FAQ
The most frequently asked questions
means dramatic or similar digital audio works, digital storytelling, of a dramaturgical, narrative nature, including entertainment genre works and audio articles, based on an original idea, also as a connection of various, pre-existing, multi-repertoire materials .
means audiovisual works and sequences of moving images, including all those specified in the art. 2 of the law of 14 November 2016, n. 220 (such as, for example: fiction, miniseries, documentaries, sitcoms, cartoons, YouTube videos).
we mean digital stories, digital native narrative texts and journalistic publications.
means a set composed mainly of literary works of a journalistic nature, which may include other protected works and materials, such as photographs and videograms and constitutes a single element within a periodic or regularly updated publication, bearing a single title, such as a daily newspaper , a magazine of general or specific interest with the function of informing the public about news, or other topics, published in any media under the initiative, editorial responsibility and control of a publisher or news agency.
Periodical publications for scientific or academic purposes are not considered journalistic publications;
an information society service provider whose main purpose or one of its main purposes is to store and give access to the public to large quantities of copyrighted works or other protected subject matter uploaded by its users, which the service normally organizes and promotes for profit.
The right of synchronization is the right to combine an audio phonogram with a sequence of images, in order to create an audiovisual work.
The synchronization license is obtained from the author and/or publisher of the work which allows the user to incorporate audio into an audiovisual work, if he independently records a new phonogram.
If the existing one is used, it is necessary to check whether the owner of the rights to the master coincides with the Publisher, otherwise it is necessary to also mediate with the producer and/or record company for the music.
The right of synchronization does not belong to the Associations for the protection of copyright, which however can mediate it if they receive an ad hoc mandate
The original copyright holders are the authors as creators of the work.
Yes, the work that has fallen into the public domain can be freely used without asking for specific authorizations, as long as the original version is always used and no subsequent elaborations are made.
Licensync administers copyright for digital content. Do you want to start earning from your podcast works, vodcasts or your online articles?
Licensync grants authorizations and user licenses for the use of the works it manages, collects copyright fees and distributes them to those entitled.
By signing up Licensync will collect the proceeds for you too.
Licensync carries out its activity in Italy and is concluding agreements with its sister companies for representation abroad.
No, joining LICENSYNC is a free and voluntary choice. The author can decide to directly manage relationships with users.
No, once registered, no payment is required for depositing the works. It is also possible to deposit unpublished works.
There is an annual membership fee which from the second year, in case of earnings, is deducted from the proceeds.
Related rights are those rights that the law recognizes not to the author of a work, but to other subjects who provide a contribution to the work for its use.
Related rights are recognized to artists, interpreters, performers, producers of phonograph records or similar media, producers of cinematographic or audiovisual works and radio and television broadcasters.
There is no single definition for Web 3.0, as it represents an umbrella term to describe the third generation of internet services for web sites and applications.
In its original definition, Web 3.0 is otherwise known as the semantic web, or intelligent web, due to its data-driven configuration, powered by the cognitive services of Artificial Intelligence, according to the intentions of Tim Berners-Lee himself, the creator of the World Wide Web, about twenty years ago.
More recently, the intention to find a concrete alternative to the current, highly centralized web gave rise to Web3, whose concepts do not exclude but differ quite clearly from the original definition of Web 3.0. Web3 was in fact coined in 2014 by Gavin Wood, founder of Polkadot, as a decentralized and on technologies such as blockchain, crypto and NFT.
The birth of the web as we understand it today is universally attributed to Tim Berners-Lee, researcher at CERN in Geneva, to whom we owe the concept of the WWW (World Wide Web), expressed through three fundamental technologies: the semi-structured language HTML (HyperText Markup Language), the URL or URI (Uniform Resource Identifier) and the HTTP protocol (HyperText Transfer Protocol).
Web 1.0: decentralized and revolutionary, but limited in interaction
Web 2.0: the era of social networks and the centralization of Facebook, Google and Amazon
Web 3.0: from the semantic web to the rebirth in Web3
Metaverse is a term coined by Neal Stephenson in the cult cyberpunk book “Snow Crash” (1992), described as virtual reality shared via the internet, where one is represented in three dimensions through your avatar.
Today it represents a cyberspace, a digital universe, the result of multiple technological elements including video, virtual reality and augmented reality powered by global communication networks.