natgillin/translations-raw huggingface dataset:
In the case of performers this period starts with the performance or, when the fixation of the performance is lawfully published or lawfully communicated to the public within 50 years after the performance is made, with the first such publication or the first such communication to the public, whichever is the earliest.
Za izvajalce se to obdobje začne z izvedbo ali, če je bil posnetek izvedbe zakonito izdan ali zakonito priobčen javnosti v 50 letih od izvedbe, s prvo takšno izdajo ali prvo priobčitvijo javnosti, odvisno od tega, kaj se je zgodilo prej.
For phonogram producers the period starts with the fixation of the phonogram or its lawful publication within 50 years after fixation, or, if it is not so published, its lawful communication to the public within 50 years after fixation.
Za proizvajalce fonogramov se obdobje začne z izdelavo posnetka ali njegovo zakonito objavo v 50 letih od izdelave posnetka ali, če ni bil zakonito objavljen, s priobčitvijo javnosti v 50 letih od izdelave posnetka.
The socially recognised importance of the creative contribution of performers should be reflected in a level of protection that acknowledges their creative and artistic contribution.
Družbeno priznan pomen umetniškega prispevka izvajalcev bi se moral odražati v ravni varstva, ki priznava njihov ustvarjalni in umetniški prispevek.
Performers generally start their careers young and the current term of protection of 50 years applicable to fixations of performances often does not protect their performances for their entire lifetime.
Izvajalci običajno začnejo kariero mladi in trenutno 50-letno trajanje varstva za njihove izvedbe, ki se uporablja za posnetke izvedb, pogosto izvedb ne varuje v celotnem času njihovega življenja.
Therefore, some performers face an income gap at the end of their lifetime.
Zato se nekateri izvajalci ob koncu svojega življenja soočajo z dohodkovno vrzeljo.
In addition, performers are often unable to rely on their rights to prevent or restrict an objectionable use of their performances that may occur during their lifetime.
Poleg tega izvajalci pogosto tudi ne morejo uveljavljati svojih pravic, da bi preprečili ali omejili sporno uporabo izvedb, ki bi se lahko pojavile v času njihovega življenja.
The revenue derived from the exclusive rights of reproduction and making available, as provided for in Directive 2001/29/EC of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society [4], as well as fair compensation for reproductions for private use within the meaning of that Directive, and from the exclusive rights of distribution and rental within the meaning of Directive 2006/115/EC of the European Parliament and of the Council of 12 December 2006 on rental right and lending right and on certain rights related to copyright in the field of intellectual property [5], should be available to performers for at least their lifetime.
Prihodki, ki izhajajo iz izključnih pravic reproduciranja in dajanja na voljo, kakor je določeno v Direktivi 2001/29/ES Evropskega parlamenta in Sveta z dne 22. maja 2001 o usklajevanju določenih vidikov avtorske in sorodnih pravic v informacijski družbi [4], ter pravičnega nadomestila za reproduciranje za privatno uporabo skladno z navedeno direktivo ter iz izključnih pravic distribuiranja in dajanja v najem v skladu z Direktivo 2006/115/ES Evropskega parlamenta in Sveta z dne 12. decembra 2006 o pravici dajanja v najem in pravici posojanja ter o določenih pravicah, sorodnih avtorski pravici, na področju intelektualne lastnine [5], bi morali biti izvajalcem na voljo vsaj v času njihovega življenja.
The term of protection for fixations of performances and for phonograms should therefore be extended to 70 years after the relevant event.
Trajanje varstva za posnetke izvedb in za fonograme bi zato bilo treba podaljšati na 70 let po dogodku, ki je podlaga za varstvo.
The rights in the fixation of the performance should revert to the performer if a phonogram producer refrains from offering for sale in sufficient quantity, within the meaning of the International Convention on the Protection of Performers, Producers of Phonograms and Broadcasting Organisations, copies of a phonogram which, but for the term extension, would be in the public domain, or refrains from making such a phonogram available to the public.
Pravice do posnetka izvedbe bi morale preiti nazaj na izvajalca, če se proizvajalec fonogramov vzdrži dajanja v prodajo zadostne količine primerkov fonograma v skladu z Mednarodno konvencijo za varstvo izvajalcev, proizvajalcev fonogramov in radiodifuznih organizacij, ki bi bil, razen v podaljšanem trajanju, v prosti uporabi, ali vzdrži dajanja takega fonograma na voljo javnosti.
That option should be available on expiry of a reasonable period of time for the phonogram producer to carry out both of these acts of exploitation.
Ta možnost bi morala biti na voljo po preteku razumnega roka, v katerem bi proizvajalec fonogramov izvedel obe ti dejanji izkoriščanja.
The rights of the phonogram producer in the phonogram should therefore expire, in order to avoid a situation in which these rights would coexist with those of the performer in the fixation of the performance while the latter rights are no longer transferred or assigned to the phonogram producer.
Zato bi morale pravice proizvajalcev fonogramov prenehati, da bi se izognili temu, da bi te pravice soobstajale skupaj s pravicami izvajalca do posnetka izvedbe, pri čemer pravice slednjega niso več prenesene na proizvajalca fonograma ali dodeljene proizvajalcu fonograma.
Upon entering into a contractual relationship with a phonogram producer, performers normally have to transfer or assign to the phonogram producer their exclusive rights of reproduction, distribution, rental and making available of fixations of their performances.
Izvajalci morajo običajno ob vzpostavitvi pogodbenega odnosa s proizvajalcem fonograma na proizvajalce fonogramov prenesti ali dodeliti svoje izključne pravice reproduciranja, distribuiranja, dajanja v najem in dajanja na voljo posnetkov svojih izvedb.
In exchange, some performers are paid an advance on royalties and enjoy payments only once the phonogram producer has recouped the initial advance and made any contractually defined deductions.
V zameno nekateri izvajalci vnaprej dobijo avtorske honorarje in dobijo plačila šele, ko proizvajalec fonogramov povrne začetno predplačilo in odšteje pogodbeno določene odbitke.
Other performers transfer or assign their exclusive rights in return for a one-off payment (non-recurring remuneration).
Drugi izvajalci prenesejo ali dodelijo svoje izključne pravice za plačilo v enkratnem znesku („neponavljajoče se nadomestilo“).
This is particularly the case for performers who play in the background and do not appear in the credits (non-featured performers) but sometimes also for performers who appear in the credits (featured performers).
To je še zlasti značilno za izvajalce, ki igrajo spremljevalno glasbo in se ne pojavijo na seznamu tistih, ki so prispevali k izvedbi („pogodbeni izvajalci“), vendar včasih tudi za izvajalce, ki so na seznamu tistih, ki so prispevali k izvedbi („glavni izvajalci“).
In order to ensure that performers who have transferred or assigned their exclusive rights to phonogram producers actually benefit from the term extension, a series of accompanying measures should be introduced.
Da se zagotovi, da imajo izvajalci, ki so prenesli ali dodelili svoje izključne pravice na proizvajalce fonogramov, dejanske koristi od tega podaljšanja, bi bilo treba uvesti niz spremljevalnih ukrepov.
A first accompanying measure should be the imposition on phonogram producers of an obligation to set aside, at least once a year, a sum corresponding to 20 % of the revenue from the exclusive rights of distribution, reproduction and making available of phonograms.
Prvi spremljevalni ukrep bi moral biti, da se proizvajalcem fonogramov naloži obveznost, da najmanj enkrat letno rezervirajo znesek v višini 20 % prihodkov od izključnih pravic distribuiranja, reproduciranja in dajanja na voljo fonogramov.
‘Revenue’ means the revenue derived by the phonogram producer before deducting costs.
„Prihodki“ pomeni prihodke, ki jih proizvajalec fonogramov dobi pred odbitkom stroškov.
Payment of those sums should be reserved solely for the benefit of performers whose performances are fixed in a phonogram and who have transferred or assigned their rights to the phonogram producer in return for a one-off payment.
Plačilo takih zneskov bi bilo treba rezervirati izključno v korist izvajalcev, katerih izvedbe so posnete na fonogramu in ki so svoje pravice prenesli ali dodelili na proizvajalca fonogramov v zameno za plačilo v enkratnem znesku.
The sums set aside in this manner should be distributed to non-featured performers at least once a year on an individual basis.
Na ta način rezervirane zneske bi bilo treba na individualni osnovi razdeliti pogodbenim umetnikom najmanj enkrat letno.
Such distribution should be entrusted to collecting societies and national rules on non-distributable revenue may be applied.
Takšno razdeljevanje bi bilo treba zaupati kolektivnim organizacijam, pri tem pa se lahko uporabljajo nacionalna pravila o nerazdeljivih prihodkih.
In order to avoid the imposition of a disproportionate burden in the collection and administration of that revenue, Member States should be able to regulate the extent to which micro-enterprises are subject to the obligation to contribute where such payments would appear unreasonable in relation to the costs of collecting and administering such revenue.
Za preprečitev naložitve nesorazmerne obremenitve pri zbiranju in upravljanju teh prihodkov bi bilo treba državam članicam omogočiti, da določijo, v kolikšni meri velja za mikropodjetja obveznost prispevka pri plačilih, če bi se ta plačila izkazala za nesprejemljiva glede na stroške zbiranja in upravljanja takšnih prihodkov.
However, Article 5 of Directive 2006/115/EC already grants performers an unwaivable right to equitable remuneration for the rental of, inter alia, phonograms.
Vendar člen 5 Direktive 2006/115/ES izvajalcem že daje neodpovedljivo pravico do pravičnega nadomestila za najem, med drugim, fonogramov.
Likewise, in contractual practice performers do not usually transfer or assign to phonogram producers their rights to claim a single equitable remuneration for broadcasting and communication to the public under Article 8(2) of Directive 2006/115/EC and to fair compensation for reproductions for private use under point (b) of Article 5(2) of Directive 2001/29/EC.
Prav tako v pogodbeni praksi izvajalci običajno ne prenesejo ali dodelijo na proizvajalce fonogramov svojih pravic do enkratnega pravičnega plačila za oddajanje in priobčitev javnosti na podlagi člena 8(2) Direktive 2006/115/ES in do pravičnega nadomestila za reprodukcije za privatno uporabo na podlagi točke (b) člena 5(2) Direktive 2001/29/ES.
Therefore, in the calculation of the overall amount to be dedicated by a phonogram producer to payments of the supplementary remuneration, no account should be taken of revenue which the phonogram producer has derived from the rental of phonograms, of the single equitable remuneration received for broadcasting and communication to the public or of the fair compensation received for private copying.
Zato izračun skupnega zneska, ki ga mora proizvajalec fonogramov nameniti za plačilo dodatnih nadomestil, ne sme upoštevati prihodkov proizvajalca fonogramov, ki izhajajo iz dajanja fonogramov v najem, iz enkratnega pravičnega nadomestila za oddajanje in priobčitev javnosti ali pravičnega nadomestila, prejetega za zasebno kopiranje.
A second accompanying measure designed to rebalance contracts whereby performers transfer their exclusive rights on a royalty basis to a phonogram producer, should be a ‘clean slate’ for those performers who have assigned their above-mentioned exclusive rights to phonogram producers in return for royalties or remuneration.
Da se ponovno uravnotežijo pogodbe, s katerimi izvajalci prenesejo svoje izključne pravice na podlagi avtorske pravice na proizvajalce fonogramov, bi bilo treba za podaljšanje trajanja varstva oblikovati drugi spremljevalni ukrep, in sicer „nov začetek“ za tiste izvajalce, ki so prenesli zgoraj omenjene izključne pravice na proizvajalce fonogramov v zameno za avtorski honorar ali nadomestila.
In order for performers to benefit fully from the extended term of protection, Member States should ensure that, under agreements between phonogram producers and performers, a royalty or remuneration rate unencumbered by advance payments or contractually defined deductions is paid to performers during the extended period.
Da bi izvajalci v celoti uživali podaljšanje trajanja varstva, bi morale države članice zato zagotoviti, da se v skladu s sporazumi med proizvajalci fonogramov in izvajalci med trajanjem podaljšanega varstva izvajalcem plača avtorski honorar ali nadomestilo, ki nista obremenjena s predplačili ali pogodbeno določenimi odbitki.
For the sake of legal certainty it should be provided that, in the absence of clear indications to the contrary in the contract, a contractual transfer or assignment of rights in the fixation of the performance concluded before the date by which Member States are to adopt measures implementing this Directive shall continue to produce its effects for the extended term.
Zaradi pravne varnosti bi bilo treba določiti, da, če v pogodbi ni jasnih navedb o nasprotnem, velja pogodbeni prenos ali dodelitev pravic do posnetkov izvedb, izvedena pred datumom, do katerega morajo države članice sprejeti ukrepe za izvajanje te direktive, tudi v podaljšanem trajanju.
Member States should be able to provide that certain terms in those contracts which provide for recurring payments can be renegotiated for the benefit of performers.
Države članice bi morale biti sposobne zagotoviti, da se lahko izvajalci v svojo korist ponovno pogajajo o pogojih, ki so določeni v pogodbah s ponavljajočimi se plačili.
Member States should have procedures in place to cover the eventuality that the renegotiation fails.
Države članice bi morale imeti pripravljene postopke za kritje primerov neuspešnih pogajanj.
This Directive should not affect national rules and agreements which are compatible with its provisions, such as collective agreements concluded in Member States between organisations representing performers and organisations representing producers.
Ta direktiva ne bi smela posegati v nacionalna pravila in sporazume, ki so skladni z določbami direktive, na primer kolektivni sporazumi, sklenjeni v državah članicah med organizacijami, ki zastopajo izvajalce, in organizacijami, ki zastopajo proizvajalce.
In some Member States, musical compositions with words are given a single term of protection, calculated from the death of the last surviving author, while in other Member States separate terms of protection apply for music and lyrics.
V nekaterih državah članicah se za skladbe z besedilom uporablja enotno trajanje varstva, ki se izračuna od smrti zadnjega preživelega avtorja, v drugih državah članicah pa se uporablja ločeno trajanje varstva za glasbo in besedilo.
Musical compositions with words are overwhelmingly co-written.
Večina skladb z besedilom nastane v soavtorstvu.
For example, an opera is often the work of a librettist and a composer.
Opera je na primer pogosto delo libretista in skladatelja.
Moreover, in musical genres such as jazz, rock and pop music, the creative process is often collaborative in nature.
Poleg tega je pri glasbenih zvrsteh, kot so jazz, rock in pop glasba, ustvarjalni proces pogosto skupinske narave.
Consequently, the harmonisation of the term of protection in respect of musical compositions with words the lyrics and music of which were created in order to be used together is incomplete, giving rise to obstacles to the free movement of goods and services, such as cross-border collective management services.
Posledično trajanje varstva glede skladb z besedilom, pri katerih sta bila besedilo in glasba napisana z namenom, da bi se uporabljala skupaj, ni usklajeno, kar ovira prosto gibanje blaga in storitev, kot so čezmejne kolektivne storitve upravljanja.
In order to ensure the removal of such obstacles, all such works in protection at the date by which the Member States are required to transpose this Directive should have the same harmonised term of protection in all Member States.
Da bi zagotovili odpravo takšnih ovir, bi morala imeti vsa dela v varstvu v času do datuma, do katerega so države članice dolžne prenesti direktivo, enako usklajeno trajanje varstva v vseh državah članicah.
Directive 2006/116/EC should therefore be amended accordingly.
Direktivo 2006/116/ES bi bilo zato treba ustrezno spremeniti.
Since the objectives of the accompanying measures cannot be sufficiently achieved by the Member States, inasmuch as national measures in that field would either lead to distortion of competition or affect the scope of exclusive rights of the phonogram producer which are defined by Union legislation, and can therefore be better achieved at Union level, the Union may adopt measures, in accordance with the principle of subsidiarity as set out in Article 5 of the Treaty on European Union.
Ker ciljev spremljevalnih ukrepov države članice same ne morejo zadovoljivo doseči, saj bi nacionalni ukrepi na tem področju bodisi povzročili izkrivljanje konkurence bodisi vplivali na obseg izključnih pravic proizvajalcev fonogramov, opredeljenih v zakonodaji Unije, in se zato lažje doseže na ravni Unije, lahko Unija sprejme ukrepe v skladu z načelom subsidiarnosti iz člena 5 Pogodbe o Evropski uniji.
In accordance with the principle of proportionality, as set out in that Article, this Directive does not go beyond what is necessary in order to achieve those objectives.
V skladu z načelom sorazmernosti iz navedenega člena ta direktiva ne presega okvira, ki je potreben za dosego teh ciljev.
In accordance with point 34 of the interinstitutional agreement on better law-making [6], Member States are encouraged to draw up, for themselves and in the interests of the Union, their own tables which will, as far as possible, illustrate the correlation between this Directive and their transposition measures, and to make them public,
V skladu s točko 34 Medinstitucionalnega sporazuma o boljši pripravi zakonodaje [6] se države članice poziva, da za lastne potrebe in v interesu Unije pripravijo tabele, ki bodo kar najbolj nazorno prikazale korelacijo med to direktivo in ukrepi za prenos, ter da te tabele objavijo –
Amendments to Directive 2006/116/EC
Spremembe Direktive 2006/116/ES
Directive 2006/116/EC is hereby amended as follows:
Direktiva 2006/116/ES se spremeni:
The following paragraph shall be added to Article 1:
v členu 1 se doda naslednji odstavek:
The term of protection of a musical composition with words shall expire 70 years after the death of the last of the following persons to survive, whether or not those persons are designated as co-authors: the author of the lyrics and the composer of the musical composition, provided that both contributions were specifically created for the respective musical composition with words.’.
Varstvo skladb z besedilom preneha 70 let po smrti zadnje preživele osebe od naslednjih oseb, ne glede na to, ali so te osebe določene kot soavtorji: avtor besedila in skladatelj skladbe, če sta bila oba prispevka ustvarjena posebej za zadevno skladbo z besedilom.“;
‘However,
„Če
if a fixation of the performance otherwise than in a phonogram is lawfully published or lawfully communicated to the public within this period, the rights shall expire 50 years from the date of the first such publication or the first such communication to the public, whichever is the earlier,
je bil v tem času posnetek izvedbe, ki ni na fonogramu, zakonito izdan ali zakonito priobčen javnosti, trajajo pravice izvajalcev 50 let od prve izdaje ali prve priobčitve javnosti, odvisno od tega, kaj se je zgodilo prej,
if a fixation of the performance in a phonogram is lawfully published or lawfully communicated to the public within this period, the rights shall expire 70 years from the date of the first such publication or the first such communication to the public, whichever is the earlier.’;
je bil v tem času posnetek izvedbe na fonogramu zakonito izdan ali zakonito priobčen javnosti, trajajo pravice izvajalcev 70 let od prve izdaje ali prve priobčitve javnosti, odvisno od tega, kaj se je zgodilo prej.“;
in the second and third sentences of paragraph 2, the number ‘50’ shall be replaced by ‘70’;
v odstavku 2 se v drugem in tretjem stavku številka „50“ nadomesti s številko „70“;
If, 50 years after the phonogram was lawfully published or, failing such publication, 50 years after it was lawfully communicated to the public, the phonogram producer does not offer copies of the phonogram for sale in sufficient quantity or does not make it available to the public, by wire or wireless means, in such a way that members of the public may access it from a place and at a time individually chosen by them, the performer may terminate the contract by which the performer has transferred or assigned his rights in the fixation of his performance to a phonogram producer (hereinafter a “contract on transfer or assignment”).
Če 50 let od zakonite izdaje fonograma ali, če ni bil izdan, 50 let od njegove zakonite priobčitve javnosti, proizvajalec fonograma kopij fonograma za prodajo ne ponudi v zadostni količini ali javnosti ne omogoči dostopa do njih po žici ali brezžično na način, da lahko javnost kadar koli in kjer koli dostopa do njih, lahko izvajalec prekine pogodbo, s katero je izvajalec prenesel ali dodelil svoje pravice do posnetka svoje izvedbe proizvajalcu fonogramov (v nadaljnjem besedilu: pogodba o prenosu ali dodelitvi).
The right to terminate the contract on transfer or assignment may be exercised if the producer, within a year from the notification by the performer of his intention to terminate the contract on transfer or assignment pursuant to the previous sentence, fails to carry out both of the acts of exploitation referred to in that sentence.
Izvajalec lahko uveljavi pravico do prekinitve pogodbe o prenosu ali dodelitvi, če proizvajalec v roku enega leta, potem ko ga je izvajalec obvestil o nameri prekinitve pogodbe o prenosu ali dodelitvi v skladu s predhodnim stavkom, ne izvede obeh načinov izkoriščanja, navedenih v navedenem stavku.
This right to terminate may not be waived by the performer.
Tej pravici do prekinitve pogodbe se izvajalec ne more odpovedati.
Where a phonogram contains the fixation of the performances of a plurality of performers, they may terminate their contracts on transfer or assignment in accordance with applicable national law.
Kadar fonogram vsebuje posnetek izvedb več izvajalcev, lahko izvajalci pogodbo o prenosu ali dodelitvi prekinejo v skladu z veljavno nacionalno zakonodajo.
If the contract on transfer or assignment is terminated pursuant to this paragraph, the rights of the phonogram producer in the phonogram shall expire.
Če se pogodba o prenosu ali dodelitvi prekine na podlagi tega odstavka, pravice proizvajalca fonograma iz fonograma prenehajo veljati.
Where a contract on transfer or assignment gives the performer a right to claim a non-recurring remuneration, the performer shall have the right to obtain an annual supplementary remuneration from the phonogram producer for each full year immediately following the 50th year after the phonogram was lawfully published or, failing such publication, the 50th year after it was lawfully communicated to the public.
Kadar pogodba o prenosu ali dodelitvi izvajalcu daje pravico zahtevati neponavljajoče se nadomestilo, ima izvajalec pravico od proizvajalca fonograma dobiti dodatno letno nadomestilo za vsako polno leto takoj po izteku 50. leta od zakonite izdaje fonograma ali, če posnetek ni bil izdan, po izteku petdesetega leta od njegove zakonite priobčitve javnosti.
The right to obtain such annual supplementary remuneration may not be waived by the performer.
Pravici do takšnega dodatnega letnega nadomestila se izvajalec ne more odpovedati.