LICENSING AND MUSIC

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Licensing

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Chapter 5: Welcome to Reality: Legalities and Rights from ''Producing for TV and New Media''

20 Terms

1

Licensing

The producer (or the producer’s employer) pays a fee for the right to use this copyrighted material

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2

When a body of work has been copyrighted, the rights to use it in a project must be either...

  • Paid for outright

  • Licensed for a fee

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3

A Sync (synchronization) license...

  • Gives you the right to “sync up” or match a song or music to your visual image

  • The publisher represents the composer of the music and the songwriter

  • The publisher owns and grants the right to include the actual composition or piece of music that is synchronized to the picture

  • The songwriter(s) of that composition assigns his copyright to the publisher who shares any royalties; the songwriter(s) might also retain the rights to grant the license

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4

Sync

Synchronization

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5

A Master Use license...

  • Gives you the right to play a specific recording in your content

  • The record label owns the actual audio recording -

  • The label owns and grants the right to include a specific recording of the composition in timed relation to the picture or image

  • The artist(s) might also need to grant a separate license

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6

Stock footage specifically shot for resale...

  • Generally shot in high-quality video or film

  • Alternative to costly aerial shots of cities or landscapes, time-lapse footage, or establishing shots such as the front of Buckingham Palace or the Hollywood sign

  • Can provide a realistic-appearing background for blue-screen backgrounds, used in creating virtual sets

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7

Both the publishers and the record labels want to know...

  • How do you plan to use their music

  • What geographical territories do the rights cover, such as only North American rights and/or world rights

  • For how long do you want to retain the license

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8

A music cue sheet lists...

  • The title of each composition

  • The use and timing of each music cue

  • The composer(s)

  • Publisher(s)

  • Their performing rights affiliation

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9

Publishers require...

  • The title of the composition

  • Its writer(s)

  • Its publisher(s)

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10

Record labels require...

  • The title of the recorded track

  • The performing artist

  • The source of the recorded track

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11

ASCAP

American Society of Composers, Authors, and Publishers

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12

BMI

Broadcast Music Incorporated

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13

ASCAP (American Society of Composers, Authors, and Publishers) or the BMI (Broadcast Music Incorporated) use the cue sheets to...

  • Identify the publishers and composers who are to be paid

  • Know what percentage of the royalties they’re entitled to receive

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14

It is the job of the producer to...

  • Legally protect every single component with some form of permission attached

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15

Permission to use it might be granted for...

  • Free

  • Fee

  • A specified amount of time

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16

Getting the permission applies to almost every aspect of your project...

  • The script

  • Music

  • Clips

  • Images

  • Photographs

  • Products with brand names

  • Props

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17

There are two kinds of music licenses in the United States...

  • A Sync (synchronization) license

  • A Master Use license

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18

If you didn’t create your project idea, it is owned by someone else. If you want to use it, you first have to...

  • Get permission

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19

Depending on its end use, the stock footage...

  • Can be licensed

  • Often can be purchased and/or come royalty-free

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20

Stock footage can come from organizations that sell...

  • Archived footage with a historical focus:

  • Usually shot in 16 or 35-mm film

  • The footage includes historic events, old newsreel footage, documentary material, clips, or whole programs from early films and television

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