I have 1427 claimed videos in my October report. Only about ten of those videos has more than 10000 views.
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How to make sense of Identifyy’s statement about that 10,000 threshold then?
Does the combined earnings of those less than 10,000 view videos amount to anything? Identifyy told me it does not and hence their policy has no impact whatsoever on earnings.
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From what I know that 10k views rule applies to manual claiming. I have tried to claim videos via support with less views and they said no. Videos with more views they do indeed claim manually.
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It varies a lot. Some of them brings in more money than the ones with a lot of views. It’s mostly an automated process, isn’t it? So I would think it would add up for Identifyy too, to claim all videos.
That makes sense.
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Shocked. Best month ever with CID. I made in October more than what I earned in Envato in the whole 2024. I must say that this is the first time I get such a good report, so it’s not usual at all for me.
80% is based on a single track from a video but from an extremely popular streamer.
Can’t go much deeper as I’m on a trip with only my phone but I’ll share more details if relevant when I’m back home.
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That’s the thing. It seems for some, the automated process doesn’t work as it should. These accounts thus have to rely on manual claiming, which misses most videos because of their view threshold.
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Rare,one month It detects 300.000 views,and the Next month 34000 only, i would like to know how they identifyy the music, maybe AI?
Ah and i was checking another track in a video but my track was not in the video.incredible.
I think it’s done via a technology called “fingerprinting”. Each track as its unique fingerprint and this is compared with all with the massive data until there is a hit.
PROS use this sort or tech as well via ICE or others.
It has been around for years already.
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Are you sure that they didn’t mention 10000 threshold for MANUAL claims and general manual actions? I am not sure though if it’s 10.000 or 100.000. I simply don’t remember.
I’m not shocked, not at all. Since 2017 I have been telling authors that CID and PRO are very profitable. Fortunately, many listend to me. Expect that CID will give you more or way more money than Envato. Same with PRO.
Now I am telling that we need to allow a broadcast use in Elements.
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For the PRO, the client still has to be honest and do a cue sheet.
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Namely that I had music used for a large-scale video game, I asked my PRO what I should do, it turns out that being a member of the sacem my PRO, I do not have the right to sell on any platform like AJ or P5. Here is the detailed response from the SACEM:
“However, I would like to come back to certain points. The problem does not only relate to the declaration by …, but also to the rights that you have granted them and which go against your SACEM contributions. In the terms and conditions of Envato (which I am partially giving you below) it is explicitly stipulated in point 22.d that you guarantee that you have the necessary rights to grant a license.
However, some of these rights have been contributed under collective management to SACEM. You have therefore issued a license for rights that you no longer have under management. In addition, video games benefit from a special regime based on the principle of a tripartite contract.”
Yes for manual claiming, I never said otherwise. And yes, it’s 10,000.
The thing is, some accounts have been put on a so called “Route For Review” limbo, that makes those accounts entirely rely on manual claiming.
I’ve seen many times answers from the PRO saying that stock authors cannot sell their music if they are registered with PRO. This is usually not true and PRO employees simply doesn’t understand the so called RF stock licensing model. Of course each case may be different and I don’t know what contract with SACEM you signed but I know that:
- Envato sells rights to perform and synchronize a recording
- PROs sell rights to perform and synchronize the composition
- PRO doesn’t usually manage recording rights (including performing rights of the recording). This is very rare.
- Envato says clearly in terms that they do not cover composition PRO rights
- Envato asks you for the rights to use composition in your recoridings. They transfer rights of the recording but doesn’t transfer rights e.g. to perform composition (it’s yours or PRO job to manage that)
- I would like to know which rights exactly the SACEM employee is talking about?
- in video games, as far as I know, there are only recording synchronization rights needed, though I can be wrong. It is the PRO job to find if the performance of the composition generates royalties
Of course I can be wrong in some points, the royalties system is incredibly complex and often varies in each country. However, there are some general ideas which are more or less same, at least in the richest Western countries.
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I understand your point, but how much would the blanket Elements license for broadcast cost?
We don’t know what the future holds, and I don’t think it’s a good idea to completely destroy license fees and focus only on royalties.
For example, Canada doesn’t pay royalties for TV commercials at all.
What if this becomes standard worldwide and we are left only with pennies from dirt cheap subscription pool?
Haven’t heard anyone complaining about broadcast licenses being too expensive here. As a matter of fact it’s very cheap compared to sync libraries. So I see no point in destroying a source of income when no one ever complained about or asked for it. It would be very hard to get back once you cross that line.
I’m not against of what you are saying, because I see value in making it easier and more streamlined process for broadcasters and avertisers. That’s always a good thing. But this should be priced accordingly, waaaaaaaaaay higher than current tiers.
Remember, in TV advertising and TV shows, you are dealing with lots of multi-million dollar companies, and the price was never really an issue.
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? Destroy? Are you familiar with the broadcast relatet industry? There are tons of tons of music given for free for broadcast use just to get the future royalties. There are also many great quality, very expensive tracks licensed for broadcast. But is Envato music high quality? No. As a stock it is the middle-low quality service.
Who cares about Canada if one TV campaign in countries like US, UK, Germany, France or even Poland etc. can bring you $$$$$ (yep, five digits).
Because broadcast audio related industry doesn’t use Elements or AudioJungle. Why? Because licensing system is too complex, vague and simply it’s not safe for clients. If they do not use it, they do not complain, true.
Yep, this was the old model. And guess what? Internet changed that. Now Elements licensing is out-dated.in terms of broadcast licensing. Nobody wants to use two services (EE and AJ) with a very unstable licensing rules. Envato has to copy the licensing model from the TV/broadcast publishers to become a competition for them because Envato is losing even compared with other stocks aimed in the online use.
Don’t you see how Envato earnings are falling down? We need a modern, competitive licensing model and authentic high quality music.
Yes I am. Many friends got such deals. Usually, royalties from these kind of deals are extremely low anyway, as these deals are rarely made for projects that have the potential to bring in any significant royalty revenue.
This is often done for reality shows where you are splitting revenue with thousands of other tracks in the season and after that a new season comes up and the old one doesn’t get aired again.
This makes sense if you are willing to chunk out thousands of tracks so the revenue ads up.
Any half-decent broadcaster would not have an issue buying a blanket subscription-like license from the publisher and would rarely expect it for free.
That’s true, but what if it becomes the industry standard in US, UK, Germany one day as in Canada and everyone now wants a buyout. Now you are left with pennies since license fee is completely devalued.
This will never happen. This involves lots of effort, communication and administration. Envato can’t even solve title wars and remove scammers from the platform even after they get reported. They are tech company and have no clue about music business. And they show no interest in it.
Valid point.
Once a client reached out to me and offered me 4 digits sync fee for a placement in one episode of the show. I said there is no need for this because the track is available at 499$ for broadcast license.
They insisted to pay their price because they wanted to protect themselves legally and I got a contract to sign before the purchase.
This was not some huge company, it was a small music supervision company from a developing country.
So, yes, you are right. Envato or other stocks are not trusted at all and no one wants to deal with potential legal headaches just to save a few hundred bucks.
Again, this also proves my point. Decent clients will have no issues at all with normal prices. Every deal for the free broadcast music was rarely worth it, and most of the time it was very exploitative of composers.
So, yes, I could see the potential in Elements having broadcast tiers, but having it at dirt cheap prices is simply unnecessary and makes no sense.
I’ve been doing this for 10 years and saw major changes happened overnight. Since this is Identifyy thread, here is a great example:
I saw the sudden revenue drop of 500% without any warning signs. Up to that point I thought I could comfortably live just from CID revenue. That was changed overnight.
At the same time, licenses were selling a lot more so they covered this.
Now, licenses are selling lot less, but PRO is growing exponentially.
This looks nice, but I won’t make the same mistake of counting on this to last forever and dismissing other revenue streams.
Everyone who wants to do this for a living should take any revenue stream from their music they can, and protect it as much/long as they can. There is no guarantees and things change very fast.
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Did you get an explanation for that sudden drop? Has your CID revenue remained low, or has it gone back up? Did you try another CID manager?
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