A programme can receive several types of remunerations. Below is a short explanation of how the remuneration categories are determined and who will be paid.
Compensation for private copying
The compensation for private copying is remuneration for authors and performers for consumers recording TV programmes for their own use.
Kopiosto pays remuneration for private copying for the most-recorded programmes on freely available channels (2,000 most-recorded programmes per month).
The remunerations are paid to audiovisual authors employed by the broadcasting company (Yle and MTV) and/or working as freelancers.
Remuneration for online recording
Authors and performers are paid remunerations for online recording services where consumers can record programmes on freely available TV channels in Finland. Kopiosto grants licences to the operators offering online recording services on behalf of audiovisual authors and performers.
The remunerations are accumulated for the most-recorded programmes on freely available channels (2,000 most recorded programmes per month).
The remunerations are paid to audiovisual authors employed by the broadcasting company (Yle and MTV) and/or working as freelancers.
Remuneration for educational recordings
With Kopiosto’s licence, schools can record Finnish and foreign programmes broadcast by Yle and MTV.
This remuneration does not cover educational programmes, films intended for cinema or video distribution, competition and entertainment programmes, reality TV, foreign series or foreign animations.
Freelancers receive personal remunerations via Kopiosto.
As for the copyright holders employed by Yle or MTV, their share of remunerations for educational use will be transferred to the educational fund KOURA where the permanent employees of the broadcasting companies can apply for grants.
Yle Areena remuneration
The remunerations for educational use are also paid for domestic programmes on Yle Areena.
The remuneration does not cover educational programmes, films intended for cinema or video distribution, repeats of programmes on Yle Areena broadcasted in the same year, or foreign programmes.
The remuneration is paid to freelancers.
TV Finland remuneration
Yle’s TV programmes are also broadcast in the Stockholm area on the TV Finland channel which shows a compilation of Finnish programmes shown on Yle’s channels.
Performers, such as actors, are entitled to remunerations for the live broadcasts of these programmes. The remuneration is paid to freelancers.
Remuneration for institutional use
Institutions such as hospitals, retirement homes, prisons, daycare centres and embassies can present recordings of TV and radio programmes purchased from Yle Sales. The remuneration is paid to freelancers.
Remuneration for library use
Municipal libraries procure recordings of TV and radio programmes from Yle Sales and lend them to their customers. The remuneration is paid to freelancers.
Nordic cable transmission remuneration
The distribution of local broadcasting channels in Sweden, Norway and Denmark that includes Finnish programmes. Performers, such as actors, are entitled to remunerations for the live broadcasts of these programmes. The remunerations are paid to audiovisual authors employed by the broadcasting company (Yle and MTV) and freelancers.
Other payment services offered by Kopiosto
Remunerations for repeats for journalists
The Union of Journalists in Finland and Yle have agreed on the remunerations for repeats of radio and TV programmes for journalists. The remunerations are accumulated for the programmes that have been produced within the Yhtyneet agreement before 2010. Yle will provide Kopiosto with information of the repeated programmes that contribute to these remunerations.
The remunerations of the Trade Union for Theatre and Media Finland (Teme) for old publications on Yle Areena
The Trade Union for Theatre and Media Finland (Teme) and Yle have agreed on remunerations regarding the TV and radio drama programmes on Yle Areena that are at least five years old. The remunerations are paid to freelance directors, set designers, costumer designers, dancers and choreographers.
Yle will provide Kopiosto with information of the programmes that contribute to these remunerations. To receive these remunerations, the author does not need to be a member of Teme.
The distribution of copyright remunerations for TV programmes is based on remuneration principles that are confirmed annually by Kopiosto’s member organisations.
The basis for the distribution of copyright remunerations is fair and equal treatment of the beneficiaries of remunerations. Remunerations are not paid for commercials, information flashes, news flashes, chat programmes and programme advertisements.
The remuneration paid for the programme is affected by the following matters:
Duration. Longer programmes receive more remuneration relative to their duration. Commercials are not calculated into the total duration.
Creativity (see the TV programme types and classification table below). When the creation of a programme, for example a feature film, has demanded the contribution of people from several different fields of creative work, the creative input needed is substantial. A larger proportion of remunerations is allocated to programmes of this type by means of a copyright coefficient. The copyright coefficients for all the programme types are specified in the classification table.
Composition (see the classification table below). The creative input of individual authors and performers varies. Some authors may influence the entire content of a programme, for example the director who directs the entire programme, whereas the contribution of, say, a graphic artist may appear in only certain parts of the programme. The shares distributed to the various authors of the programmes are specified in the classification table.
Use (see the use intensities for TV programmes below). The actual use of a programme or programme type (recording, presenting and loaning) is determined either by the report filed by the user, for example a library, or a survey of the use.
Channel coefficient (see the channel coefficients for TV programmes below). The channel coefficient takes the volume of TV programmes recorded by households or teachers from each channel into consideration. Remunerations are weighted based on this to better allocate remunerations for the programmes that are actually recorded.
Classification of TV programmes into programme types
Each programme that is shown on TV and that is eligible for remunerations is given a programme type as classified by Kopiosto. The programme types are:
NEWS (UUT) Main news broadcasts and themed news broadcasts, except for newsflashes. E.g. news broadcasts, news about economy, culture, sports or entertainment.
EVENT RECORDINGS (TAP) Recordings that proceed on the terms of the event in question and primarily in the conditions present. E.g. sports competitions, celebrations and parades, religious services, parliament sessions.
COMPETITION AND ENTERTAINMENT PROGRAMMES (AVI) The programmes are usually based on a pre-made format. Those reality shows where the competition is the main focus. E.g. quizzes and games.
REALITY TV (TTV) Reality programmes that follow the real life of a person/persons or competition-based reality programmes that follow the same group of people for an entire season and are based on the tension between competitors.
TALK SHOWS AND MAGAZINES (KEM) Talk shows are based on the discussions between two or multiple people. Magazine programmes consist of parts and are often built on inserts. E.g. talk shows, magazine programmes, children’s magazine programmes, sports highlights.
PARTIALLY DRAMATISED PROGRAMMES (DRO) Factual programmes that include dramatised parts, but where the main focus is on factual content. Dramatised documentaries. E.g. some language-learning and educational programmes, dramatised documentaries, acted children’s programmes with a focus on awareness and/or education.
REPORTS AND DOCUMENTARIES (RED) The programmes are based on the speech of the performer or journalist and/or interviews. The approach is factual and based on a journalistic script. E.g. reports, profiles, factual programmes with diverse narration, travel programmes.
STAGE PROGRAMMES (EST) Diverse programmes designed or adapted for TV. E.g. concert recordings, variety shows, revues, award galas, operas.
SKETCH COMEDY PROGRAMMES AND DAILY SERIALS (SDR) Scripted serials built around the same idea and primarily implemented in the same setting. E.g. sketch comedies and serials, daily drama, comedy panels, stand-up comedy and improvisation programmes.
OTHER FICTION (ANI, DOK, ELK, ELO, MUV) Scripted point-like programmes, TV films and dramas, also ‘seasonal’ shows in multiple parts, all animations, documentary films, feature films produced for the cinema.
Classification table
The classification table for TV programmes shows how the remuneration for a programme will be divided between the various authors. If the programme involves several authors of the same group (such as two screenwriters), the remuneration to be paid is divided between these authors. The copyright coefficient determined for the programme type is in the column following the programme type on the left side of the table.
Classification shares and copyright coefficients for 2020
| Programme type: coefficient | Script | Direction | Cinematography | Editing | Set design | Costume design | Illustration | Acting, dance | Music | Commentary | Translation | Sound design |
| News (UUT): 0.5 |
60 % | 20 % | 10 % | 5 % | 5 % | (2 %) | ||||||
| Event recordings (TAP): 0.5 | 25 % | 45 % | 20 % | (3 %) | (5 %) | 10 % | (2 %) | |||||
| Competition and entertainment programmes (AVI): 0.5 | 55 % | 15 % | 10 % | (2 %) | 10 % | (4 %) | (7 %) | 10 % | (12 %) | |||
| Reality TV (TTV): 0.5 |
50 % | 20 % | 15 % | 9 % | (10 %) | (4 %) | (7 %) | 6 % | (12 %) | |||
| Talk shows and magazines (KEM): 1.5 | 55 % | 31 % | 5 % | (2 %) | 4 % | (3 %) | (10 %) | (10 %) | 5 % | (12 %) | ||
| Partially dramatised programmes (DRO): 2.5 |
53 % | 30 % | 6 % | 3 % | 3 % | (2 %) | (4 %) | (10 %) | (7 %) | 5 % | (10 %) | (2 %) |
| Reports and documentaries (RED): 3 | 50 % | 35 % | 10 % | 5 % | (2 %) | (2 %) | (2 %) | (10 %) | (7 %) | (2 %) | (12 %) | |
| Stage programmes (EST): 4 | 15 % | 10 % | 5 % | (2 %) | 4 % | (3 %) | (1 %) | (30 %) | 66 % | (2 %) | (3 %) | (2 %) |
| Sketch comedy programmes and daily serials (SDR): 6 | 24 % | 18 % | 7 % | 3 % | 4 % | 3 % | (2 %) | 35 % | 9 % | (1 %) | (4 %) | (2 %) |
| Animations (ANI): 9 |
21 % | 21 %* | (5 %) | 4 % | (6 %) | 30 % | (25 %) | 12 % | (1 %) | (6 %) | 12 % | |
| Documentary films (DOK): 9 |
37,5 % | 37,5 % | 15 % | 10 % | (2 %) | (10 %) | (9 %) | (1 %) | (4 %) | 2 % | ||
| Music videos (MUV): 9 |
5 % | 25 % | 5 % | 5 % | (3 %) | (2 %) | (10 %) | (3 %) | 60 % | |||
| Other fiction (ELK, ELO): 9 |
17 % | 24 % | 5 % | 3 % | 4 % | 3 % | (2 %) | 35 % | 9 % | (1 %) | (3 %) | 2 % |
x) 2 % for the direction of dubbing in animation
Use intensity of TV programmes
The calculations for the remuneration for educational recordings (OPKO) are based on use intensity. Use intensity is based on a survey carried out by an independent research institution, commissioned by Kopiosto, on the popularity of different programme types in recordings made by private households and schools. Compensation of this type is for recording, not presenting. The results are compared with the frequency of each programme type, which reveals the relative popularity of different programme types.
Use intensity
| Programme type | OPKO |
| Competition and entertainment programmes (AVI) | 0 |
| Reality TV (TTV) | 0 |
| Event recordings (TAP) | 0.26 |
| News (UUT) | 0.17 |
| Talk shows and magazines (KEM) | 0.41 |
| Reports and documentaries (RED) | 2.98 |
| Partially dramatised programmes (DRO) | 2.98 |
| Documentary films (DOK) | 14.81 |
| Music videos (MUV) | 0 |
| Stage programmes (EST) | 0 |
| Sketch programmes and drama series (SDR) | 0.22 |
| Animations (ANI) | 0.41 |
| Other fiction (ELK) | 0.46 |
| Films (ELO) | 0 |
Channel coefficients for TV programmes
The channel coefficient takes the volume of TV programmes recorded by teachers from each channel into consideration. Remunerations are weighted based on this to better allocate remunerations for the programmes that are actually recorded.
Channel coefficients
| Channel | OPKO |
| Yle TV1 | 0.64 |
| Yle TV2 | 0.41 |
| Yle Teema | 0.48 |
| Yle Fem | 0.48 |
| MTV3 | 0.13 |
(updated 8.9.2020)