Talk Two.

I had a second talk about this project, this time with Adam and the rest of the people doing the brief. It was a very good thing too see where everyone is, and a relief to know that I'm not doing as badly as i thought I was. I still need to get on with my storyboards ready to start shooting the film, but aside from that I'm pretty much ready to go.

Good Copy Bad Copy

I've just watched the video that Matt Roberts recommended i watch and I have to say, its brilliant. Puts the whole thing in a nutshell. In terms of music anyway.

Here's the video. Check it out ant goodcopybadcopy.net also!

Interviews

I've been thinking about the possibilities of a interview's with both staff and students form NEWI. However I'm stuck on what questions to ask.

Some possibilities are,

1. Have you had any Experience with Copyright and Intellectual property being Stolen or Misused?
2. What is your opinion on Peer To Peer downloading using services like pirate bay and Bit Torrent?
3. At what point do you think a homage to an artist/director/designer/musician becomes just a copy?
4. Do you agree with sampling other peoples work to use in your own?
5. Does copyright have a detrimental effect on creativity?

I think these are a good beginning, but I am aware that I don't want this to end up into an hour long feature.

Adam Cooke

An email I sent to Adam

Hey Adam.
    I thought I'd email you to give you an update on to how my project is going and to see if you had any input that might help me. I've pretty much got all the research I need, through my own research or from links to other blogs like Matt Roberts, Jonny Burton and Gareth Holloway mainly. Have a gander at my blog if you've got a couple of minutes to spare. http://ethicsandcopyright.blogspot.com/ . I'm thinking about doing a visual essay to put across my points, but I'm also thinking about putting some interviews in there. I'm still a little lost as to what vantage point I'm coming from at the moment, do I have to be on one side of the fence or can I argue both sides? that being Copyright being a good thing and a bad thing. I'd really like to know what you think of the idea.
Cheers,

The response

Chris

I'm going to get everyone together mid next week
and review everyone's findings and developments
thanks for the link
quick scan and it looks right on point
Adam

 

I cant wait to see what other people have got planned on this one.

Matt Roberts

This is an email I received after asking a friend of mine Matthew Roberts, he's given me some pretty good ideas as to what to move onto next.

hello Chris

I have been pretty well tied up with my other briefs, so not done a great deal to be honest yet.

you could watch this movie - www.goodcopybadcopy.net if you have a spare hour and want to sit on your arse and let the info soak in other than that i am not sure. I made music for a living from 1991 until recently, so I will use that to some extent as actual experience (as it has all changed so much over that 16 years)

if i have a stance it is that copyright is obviously a good thing as artists do need to eat (young folk who think that everything should be free are just naïve and haven't had to pay their own bills), but it is also good that there are now alternatives (creative commons etc). Bands and recording artists such as Lilly Allen and the Arctic Monkeys have been using alternative means to promote themselves and have broken themselves onto the market through myspace (without the initial help of a major record label) - but once they're big i guess their record companies will be enforcing copyright to safeguard their investment. It is also true that these days recording artists don't really make any money on actual record sales, but recoup trough music publishing (radio play), Live events and merchandising.

it's horses for courses really, so as long as you show an understanding and bring up some points i guess you don't need to wrap it all up in a neat little conclusion. The chances are that whatever the state of play is with regards to copyright and DRM today,  it will have changed again in 2 years time. I think i will just note how things are in a few solid examples and indicate that I will be keeping my eye on things.

I think once that is done the fun part is making a piece / poster / movie / flash thing about it.

hope that makes sense

see ya soon

.

Matthew Roberts

King Unique

Chartered Society of Designers

This is a quick copy/paste of the service the CSD provide to its members.

 

The most valuable commodity to designers is their Intellectual Property (IP). It is therefore extremely important to understand why and how you should protect it.

Members are able to call on the expertise of a legal team to advise on how to protect their IP rights. In addition, a range of services for added protection including legal assistance in the event of IP infringement is available.

Regular training seminars and workshops are publicised in The Designer, which members receive free.

Knowledge of IP matters is not only important in protecting designers but it also allows them to advise their clients professionally on IP matters: protection of the design work commissioned, implementing copyright assignments and licensing agreements with yourself.

Members benefit from a FREE consultation on any IP matters. This will quite often be followed up by a short written report setting out the advice given, which may be used as a basis for discussions with a client prior to commencing work or assist in the event of any problems. CSD members also receive preferential rates for these reports.

Key Benefits & Features

• FREE consultation on IP matters.
• Access to expert IP legal team.
• Preferential rates on IP services.
• Regular updates on IP matters.

Copyright according to the AOI

Copyright & Moral Rights  

Written by Administrator

Thursday, 09 September 2004

COPYRIGHT
Copyright is an area which is governed by the Copyright, Designs and Patents Act, 1988. When you create a collage, painting, drawing, diagram, map, chart, plan, engraving, etching, lithograph, woodcut or similar work, you have created an artistic work and that is protected by copyright, provided that your illustrations fall into any one of these categories. You, as creator of that illustration, own the copyright which subsists in it. There is one exception to this general rule. If you are an employee and your job requires you to create illustrations, then usually your employer will own the copyright in these works. There are no registration requirements. There is no requirement to use the sign © but it will help the public to realise that your illustration is protected by copyright.
If you own copyright, you are the only person who has the right to make copies of your illustrations. If someone else makes a copy without your permission, they are infringing your copyright.
You can give permission to individuals or companies to reproduce your illustration which is known commonly in the illustration trade as granting a licence. Your license should be in writing and should set out the use that can be made of your illustration and any restriction you wish to place on the use. You can grant licences for different uses.
You can effectively sell your copyright, which means that you have no further right of reproduction in your work. This is known as an assignment but will only be effective if you put it in writing.
If your illustration is reproduced without your permission, you are entitled to damages; perhaps an injunction to stop the infringement and on occasion the infringing copies delivered to you.
Your copyright in your illustration is an economic right. It is different from ownership of the illustration itself. You may still grant a licence or give an assignment of copyright in your illustration whilst owning the original piece. Likewise, you may sell the original illustration without giving permission for it to be reproduced.

MORAL RIGHTS

These are rights in addition to your economic right of copyright and your right of owning your illustration.
You have a right to be identified as author of your illustration. This right must be asserted in writing and should be included on any copyright, assignment or licence to reproduce or other written contract.
You have a right to object to derogatory treatment of your illustration. This means you have a right to object if your illustration has been adapted, altered, added to or deleted from. You may be able to rely on this right if you are unhappy about the colour reproduction of your illustration or, if perhaps, it has been cropped in a way which distorts it.
You have a right not to be falsely attributed to another person's art.
It is not possible to pass on your moral rights by way of assignment or licence but they can be waived, ie. given up. Check any written contract carefully to ensure that your client is not asking you to waive your moral rights.
Along with, amongst others, the Association of Photographers, the NUJ, the Musicians Union, and as part of the Creators Rights Alliance, the AOI is campaigning and lobbying parliament on behalf of illustrators to change the attitude of many clients and members of the public towards creator’s rights. In many other EU countries, for example, moral rights cannot be waived. They are considered to be a right, not a commodity, thereby ensuring their protection for the creator.
The issues related to rights grabs by clients and unfair contracts have increasingly become a feature of the ongoing campaigns that the AOI continues to be involved with, on behalf of and thanks to the continued support of the membership.
For further information please see Survive – The illustrators guide to a professional career, Edited by Fig Taylor and available to order directly from the AOI  and Rights – The illustrators guide to professional practice, also available from the AOI.
For more information on the CRA, please visit their website at: www.creatorsrights.org.uk