“Article 2 Reproduction right Member States shall provide for the exclusive right to authorise or prohibit direct or indirect, temporary or permanent reproduction by any means and in any form, in whole or in part: (a) for authors, of their works; (b) for performers, of fixations of their performances; (c) for phonogram producers, of their phonograms; (d) for the producers of the first fixations of films, in respect of the original and copies of their films; (e) for broadcasting organisations, of fixations of their broadcasts, whether those broadcasts are transmitted by wire or over the air, including by cable or satellite”
“New section 28B provides that an individual may make personal copies of a copyright work (other than a computer program) which is lawfully owned by that individual, provided the copies are made for that individual’s private use, without infringing copyright in the work. Any personal copies must be destroyed if the individual transfers the work from which they were made to another person, unless the copyright owner authorises the transfer of the personal copies to that person. Any personal copy which is not so destroyed or is transferred to another person without the authorisation of the copyright owner shall be treated as an infringing copy for the purposes of the Act. Sub-section (10) provides that any term of a contract which prevents or restricts the making of a personal copy in accordance with section 28B is unenforceable”
“…the schemes vary greatly in terms of the size of levies, what they are charged on, and how the revenues are used”
“Government should firmly resist over regulation of activities which do not prejudice the central objective of copyright, namely the provision of incentives to creators. Government should deliver copyright exceptions at national level to realise all the opportunities within the EU framework, including format shifting”
“Who is likely to lose and what are the risks? Varian (developing Liebowitz’ concept of “indirect appropriability”) shows that if sharing takes place – a concern from the producers’ side of format shifting – the producer is likely to sell fewer units of the work. Since the consumer derives greater value from each unit, argues Varian, the producers’ profit might even increase, if pricing is right: “If willingness to pay for the right to copy exceeds the reduction in sales, the seller will increase profit by allowing that right”
“In general, when a consumer buys a CD, or any product, we assume they include in their valuation an estimate of the entire benefits derived from the CD. This includes listening to the CD now, next week and next year, as well as listening to it with friends and family, format-shifting (if legal) and benefits from new technologies in the future. At any point in time, any specific product will receive a wide range of “valuations”, as consumers are heterogeneous. Economists summarise these evaluations in a demand curve…for a specific product. The market price is determined by a variety of factors, including the competition in the market for the specific product (e.g. the price of similar music or software). The revenue accruing to the agent is shaded and a proportion of this will be forwarded to the creator. A key result of the standard analysis of demand is that the value of copyright exceptions will be imbedded into a demand curve. Hence, there is an argument that agents and creators automatically extract value from copyright exceptions. Similarly, if the extent of copyright exceptions is changed then the demand curve will automatically shift to reflect these. It will shift outwards if copyright exceptions are increased (as consumers are assumed to gain, hence their valuations increase), and shift inwards if exceptions are reduced. … The basic idea that the initial purchase of copyrighted work will embody all the benefits is linked to, but is distinct from, the economic concept of “indirect appropriability” with respect to intellectual property. In economic papers, such as Liebowitz (1985) and Boldrin and Levine (2002, 2004), there is an argument that the “first sale” of a work (e.g. book, song, etc) can embody the entire subsequent flow of revenues from copying and re-selling that work. This is a much stronger argument, which can be used to argue against strong intellectual property rights. In short, the “first sale” argument assumes that the initial buyer has a good ability to on-sell the work (hence the first sale price is high and generates a good return to agents and creators). In the case of copyright exceptions all that is being assumed is that the consumer understands the benefits they will gain from the purchase. It may be that some of these benefits are uncertain – will their family like the film, or how future technology will expand benefits – but we assume that the consumer is best placed to make these valuations. It may be posited that the prevalence of private copying in the UK, despite its illegality, suggests that consumers assume that paying the first sale price allows them to format shift”
“This means the providers of cloud services and consumers who use them face costs in the UK that they do not in other countries. These costs, including the costs of negotiating and paying for licences, are likely to prevent new businesses, particularly innovative start-ups, entering the UK market for cloud-based services. Moreover, if such services are licensed, consumers may have to pay copyright owners twice for the same right to copy content – once at the point of sale, and again via a subscription to private cloud storage. Certain cloud and music services are already licensed in the UK, although the extent to which these licences relate to the narrow act of private copying under consideration, as opposed to value-added services, is currently unclear. It seems reasonable that people should be able to copy content they have bought, to a private cloud to the same extent that they are able to copy it to a personal device. But we would not want to undermine the ability of copyright owners to charge for value-added services based on the provision of content. We would welcome evidence on the impact of existing copyright law on the development and provision of cloud services, and the potential impact of a private copying exception on future developments in this area”
“The issue of harm from a private copying exception needs to be addressed and the consultation document is looking for evidence on this issue. Currently, theoretical arguments by Hal Varian (developing Liebowitz’s concept of “indirect appropriability”)…shows that if sharing takes place, a producer is likely to sell fewer units of the work. In the above examples the potential harm to copyright owners is generally assumed to be through lost sales caused by sharing. The less sharing is possible, the less there is potential for harm. However, since a consumer derives greater value from content they are able to do more with, a producer could charge more for it. Varian says “…if willingness-to-pay for the right to copy exceeds the reduction in sales, the seller will increase profit by allowing that right”
“Some, such as UK Music, also opposed the inclusion of remote “cloud” storage within any exception. I should note that it emerged from some of the meetings held with stakeholders that the music industry’s concern regarding “cloud” services was not the loss of opportunity to licence pure storage of private copies in the cloud (to so-called “dumb lockers”). As noted…below, we were given no evidence that such storage was being licensed and were told that within broader licences such storage was usually “zero-charged”
“7. Distinction between “priced into purchase” and “statutory licence”
“Whether and how four copyright industries – music, film, publishing and software – have (or not) adopted private copying measures, and whether the price of the products in the UK reflect a right to private copying”
“it is clearly observable that the price increases with the number of copies allowed”
“This Directive provides for an exhaustive enumeration of exceptions and limitations to the reproduction right […]”
“Those constraints forbid a relaxed approach to the assessment of a Member State’s compliance with the requirements of the Copyright Directive. The starting point is that the Copyright Directive requires a high degree of copyright protection and that the ability of a Member State to depart from that high standard is tightly constrained”
“…copying by natural persons acting in a private capacity must be regarded as an act likely to cause harm to the author of the work concerned”
“… although it is open to the Member States, pursuant to Article 5(2)(b) of Directive 2001/29, to introduce a private copying exception to the author's exclusive reproduction right laid down in European Union law, those Member States which make use of that option must provide for the payment of fair compensation to authors affected by the application of that exception. An interpretation according to which Member States which have introduced an identical exception of that kind, provided for by European Union law and including, as set out in recitals 35 and 38 in the preamble thereto the concept of 'fair compensation' as an essential element, are free to determine the limits in an inconsistent and un-harmonised manner which may vary from one Member State to another, would be incompatible with the objective of that directive….”. (Emphasis added) The Claimants rely also onCase C-462/09 Stichting de Thuiskopie v Opus Supplies (“Stichting”) where the Court at paragraph [34] stated: “…unless the [safeguards provided by Article 5(2)(b)] are to be deprived of all practical effect, those provisions impose on a Member State which has introduced the private copying exception into its national law an obligation to achieve a certain result, meaning that it must guarantee…the effective recovery of the fair compensation intended to compensate the authors harmed for the prejudice sustained”
“an error which is far from being obvious or palpable may nonetheless prove to be fundamental. […] The fact that the calculation is complex and that only an accountant, econometrician or actuary might have exclaimed that it was an ‘obvious’ error or a ‘howler’, and even then only once they had performed complex calculations, does not mean that the error is not manifest. […] An error will be manifest when (assuming it is proven) it goes to the heart of the impugned measure and would make a real difference to the outcome”
“…the persons concerned can enforce those rights against the State in the national courts in the absence of implementing measures adopted within the prescribed period”
“Since [the Copyright Directive] does not provide any further details concerning the various elements of the fair compensation system, the Member States enjoy broad discretion in that regard. It is for the Member State to determine, inter alia, who must pay that compensation and to establish the form, detailed arrangements for collection and level of compensation”
“In the same way that Member States may elect whether or not to adopt any of the exceptions set out in Article 5(2)…they also have the option, as confirmed by recital 35 in the preamble to the Directive, to provide – in certain cases covered by the exceptions which they have freely established – for an exemption from payment of fair compensation where the prejudice caused to rights-holders is minimal”
“108. However, the specific subject-matter of the intellectual property does not guarantee the rightholders concerned the opportunity to demand the highest possible remuneration. Consistently within the specific subject-matter, they are ensured – as Recital 10 in the preamble to the Copyright Directive and Recital 5 in the preamble to the Related Rights Directive envisage – only appropriate remuneration for each use of the protected subject-matter. 109. In order to be appropriate, such remuneration must be reasonable in relation to the economic value of the service provided. In particular it must be reasonable in relation to the actual or potential number of persons who enjoy or wish to enjoy the service…”
“4.1 Whilst the theory of “pricing-in / indirect appropriability may be applicable in the context of the PCE, it does not provide a basis for concluding that rightsholders will be fully or even significantly compensated for the harm that they will suffer arising from private copying as legitimised by the PCE”
“7.14 The only way for indirect appropriability to work well when there is volatility in consumers, is for the seller to charge higher prices for authorised units which will have multiple copies made than for those units sold to individuals making zero copies. Charging different prices to consumers, based upon their willingness to pay, is known as “price discrimination”
“…it is difficult to base any comparative analysis on the current music download market”
“We do not consider such an analysis to be very useful, however, due to a number of factors affecting pricing in different markets, including exchange rate fluctuations”
“In a recent Consumer Focus survey, 85% of consumers thought it was already lawful to copy a CD or DVD to an iPod, mobile phone or other mobile device and 91% thought it should be”
“[Name] and I were discussing private copying today and we wonder if we should put this one on hold pending the current ECJ case. This should either say harm always occurs in which case no exception without levies or that harm can be minimal in which case a green light to legislate. Without the ECJ case we’d have to flag up the possibly significant risk that any exception would immediately be subject to judicial challenge”
“I am rather of the view that we must press ahead with “difficult” exceptions like private copying. […] if the Court rules we are right, then great. If they rule that fair compensation = 0 in only the most utterly trivial of circumstances, then Ministers will have to face the choice between paying that compensation (whether by levy or otherwise) and not having the benefits of private copying”