Whenever performances are being used... You’ll find SAGAI.
Our main activity includes: collecting and distributing.
We collect money coming from those who communicate to the public the audiovisual plays with the artists, like TV channels, cable operators, movie theaters and streaming services. They are called “the users.”
The agreements concluded with the business chambers or with the businessrepresenting the different sectors.
The maximum fees imposed by the Argentinean Executive Branch which may be used alternatively.
Most of our users generally pay for a general license –a blanket license- which grants permission to use any audiovisual work from a specific catalog protected in Argentina, this equals a percentage of the users’ income.
As an exception, users pay for a special license enabling them to display particular Plays.
The cable operators pay a fee on their earnings for the sale of installments, according to the agreement with the ATVC chamber, which states:
The television companies pay a progressive percentage on their earnings for the sale of publicity, established as follows:
The agreement with the chambers of the sector (CAEM and that of independent business men) establishes a progressive percentage on the sales of tickets to the theatres, which are:
The agreement with the hotels establishes a monthly payment that considers the daily cost of a room plus 2% of the amount that results of multiplying the number of rooms by the daily cost.
A deduction is acknowledged for the “season” factor pursuant to the official tourism rates and a 20% discount for advanced annual payment. Examples:
- Tv in room: room cost +2% (number of rooms x room cost).
- Tvs in common areas: charged in relation to the cost of the coffee or f the room.
Most cable operators within the country: Cablevisión, DirecTV, Telecentro and Supercanal, which amount to 90% of subscribers.
Every national broadcast station: TvPública, Telefe, El Trece, Canal 9 and América.
Over 1000 general users: hotels and commercial establishments throughout the country.
The leading cinema chains: Hoyts, Cinemark, Village and Showcase.
Once the administrative expenses (5%) and the contribution for the Social Fund (8%) have been deducted, the remainder is distributed among actors and dancers of whom performances were displayed during the liquidation period.
During one quarter, the TV listing of the 165 broadcast station and cable channels generate more than 430,000 broadcasts. All of them were added to our information system IRIS – made in SAGAI-, where they are processed and sorted out.
News, sports, reality shows, magazines, interviews, game shows, cooking shows, etc.
International works not complying with the reciprocity criterion. (Executive decree No. 677/12).
The Argentinean fiction works, as well as the internationals with reciprocity, enter the liquidation process and obtain a determined number of POINTS. These points are later transformed into MONEY
_rubric_the ratings_ broadcasts_channel_= points
The audiovisual categories have different scoring depending on the length of the work and on the importance of the performance. E.g. Movies 90 points, series +60 min. 60 points, docufiction 18 points, etc.
Of the transmission in the
broadcast station or cable channel.
The number of times that the work was transmitted during the liquidation period (quarter.) If the work was exhibited more than once on the same day, for the same channel, only one time counts.
Channels are grouped by categories according to the genres and to the use of the audiovisual from the catalog, for instance, movie and series channels (10 points); documentaries and children’s (5 points); varieties; news; cooking; sports (1 point)etc.
Let’s transform the points into money. In every quarter, the value of the point is determined dividing the amount collected for the period with the sum of points for all the works.
If the point equals 1 peso > 1000 points equal AR$ 1.000
Those AR$ 1,000, called <work value>, are distributed among all performers within the work in accordance with their individual participation.
In order to identify them, we have a highly qualified team watching every national work and elaborating the artistic file of each one.
During each period of liquidation of rights, members are explained in detail the date and time of the broadcast, the media that displayed it, the minutes of broadcast and the total amount collected for that work. By doing this, members are allowed to know, beforehand, and clearly the rights accrued for the broadcast of their work.
The rights of the unidentified performers, for example, those unmentioned in the credits or those simply unknown, are put away in the name of the “character” for five years. If possible, we also keep a screen capture of the scene to facilitate his identification in the future.
Regardless of our effort to make the rights reach the right holder, we don’t always succeed.
Sometimes it’s impossible to reach the actor, for example, because the actor isn’t a member or because he hasn’t updated his personal data or because, unfortunately, he passed away and his heirs don’t know they have money to get paid.
That’s why we support the “We’re Looking for you” campaign, in which we display the artists’ names entitled to payments and who don’t know it.
If you worked in a play and received no right, don’t hesitate to contact as to advise you on the steps to be followed.
We’re engaged with excellence, with professionalism and with the ongoing improvement. Our management and distribution process of audiovisual performers intellectual property right, fulfills the highest quality standards and, as from 2013, it’s certified under international standard ISO 9001:2008.
We’re inspiration and motivation. We’re vanguard.