natgillin/translations-raw huggingface dataset:
Če po tem, ko v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: Nr. št. te spremembe direktive]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma, proizvajalec fonograma preneha dajati zadostne količine primerkov fonograma v prodajo ali na voljo javnosti po žici ali brezžično, tako da imajo posamezniki iz prebivalstva dostop do njih na kraju in v času, ki ga sami izberejo, lahko izvajalec prekine pogodbo o prenosu ali dodelitvi.
If, after the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram, the phonogram producer ceases to offer copies of the phonogram for sale in sufficient quantity or to make it available to the public, by wire or wireless means, in such a way that members of the public may access them from a place and at a time individually chosen by them, the performer may terminate the contract on transfer or assignment.
Kadar fonogram vsebuje posnetek izvedb več izvajalcev, lahko izvajalci pogodbo o prenosu ali dodelitvi prekinejo samo skupaj.
Where a phonogram contains the fixation of the performances of a plurality of performers, they may terminate their contracts on transfer or assignment only jointly .
Če se pogodba o prenosu ali dodelitvi prekine na podlagi stavkov 1 ali 2, pravice proizvajalca fonograma do fonograma prenehajo veljati.
If the contract on transfer or assignment is terminated pursuant to sentences 1 or 2, the rights of the phonogram producer in the phonogram shall expire.
Če po tem, ko v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma, proizvajalec fonograma preneha dajati zadostne količine primerkov fonograma v prodajo ali na voljo javnosti po žici ali brezžično, tako da imajo posamezniki iz prebivalstva dostop do njih na kraju in v času, ki ga sami izberejo, lahko izvajalec prekine pogodbo o prenosu ali dodelitvi.
If, after the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram, the phonogram producer ceases to offer copies of the phonogram for sale in sufficient quantity or to make it available to the public, by wire or wireless means, in such a way that members of the public may access them from a place and at a time individually chosen by them, the performer may terminate the contract on transfer or assignment.
Kadar fonogram vsebuje posnetek izvedb več izvajalcev, lahko izvajalci pogodbo o prenosu ali dodelitvi prekinejo v skladu z veljavnimi nacionalnimi zakoni.
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 the applicable national laws .
Obvezno skupno delovanje izvajalcev ni stvarno.
The obligation for performers to act jointly is not realistic.
Člen 10a – odstavek 6 – pododstavek 2
Article 10a – paragraph 6 – subparagraph 2
Če leto po tem, ko v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: Nr. št. te spremembe direktive]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma, fonogram ni dan v prosto uporabo po žici ali brezžično, tako da imajo posamezniki iz prebivalstva dostop do njih na kraju in v času, ki ga sami izberejo, pravice proizvajalca fonograma do fonograma in pravice izvajalcev v zvezi s posnetkom izvedbe prenehajo veljati.“
If, one year after the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram, the phonogram is not made available to the public, by wire or wireless means, in such a way that members of the public may access them from a place and at a time individually chosen by them, the rights of the phonogram producer in the phonogram and the rights of the performers in relation to the fixation of their performance shall expire.
Če pet let po tem, ko v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma, fonogram ni dan v prosto uporabo po žici ali brezžično, tako da imajo posamezniki iz prebivalstva dostop do njih na kraju in v času, ki ga sami izberejo, pravice proizvajalca fonograma do fonograma in pravice izvajalcev v zvezi s posnetkom izvedbe prenehajo veljati.“
If, five years after the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram, the phonogram is not made available to the public, by wire or wireless means, in such a way that members of the public may access them from a place and at a time individually chosen by them, the rights of the phonogram producer in the phonogram and the rights of the performers in relation to the fixation of their performance shall expire.
Čeprav je uvedba klavzule „uporabi ali izgubi“ dobrodošla, mora biti ta bolj prožna.
Tough the introduction of the ‘use it or loose it’ clause is welcome, it should be made more flexible.
Če se pravice vrnejo izvajalcu, bi moral ta imeti ustrezne možnosti, da unovči svojo izvedbo preden znova izgubi pravice.
If the rights are reverted to the performer, this performer should be given a fair chance to have his performance exploited before loosing again the rights.
Zaradi tega je treba izvajalcem dati na voljo več časa, in sicer pet let, da lahko izkoristijo možnost uveljavitve pravic.
Therefore a more reasonable period of time, 5 years, should be given to the performers to make the new exploitation possibility feasible.
Če je izvajalec upravičen do ponavljajočih se plačil, se mu od njih ne odbije predplačil ali pogodbeno določenih odbitkov po tem, ko v skladu s členom 3(1), preden je bil spremenjen z Direktivo [//vstaviti št. direktive o spremembi]/ES izvajalec ni več varovan.
Where a performer is entitled to recurring payments, neither advance payments nor any contractually agreed deductions shall be deducted from the payments to the performer after the moment at which, by virtue of Article 3(1) before amendment by Directive [insert the number of this amending directive]/EC, the performer would be no longer protected.
Najkasneje ... *, in za tem vsaka štiri leta Komisija predloži Evropskemu parlamentu, Svetu in Evropskemu ekonomsko-socialnemu odboru poročilo o izvajanju in učinkovanju te direktive, v katerem med drugim na osnovi informacij, ki jih posredujejo države članice, preverja učinkovitost izvajanja ukrepov, sprejetih ob reviziji te direktive, glede na zastavljene cilje.
No later than ... *, and every four years thereafter, the Commission shall submit to the European Parliament, the Council and the European Economic and Social Committee a report on the application and effects of this Directive in which inter alia, on the basis of specific information supplied by the Member States, consider ation is given to the effectiveness of the measures taken, when this Directive was revised, in the light of the objectives pursued.
Komisija zlasti preuči, ali je podaljšanje trajanja varstva pravic imelo pozitiven učinek na socialni položaj izvajalcev in na glasbeno ustvarjanje ter ali se dodatni ukrepi zdijo primerni v smislu doseganja teh ciljev.
The Commission shall examine in particular whether extension of the duration of rights has had a positive effect on the social situation of performers and on musical output and whether additional measures appear appropriate in order to attain those objectives.
*Tri leta po izteku roka za prenos te direktive.
* Three years after the deadline for transposition of this Directive.
Poročevalec podpira predlog Komisije, katerega cilj je izboljšanje socialnega položaja izvajalcev, zlasti studijskih glasbenikov, ob upoštevanju, da vse več izvajalcev preživi obdobje 50 let, ki trenutno velja za varstvo njihovih izvedb.
The rapporteur supports the Commission proposal which aims to improve the social situation of performers, and in particular sessions musicians, taking into account that performers are increasingly outliving the existing 50 year period of protection for their performances.
Glavni predlog direktive je podaljšanje trajanja zaščite za izvajalce in proizvajalce fonogramov s 50 na 95 let, vendar predvideva tudi številne spremljajoče ukrepe, kot je denimo ustanovitev sklada za studijske glasbenike in uvedba klavzul „uporabi ali izgubi“ v pogodbe med izvajalci in proizvajalci fonogramov.
The main proposal of Directive involve extending the term of protection for performers and phonogram producers countries from 50 to 95 years but they also provide for several accompanying measures such as establishing a fund for session musicians and introducing “use it or lose it” clauses in contracts between performers and phonogram producers.
Pravno gledano, predlog vključuje spremembo Direktive 2006/116/ES z 12. decembra 2006 o trajanju varstva avtorske pravice in sorodnih pravic.
Legally, the proposals involve amending Directive 2006/116/EC of 12 December 2006 on the term of protection of copyright and certain related rights.
Ta direktiva kodificira in nadomešča prejšnjo direktivo 93/98/EGS o trajanju varstva avtorske pravice in sorodnih pravic (ki se ji pogosto reče "direktiva o trajanju"), ne da bi jo bistveno spremenila.
That Directive codified and superseded the earlier Directive 93/98/EEC on the term of protection of copyright and certain related rights (often referred to as the “Term Directive”) without making substantive changes.
Namen predloga je pomagati tako izvajalcem kot tudi proizvajalcem nosilcev zvoka.
The intention of the proposals is to benefit both performers and record producers.
Podaljšano trajanje bi koristilo izvajalcem, ki bi še dodaten čas služili denar.
The extended term would benefit performers who could continue earning money over an additional period.
95 let trajajoče varstvo bi premostilo vrzel v prihodkih, ki jo izvajalci izkusijo, ko dopolnijo 70 let, saj ravno tedaj njihovo zgodnje delo, posneto v njihovih dvajsetih letih, izgubi varstvo.
A 95-year term would bridge the income gap that performers face when they turn 70, just as their early performances recorded in their 20s would lose protection.
Še vedno bi lahko prejemali nadomestilo za oddajanje, za izvajanje na javnih mestih kot so bari ali diskoteke, in nadomestna plačila za zasebno kopiranje njihovih del.
They would continue to be eligible for broadcast remuneration, remuneration for performances in public places, such as bars and discotheques, and compensation payments for private copying of their performances.
Podaljšanje varstva bi koristilo tudi proizvajalcem nosilcev zvoka.
The extended term would also benefit the record producers.
Ustvarilo bi dodaten prihodek od prodaje nosilcev zvoka v trgovinah in na spletu.
It would generate additional revenue from the sale of records in shops and on the Internet.
V skladu s predlogom Komisije se uporabi enoten način izračunavanja trajanja varstva skladbe z besedilom, saj ko je skladba objavljena z besedilom, se trajanje varstva izračuna od smrti zadnje preživele osebe: avtorja besedila ali skladatelja.
Commission’s proposal to apply a uniform method of calculating the term of protection of musical compositions with lyrics whereby, when a musical composition is published with lyrics, the term of protection will be calculated from the death of the last surviving person: the author of the lyrics or the composer of the music.
Razlike, ki trenutno obstajajo pri varstvu, zlasti med Evropo in Združenimi državami, povzročajo pravno negotovost in piratstvo, zlasti v digitalnem okolju, kjer ni meja in je dela mogoče uporabiti istočasno v različnih državah.
The current differences in term of protection, particularly between Europe and the US, cause legal uncertainty and piracy especially in the digital environment where there are no boundaries and the works can be used at the same moment in different countries.
Ni mogoče zanikati, da bi različno trajanje varstva lahko pripomoglo k razvoju piratstva: izvedbe, ki so v prosti uporabi v eni državi, se od tod lahko distribuirajo na spletu v druge države, kjer so še zaščitene.
It is an undeniable fact that different terms of protection could help to develop the piracy: performances that have fallen into the public domain in one country can be distributed online from there to other countries where they are still protected.
Končno lahko Evropa zaščiti svoje umetnike, kar je med najpomembnejšimi izrazi njene kulturne raznolikosti.
Finally, Europe is able to protect its artists, one the most important expression of its cultural diversity.
Izenačenje trajanja varstva z ZDA bi bilo odlična priložnost za evropsko gospodarstvo, da nadalje razvija lizbonsko strategijo za rast in delovna mesta, ki priznava poseben pomen spodbujanju ustvarjalnih panog.
Equalising term of protection with the U.S. would be an excellent opportunity for Europe economy to further the progress of the EU Lisbon Strategy for growth and jobs, which recognised the particular importance of promoting the creative industries.
V času, ko ustvarjalne panoge, ki temeljijo na intelektualni lastnini, ustvarjajo vse večji delež BDP v EU, trenutno neskladje med trajanjem varstva v EU in ZDA jasno povzroča, da so evropske glasbene založbe in izvajalci v konkurenčno neugodnem položaju.
At a time when creative industries based on intellectual property are generating an increasing percentage of GDP in the EU, the current disparity between the term of protection in the EU and the US clearly puts European record companies and performers at a competitive disadvantage.
Poleg tega je zaradi podaljševanja pričakovane življenjske dobe prebivalstva v zadnjih letih podaljšanje varstva pravic izvajalcev še bolj nujno.
Furthermore, the current increase of the life expectancy of the population during the last years makes the extension of the protection of performers’ rights even more essential for the artists concerned.
Žal so številni izvajalci popularni in uspešni zlasti v mladih letih, zato je bistveno, da dobijo pravično plačilo tudi, ko so starejši, vsakič, ko je njihovo delo priobčeno javnosti.
Unfortunately, many performers know popularity and success especially when they are young so it is essential that they receive the right economic reward when they are old every time their work is communicated to the public.
Poleg tega bi podaljšanje trajanja spodbudilo kulturno raznolikost: ob nespremenjenem trajanju bi starejše izvedbe, ki postopoma izgubljajo avtorskopravno varstvo, imele prednost pred sodobnimi stvaritvami.
Besides, an extended term would encourage cultural diversity: with an unchanged term, old performances gradually loosing copyright protection would inevitably be favoured to the detriment of contemporary creations.
Poleg tega bi se ustvarjalci prizadevali, da sodobne stvaritve zadostijo potrebam tistega trga, kjer je varstvo daljše, ter ne bi upoštevali potreb po lokalnih in raznolikih vsebinah.
Furthermore, the latter would inevitably seek to please those markets where protection is longer, ignoring the call for local, diversified, content.
Končno je treba tudi razumeti, da se je za evropske izvajalce zaradi neustreznega statusa izjemno težko preživljati z lastnimi stvaritvami, ne glede na obseg njihovega prispevka h kulturi v EU.
Finally, it must also be understood that the lack of proper status makes it extremely difficult for performers in Europe to make a living from their creations, regardless of the size of their contribution to the economy of culture in EU.
Velika večina izvajalcev ima zelo nizko stopnjo socialne varnosti, nadomestila za brezposelnost ali zdravstvenega varstva in se v splošnem srečuje z zelo razširjenimi nepoštenimi pogodbenimi praksami.
The vast majority of performers has very little access to social security, unemployment compensation or health and safety protection and is generally confronted with widespread unfair contractual practices.
V povezavi s tem predstavlja prihodek, ki ga ustvarjajo pravice intelektualne lastnine, bistven vir prihodka za izvajalce.
In this context, the income generated by the intellectual property rights represents a vital source of income for performers.
o predlogu direktive Evropskega parlamenta in Sveta o spremembi Direktive 2006/116/ES Evropskega parlamenta in Sveta o trajanju varstva avtorske pravice in določenih sorodnih pravic
on the proposal for a directive of the European Parliament and of the Council amending Directive 2006/116/EC of the European Parliament and of the Council on the term of protection of copyright and related rights
Pripravljavka mnenja pozdravlja predlog Komisije o podaljšanju trajanja varstva sorodnih pravic in o uvedbi dodatnih prehodnih zaščitnih ukrepov.
The draftswoman welcomes the proposal by the Commission on extending the term of protection of related rights and creating additional transitory safeguard measures.
S predlogom se priznava pomen ustvarjalnega in umetniškega prispevka izvajalcev, ki ga je treba pri trajanju varstva ustrezno upoštevati.
The proposal recognises the importance of performers’ creative and artistic contribution which needs to be properly reflected upon in the term of protection.
(i) razširitev področja uporabe tudi na avdiovizualne izvajalce;
(i) extension of the scope by including audiovisual performers;
(ii) odprava izjeme za male glasbene založbe pri prispevkih v sklad za studijske glasbenike;
(ii) deletion of the exemption for small recorders from contributing to the fund set aside for session musicians;
(iii) poenostavitev upravljanja tega sklada;
(iii) simplification of the administration of this fund;
(iv) več prožnosti pri uporabi klavzule „uporabi ali izgubi“;
(iv) more flexibility for the ‘use it or loose it’ clause;
(v) nadaljnja ocena v zvezi s ponudbo na spletu.
(v) further assessment of the making available on-line.
(i) Razširitev področja uporabe z vključitvijo avdiovizualnih izvajalcev
(i) Extension of the scope by including audiovisual performers
Prav tako je treba določiti iste datume, od katerih naprej se izračuna trajanje pravic izvajalcev in pravic producentov (kot to predvideva odstavek 2 člena 3).
Also, the same starting dates from which the duration of protection is calculated for performers’ rights and for producers’ rights should apply (as foreseen under Article 3, paragraph 2).
(Povezani predlogi sprememb: predlog spremembe 1 iz osnutka mnenja k uvodni izjavi 5; predlog spremembe 2 iz osnutka mnenja k uvodni izjavi 7; predlog spremembe 10 iz osnutka mnenja k odstavku 1 člena 3 direktive 2006/116/ES.)
(Related amendments: Amendment 1 of the draft opinion on Recital 5; Amendment 2 of the draft opinion on Recital 7; and Amendment 10 of the draft opinion on Article 3, paragraph 1 of Directive 2006/116/EC.)
(ii) Odprava izjeme za male glasbene založbe pri prispevkih v sklad za studijske glasbenike
(ii) Deletion of the exemption for small recorders from contributing to the fund set aside for session musicians
Komisija je predlagala, da bi za male glasbene založbe veljala izjema pri pravilu, da je treba vsaj 20 odstotkov prihodkov dati na stran in prispevati v sklad za studijske glasbenike.
The Commission proposed an exemption for small record producers from setting aside at least 20 percent of revenues in order to contribute to the fund created for session musicians.
S takšno izjemo bi oškodovali izvajalce in ne bi zagotovili ravnovesja med interesi izvajalcev in malimi producenti.
Such exemption would create an unfair situation for the performers and would not strike a fair balance between the interest of performers and of small producers.
Poleg tega bi lahko večje glasbene založbe prav tako poskušale izogniti se plačevanju dodatnih nadomestil, in sicer tako, da bi podpisovale licenčne pogodbe z malimi proizvajalci fonogramov.
In addition, larger record producers might also try to avoid paying supplementary remuneration by signing licensing contracts with smaller phonogram producers.
Zaradi tega je predlagano črtanje izjeme.
Therefore this exemption is proposed to be deleted.
(Povezani predlogi sprememb: predlog spremembe 4 iz osnutka mnenja k uvodni izjavi 12 in predlog spremembe 12 iz osnutka mnenja k pododstavku 2 odstavka 4 člena 10 a (novo) direktive 2006/116/ES.)
(Related amendments: Amendment 4 of the draft opinion on Recital 12; and Amendment 12 of the draft opinion on Article 10 a (new), paragraph 4, subparagraph 2 of Directive 2006/116/EC.)
(iii) Poenostavljeno upravljanje omenjenega sklada
(iii) Simplification of the administration of the above fund
Za poenostavitev upravnih postopkov mora biti kolektivnim organizacijam zaupano upravljanje omenjenega sklada.
In order to simplify the administrative procedures, the collecting societies should be entrusted with the administration of the above fund.
(Povezani predlogi sprememb: predlog spremembe 5 iz osnutka mnenja k uvodni izjavi 13; predlog spremembe 6 iz osnutka mnenja k uvodni izjavi 14 a (novo); predlog spremembe 13 iz osnutka mnenja k odstavku 5 člena 10 a (novo) direktive 2006/116/ES.)
(Related amendments: Amendment 5 of the draft opinion on Recital 13; Amendment 6 of the draft opinion on Recital 14 a (new); and Amendment 13 of the draft opinion on Article 10 a (new), paragraph 5 of Directive 2006/116/EC.)
(iv) Več prožnosti pri uporabi klavzule „uporabi ali izgubi“
(iv) More flexibility for the ‘use it or loose it’ clause
Čeprav je uvedba klavzule „uporabi ali izgubi“ dobrodošla, mora biti ta bolj prožna.
Though the introduction of the ‘use it or loose it’ clause is welcome, it should be made more flexible.
Če se pravice vrnejo izvajalcu, bi moral ta imeti ustrezne možnosti, da unovči svojo izvedbo, preden znova izgubi pravice.
If the rights are reverted to the performer, this performer should be given a fair chance to have his performance exploited before loosing again the rights.
(Povezan predlog spremembe: predlog spremembe 14 iz osnutka mnenja k pododstavku 2 odstavka 6 člena 10 a (novo).)
(Related amendment: Amendment 14 of the draft opinion on Article 10 a (new), paragraph 6, subparagraph 2.)
(v) Nadaljnja ocena v zvezi s ponudbo na spletu
(v) Further assessment of on-line making available
Ob povečani uporabi spletnih storitev in povpraševanju po njih je treba bolj pozorno preučiti ponudbo izvedb na spletu.
With the increase of use of and demand for on-line services, the making available of performances on-line should be studied in more detail.
Komisijo je treba spodbujati, da oceni pravne in gospodarske razmere in preuči nadaljnje posledice te ponudbe.
The Commission should be encouraged to evaluate the current legal and economic situation and assess further the impacts of this option.
(Povezan predlog spremembe: predlog spremembe 9 k uvodni izjavi 19 c (novo)).
(Related amendment: Amendment 9 on Recital 19 c (new)).
(9) Zaradi pravne varnosti je treba določiti, da – če 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 direktive, tudi v podaljšanem trajanju.
(9) For the sake of legal certainty it should be provided that in the absence of clear indications to the contrary, 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 the directive shall continue to produce its effects for the extended term.