DISTRIBUTION OF REVENUE 2018 During 2018, a total of SEK 224 million was distributed to right holders PHOTO: COOKELMA/ISTOCK PHOTO: 2 COPYSWEDE DISTRIBUTION OF REVENUE 2018 Copyswede’s Distribution Activity 4 Distribution in Brief 6 Revenues for Retransmission 9 Private Copying Levy 11 Revenues for Other Areas 13 The Distribution in Numbers 14 Further Information 19 Copyswede works to fund the creation of new culture Copyswede are experts in the collective administration of copyright within the TV sector. We licence the retransmission of TV and radio programmes via various media and manage the Swedish levy system for private copying. We work on behalf of our member organisations to ensure that creators of culture are remunerated for their copyright. If the consumption of culture is to be sustainable, creative people must receive reasonable remuneration. A strong copyright leads to secure and unshackled performers. Within the EU and Sweden in particular, there is strong political, legal and popular support for copyright and its effective and collective management. We have been entrusted with managing aspects of this task. Copyswede is subject to supervision by the Swedish Patent and Registration Office (PRV), a government agency. COPYSWEDE DISTRIBUTION OF REVENUE 2018 3 PHOTO: CASARSAGURU/ISTOCK PHOTO: COPYSWEDE’S DISTRIBUTION ACTIVITY Copyswede’s remit includes a responsibility to Member Organisations ensure that the revenues that are collected are Copyswede’s member organisations collectively repre­ distributed fairly and transparently. We work sent 150,000 Swedish authors and performing artists. continuously to improve, simplify and analyse Individuals and companies are not eligible to be mem­ various processes from collection to payment. bers of Copyswede. This document describes the principles that are » Visual Arts Copyright Society in Sweden followed in the distribution of revenues and » Association of Swedish Illustrators and Graphic the transactions which took place during the Designers (FST) current year, 2018. » Swedish Artists’ National Organisation (KRO) » Nordic Copyright Bureau (NCB) » Swedish Artists and Musicians’ Interest Organisa- Organisation tion (SAMI) Copyswede is a cooperative economic association set » Association of Swedish Professional Photographers up and owned by cultural innovator organisations, all of (SFFot) which represent Swedish authors and performing artists. » Swedish Union of Journalists (SJF) Individuals cannot become members. Copyswede’s bo­ » Swedish Musicians’ Union (SMF) ard of directors consists of seven members who possess » Swedish Performing Rights Society (STIM) expertise relating to agreements concerning literary and » Writers Guild of Sweden (DF) stage works, visual art, the performances of performing » Swedish Writers’ Union (SFF) artists and copyright in the music industry. » Swedish Association of Educational Writers (SLFF) » Swedish Federation of Professional Musicians (SYMF) In order to offer comprehensive licence solutions, » Swedish Union for Performing Arts and Film (TF) Copyswede also works closely with music producers, film and TV producers and TV and programme companies. 4 COPYSWEDE DISTRIBUTION OF REVENUE 2018 DISTRIBUTION ACTIVITY Collaboration Partners individual revenues for retransmission and private copying will take place once a year, nine months after » ­ Swedish Film Producers’ Association (FRF) PHOTO: CASARSAGURU/ISTOCK PHOTO: the end of the previous financial year/collection year. In » International Federation of the Phonographic May 2018, Copyswede distributed revenues from 2016 Industry, Sweden (IFPI) in accordance with the previously applicable principles. » Union of Broadcasting Organisations in Sweden (UBOS) Provisions and period of statutory limitation Every year, a certain proportion of the revenue is set asi­ Business Areas de for the subsequent distribution of as yet unprocessed Copyswede’s activities encompass licensing, collection cases and in order to cover any compensation claims and distribution within: retransmission of TV and radio from right holders who for any reason were not included channels in various distribution networks (satellite, in the basis for the distribution (Table 2, page 14). cable TV and over the internet), the private copying levy system, Open archive (SVT), SVTr (on-demand service), According to the Swedish Copyright Act, the period of SVT productions published on DVD or video on demand statutory limitation for future claims for remunera­ (VOD) and the retransmission of programmes from UR. tion for retransmission is three years after the year in which the work is utilised, but Copyswede applies five Distribution of Revenues to Other years in practice. The period of statutory limitation for Organisations future claims for the private copying levy is ten years. Revenues that have been set aside but which could not Revenues for the retransmission of TV and radio, and be distributed and have therefore expired are reversed for private copying, are allocated and distributed to our and distributed to right holders (Table 3, page 14). Indi­ business partners (IFPI, FRF and UBOS), foreign colla­ vidually calculated revenues of all kinds which for vario­ borative organisations and member and collaborative us reasons could not be distributed do not expire until organisations with their own distribution systems (IFPI, after ten years. SAMI, STIM). Copyswede’s Expenses Distribution of Individual Revenues Copyswede’s total administrative expenses for 2018 On behalf of certain member organisations, Copyswede amounted to just under 14 percent of the organisation’s distributes revenues individually to their right holders. total turnover. In future, Copyswede’s principal distribution of LICENSING – COLLECTION – DISTRIBUTION – PAYMENT (INDIVIDUAL REIMBURSEMENTS) COLLECTION COLLECTION COLLECTION 2018 2019 2020 9 months 9 months PAYMENT PAYMENT COPYSWEDE DISTRIBUTION OF REVENUE 2018 5 DISTRIBUTION IN BRIEF Guidelines and More Representation Agreements » Revenues that are collected are distributed in Copyswede collects revenues for the transmission of accordance with distribution agreements with various TV channels, primarily Nordic and European Copyswede’s collaborative partners. public service channels, as well as the private copying » Revenues are distributed between Copyswede’s levy, the use of Open archive and many other uses. right holder groups by annual agreement with all member organisations. Demand for Swedish channels is primarily limited to the » The distribution must be clear, transparent and Nordic region. However, individual Swedish program- simple to understand. mes such as crime fiction and children’s programmes » The use year is the year in which a production are transmitted via the national channels of many or a programme is transmitted and the revenue European countries. generated. » The collection year is the year in which the revenue To ensure that both Swedish and foreign right holders is collected. receive remuneration when programmes to which » The payment year is the year in which the revenue they have contributed are utilised in other countries, is distributed to the right holders. Copyswede has signed representation agreements with » In the case of organisations which do not have their foreign organisations, who represent authors and/or own distribution and payment systems, Copyswede performing artists in their respective countries. manages the task of individual distribution to their right holders. These agreements regulate representation in connec­ » For certain member organisations, distribution ta­ tion with various forms of use of TV and radio program­ We distribute kes place to right holders under their own direction mes and the way in which revenues are exchanged. (Table 30, page 17). revenues to » Collected revenues are distributed individually Revenues may originate from uses such as private thousands of insofar as is possible. copying, retransmission or school use (Tables 5-9, pages » The main payment of individual revenues takes 14-15 and Table 25, page 17). right holders. place once a year, nine months after the end of the previous financial year/collection year. Distribution in Three Stages » The distribution of revenues to organisations with 1. Allocation to collaborative partners their own distribution and payment systems com­ A proportion of the funds collected by Copyswede is mences after five months. initially allocated to our collaborative partners – FRF, » Certain organisations have opted to make a de­ IFPI and UBOS. These revenues are then distributed by duction of 5 percent from its group’s share of the the respective organisations to individual TV and radio retransmission revenue for the negotiations that companies, and to individual film and music producers. are conducted by the respective member organisa­ A deduction is made for collection expenses at this stage. tions (Table 4, page 14). » An amount concerning right holders in documenta­ 2. Distribution at Right Holder Group Level ries has been set aside for the interest organisation Remaining revenues are then distributed between for independent filmmakers in Sweden, Oberoende Copyswede’s various right holder groups. Revenues for filmares förbund (OFF) (see Table 28, page 17). organisations with their own distribution system are » No registration is required in order to receive then allocated. At this stage, a deduction is also made revenues from Copyswede. Copyswede’s distribu­ for Copyswede’s own development expenses. tion work