YouTube Music Rights Management Certification Exam Answers

YouTube Music Rights Management Exam Quiz Answers

Question 1: How could you best describe the relationship between copyright law and content on YouTube?

• Copyright doesn’t matter on YouTube.
• YouTube’s lawyers handle copyright infringement on YouTube so users don’t have to.
• YouTube’s tools and policies are designed to protect rightsholders’ copyrights, and users who don’t respect our tools and policies are subject to consequences.
• Everything uploaded to YouTube is considered an original work and therefore does not violate any copyright laws.

Question 2: John is feeling inspired, so he writes down some chords and lyrics for a new song. Which type of copyright protects his work?

• Sound recording
• Musical composition
• Music video
• None of the above. Copyright law only protects his song once it’s uploaded to YouTube.

Question 3: Lin produces a video of herself singing a song that John wrote, and uploads it to YouTube. Which of the following is true?

• Lin owns the rights to the music video and sound recording, but John owns the rights to the underlying musical composition.
• Lin owns the rights to all of the content in the video because it’s a derivative work.
• John owns the rights to all of the content in the video because it wouldn’t exist without the song he wrote.
• Lin owns the rights to the sound recording only. John owns the rights to the musical composition and the video.

Question 4: Using music from which of the following sources will help you avoid copyright infringement on YouTube?

• The YouTube Audio Library
• Creative Commons
• Public Domain
• All of the above

Question 5: Lin uploads her cover of John’s song to YouTube, but then Content ID claims it and the video is blocked. What should Lin have done before uploading the video?

• She should have gotten permission from John to record his song.
• She should have given credit to John in the video description.
• She should have altered the song so that Content ID couldn’t match it.
• None of the above. Content ID automatically blocks cover songs from YouTube.

Question 6: Ryan likes a bassline from a popular artist’s song and wants to use it in his own video. He’s unsure of whether he has the rights to use it. What should he do first?

• Consult a lawyer.
• Upload the video to YouTube and see what happens.
• Ask his YouTube partner representative.
• Upload the video and tag the artist in the comments.

Question 7: Nicky uploads a video of herself reviewing an artist’s new music video, and includes a clip of the music video. Her video is claimed by Content ID on behalf of the artist’s record label. Which course of action could Nicky take?

• Agree to the claim and let the label apply their policy to the video.
• Dispute the claim if she obtained permission from the label and publisher to use the clip.
• Remove the music video clip from the video.
• All of the above.

Question 8: Breanna works at a publishing company and manages her company’s composition rights on YouTube. The company owns the composition rights to “Song XYZ” worldwide, but only has a license with YouTube in the U.S. and Canada. Where should Breanna assert ownership for “Song XYZ” on YouTube?

• Only in the U.S. and Canada.
• Everywhere except for the U.S. and Canada.
• Worldwide.
• Nowhere.

Question 9: Ty works at a record label and manages monetization of their catalog on YouTube. Which of the following can help Ty generate revenue from user covers that utilize the label’s sound recordings?

• Content ID matching
• Copyright takedowns
• Copyright strikes
• YouTube Analytics API

Question 10: Which tool is only available to music partners who have access to Content ID?

• YouTube Studio
• Content Manager CMS
• Analytics for Artists
• Audio Library

Question 11: Elizabeth runs a music publishing company and needs a group of employees to manage the company’s composition assets on YouTube. However, she wants her direct report, Ron, to oversee the employees’ access to the assets. How could Elizabeth best accomplish this in Content Manager CMS?

• Elizabeth could give Administrator access to Ron, and create roles with more restrictive access for the other employees.
• Elizabeth could give content owner access to Ron, and Administrator access to the other employees.
• Elizabeth could give channel manager access to Ron, and content owner access to the other employees.
• Elizabeth could create an email alias with Administrator access that all employees can use.

Question 12: Which of the following statements is true?

• YouTube Studio and Content Manager CMS both contain Analytics that describe content performance.
• CMS stands for Content Management System.
• YouTube Studio lets you manage content for a single channel.
• All of the above.

Question 13: Which of the following is a music asset type?

• Composition Share
• Web
• Movie
• Television Episode

Question 14: How could you best describe the relationship between assets and videos on YouTube?

• Each asset on YouTube contains one or more videos.
• Each video on YouTube contains one or more assets.
• Videos and assets are the same thing.
• Videos contain metadata, while assets contain references.

Question 15: A new colleague is being trained to deliver rights information to YouTube, and she asks you what an asset is. How could you best describe it to her?

• It’s one song in an album.
• It’s video or audio content that Content ID uses for matching.
• It’s a container of information that represents copyrighted content on YouTube.
• It’s the underlying words and lyrics of a song.

Question 16: Alina works at a publishing company and needs to deliver assets on YouTube for a songwriter’s catalog. What information will she need to include?

• Metadata, ownership information, claiming policies, and linked relationships to Sound Recording Assets.
• Metadata, references, and linked relationships to Sound Recording Assets.
• References, lyrics, and ownership information.
• Metadata, sound recordings, and claiming policies.

Question 17: Hugot works at a record label and needs to deliver assets for an artist’s new album. What information will he need to include?

• Metadata, ownership information, and match policies.
• References, lyrics, and ownership information.
• Metadata, musical compositions, and match policies.
• Metadata, references, ownership information, and match policies.

Question 18: Who is responsible for accurately representing the ownership information for an asset on YouTube?

• Google
• YouTube’s lawyers
• Content managers and rightsholders
• The users who upload videos containing that asset

Question 19: Melanie’s company owns an asset in North America, but she figures she should claim ownership worldwide to maximize ad revenue from the asset. Why is this a bad idea?

• Because YouTube will automatically block videos containing the asset in the territories outside of North America.
• Because claiming ownership in territories where they don’t own the asset could lead to bad claims and the termination of the company’s partnership with YouTube.
• Because YouTube will automatically monetize videos containing the asset in North America.
• None of the above.

Question 20: Publisher X claims 50% ownership of a Composition Share Asset, while Publisher Z claims 60% ownership. Both publishers linked their Composition Share Assets to the same Sound Recording Asset in France. What would you call the situation that these two partners are in?

• Conflict of interest
• Claim dispute
• Copyright takedown
• Ownership conflict

Question 21: Daniel’s boss wants him to figure out why their artist’s album isn’t generating as much revenue on YouTube as previous albums. Daniel discovers numerous asset ownership conflicts that need his attention. Which step would NOT help him resolve these conflicts?

• Verify the conflicts in the Asset Conflict Report or Issues queue in Content Manager CMS.
• Edit the ownership information that was made in error.
• Contact the other owners and ask them to update their ownership information, if they made errors.
• Delete and re-deliver the assets.

Question 22: Which statement about delivering references is true?

• References can come from any YouTube channel.
• References can include indistinct sound recordings and public domain beats.
• References should include third-party material.
• References should contain only material that the rightsholder owns.

Question 23: Label A and Label B delivered references that include some of the same material, even though they own different assets. What kind of situation has just arisen, and how can they solve it?

• A reference overlaps. YouTube will reach out and help them mediate the problem.
• A reference overlaps. The label that delivered the most recent reference will need to address the overlap in their Issues queue.
• A reference ownership conflict. One label needs to redeliver their asset with different asset ownership information.
• A claim disputes. The first label to respond will get to use the reference.

Question 24: David needs to deliver references to YouTube for an artist’s new album. His company created one music video for the album, but the other songs don’t have official videos yet. What kind of reference material should he deliver for the album’s assets?

• A music video for the Music Video Asset, and sound recordings for the other songs.
• A sound recording for the music video, and music video for the other songs.
• One long sound recording for the entire album.
• One visual-only video for the entire album.

Question 25: Meg is delivering an artist’s new album to YouTube. When the upload is complete, Content ID claims the videos and applies the policy that Meg’s company set for their content. What’s the term for this type of claim?

• User-uploaded
• UGC
• Partner-uploaded
• Manual

Question 26: Rupi works at a publishing company and manages their songwriters’ Composition Share Assets on YouTube. Artist A has to dispute all claims that Rupi’s company makes against his cover videos, because he obtained a license to cover songs from their catalog. What should Rupi do to prevent these claims in the future?

• Create a manual campaign targeting Artist A’s videos.
• Automatically route all new claims for manual review.
• Issue a copyright takedown notices for Artist A’s cover videos.
• Whitelist Artist A’s channel.

Question 27: Label A delivered a batch of references with third-party content and received numerous invalid claims as a result. How quickly should Label A address their invalid claims?

• Within 60 days.
• Never – the claims will resolve themselves.
• As soon as possible.
• Only after they receive an official warning from YouTube.

Question 28: Georgette uploads a video that includes a mashup of several songs, including a hit single by Artist B. Content ID claims Georgette’s video on behalf of Artist B’s record label. Georgette disputes the claim, and the label reinstates it. Georgette still doesn’t believe the claim is valid and responds. How could you best describe this claim scenario?

• User-uploaded claim that the user has appealed.
• User-uploaded claim that the claimant has appealed.
• Partner-uploaded claim that the user has disputed.
• Partner-uploaded claim that the claimant has disputed.

Question 29: Which of these pairs accurately describes the relationship between a claimed video and claiming policies?

• Content ID applies a match policy to partner-uploaded claims.
• Content ID applies an upload policy to partner-uploaded claims.
• Content ID applies an upload policy to user-uploaded claims.
• Content ID applies a Block policy to user-uploaded claims.

Question 30: Publisher Y wants to maximize the revenue they earn on YouTube from Songwriter C’s catalog. Which policy should they apply to Songwriter C’s assets?

• Track
• Block
• Monetize
• All of the above

Question 31: Bruce is explaining to a new colleague how YouTube applies policies to a video claimed by multiple assets, starting with the most restrictive policy. In which order should Bruce place these policies?

• Track, block, monetize.
• Block, track, monetize.
• Monetize, track, block.
• Block, monetize, track.

Question 32: Label D needs to prevent users in Spain from uploading tracks from an artist’s new album – which leaked online – to YouTube. Which of the following might describe the custom policy that Label D creates?

• Block user-uploaded videos in Spain where user video match amount <5%.
• Track user-uploaded videos in Spain where visual reference match amount >50%.
• Block user-uploaded videos in Spain where audio reference match amount >95%.
• Track partner-uploaded videos in Spain where audio reference match amount >5%.

Question 33: Why should Label Z monitor copyright strikes for all of their artists’ channels?

• Even a single strike leads to account termination.
• Multiple strikes may impact their access to features.
• Channels are unable to take action on strikes against their account.
• Partner strikes on YouTube never expire.

Question 34: If Hunter disputes Publisher X’s Content ID claim on his cover video, which option is NOT available to Publisher X in response?

• Reinstate the claim
• Retract the dispute
• Release the claim
• Copyright takedown

Question 35: Publisher X decides to issue a copyright takedown in response to Hunter’s cover video. Which of the following is NOT a good option for Hunter?

• Submit a counter-notification to keep the video on YouTube.
• Reach out to Publisher X and ask for a retraction.
• Accept the takedown.
• Delete the video and reupload it with a different title.

Question 36: If Label Z and Label Y claim an asset in the same territory, but Label Z has a match policy of Block and Label Y has a match policy of Track, which policy will YouTube apply until the partners resolve their ownership conflict?

• Block
• Track
• Monetize
• Both Block and Track

Question 37: Shawna has no match policy selected for a territory where she owns Asset A. How would this impact a multiple-claim scenario in which another partner has a worldwide Monetize policy for Asset B?

• The video will monetize in Shawna’s territory.
• The video will be tracked in Shawna’s territory.
• The video will be blocked in the other partner’s territory.
• The video will not appear on YouTube until Shawna sets a policy.

Question 38: Content ID claims a video with Asset X and Asset Y, which have two different owners. Asset X has a Monetize policy in France, and Asset Y has a Track policy worldwide. Which policy will be applied to the video in France?

• Monetize
• Block
• No policy
• Track

Question 39: Label W just acquired the rights to a catalog of 10,000 songs. Which of the following asset delivery methods is the least appropriate for their needs?

• Package uploader
• Basic YouTube.com UI
• DDEX
• SFTP or Aspera Dropbox

Question 40: Label W decides to use the DDEX feed to update their asset metadata. Which of the following is a crucial last step to avoid upload errors?

• Validate the metadata
• Add asset labels
• Add Custom IDs
• Link Composition Share Assets to Sound Recordings

Question 41: What do labels need to deliver to YouTube that publishers typically don’t?

• Assets
• References
• Metadata
• Ownership information

Question 42: Patrick works at a record label and is advising a new colleague on how to deliver an artist’s catalog to YouTube. The colleague asks Patrick whether they should deliver the songs that don’t have music videos. What should Patrick say?

• Yes, because if another user delivers the songs to YouTube first, that person will become the rightsholder.
• Yes, because they become Art Tracks and are critical to earning revenue and exposure across YouTube and YouTube Premium.
• No, because only official music videos belong on YouTube.
• No, because Content ID can’t claim songs without music videos.

Question 43: To ensure that Content ID can claim videos on their behalf, Publisher Z needs to link together which two things during delivery?

• Sound Recordings and Music Videos
• Music Video Assets and Art Tracks
• Composition Share Assets and Sound Recording Assets
• Composition Share Assets and Art Tracks

Question 44: Label E has developed an internal app that aggregates bulk YouTube data about their artists. From where does Label E likely obtain this data?

• BigQuery
• Content ID
• YouTube Reporting API
• Content Manager CMS

Question 45: Vanessa’s boss asks her to recommend a tool for a new data project. Vanessa suggests BigQuery. What does the project likely entail?

• Comparing revenue between two channels.
• Comparing revenue for one asset.
• Transferring many reports on a set schedule and storing that data.
• Transferring data between two content owners.

Question 46: Sage manages song rights for multiple artists. What can he do with Content Manager CMS that he can’t achieve with YouTube Studio Analytics?

• Compare asset policies across the channels he manages.
• Compare asset performance across videos.
• Compare watch time performance across videos.
• Compare traffic across an artist’s videos.

Question 47: Subscription revenue reports tell music partners about revenue coming from where?

• Live streams
• YouTube Premium and YouTube Music paid subscriptions
• Memberships
• Non-music YouTube videos

Question 48: If Publisher X and Publisher Z own the same asset in different territories, who is responsible for ensuring that each Publisher earns the correct amount of revenue from the asset?

• Publisher X
• Publisher Z
• Publisher X and Z must coordinate with each other
• YouTube

Question 49: Renée suspects that some of her company’s assets aren’t earning revenue because another company has asserted ownership in the same territories. Where could she find information that supports or refutes her suspicion?

• Reference Files Report
• Ads revenue reports
• Asset Conflict Report
• Claims Report

Question 50: Which of the following is NOT part of the Content ID matching process?

• References
• DDEX
• Assets
• Claims

Introduction to YouTube Music Rights Management

YouTube Music Rights Management refers to the process by which YouTube manages and enforces copyright and licensing agreements related to music content uploaded by users and creators on its platform. Here’s how it generally works:

1. Content ID System: YouTube uses a sophisticated automated system called Content ID to identify and manage copyrighted content. Content owners, such as music labels and publishers, can submit their content to YouTube’s Content ID database.
2. Matching and Management: When a video is uploaded to YouTube, the Content ID system scans it against the database of copyrighted material. If a match is found (e.g., a song from a music label), the copyright owner can choose to do several things:
   • Block the Content: They can block the video from being viewed by users.
   • Monetize the Content: They can allow the video to remain on the platform and earn revenue from ads that appear on the video.
   • Track and Monitor: They can track the video’s viewership statistics and gain insights into how their content is being used.
3. Revenue Sharing: If a video contains copyrighted music and the copyright owner decides to monetize it, they can choose to share the revenue generated from ads with the uploader of the video. This is often done through revenue sharing agreements managed by YouTube.
4. Dispute and Appeal Process: If a user believes that their video has been mistakenly flagged for copyright infringement, they can dispute the claim through YouTube’s system. The copyright owner then has the opportunity to review the dispute and either release the claim or uphold it.
5. Manual Review: In some cases, copyright claims require manual review if the Content ID system cannot automatically determine the validity of the claim. This involves human intervention to resolve disputes or unclear situations.
6. Legal Compliance: YouTube’s policies and procedures for music rights management are designed to comply with copyright laws and ensure that all parties—creators, copyright owners, and YouTube itself—adhere to legal requirements regarding intellectual property.

Overall, YouTube’s Music Rights Management system aims to balance the interests of content creators and copyright owners while ensuring that copyrighted material is appropriately protected and managed on the platform.