natgillin/translations-raw huggingface dataset:
Some contributions however echoed the EFAD Statement and stressed that it was important not to introduce differences in treatment, for instance (in the specific Italian tax credit case) arising from the different level of tax liabilities of the cinemas involved, but also (more generally) arising from a restriction of access on the basis of the programming, size and location of cinemas.
Nemški filmski sklad je izjavil, da bi bili stroški podpore za prehod na digitalno kinematografijo nižji od stroškov, povezanih z obnovo kinematografov in kulturno raznolikostjo, potrebno po zaprtju tistih akterjev, ki ne bi mogli sami financirati prehoda.
The International Federation of Film Distributors' Associations (FIAD) argued that even major exhibitors might not be considered profitable in the current cinema market and general economic context.
Nemčija je tudi poudarila, da sta zaradi posebnih nacionalnih in regionalnih razmer v vsaki državi članici potrebna posebej oblikovan ukrep pomoči in prilagojena oblika pomoči.
On the availability of commercial business models for the transition and their applicability to smaller cinemas, opinions diverged somewhat.
V izjavi EFAD je izraženo enako mnenje, pri čemer je bilo poudarjeno, da ni enotne rešitve, ki bi ustrezala vsem.
Some argued that there was no standard business model for the digital cinema transition.
Poleg tega je EDCF izjavil, da bi bilo morebitne dodatne tekoče stroške mogoče kriti z novimi viri prihodkov za zadevne kinematografe.
Others argued that a large number of cinemas could not access the VPF deals offered by third-party integrators (cf. also footnote 5) because of the nature and volume of their programming (the volume of virtual print fees generated depended on the number of films programmed in their first week of release and/or the number of screens the cinema had).
Kar zadeva gospodarski, socialni in kulturni učinek pomoči, so strani, ki so poslale pripombe, na splošno poudarile potrebo po enem samem standardu za digitalno kinematografijo in splošno priznavanje standardov DCI.
Europa Distribution argued that the commercial business models worked only for the more profitable cinemas and big, commercial distributors.
V izjavi EFAD je bilo navedeno, da se v okviru podpore za digitalno kinematografijo ne bi smela vsiljevati tehnološka rešitev in da bi bilo treba proučiti tehnološke razmere v sektorju.
According to the EFAD background paper, only approximately 10000 European screens out of a total of 30000 could be equipped through the VPF model.
Mreža Europa Distribution je opozorila, da bi se zaradi neupoštevanja industrijskega standarda številni kinematografi lahko zaprli.
One contribution claimed that the commercial VPF models were equally suited for smaller cinemas.
ANEC je potrdil, da se lahko kinematografi v okviru ukrepa vsekakor prosto odločajo, v kateri standard bodo vlagali.
In any case, the French authorities argued that the available commercial transition models did not cover all the costs of digital cinema conversion (such as the upgrade of projection booths) and moreover always required a contribution by the cinema exhibitor as well.
Več strani, ki so poslale pripombe, je trdilo, da bi se lahko oprema, skladna z DCI, uporabljala tudi za prikazovanje nadomestnih programov drugačnih (nižjih) digitalnih standardov, medtem ko obratno (tj. prikazovanje filmskih kopij, skladnih z DCI, z opremo za projekcijo v ločljivosti na primer 1.3K) ni mogoče.
Public support could play a crucial complementary role in these cases too.
V zvezi s tem so francoski organi in EFAD v svojem spremnem dokumentu poudarili, da bi moral biti vsak ukrep pomoči oblikovan tako, da preprečuje izkrivljanje konkurence na trgu z digitalno opremo.
Regarding the adequacy of the aid, interested parties said that, in general, State aid would help smaller cinemas to face the strong competition of large multiplex cinemas and would create a level playing field.
Zato bi moral vsak ukrep pomoči temeljiti na oceni stroškov digitalne opreme, pri čemer bi morala biti pomoč omejena v skladu z ocenjenimi stroški.
The installation of digital cinema equipment was expected to result in a wider choice for audiences.
Italijanska zveza umetniških kinematografov je opozorila na omejen geografski doseg kinematografov, kar po njenem mnenju pomeni, da bi bili izkrivljajoči učinki na konkurenco majhni.
Contributors also emphasised other advantages associated with digital cinema, such as the quality of the projection, the programming flexibility and the lower distribution costs.
PRIPOMBE ITALIJE
The French authorities argued that the adequacy of digital cinema support should be looked at not in terms of an increase in programming diversity, but rather in terms of preventing the closure of cinemas.
Nujnost pomoči
The European Digital Cinema Forum argued that, if the tax credits could be offset against VAT, even the less profitable cinemas would be able to benefit from the Italian measure.
V to kategorijo spadajo 104 kinematografi, ki imajo skupaj 513 platen;
Some contributions did mention the short-term nature of the tax credit and contrasted this with the longer-term challenges posed by the digital cinema transition.
manjši kinematografi, ki imajo večinoma samo eno platno (90 % kinematografov), vključno s sezonskimi in/ali cerkvenimi kinematografi.
However, it was also argued that the standards were sufficiently established to guarantee that they would last for at least a decade, or that the lifespan of digital cinema equipment could not yet be determined.
V to kategorijo spada 1340 kinematografov, ki imajo skupaj približno 1500 platen.
The German Federal Film Board said that support for the digital cinema transition would be less costly than the costs associated with rebuilding cinemas and cultural diversity that would be needed after the disappearance of those players that were unable to finance the transition themselves.
Medtem ko največji mreži kinematografov (kategorija (a)) predstavljata 40 % nacionalnega tržnega deleža, kinematografi iz kategorije (d) predstavljajo le 5–10 % tržnega deleža.
Germany also emphasised that the specific national and regional context of each Member State would require a specifically designed aid measure and a tailored form of aid.
Shema davčnih olajšav je usmerjena v kinematografe iz kategorij od (b) do (d).
The EFAD Statement echoed this sentiment and emphasised that there was no one-size-fits-all solution.
Italijanski organi zlasti zaradi močnega tržnega položaja obeh velikih mrež kinematografov menijo, da je državna pomoč potrebna za izvedbo digitalnega prehoda teh kinematografskih prikazovalcev, ki so vsi majhni ali srednje veliki.
The European Digital Cinema Forum moreover stated that any additional running costs might be offset by new revenue streams for the cinemas concerned.
Ukrep, ki se je izvajal v skladu s pravili de minimis, se je izkazal za posebej priljubljenega takoj po uvedbi leta 2010, ko je od njega imelo koristi 671 platen.
Regarding the economic, social and cultural impact of the aid, the contributions generally emphasised the need for one digital cinema standard and the wide recognition of DCI standards.
Vendar se je izkazalo, da izvajanje ukrepa pomoči v skladu s pravili de minimis ni bilo dovolj, da bi se razmere spremenile.
Europa Distribution's contribution warned that failure to follow the industry standard would lead to the closure of many cinemas.
Italijanski organi menijo, da je digitalizacija italijanskih kinematografov še vedno v zaostanku.
In any case, ANEC confirmed that cinemas were free under the measure to invest in the standard of their choice.
Zaradi tega je ogroženo znatno število kinematografov, ki so večinoma majhni ali srednje veliki.
Several contributions argued that DCI-compliant equipment could also be used to screen alternative programmes of different (lower) digital standards, whereas the reverse (screening DCI-compliant film copies on, e.g. 1,3K equipment) was not possible.
Njihovo zaprtje ne bi pomenilo le izgube delovnih mest na ravni prikazovalcev, temveč bi tudi vplivalo na distribucijo filmov in obiskovalcem omejilo izbiro.
The contributors did not identify a risk of price increases.
Italijanski organi so izpostavili zlasti vlogo kinematografov s samo enim platnom in srednje velikih kinematografov v Italiji.
The Commission's concern that State aid might accelerate the switch-over and with it the closure of cinemas (cf. recital 16) was not reflected in the contributions.
Italijanski organi pričakujejo, da bodo tradicionalni filmi v le nekaj tednih ali mesecih popolnoma izginili s trga.
The Italian federation of arthouse cinemas drew attention to the limited geographic reach of cinemas, which it said meant that the distortive effects on competition would be small.
Kar zadeva največjo predlagano davčno olajšavo (50000 EUR na platno) in ocenjene stroške opreme za digitalno projekcijo, so italijanski organi spremenili svoje ocene povprečnih stroškov digitalnega prehoda na platno na 50000–60000 EUR (podatki iz aprila in junija 2014).
COMMENTS FROM ITALY
To pomeni, da največja davčna olajšava ustreza stroškom prehoda, ki so znatno višji od ocenjenih povprečnih stroškov prehoda.
Necessity of aid
Vendar italijanski organi trdijo, da so davčne olajšave izračunane na podlagi odstotka dejansko nastalih stroškov.
The Italian authorities have provided the Commission with information on the characteristics of the Italian cinema market (last updated in October 2013).
Na podlagi povprečne naložbe v višini 50000 EUR bi zagotovljena davčna olajšava (pri 30 %) znašala 15000 EUR.
The total number of Italian screens is estimated at 3936, located in 1872 cinema sites.
Največje davčne olajšave se torej v praksi praviloma niso uporabljale.
Four categories can be distinguished:
Ne glede na to največja mejna vrednost zagotavlja, da so zneski pomoči tudi v primeru neobičajno visokih stroškov prehoda še vedno omejeni v absolutnem smislu.
big cinema networks [8] of more than 60 screens.
Kar zadeva nujnost pomoči, je pomembno poudariti tudi, da glede na najnovejše navedbe italijanskih organov stroški digitalnega prehoda še vedno znašajo več deset tisoč EUR na platno.
There are only two such networks, UCI and The Space.
Številni kinematografi, predvsem manjši, ne morejo zbrati dovolj sredstev iz zasebnih virov, še zlasti ne v trenutnih gospodarskih razmerah v Italiji in Evropi.
They represent 787 screens in 76 sites;
Sorazmernost pomoči
small cinema networks.
Italijanski organi na splošno poudarjajo, da davčna olajšava dopolnjuje komercialne modele prehoda in ne konkurira z modeli VPF.
In total, the cinemas in this category represent 513 screens in 104 sites;
Poleg tega akterja glede na svojo tržno moč (glej odstavek 37) ne bi smela biti odvisna od državne pomoči za digitalni prehod.
small commercial cinemas.
Po podatkih italijanskih organov sta veliki mreži kinematografov edini, ki sta izkoristili klasični model VPF.
These account for 1287 screens, located in 351 cinema sites;
Vendar so tudi manjši upravljavci kinematografov uporabili komercialne mehanizme, da bi si olajšali digitalni prehod.
smaller sites, comprising almost only single-screen cinemas (90 % of the sites), alongside seasonal cinemas and/or church cinemas.
V Italiji je bil na podlagi sporazuma med združenjem distributerjev in združenjem prikazovalcev razvit nadomestni model VPF, prilagojen srednje velikim in majhnim kinematografom.
There are 1340 such sites, corresponding to an estimated 1500 screens.
V spodnji preglednici so opisane glavne razlike in podobnosti med klasičnim in nadomestnim modelom VPF, kot sta se izvajala v Italiji.
While the largest cinema networks (category (a)) represent 40 % of the national market share, the cinemas in category (d) account for only 5 to 10 % of the market share.
Primerjava med klasičnim in nadomestnim modelom VPF v Italiji
The tax credit scheme targets the cinemas in categories (b) to (d).
Klasični model VPF v Italiji
In particular in view of the strong market presence of the two big cinema networks, the Italian authorities consider that State aid is necessary to complete the digital transition of these cinema exhibitors, which are all small or medium-sized.
Nadomestni model VPF v Italiji
According to data provided by the Ministry of Culture and Tourism a total of 1603 screens applied for digital cinema tax credits during the period 2010–2013 (April 2014 data).
Tretji „integrator“ (ki ima sklenjene pogodbe o VPF z distributerji) sklene sporazum s kinematografskim prikazovalcem.
The measure, implemented within the de minimis rules, proved particularly popular immediately after its launch in 2010, when 671 screens benefited.
Na podlagi sporazuma med združenjem distributerjev in združenjem prikazovalcev.
Yet the implementation of the aid measure under the de minimis rules has proved insufficient to turn the situation round.
Brez tretjih strani.
In particular medium-sized multi-screen cinemas have, as a result, been able to digitise only some of their screens.
Prikazovalec ni lastnik digitalne opreme in je ne plača vnaprej.
The Italian authorities say that the digitisation of Italian cinemas is still lagging behind.
Prikazovalec je že od samega začetka lastnik digitalne opreme in vnaprej krije vse stroške nakupa.
In October 2013, the digitisation rate stood at about 62 % [9].
Distributerji oziroma prikazovalci prispevajo k postopni amortizaciji stroškov prek VPF oziroma mesečnih plačil.
According to estimates provided by the Italian authorities in June 2014, at least 700 cinema screens remain to be digitalised.
Distributerji običajno krijejo 75 % stroškov, prikazovalci pa 25 %.
As a result, a considerable number of cinemas, mostly small to medium-sized, are at risk.
Distributerji plačujejo VPF za digitalno prikazovanje filmov.
Their disappearance would not only signify job losses at the level of exhibitors, but would in turn impact the distribution of films and restrict choice for the audience.
Te pristojbine lahko krijejo do 75 % stroškov digitalnega prehoda.
The continuing presence of the first group is crucial to ensure equal access for all citizens to cinemas, including those located in small rural and mountain towns.
Italijanski organi so ob upoštevanju navedenega spremenili izvedbene predpise za zagotovitev, da se prepreči prekomerno nadomestilo ali preusmeritev pomoči, če se davčna olajšava kombinira s komercialnimi modeli (VPF).
Their continuing presence is important as they offer an alternative to the two large cinema networks that dominate the market.
Italijanski organi so izjavili, da bodo z rednim preverjanjem pri ministrstvu za kulturo in turizem za vsak primer posebej zagotovili, da pomoč krije le tisti del naložbe, ki ga dejansko mora kriti kinematografski prikazovalec.
The Italian authorities expect that traditional film will completely disappear from the market within a period of only a couple of weeks or months.
Primernost pomoči
As the cut-off point draws nearer, the Italian authorities stress the need to implement the measure beyond the de minimis thresholds.
Komisija je v sklepu o začetku postopka dvomila, da ocenjeni proračun ukrepa zadostuje za kritje ocenjenih stroškov prehoda.
With regard to the maximum tax credit proposed (EUR 50000 per screen) and the estimated costs of digital projection equipment, the Italian authorities have adjusted their estimates of the average cost of digital conversion per screen to EUR 50000–60000 (figures provided in April and June 2014).
Italijanski organi so zagotovili posodobljene ocene proračuna in stroškov (glej odstavka 18 in 45), iz katerih so razvidne najnovejše razmere, ki se obravnavajo z ukrepom pomoči.
The maximum tax credit in other words corresponds to conversion costs that are significantly higher than the estimated average conversion costs.
Na podlagi povprečne davčne olajšave v višini 15000 EUR in ob upoštevanju ocenjenega proračuna sheme (glej odstavek 18) bi ukrep pomoči v obdobju 2014–2015, tj. obdobju, ko naj bi se najbolj uporabljal, lahko koristil 500 platnom.
However, the Italian authorities argue that the tax incentives are calculated on the basis of a percentage of the expenses that are actually incurred.
To ustreza znatnemu številu platen, ki jih je še treba digitalizirati (glej odstavek 40).
Based on an average investment of EUR 50000, the tax incentive provided (at 30 %) would equal EUR 15000.
Čeprav je bila zahteva v zvezi s kulturnimi programi v okviru sheme pomoči odpravljena, so italijanski organi trdili, da ima shema še vedno zelo kulturno usmerjen cilj.
In practice, therefore, the maximum tax credits have not as a rule been applied.
Z izvedbo celovite digitalizacije italijanskega kinematografskega trga naj bi se namreč izboljšalo kroženje različnih vrst filmov in povečale možnosti za kroženje kulturnih filmov.
Nevertheless, the maximum cap guarantees that, in case of atypically high conversion costs, the aid amounts remain limited in absolute terms.
Če vse različne vrste kinematografov v Italiji ne bodo mogle izvesti digitalnega prehoda, bi to lahko negativno vplivalo na kulturo.
With regard to the necessity of aid, it is furthermore important to note that the latest indications by the Italian authorities still point to a cost of digital conversion amounting to several tens of thousands of euros per screen.
Italijanski organi vztrajajo pri tem, da bi se lahko ukrep davčne olajšave kril z neposrednimi davki, dolgovanimi italijanskemu davčnemu organu (davek od dobička pravnih oseb), posrednimi davki (kot je DDV) ter davčnimi odtegljaji in prispevki za socialno varnost (ki jih delodajalci plačujejo za zaposlene).
For many cinemas, especially the smaller ones, it is not possible to raise these funds from private sources, especially in the current Italian and European economic climate.
Poleg tega je bila s členom 51 uredbe z zakonsko močjo št. 83 iz leta 2012 uvedena možnost, da se lahko davčne olajšave prenesejo na dobavitelje digitalne opreme, banke, finančne posrednike in zavarovalnice (glej odstavek 25).
Proportionality of aid
Tako je ukrep pomoči bolj dostopen manjšim kinematografom, zlasti tistim, ki so družinsko vodeni in nimajo zaposlenih.
In general terms, the Italian authorities stress that the tax credit is complementary to the commercial transition models and is not in a competitive relationship with VPF models.
Upravičenci glede na vrsto kinematografov (2010–2013; na podlagi števila platen) (podatki so bili nazadnje posodobljeni aprila 2014, zagotovilo pa jih je ministrstvo za kulturo in turizem)
The modified implementing regulations contain a number of provisions that ensure that the aid measure remains proportional.
Multipleksi s 5-10 platni v mestih z več kot 50 000 prebivalci
These take into account the market mechanisms available for digital cinema conversion (i.e. the VPF models).
Multipleksi s 5-10 platni v mestih z največ 50 000 prebivalci
First of all, only cinema exhibitors of 60 screens or less may apply for tax benefits.
Multipleksi z največ 4 platni
This means that the two Italian maxi-circuits (UCI and The Space) are excluded from the aid.
Kinematografi z 1 platnom
The Italian authorities say that the classic VPF model has been applied successfully to the conversion of these dominant market players.
Multipleksi z več kot 10 platni
Moreover, taking into account their market strength (cf. recital 37), they should not be dependent on State aid for digital conversion.
Gospodarski, socialni in kulturni učinek
According to the information provided by the Italian authorities, the two large cinema networks are the only ones that have made use of the classic VPF model.
Italijanski organi poudarjajo, da je zagotovitev obsežnega prehoda na digitalno kinematografijo pomembna za kulturo.
However, smaller cinema operators have also accessed commercial mechanisms to facilitate their digital transition.
Namestitev digitalne opreme ima številne pomembne prednosti (kot je večja prilagodljivost) za celoten kinematografski sektor (in nenazadnje tudi za obiskovalce kinematografov).
The table below outlines the main differences and similarities between the classic and alternative VPF models as implemented in Italy.
Zlasti manjši akterji na trgu ne morejo izvesti prehoda brez državne pomoči.
Comparison between the classic and alternative VPF models in Italy
Tržni modeli prehoda (VPF), ki so bili razviti, niso dovolj, da bi se izravnalo to neravnovesje, poleg tega pa vsi kinematografi nimajo enakega dostopa do njih.
The classic VPF model in Italy
Italijanski organi potrjujejo, da mehanizmi sheme po njihovem mnenju ne izpodbijajo načela tehnološke nevtralnosti.
The alternative VPF model in Italy
V. OCENA UKREPA POMOČI
A third party ‘integrator’ (which in turn has VPF contracts with distributors) signs an agreement with a cinema exhibitor.
Obstoj pomoči
Based on an agreement between the distributors' association and the exhibitors' association.
V členu 107(1) PDEU je določeno naslednje: „Razen če Pogodbi ne določata drugače, je vsaka pomoč, ki jo dodeli država članica, ali kakršna koli vrsta pomoči iz državnih sredstev, ki izkrivlja ali bi lahko izkrivljala konkurenco z dajanjem prednosti posameznim podjetjem ali proizvodnji posameznega blaga, nezdružljiva z notranjim trgom, kolikor prizadene trgovino med državami članicami.“
There are no third parties involved.
Kot je pojasnjeno v sklepu o začetku postopka in na kratko omenjeno v odstavku 12, ukrep pomeni državno pomoč v smislu člena 107(1) PDEU.
The exhibitor does not own the digital equipment and does not pay for it up-front.
Vir financiranja so davčne olajšave, kar pomeni, da se Italija odreka nekaterim davčnim prihodkom.
The exhibitor owns the digital equipment from the start and covers the entire purchase cost up-front.
V okviru sheme bodo nekatere filmske družbe imele finančne koristi, zaradi česar ukrep posameznim podjetjem zagotavlja selektivno prednost.
The division of costs is typically 75 % for distributors and 25 % for exhibitors.
Zato shema izkrivlja konkurenco ali bi jo lahko izkrivljala.
Film distributors pay virtual print fees for digital screenings of films.
Glede na mednarodno trgovino s filmi bi lahko ukrep vplival na trgovino znotraj Unije.
The exhibitor is in any case expected to cover EUR 5500 of the costs.
Cilj ukrepa pomoči je zagotoviti, da lahko vse vrste kinematografov izvedejo digitalni prehod kljub njegovim visokim stroškom.
Secondly, taking this into account, the Italian authorities have modified the implementation regulations to ensure there is no overcompensation or redirection of aid if the tax credit is combined with any of the commercial (VPF) models.
Ko je Komisija sprejela sklep o začetku postopka glede ukrepa, ni opredelila svoje politike glede podpore za digitalno projekcijo.
A declaration is required from the beneficiary that the tax benefit is requested to cover only its own effective costs (cf. recital 23).
Zato je pozneje sprejela novo sporočilo o državni pomoči za filmsko produkcijo in produkcijo drugih avdiovizualnih del [10], s katerim je posodobila pravila, ki se uporabljajo za oceno združljivosti državne pomoči za filmsko produkcijo in produkcijo drugih avdiovizualnih del v skladu s členom 107(3)(d) PDEU.
The Italian authorities have stated that checking by the Ministry of Culture and Tourism, on a case-by-case basis, will guarantee that the aid covers only the part of the investment that effectively has to be carried by the cinema exhibitor.
V novem sporočilu o kinematografiji se jasno priznava, da se pomoč za kinematografe lahko oceni kot pomoč za pospeševanje kulture v smislu člena 107(3)(d) PDEU.
Thirdly, maximum cumulative aid intensities have been introduced to keep the aid measure proportionate.
Zato se združljivost zadevne pomoči lahko oceni v skladu s to določbo.
These distinguish between the smallest cinema sites (with one or two screens) and other cinemas (cf. recital 24).
V sporočilu o kinematografiji je določeno, da je pomoč za posodobitev kinematografov, vključno z njihovo digitalizacijo, lahko upravičena, če je nujna, sorazmerna in primerna.