„But wait!“ you say. „What about copyright in the respective recordings? Didn`t you say the filmmaker needed permission to do so? Hooray, remember! Yes, the filmmaker needs an additional permission/license: Anyone who has already made a video or film knows that music can have a big influence on the final product. This applies to almost all types of video, from a narrating thriller to an industrial training video to a TELEVISION commercial: music sets the tone, turns on viewers and can sometimes make or break a video project. If a label has installed you with a recording studio, the label has probably asked you to sign a contract that gives the label possession of the recording. If you have been able to negotiate the property, so much the better for you! But most labels insist on ownership of master recordings that were made during the duration of the registration contract, so they would be the entity that could grant the master`s license – and the entity that would be paid if it were a payment. As a musician, you have songs you write and recordings that you produce. This property is generally called copyright: that is, artists own copyrights on the works they create: songs, paintings, poems, photographs, novels, etc. If you own copyright, it means that no one else can reproduce your work without your permission. If they do, they commit a so-called violation, which means that it is illegally carrying out your work and can be punished by legal penalties, such as fines. In the real world, musician friends often help each other with recording, and the possession of masters is often not discussed. If recordings are usually used as demos, this is probably not very important.
If the recordings are used on a CD that you sell on shows, or by downloading to Bandcamp, chances that the band may be paid (cash, beer, etc.) its friend of sound technology who made the recording, and the friend of sound technology does not expect an additional payment or a reduction in CD sales. For many local groups, it`s probably pretty safe. It`s out of the frame of this kit, but just to be thorough, let`s think about what happens if the filmmaker wants to make his own recording of a song (also known as coverversion). This may be the case if they want to make a stylized version, or it is too expensive or otherwise difficult to get permission from the copyright owner of the master registration (the master`s license to use). In this case, there are a few possibilities: resensions: if a filmmaker wants to use a specific recording of a song for his film, the filmmaker would make two agreements: a license to sync with the songwriter and a master license with the owner of the recording. Below is an optimized Master/Sync license model. Professional songwriters often sign with a music publisher (such as Harry Fox) or create their own music publisher to manage songs and copyrights. You can imagine a music publishing house that looks like a publishing house: it takes care of the rights of the songwriter, sells licenses, collects money and distributes royalties. In addition, a good publishing house will look for opportunities for songs and how to market them: movies, commercials, etc. It follows that as a video/filmmaker or as a musician, it is important to understand how to obtain or give the necessary rights to a piece of music so that everyone is on the same page about how music is used, about the fees paid (if it exists) and other important notions. Knowing the basics of the music license is important to avoid conflicts – or worse, charges of infringement or other legal problems – that are particularly painful after shooting a movie.