I had the good fortune to work with George Stroumboulopoulos creating the music for CBC's The Hour. Also, I've written the music for CBC News Now, which is on Newsworld. Also, I did the music for CBC's The National.
The reason we're here today is because we want to tell you a little bit more about our dilemma and exactly how we locate ourselves in our creative ecosystem.
Screen composers are the first owners of their copyright. Like screen writers, screen composers are recognized as key creative people. Our music copyrights consist of two types of rights: a performance right and a reproduction right. These rights live alongside a separate bundle of motion picture copyrights. When our music is married to picture, it is distributed for domestic and international broadcast, generating copyright remuneration, which is derived from a broadcaster's advertising sales. Our remuneration is governed by copyright policy, not by us. SOCAN collects on behalf of us from around the world.
The money for public performance and reproduction rights is calculated on a per cent of quarterly advertising sales. Twentieth century copyright policy for screen composers is based on broadcast advertising sales. I want to ask Ari how that is working for him in the 21st century.