMENT SYSTEMS – AN OVERVIEW............................................................ 38 2.1. INTRODUCTION 38 2.2. THE FOCUS OF DIGITAL RIGHTS MANAGEMENT SYSTEMS 38 2.3. COPYRIGHT PROTECTION TOOLS 39 2.4. DIGITAL RIGHTS MANAGEMENT 41 2.5. TECHNOLOGICAL PROTOTYPES – STANDARDS 46 2.6. THE FUTURE OF DRM SYSTEMS 50 2.7. FUTURE RESEARCH DIRECTIONS 50 3. DIGITAL WATERMARKING IN-DEPTH........................................................................................................ 52 3.1. DIGITAL IMAGE WATERMARKING TECHNIQUES FOR DRM APPLICATIONS 52 3.2. WATERMARKING AND AUTHENTICATION IN JPEG2000 66 3.3. PROTECTING THE COPYRIGHT OF DIGITAL VIDEO THROUGH WATERMARKING TECHNOLOGIES 77 4. DIGITAL RIGHTS MANAGEMENT AND TRANSACTIONS – ON-LINE RIGHTS CLEARANCE....... 81 4.1. INTRODUCTION 81 4.2. BACKGROUND 81 4.3. RIGHTS CLEARANCE & DRM 83 4.4. RIGHTS CLEARANCE & BUSINESS MODEL 87 4.5. RIGHTS CLEARANCE TECHNOLOGIES 89 4.6. CASE STUDY: SILKDRM 96 4.7. CONCLUSION 101 4.8. FUTURE RESEARCH DIRECTIONS 101 2/125 Overview of collective licensing models and of DRM systems and technologies used for IPR protection and management 5. DIGITAL RIGHTS MANAGEMENT – A EUROPEAN LAW PERSPECTIVE ......................................... 103 5.1. INTRODUCTION 103 5.2. EU COPYRIGHT LAW AND DRM 103 5.3. THE PROVISIONS OF THE COPYRIGHT DIRECTIVE 2001/29 104 5.4. OTHER EU LEGISLATION RELEVANT TO TECHNOLOGICAL MEASURES AND DRM INFORMATION 111 5.5. ONGOING DISCUSSION ON DRM SYSTEMS 113 5.6. FUTURE RESEARCH DIRECTIONS 115 6. BEST PRACTICE FOR DRM & IPR PROTECTION IN EUROPEANA .................................................... 116 6.1. INTRODUCTION 116 6.2. TABLE OF EXISTING DRM TECHNOLOGIES AND ASSOCIATED DEVICES 116 6.3. BUILDING A TYPICAL DRM SYSTEM FOR A CULTURAL ORGANISATION 117 6.4. CONCLUSION 120 7. GENERAL CONCLUSIONS .................................................................................................................................. 121 8. LIST OF FIGURES.................................................................................................................................................. 122 9. ADDITIONAL READING ...................................................................................................................................... 123 3/125 Overview of collective licensing models and of DRM systems and technologies used for IPR protection and management Executive summary This report, created by the WP6 on Intellectual Property Rights of the ATHENA-project, is divided into two main parts; one on collective licensing and one on the use of Digital Rights Management (DRM) techniques. Part one: overview of collective licensing models The goal of this part is to present an overview of collective licensing models in relation to the digitisation and disclosure of cultural heritage content. It should be noted that the general scope of copyright will not be discussed in this report since it already featured extensively in the ATHENA D.6.1. Overview of IPR legislation in relation to the objectives of Europeana. The first section of the report situates current trends in unlocking cultural heritage content by making it digitally available on the internet. Some specific issues on copyright to which collective licensing might provide an answer are presented here as well. We take a look at the current copyright discussions within the European policy field as well as regulatory initiatives by Europeana. The following chapter gives an overview of the actual collective licensing mechanisms. It starts off by presenting what the collective management of rights is and why it can be useful to the cultural heritage sector. Different collective licensing models are then illustrated, as well as some country-specific regimes. This is followed by a chapter on new and emerging licensing models. Collective licensing may be one option but we should also look at others. Open content licenses and Creative Commons licenses in particular will be discussed here. Their application in the field of cultural heritage, as well as some cases and best pratices, illustrate the theory. A general conclusion summarizes this first part of the report. Part two: overview of DRM techniques The issues of wide access to cultural and scientific content and in parallel protection and management of copyright create the next digital dilemma and considerable scepticism to Web 2.0 users and content providers: do we consider creations as human kind advances and in some way patrimony of the humanity freely accessible and reusable by anyone or do we consider wiser to protect it as the result of ‘personal’ investments and efforts? How intellectual property laws could embrace the apparently paradoxical goals of motivating individual creation and preserving the ultimate benefits of that creation for the common good, is a major question. As a result the necessity of using systems which allow broad exchange of the creations while at the same time use copyright protection methodologies and tools during this exchange is important. Digital Rights Management systems have the objective to fulfil this goal, thus to protect and manage rights and copyrights and in parallel support the distribution and publication of priceless digital creations in the form of digital content. A technical study presents the main aspects of Digital Rights Management Systems and is structured in the following main sections: • Digital Rights Management Systems – An Overview. The DRMS is being defined and certain technological aspects are presented. • Digital Watermarking in-Depth. The state of the art, new trends and the uses regarding digital watermarking for image and video files are presented. • Digital Rights Management and Transactions – On-line Rights Clearance. The DRMS uses for transactions between users and content and new on-line clearance strategies are being analysed. • Digital Rights Management – A European Law Perspective. A specialised review of legislation referring to Digital Rights Management systems is included. • Best Practice for DRM & IPR Protection in Europeana. This chapter is concluding on what is the best practice for implementing a Digital Rights Management System which applies IPR protection and management for digital cultural content which is being published through websites and/or Europeana’s portal. This technical study could be proved useful to organisations and people who might not know what a DRM system is, while at the same time and in certain aspects reaches depths useful for experienced scientists and experts active in the scientific field of DRM and copyright protection/management. 4/125 Overview of collective licensing models and of DRM systems and technologies used for IPR protection and management PART ONE – OVERVIEW OF COLLECTIVE LICENSING MODELS 1. General introduction 1.1. Introduction The 21st century marked the birth of the ‘information society’ as we know
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