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  1. 1. International Technical Standard for Digital Rights Permission Code June 23, 2008
  2. 2. Overview of Digital Rights Permission Code <ul><li>&quot;Digital rights permission code&quot; is a name for a method of managing rights and permission information that was proposed in 1997-1998 by Dentsu for handling the distribution of content in the digital age. </li></ul><ul><li>It is a technical standard that attempts to take complex permission information from rights holders for a wide variety of content, which is segmented by purpose and usage terms, and simplify its components by converting them into a numerical code so that a consumer device, such as a cell phone, handheld device, household television receiver, STB or PC, can decode them. </li></ul>Cellular Membrane Function Permission agreement formation function (Third Station) All Content × All Media Use Accept advertisements Disclosure of personal info. Permission Request sponsor Request preference Concept of Permission Content Producer’s Will Consumer’s (individual) Will
  3. 3. How Digital Rights Permission Code Became Standardized <ul><li>Conceived at Dentsu in 1997~1998 </li></ul><ul><li>Its main components are: 1. Content ID, 2. Business ID (copyright holder, user) and 3. Permission terms. </li></ul><ul><li>In April 2001, after founding Melodies and Memories Global Limited (hereinafter, &quot;MMG&quot;), I actively engaged the company in promoting the idea of international and domestic standardization. </li></ul><ul><li>In March 2002, MMG proposed a digital rights permission code format at the Conference on Copyright for the Digital Millennium (CCD). The Japan Photographic Copyright Association, which had begun to look into that proposal earlier, decided to formally adopt a digital rights permission code for a virtual copyrighted work market demonstration hosted by the Japanese Agency for Cultural Affairs in October 2003, and today it is still actively using rights holder IDs and content IDs. </li></ul><ul><li>In January 2004, MMG proposed a digital rights permission code to the TC 100/TA 8 G DRM review committee (subcommittee) of the Japan Electronics and Information Technology Industries Association (JEITA), and activity to formulate a technical standard for a digital rights permission code began </li></ul><ul><li>In March 2006, after three years of review, the CCD announced the CCD ID model for a shared content ID and a shared business ID, which are among the main components of the digital rights permission code format. </li></ul><ul><li>The Japan Business Federation content portal site, which began offering services in June 2007, adopted the shared content ID and shared business ID from the CCD ID model in its “Japan Content Showcase”. </li></ul><ul><li>In December 2004, this proposal for a digital rights permission code, which is a technical standard that should also be called a digital content tagging system, was presented from Japan to the International Electronics Technology Standardization Committee (IEC) by the Japan Electronics and Information Technology Industries Association (JEITA), and after two years of review, it was voted in an international ballot to be the IEC’s international standard on February 15, 2008. </li></ul>
  4. 4. Components of Digital Rights Permission Code <ul><li>    The four components that comprise digital rights permission code are shown below.        </li></ul><ul><li>           - Which Content - From Whom to Whom - Under What Terms - </li></ul><ul><li>① Content ID (identifies the content) </li></ul><ul><li>② From ID (identifies the rights holder or permission manager) </li></ul><ul><li>③ To ID (identifies the distributor, consumer or device) </li></ul><ul><li>N digital rights permission code (expresses specific, detailed usage permission conditions) </li></ul><ul><li>  These four components (IDs, codes) are packaged with the content itself (files or other digital data) when the content is distributed, ensuring that the content is used correctly by the content user at the time it is used, and enabling a usage record to be accurately reported to the content holder or rights holder. In addition, through shared use, related rights organizations can maintain accuracy and transparency in their work distributing rights that have been granted. </li></ul>
  5. 5. The Four Components of the Digital Rights Permission Code Format: Tagging Rules for the Digital Content Distribution Age Identifies the type of content created or used Music, film, book, photograph image, game program, etc. Identifies the content holder or content rights holder Organization, company, individual Identifies the content user Distributor, broadcaster household, individual consumer, device, etc. ③ User ID ① Content ID Identifies permission information for the content ID between 2 parties ② Holder ID Converting ① Purpose of use (business, public, education) ② Usage format (restricted streaming, downloading, copying) ③ Time period, expiration, usage count control and ④ Territory (within Japan) . . . to numbers (encoding), creates a technical language that makes it possible for devices to understand Components ① ~④ are collectively called the Digital Rights Permission Code Content ID - Holder ID - User ID - N Digital Rights Permission Code ④ N Digital Rights Permission Code
  6. 6. Overview of ① ContentID, ② FromID, ③ ToID <ul><li>1. ContentID structure </li></ul><ul><li>- 1 It is critical to have rule and format consensus for the ContentID header using a major category structure that broadly identifies the content by type (T for text, S for sound, I for images and still images, V for video and P for programming) and a secondary category structure that identifies the industry (music, publishing, film, broadcasting, animation, games, advertising) </li></ul><ul><li>          Photography, art, graphic design example: IP Music industry examples: SM, VM Film industry examples: VD, VF Advertising industry examples: SA, VA, IA </li></ul><ul><li>- 2 Structure that identifies domestic or foreign origin (identifies where the content was produced) </li></ul><ul><li>Use of country codes (WIPO) in the future   </li></ul><ul><li>          </li></ul><ul><li>2. FromID, ToID: Holder and user structures </li></ul><ul><li>   - 1 Major category structure that broadly identifies the holder and the user     </li></ul><ul><li>H: Holder U: User (also includes D: Distributor) </li></ul><ul><li>   - 2 Structure that identifies domestic or foreign origin </li></ul><ul><li>Use of country codes (WIPO) in the future   </li></ul><ul><li>   - 3 Structure that identifies the organization, company or individual </li></ul><ul><li>Organization Company Individual </li></ul><ul><li>   - 4 Structure that identifies the permission information manager, content information manager (provider) or rights information manager </li></ul><ul><li>General permission: Derived from multiple rights clearances    It is truly safe to use: This right is OK x n Is there one or multiple entities to negotiate with? General permission management entities: HJPO~, HJPC~, HJPI~ </li></ul>
  7. 7. ④ Overview of the N Digital Rights Permission Code <ul><li>   - 1 Class (Required) ) </li></ul><ul><li>      <Disclosure Class>                                                                                                                                           </li></ul><ul><li>         <Open Permission> <Closed Permission>                                                                                                                                        </li></ul><ul><li>      <Purpose Class> </li></ul><ul><li>         <Business Permission> <Public Permission> <Education Permission> </li></ul><ul><li>      <Accounting Class> Yes No </li></ul><ul><li>      <Sponsor Class> Yes No </li></ul><ul><li>      <Usage Class> </li></ul><ul><li>         <Exclusive Permission> </li></ul><ul><li>           <Broadcast Permission> </li></ul><ul><li>           <Streaming Permission>                    </li></ul><ul><li> <Physical Rental>     </li></ul><ul><li>         <Owner Permission> Includes lifetime limit, recording media limit, and other components </li></ul><ul><li>              Recording media limit component No (= Free) Yes </li></ul><ul><li>         <Download Permission> </li></ul><ul><li>              Lifetime limit component No (= Free) Yes </li></ul><ul><li>                                 Number of playbacks </li></ul><ul><li>                                 Playback expiration </li></ul><ul><li>                                 Playback period </li></ul><ul><li>              <Secondary Usage Permission> </li></ul><ul><li>         <Move>    </li></ul><ul><li>             Lifetime limit, recording media limit components </li></ul><ul><li>         <Copy> </li></ul><ul><li>             1 Lifetime limit, recording media limit components </li></ul><ul><li>             2 ~ </li></ul><ul><li>      <Territory Class> </li></ul><ul><li>             Japan China Korea . . . </li></ul>- 2 Limit Components (Optional) )    <Recording Media Limit Component>             No (= Free)         Yes                          CD                MD                 HDD (including PC, STB and mobile)                     DVD                 SD card                 Memory stick                 <Quality & Compression Format Specification>       <Bit rate Limit Component>     <Lifetime (Life Control) Limit Component>                                 No (= Free)           Yes                                                         Count limit                                                     Time period limit                                                    Expiration limit       <Security Limit Component>         <Electronic Transparency> <DRM Specification> <Encryption Method>     <Transmission Path Limit Component>         No (= Free) Yes Conventional TV CATV Internet Wireless     <Final Capture Location Limit Component>         No (= Free)         Yes Home Shopping PC Mobile                   1. N (Narrow) digital rights permission code structure: The N digital rights permission code is composed of class and restriction components and allows the flexibility to encode permission agreements and permission terms.
  8. 8. Proposal to CC <ul><li><Advantages of a Digital Rights Permission Code> </li></ul><ul><li>    - Utilizes the benefits of global content distribution </li></ul><ul><li>    - Facilitates mutual recognition and understanding among different cultures, which can help resolve global conflicts </li></ul><ul><li> - Creates a rich AV culture through technological innovation, which can help resolve environmental problems </li></ul><ul><li>                     ↑ </li></ul><ul><li>          The latest idea from the IEC TC100 TA8 TAM is the implementation of a digital rights permission code </li></ul><ul><li>          (Proposed by the technology group) </li></ul><ul><li><Proposal> </li></ul><ul><li>Define levelized and verticalized shared IDs for global digital content distribution </li></ul><ul><li>  1 Implement registry management for rights organizations using shared global IDs </li></ul><ul><li>        1-1 Create 4-digit rights holder genres and group by genre </li></ul><ul><li>           1000 Literature, scripts   </li></ul><ul><li>           2000 Music </li></ul><ul><li>           3000 Art, photography, graphic design, manga </li></ul><ul><li>           4000 Film production </li></ul><ul><li>           5000 Performance </li></ul><ul><li>           6000 Media, news, broadcasting </li></ul><ul><li>           7000 Technical support </li></ul><ul><li>           8000 Programming </li></ul><ul><li>        1-2 Differentiate organizations, companies and individuals </li></ul><ul><li>           O Organization </li></ul><ul><li>           C Company </li></ul><ul><li>            I Individual      </li></ul>
  9. 9. Proposal to CC <ul><li>         1-3 Create shared IDs that levelize and bridge cultures </li></ul><ul><li>                   Japanese art, photography & graphic design rights organizations HJPO3100 </li></ul><ul><li>                   French art, photography & graphic design rights organizations HFRO3100 </li></ul><ul><li>                   American art, photography & graphic design rights organizations HFUSO3100 </li></ul><ul><li>         1-4 Verticalize and integrate domestically </li></ul><ul><li>               Japanese domestic ID management system </li></ul><ul><li>                       Rights organizations: HJPO3100 </li></ul><ul><li>                       Member companies: HJPC3100XXXXXXXX </li></ul><ul><li>                         Individual rights holders: HJPI3100YYYYYYYY </li></ul><ul><li>                 French domestic ID management system   </li></ul><ul><li>                       Rights organizations: HFRO3100 </li></ul><ul><li>                       Member companies: HFRC3100XXXXXXXX </li></ul><ul><li>                         Individual rights holders: HFRI3100YYYYYYYY </li></ul><ul><li>                American domestic ID management system </li></ul><ul><li>                       Rights organizations: HUSO3100 </li></ul><ul><li>                       Member companies: HUSC3100XXXXXXXX </li></ul><ul><li>                         Individual rights holders: HUSI3100YYYYYYYY </li></ul><ul><li>             </li></ul><ul><li>   </li></ul>
  10. 10. Proposal to CC <ul><li>2 Implement artwork information management for various content using global shared IDs </li></ul><ul><li>        Differentiate content by genre and group by genre </li></ul><ul><li> T Text M (Music) SM, VM            </li></ul><ul><li> S Sound A (Advertising) IA, SA, VA            </li></ul><ul><li> I Images + D (Drama) </li></ul><ul><li> V Visual            </li></ul><ul><li> P Programming </li></ul><ul><li>        Add country where the content was produced   </li></ul><ul><li>          SM, VM + Country code SMJP ~ SMUS~, SMFR~ </li></ul><ul><li>          IA, SA, VA IAJP~, SAJP~, VAJP~, VAUS~, VAFR~ </li></ul><ul><li>         </li></ul><ul><li>3 Standardize permission information </li></ul><ul><li>          Will be proposed next. </li></ul><ul><li>          First, let’s quickly implement proposals 1 and 2! </li></ul><ul><li>    </li></ul><ul><li>          </li></ul><ul><li>           </li></ul>
  11. 11. Content ID Structure <ul><li>The content ID system for uniquely identifying content assigns a header that indicates the digital content attribute, and the party that issues the ID assumes responsibility and issues a unique value for each piece of content. </li></ul>JP 01 + SM + 9876543210 + Content ID Header Country Code Center Code Unique Code SMJP019876543210 Content ID System Part of the ID that indicates the content ID issuer Part of the ID that is assigned to each piece of content <ul><li>The attributes of the content can be understood from the ID </li></ul><ul><li>Businesses can uniquely identify content in a multi-dimensional manner. </li></ul><ul><li>The content holder can be identified from the content ID by using a solution function from a content portal. </li></ul>Category 1 Category 2 Sound Music SM (Sound Music) Drama SD (Sound Drama) Program SP (Sound Program) : : Visual Music VM (Visual Music) Drama VD (Visual Drama) Program VP (Visual Program) : :
  12. 12. FromID and ToID Structures <ul><li>The FromID, ToID system for uniquely identifying businesses divides those involved in the distribution of digital content into content holders and content users, and it assigns IDs that can uniquely identify these parties as well as affiliated organizations, companies and individuals. </li></ul>JP I + H + 3200 00000001 + + Business ID Header Country Code Organization ID Code Group Code Company Code & Individual Code, etc. HJPI320000010001 Shared Business ID System Part of the ID assigned by group Groups that obtain a group code have unique internal IDs assigned to individual members and constituents <ul><li>The attributes of the business can be understood from the ID. </li></ul><ul><li>Not only organizations, but also a wide variety of players involved in content distribution, including constituent company members, individual members, etc. can be identified. </li></ul>Business ID Code Content Holder Content Holder H Content User Content User U Organization ID Code Organization Organization O Company Company C Individual Individual I
  13. 13. IEC Digital Rights Permission Code Format <ul><li>In JEITA TC100/TA8, a digital rights permission code format applicable to home server systems was proposed to IEC TC100/TA8 as an international standard. The digital rights permission code stipulated at TA8 assumed that it would be used as a shared rights expression for a wide variety of usage protection technology that protects content rights in a home server environment, and to proceeded toward standardization. </li></ul>Content Identifier Issuer Identifier Recipient Identifier Data Management Terms Data Output Terms Extended Usage Terms Digital Rights Permission Code Permission Terms Information Disclosure Class Purpose Class Accounting Class Sponsor Class Billing Class Application Class Territory Class Usage Class Permission Class Device and Person Count Restrictions Recording Media Limits Quality Limits Permission Management System Limits Lifetime Limits Simultaneous Output Limits Parental Locks Normal Usage Terms Playback (CM) Control Figure: Digital Rights Permission Code Format Stipulated at TA8 Limit Components Usage Form Play Print Execute
  14. 14. Reference 2: CCD ID Model for Inter-Organization ID Numbers Map 2 (1 / 6) (Excerpted from CCD Materials) HJP02- HJPO1100 HJPO1200 HJPO1300 ID draft ( part of organization ID) RIAJ MPA JASRAC MPA Producer (producer/master recording investor) Writer (Song writing/Music composition) Literature Screenplays and Scenarios Recording Industry Association of Japan Music Publishers Association of Japan etc. Japanese Society for Rights of Authors, Composers and Publishers Music Publishers Association of Japan e-License, Inc. JRC, Inc. Daiki Sound, Inc.                         etc. <Genre 2> Music The Japan Writer's Association Writers Guild of Japan Japan Writers Guild <Genre 1> Literature and Screenplays Involved organizations Genre
  15. 15. Reference 1: Interaction Between the Content Portal Site and CCD IDs (Excerpt from Japan Business Federation Materials) <ul><li>The backbone of digital content distribution lies in the fundamental components of a variety of content information and its permission contact information </li></ul><ul><li>New communication between content holders and users is generated via this backbone, which makes it possible to create new content and new markets </li></ul><ul><li>CCDID is an ID system that makes it possible to easily manage information connected to the backbone (who is using or who wants to use which content that belongs to whom) </li></ul>Content Portal Site CD & Music Information Film, Video, DVD Information DB TV Program Information Photograph Information DB DB DB <ul><li>Search for content you want to use </li></ul><ul><li>           ↓ </li></ul><ul><li>Create new digital content that used original content </li></ul><ul><li>Check and revise registered information </li></ul><ul><li>Receive and respond to permission application (net, in person) </li></ul>User (Content Creation) UJPC ~ Existing Content Holder HJPC ~ User (Distributor) UJPC ~ Search for distributable artwork Retrieve basic information Retrieve permission entity information Content information registration & check Specify disclosure to market Search for content information DB New Content Holder HJPC ~ Permission Application & Inquiries DB Game Information Animation Information Register content information <ul><li>After the permission application process, work with the content data based on the permission information </li></ul><ul><li>ID management for usage reports Content ID, User ID </li></ul><ul><li>Propose new business models </li></ul>SMJP~ VFJP~ VDJP~ IPJP~ ICJP~,VCJP~ PGJP~ Actual business communication derived from the backbone
  16. 16. Reference 2: CCD ID Model for Inter-Organization ID Numbers Map 2 (2 / 6) (Excerpted from CCD Materials) HJP03401 HJP03301 HJP03302 HJP03303 HJP03304 HJP03305 HJP03306 HJP03200 HJP03201 HJP03202 HJP03203 HJP03204 HJP03205 HJP03206 HJP03207 HJP03101 ID numbering draft ( part of organization ID) JAGDA JPAL SPA TIS JCBAS JPCA JPS APA AJPAS JPA JBPS JAAI Comics * Japan Arts Copyrights Association Japan Graphic Designers Association Inc. Japan Scientific Arts Association Japan Publication Artist Association The Society of Publishing Arts Tokyo Illustrators Society Japan Children's Book Artists Society Graphics * Japan Photographic Copyright Association Japan Professional Photographers Society Japan Advertising Photographers' Association Sha-bunkyo The All-Japan Photographic Association of Societies Japan Portrait Photographers' Association Japan Bridal Photograph Society Japan Bridal Photograph Society Photography Japan Artists' Association, Inc. Art <Genre 3> Still images Involved organizations Genre
  17. 17. Reference 2: CCD ID Model for Inter-Organization ID Numbers Map 2 (3 / 6) (Excerpted from CCD Materials) HJP04- ID numbering draft (part of organization ID) ANPA All Nippon Producers Association Japan Film Makers Association AJA The Association of Japanese Animations     ATP Association of All Japan TV Program Production Companies MPPAJI NHK NACBJ JVA Production crafts Directors, Cameramen, Lighting, Art, Editing, Script Writers, Recording Producer * Film Vocational Federation of Japan Directors Guild of Japan Japanese Society of Cinematographers Association of Production Designers in Japan Japanese Cinema and Television Sound Creator's Association Japan Society of Editors Japan Society of Films and TV Scripters Japanese Society of Lighting Directors Motion Picture Producers Association of Japan, Inc. NHK The National Association of Commercial Broadcasters in Japan Japan Video Software Association <Genre 4> Motion pictures Involved organizations Genre
  18. 18. Reference 2: CCD ID Model for Inter-Organization ID Numbers Map 2 (4 / 6) (Excerpted from CCD Materials) HJP05401 HJP05301 HJP05201 Japan Advertisers Association Japan Advertising Agencies Association Japan Advertising Federation Japan Magazine Advertising Association HJP06401 HJP06402 HJP06403 HJP06404 Advertising HJP061- HJP062- HJP063- HJP05100 HJP05101 HJP05102 HJP05103 ID numbering draft ( part of organization ID) <Genre 6> Media, Advertising JAPA Japan Audio Producers' Association Voice Performers NHK NACBJ JBPA PRE MPN JCPO CPRA JAME FMP NHK The National Association of Commercial Broadcasters in Japan Japan Cable and Telecommunications Association Eiseihoso Kyokai Broadcasting Books, Magazines Music People's Nest Musical Performers Japan Book Publishers Association Japan Magazine Publishers Association Performers' Rights Entrustment Visual Performers The Japan Newspaper Publisher & Editors Association Newspapers Performers <Genre 5> Performance Japan Council of Performers' Organizations Center for Performers' Rights Administration Japan Association of Music Enterprises The Federation of Music Producers Japan Involved organizations Genre
  19. 19. Reference 2: CCD ID Model for Inter-Organization ID Numbers Map 2 (5 / 6) (Excerpted from CCD Materials) HJP06405 HJP06406 HJP06407 HJP06408 HJP06409 HJP06410 HJP06411 HJP06412 HJP06413 HJP06414 HJP06415 HJP06416 HJP06417 HJP06418 HJP06419 HJP06420 HJP06421 HJP06422 HJP06423 HJP06424 HJP06425 ID numbering draft ( part of organization ID) * Dissolved in 2004 Japan Audit Bureau of Circulations Japan Advertising Review Organization Japan Marketing Association Japan Marketing Research Association Public Relations Society of Japan Japan Association of TV Commercial Production Companies Japan Point of Purchase Promotion Institute Organization of Advertising Creation Industrial Advertising Association Japan IAA Japan International Advertising Association Japan Advertising Council Advertising Cooperative Association Japan Classified Association Central Confederation of Broadcasting Advertisement Agency             Tokyo Outdoor Advertising Association All Japan Radio & Television Commercial Confederation          Federation of All Japan Out-door Advertising Associations All Japan Neon-sign Association Japan Internet Advertising Association Japan Free Newspapers Association Japan Advertising Music Productions Federation Advertising <Genre 6> Media, Advertising Involved organizations Genre
  20. 20. Reference 2: CCD ID Model for Inter-Organization ID Numbers Map 2 (6 / 6) (Excerpted from CCD Materials) HJP07201 HJP07202 CESA Computer Entertainment Supplier's Association Games HJP08- HJP07101 ID numbering draft ( part of organization ID) JEPA JFPI Japan Electronic Publishing Association The Japan Federation of Printing Industries Publishing AMEI Association of Musical Electronics Industry Music ACCS DCAJ AMD Association of Copyright for Computer Software Digital Content Association of Japan Association of Media in Digital Database Promotion Center, Japan General <Genre 8> Program <Genre 7> Production technology/ support MEF Music Enterprise Federation Manekyo Performance support JAPRS JAREC Japan Association of Professional Recording Studios Japan Association of Recording Engineers Music JEITA JPPA Technology standards Japan Electronics and Information Technology Industries Association CDs 21 Solutions Japan Post Production Association General (Music/Visual) Involved organizations Genre
  21. 21. Reference 3: CCD ID Model - Common Content ID Structure (Excerpted from CCD Materials) <Content ID Header Code System> > Content Group Derived from Drama “A” Segmented Content ID through Content ID Headers VDJP0100000000001 Video Software “A” Episode “A” Screenplay “A” Theme Song & Promotion Video “A” Theme Song & Melody “A” Drama Promo Photograph “A” IPJP0100000000001 VMJP0100000000001 SMJP0100000000001 TNJP0100000000001 TDJP0100000000001 Content ID Header (2 Digits) Country Code (2 Digits) Center Code (2 Digits) Shared Content ID System Unique Code (10 Digits)