Umeleta angle ya mwajiriwa na mwajiri ambapo hakimiliki mara nyingi huwa ya mwajiri. Hata kati ya mwajiri na mwajiriwa haimaanishi kwamba hati miliki itakuwa ya mwajiri wakati wote-suala linaloangaliwa ni je mwajiriwa alitegemewa kutengeneza kazi ya IP katika majukumu yake ya kila siku? Kama hakutegemewa, haki ya umiliki ni yake na sio ya mwajiri.ALWAYS? I hope unafahamu maana ya ALWAYS!
Who own exclusive right ya beat inategemeana na nature ya mkataba! Remember, hapa hatuzungumzii Kibongobongo!
Leo hii ukienda kwa Mkuu wangu magnifico na akakutengenezea beat na kuuzia at full price... hapo inakuwa defined as Work For Hire!!!
Hapa Producer anakuwa ame-transfer ownership to buyer/artist. Kama magnifico ni smart enough anaweza ku-demand kwamba, hata kama ni Work For Hire (Exclusive License to Artist) lakini mkataba utoe haki ya royalty cuz', IPR mara nyingi kama sio zote zinatoa benefits za royalt kwa creator.
Why inakuwa considered as Work For Hire?! Assume unafungua Studio/Label na ni wewe ndie unalipa 100% ya gharama zote hapo studio. In addition, unaajiri Producer na unamlipa mshahara!
Do you believe hizo beats zitakuwa ni mali ya Producer?!
TIP: Kama wewe ni Producer na mtu anafungua Studio na anakuajiri ni bora badala ya kutolea macho mshahara aliokuahidi, hapo hapo demand mkataba utoe haki ya royalty kwa kazi utakazotengeneza, or unakataa kabisa mshahara lakini una-demand 50/50 ownership of produced materials. In most cases, hakuna atakayekubali kukupatia hiyo 50/50 lakini Royalty unaweza ku-demand.
Kinyume chake, endapo magnifico atakupatia beat bure au at small fee, hiyo inaitwa Non-Exclusive License to artist. Hapa Producer ndo anakuwa na exclusive right ya kazi yake na ndie copyright owner!
Kutokana na hilo, hapa Producer anaweza kuitumia kazi yake tena na tena na msanii huwezi kulalamika kwamba beat ambayo ulitumia Producer kaitoa kwa Artist mwingine kwa sababu ni mali ya Producer.
Hapa ndipo natoa heshima kwa Diamond na Team yake! Mkataba wake na Universal ni Label vs Publisher Contract kwahiyo kazi za Diamond n WBC daima dumu zitabaki ni mali zao.
Kinyume chake, Kiba vs Sony kama hawakuwa makini na mkataba... usije kushangaa ukisikia ngoma zote anazotoa Kiba hivi sasa sio mali yake kwa sababu mkataba wake ni Artist vs Label. Ili tusionekane tuna chuki; haina haja kwenda mbali sana lakini ukizingatia ni Kiba vs Rockstar4000 vs Sony... trust me, ni worse!
On the other hand, the same applies kwenye film industry. Original creator wa film ni Screenwriter/Mwandishi wa Script. Hawa wana mikataba ya aina kuu mbili (Hollywood case)... by percentage production cost ambayo inakuwa between 2.5 to 5% na total sale.
Waandishi wakubwa huwa wana-demand asilimia ya production cost! Kwahiyo kama movie imeekuwa produced $100 Million; Mwandishi anakula $5 Million yake for 5%. Hata hivyo, waandishi wengi huwa wanauza.
Kama Mwandishi umeuza Script yako iwe kwa producer/production company, hapo unakuwa ume-transfer ownership yako to a Buyer! Kuanzia pale unaposaini mkataba kwamba umeuza, unakuwa si tena Copyright Owner wa hiyo script.
Endapo script yako hatai-produce, huwezi kumuuliza kwa sababu umeshachukua chako! In addition, aliyenunua anaweza kuifumua script mzima akabakiza title tu na idea... huwezi kulalamika popote kwa sababu huna chako!!
Depending na nature of contract, hapo subiria tu bonus kama mkataba unataja bonus endapo box office gross revenues itafika kiasi fulani. Pamoja na bonus, labda subiri some lump sum payment endapo inafanyika remake ya filamu husika hapo baadae... or, subiri some few dollars/episode endapo same script inaendelezwa kuwa Tv Series na mambo mengine kama hayo.
Hata hivyo, hayo hayafanyiki kwa sababu wewe ndie mmiliki wa Script... sio ya kwako hiyo kwa sababu ulishauza na hayo yote yanategemeana na mkataba. Hapa ndipo unapokuja umuhimi wa Entertainment Attorneys and not just Lawyers!!!
The ONLY thing ambacho hapo akina mjadala ni CREDIT ambayo si pesa! Kwamba, no matter what, lazima jina la Mwandishi lipite kwenye screen! Hata kama Buyer aliifumua script mzima akabakiza Title peke yake, bado copyright law inamlazimisha kutoa credit za uandishi kwako!!!
Kwa issue ya P Funk na kwa kuangalia industry yetu ilivyo East Africa, sina shaka ni yeye ndie anaweza kuwa na exclusive right! Hata hivyo, asitarajie makubwa sana unless kesi yake iwe P Funk vs Walt Disney na sio P Funk vs Chameleon.
Hata hivyo, hapa kwa P Funk vs Walt Disney watalazimika ku-prove kwamba Walt Disney ametumia soundtrack bila ya ruhusa ya Copyright Owner... meaning, kwamba Cameleon sio exclusive right owner.
Hapa napo atakutana na changamoto nyingine... Je, waliindikishiana Mkataba na Chameleon unaoonesha yeye P Funk ni Exclusive Right Owner wa hiyo kazi? Watu wanadhani Producer ile kutengeneza kazi tu tayari by default anakuwa na exclusive right!
Very complicated.
Sheria ya hakimiliki inaanza kulinda kazi yako mara tu unapokuwa umeikamilisha/maliza. Haihitaji registration kama Patents and the like. So kutoandikishana mkataba wa umiliki hakumnyimi haki ya umiliki mtunzi wa beat.Hapa napo atakutana na changamoto nyingine... Je, waliindikishiana Mkataba na Chameleon unaoonesha yeye P Funk ni Exclusive Right Owner wa hiyo kazi? Watu wanadhani Producer ile kutengeneza kazi tu tayari by default anakuwa na exclusive right!
Very complicated.
If it was complicated DW would not be seeking to settle out of court. Even Chameleone's tone does not suggest he claims ownership-he just says he was paid peanuts!Very complicated.
Duh!!! Eti anayetunga kitu chochote ndie mwenye haki miliki... ni sheria ya wapi hiyo?! By the way, kwanini aombe consideration wakati umeshasema creator ndie mwenye haki miliki? Hayo mambo ya kuhakikisha ana asilimia fulani hana haki miliki na ndio maana nikasema, prior to contract, lazima Producer aweke terms za kuangalia anapata nini na nini kwenye kazi zake lakini haimaanishi kwamba yeye ndo mwenye haki miliki! Na ndio maana nikakupa mfano wa screenwriter... anaandika script akiwa peke yake nyumbani huku akitumia kila kitu cha kwake! Lakini akishauza tu, anakuwa ame-transfer copyright ownership lakini kama anafahamu, ata-demand pamoja na lump sum payment, lazima awe na haki (sio haki miliki) ya ABC kv royalty, bonus, t-shirts sales n.k!!!!!Umeleta angle ya mwajiriwa na mwajiri ambapo hakimiliki mara nyingi huwa ya mwajiri. Hata kati ya mwajiri na mwajiriwa haimaanishi kwamba hati miliki itakuwa ya mwajiri wakati wote-suala linaloangaliwa ni je mwajiriwa alitegemewa kutengeneza kazi ya IP katika majukumu yake ya kila siku? Kama hakutegemewa, haki ya umiliki ni yake na sio ya mwajiri.
Bottom line, anayetunga kitu chochote ndiye mwenye haki ya umiliki. Lengo la sheria ya hakimiliki ni kulinda kazi ambayo mtu ametumia akili na ujuzi wake kuifanya. Hivyo kama umeajiriwa na una akili, ukitengeneza kazi ambayo ni extraodinary lazima uombe consideration ktk kazi hiyo bila kujali mlikubaliana kitu gan kwenye mkataba. Producer anayejitambua, hata kama ameajiriwa atahakikisha ana haki ya asilimia fulani ya umiliki katika beat anazotengeneza.
Hiyo complicated nimezungumzia general contract issues na ndio maana watu wengi wanapoteza haki zao! Issue ya P Funk nimeshaweka wazi kwamba kwa jinsi industry yetu ilivyo lazima atakuwa ndo mwenye exclusive right.If it was complicated DW would not be seeking to settle out of court. Even Chameleone's tone does not suggest he claims ownership-he just says he was paid peanuts!
That is the spirit of the law. Wewe unaijua sheria ya hakimiliki lakini hujui madhumuni yake. Pia prior contract does not matter, sio fair ukajifunga na mkataba uliosaini miaka 10 iliyopita ukashindwa kufaid matunda ya ubunifu wako. Kama wewe ni mwanasheria, jua unawaangamiza wateja wako ambao ni watunzi kwa sababu ya kukariri lecture notes. Nenda na spirit of the law. Hakuna mtu ana haki ya kufaidi matunda ya akili ya mtu mwingine, kazi ya kutunga ni tofauti na kubeba zege.Duh!!! Eti anayetunga kitu chochote ndie mwenye haki miliki....
Sheria ya wapi hiyo?! Kwamba, kwa mfano mimi nimeandika screenplay na nimekuuzia wewe! Hapo bado copyright inabaki kwangu kwa sababu tu ndie mwandishi?Sheria ya hakimiliki inaanza kulinda kazi yako mara tu unapokuwa umeikamilisha/maliza. Haihitaji registration kama Patents and the like. So kutoandikishana mkataba wa umiliki hakumnyimi haki ya umiliki mtunzi wa beat.
Kumbe unazungumzia vile ambavyo ingepaswa kuwa... kwamba hakuna mtu anayepaswa kufaidi matunda ya akili ya mtu mwingine!!! By the way, anafaidi matunda yako kivipi wakati umeshalipwa kutokana na creativity yako?That is the spirit of the law. Wewe unaijua sheria ya hakimiliki lakini hujui madhumuni yake. Pia prior contract does not matter, sio fair ukajifunga na mkataba uliosaini miaka 10 iliyopita ukashindwa kufaid matunda ya ubunifu wako. Kama wewe ni mwanasheria, jua unawaangamiza wateja wako ambao ni watunzi kwa sababu ya kukariri lecture notes. Nenda na spirit of the law. Hakuna mtu ana haki ya kufaidi matunda ya akili ya mtu mwingine, kazi ya kutunga ni tofauti na kubeba zege.
Creativity is priceless! You cannot buy it. How much would you pay a person who created Monalisa art!? My point is, an employed creator should understand that he/she cannot be paid adequately for his/her work through salaries. Never! With this in their mind, they can negotiate better contracts before initial contracts and after.Kumbe unazungumzia vile ambavyo ingepaswa kuwa... kwamba hakuna mtu anayepaswa kufaidi matunda ya akili ya mtu mwingine!!! By the way, anafaidi matunda yako kivipi wakati umeshalipwa kutokana na creativity yako?
Kwanini wa-negotiate wakati umeshasema copyright ni za kwao?! Ukisema wa-negotiate ni kwamba unakubaliana na mimi ingawaje umenipinga?!Creativity is priceless! You cannot buy it. How much would you pay a person who created Monalisa art!? My point is, an employed creator should understand that he/she cannot be paid adequately for his/her work through salaries. Never! With this in their mind, they can negotiate better contracts before initial contracts and after.
Huu ufafanuzi wako nimeupenda sana, na ndio mfumo anaotumia Hermy B wa "B hits" kwenye kazi zake. Chanzo cha ugomvi wa Hermy B na AY na Mwana FA ni mfumo wa miliki ya midundo (beats), ambapo kwenye kila production ya beat jamaa lazima awe na percent yake kama producer. Hili nadhani halikuwapendeza vijana hawa, kiasi kwamba wakahisi kama wanaonewa. Nilimsikia mwenyewe Hermy B akihojiwa na Clouds radio kipindi cha XXL kuhusu mfumo huo wa umiliki wa midundo, kwamba huwa hatoi exclusive rights kwa wasanii kuwa wamiliki wa beats, ila yeye ndio anamiliki beats na kisha kuwapa vijana wake kuweka vocals na manjonjo mengine. Kwenye kila matumizi ya hiyo beat, iwe matangazo ya biashara ama vinginevyo, lazima naye apate mgao wake kama original creator wa hio kazi. Ni mfumo complex kiasi chake, ambao haueleweki kwa producers wengi wa Kitanzania.ALWAYS? I hope unafahamu maana ya ALWAYS!
Who own exclusive right ya beat inategemeana na nature ya mkataba! Remember, hapa hatuzungumzii Kibongobongo!
Leo hii ukienda kwa Mkuu wangu magnifico na akakutengenezea beat na kuuzia at full price... hapo inakuwa defined as Work For Hire!!!
Hapa Producer anakuwa ame-transfer ownership to buyer/artist. Kama magnifico ni smart enough anaweza ku-demand kwamba, hata kama ni Work For Hire (Exclusive License to Artist) lakini mkataba utoe haki ya royalty cuz', IPR mara nyingi kama sio zote zinatoa benefits za royalt kwa creator.
Why inakuwa considered as Work For Hire?! Assume unafungua Studio/Label na ni wewe ndie unalipa 100% ya gharama zote hapo studio. In addition, unaajiri Producer na unamlipa mshahara!
Do you believe hizo beats zitakuwa ni mali ya Producer?!
TIP: Kama wewe ni Producer na mtu anafungua Studio na anakuajiri ni bora badala ya kutolea macho mshahara aliokuahidi, hapo hapo demand mkataba utoe haki ya royalty kwa kazi utakazotengeneza, or unakataa kabisa mshahara lakini una-demand 50/50 ownership of produced materials. In most cases, hakuna atakayekubali kukupatia hiyo 50/50 lakini Royalty unaweza ku-demand.
Kinyume chake, endapo magnifico atakupatia beat bure au at small fee, hiyo inaitwa Non-Exclusive License to artist. Hapa Producer ndo anakuwa na exclusive right ya kazi yake na ndie copyright owner!
Kutokana na hilo, hapa Producer anaweza kuitumia kazi yake tena na tena na msanii huwezi kulalamika kwamba beat ambayo ulitumia Producer kaitoa kwa Artist mwingine kwa sababu ni mali ya Producer.
Hapa ndipo natoa heshima kwa Diamond na Team yake! Mkataba wake na Universal ni Label vs Publisher Contract kwahiyo kazi za Diamond n WBC daima dumu zitabaki ni mali zao.
Kinyume chake, Kiba vs Sony kama hawakuwa makini na mkataba... usije kushangaa ukisikia ngoma zote anazotoa Kiba hivi sasa sio mali yake kwa sababu mkataba wake ni Artist vs Label. Ili tusionekane tuna chuki; haina haja kwenda mbali sana lakini ukizingatia ni Kiba vs Rockstar4000 vs Sony... trust me, ni worse!
On the other hand, the same applies kwenye film industry. Original creator wa film ni Screenwriter/Mwandishi wa Script. Hawa wana mikataba ya aina kuu mbili (Hollywood case)... by percentage production cost ambayo inakuwa between 2.5 to 5% na total sale.
Waandishi wakubwa huwa wana-demand asilimia ya production cost! Kwahiyo kama movie imeekuwa produced $100 Million; Mwandishi anakula $5 Million yake for 5%. Hata hivyo, waandishi wengi huwa wanauza.
Kama Mwandishi umeuza Script yako iwe kwa producer/production company, hapo unakuwa ume-transfer ownership yako to a Buyer! Kuanzia pale unaposaini mkataba kwamba umeuza, unakuwa si tena Copyright Owner wa hiyo script.
Endapo script yako hatai-produce, huwezi kumuuliza kwa sababu umeshachukua chako! In addition, aliyenunua anaweza kuifumua script mzima akabakiza title tu na idea... huwezi kulalamika popote kwa sababu huna chako!!
Depending na nature of contract, hapo subiria tu bonus kama mkataba unataja bonus endapo box office gross revenues itafika kiasi fulani. Pamoja na bonus, labda subiri some lump sum payment endapo inafanyika remake ya filamu husika hapo baadae... or, subiri some few dollars/episode endapo same script inaendelezwa kuwa Tv Series na mambo mengine kama hayo.
Hata hivyo, hayo hayafanyiki kwa sababu wewe ndie mmiliki wa Script... sio ya kwako hiyo kwa sababu ulishauza na hayo yote yanategemeana na mkataba. Hapa ndipo unapokuja umuhimi wa Entertainment Attorneys and not just Lawyers!!!
The ONLY thing ambacho hapo akina mjadala ni CREDIT ambayo si pesa! Kwamba, no matter what, lazima jina la Mwandishi lipite kwenye screen! Hata kama Buyer aliifumua script mzima akabakiza Title peke yake, bado copyright law inamlazimisha kutoa credit za uandishi kwako!!!
Kwa issue ya P Funk na kwa kuangalia industry yetu ilivyo East Africa, sina shaka ni yeye ndie anaweza kuwa na exclusive right! Hata hivyo, asitarajie makubwa sana unless kesi yake iwe P Funk vs Walt Disney na sio P Funk vs Chameleon.
Hata hivyo, hapa kwa P Funk vs Walt Disney watalazimika ku-prove kwamba Walt Disney ametumia soundtrack bila ya ruhusa ya Copyright Owner... meaning, kwamba Cameleon sio exclusive right owner.
Hapa napo atakutana na changamoto nyingine... Je, waliindikishiana Mkataba na Chameleon unaoonesha yeye P Funk ni Exclusive Right Owner wa hiyo kazi? Watu wanadhani Producer ile kutengeneza kazi tu tayari by default anakuwa na exclusive right!
Very complicated.
Good... I love this. Producers wengi wanaofuata hiyo model, yupo heri beat akupe FREE of charge lakini copyright inabaki kwake na yeye ndie anakuwa na exclusive right huku artist akibaki na non-exclusive right. Atakachofanya producer ni kuandikishiana mkataba na muhusika unaoorodhesha nini anakitoa na nini atapata but ALWAYS, atakachotoa hakiwezi kuwa Copyright!Huu ufafanuzi wako nimeupenda sana, na ndio mfumo anaotumia Hermy B wa "B hits" kwenye kazi zake. Chanzo cha ugomvi wa Hermy B na AY na Mwana FA ni mfumo wa miliki ya midundo (beats), ambapo kwenye kila production ya beat jamaa lazima awe na percent yake kama producer. Hili nadhani halikuwapendeza vijana hawa, kiasi kwamba wakahisi kama wanaonewa. Nilimsikia mwenyewe Hermy B akihojiwa na Clouds radio kipindi cha XXL kuhusu mfumo huo wa umiliki wa midundo, kwamba huwa hatoi exclusive rights kwa wasanii kuwa wamiliki wa beats, ila yeye ndio anamiliki beats na kisha kuwapa vijana wake kuweka vocals na manjonjo mengine. Kwenye kila matumizi ya hiyo beat, iwe matangazo ya biashara ama vinginevyo, lazima naye apate mgao wake kama original creator wa hio kazi. Ni mfumo complex kiasi chake, ambao haueleweki kwa producers wengi wa Kitanzania.
Kwanini wa-negotiate wakati umeshasema copyright ni za kwao?! Ukisema wa-negotiate ni kwamba unakubaliana na mimi ingawaje umenipinga?!
That's one, but two, waki-negotiate, creator atakachopata ni RIGHTS associated to his/her work but not COPYRIGHT! Hapa tusichanganye kati ya Haki na Haki Miliki!
Suala la Copyright kubaki kwake litatokana na hiyo negotiation kwamba, creator anauza ABC but NOT COPYRIGHT lakini si kwamba hii copyright inabaki kwake by default. Kitu ambacho non-negotiable ni CREDIT.
Umegonga nyundo ndg. Sio kila mwanasheria ana uwezo wa ku deal na kila suala la kisheria, ndio sababu kuna specialization kama vile criminal, tort, contracts, commercial nk. Nadhani wanasheria wa kazi za muziki na filamu ni wachache sana kwa hapa kwetu.Good... I love this. Producers wengi wanaofuata hiyo model, yupo heri beat akupe FREE of charge lakini copyright inabaki kwake na yeye ndie anakuwa na exclusive right huku artist akibaki na non-exclusive right. Atakachofanya producer ni kuandikishiana mkataba na muhusika unaoorodhesha nini anakitoa na nini atapata but ALWAYS, atakachotoa hakiwezi kuwa Copyright!
Na kama ulivyosema, ni mfumo ambao ni very complex na sio kwenye muziki tu bali hata kwenye filamu. Na ndio maana kwa wenzetu, wanatumia Wanasheria wanaoifahamu vyema entertainment industry na hawa wapo licensed as Entertainment Attorney na sio kwa sababu tu una LLB ndio unaweza kushughulikia mikataba ya aina hii!!!
Ndo mana Hermy B ana Hela sanaMuta
The problem una-generalize mambo!!!! Ngoja nikuulize: Assume mtu wa Walt & Disney alimu-approach Majani moja kwa moja lakini walifanya hivyo baada ya kuwa wameusikia mahali wimbo uliotumia hiyo beat!Hili ni kwa walioajiriwa tu! Kama mtu amejiajiri kama PFunk hahitaji kunegotiate na yeyote kuhusiana na beats.
Hapa kwetu hao watu ni wachache sana na sidhani kama wapo ambao wamejikita kwenye hilo suala. Ndo vile tu, mtu unakuwa na copyright issue na hakuna specialized entertainment attorneys basi unaamu kwenda kwa yeyote ambae ana abc ya tasnia ya burudani.Umegonga nyundo ndg. Sio kila mwanasheria ana uwezo wa ku deal na kila suala la kisheria, ndio sababu kuna specialization kama vile criminal, tort, contracts, commercial nk. Nadhani wanasheria wa kazi za muziki na filamu ni wachache sana kwa hapa kwetu.
ExactlyHili ni kwa walioajiriwa tu! Kama mtu amejiajiri kama PFunk hahitaji kunegotiate na yeyote kuhusiana na beats.