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					      COPYRIGHT
    PERMISSIONS FOR
      MULTIMEDIA
                  Lolly Gasaway
                       July 2005
www.unc.edu/~unclng/gasaway.htm
                  ASSUMPTIONS
   You are creating a multimedia work
   It will contain at least some copyrighted
    works or portions of works
   You have determined that you need
    permission for this
     i.e.,   fair use or other privilege will not be argued
   Resulting work will be publicly performed,
    displayed, etc.
IDENTIFYING WHO OWNS WHAT

 Text (published & unpublished)
 Still images (art, photos, slides)
 Audio (music, spoken word)
 Moving images (film, video)
 Websites (may contain all of the above
  with pieces separately owned)
    POTENTIAL OWNERS – STILL
            IMAGES
   Photographer – not         Company owning
    work for hire               photo (Corbis, Getty
   Artist                      Images, studio)
   Publisher (e.g., book      Company with
    jacket)                     rights to license
   Individual                  digital
    represented in              reproductions
    image                      Entity that owns
                                building (trademark)
    LICENSING STILL IMAGES
   Artist (individual, estate, foundation)
   Agencies (VAGA)
    www.vaga.org/
   Studio/broadcaster (stills)
   Digital rights licensing
     Corbis
      http://pro.corbis.com/default.aspx
   Images of actor/talent
POSSIBLE OWNERS -- AUDIO
   Producer          Recording label
   Production        Distributors
    company            (licensed in various
   Performer(s)       markets)
   Company           Interviewee
          LICENSING AUDIO
   Licenses for using published recording
    of music
     Composition  rights (public performance)
     Recording rights (for recorded works)
     Reproduction & distribution rights (both
      composition & recording)
COMPOSITION RIGHTS
        License for public
         performance of composition
          ASCAP
         http://www.ascap.com/licensing

          BMI
         http://www.bmi.com/licensing/
        RECORDING RIGHTS
   No public performance rights for sound
    recordings
     Exception   digital transmission
     Creating multimedia work on the web =
      digital transmission
   Rights usually held by record label
          REPRODUCTION &
        DISTRIBUTION RIGHTS
   Internet transmissions = both
    reproduction & distribution of both
    composition & recording
     Reproduction   = downloading music to
      hard drive or a server
     Distribution = making work available over
      Internet
   Composition – license through National
    Music Publishers’ Association (Harry Fox
    Agency)
     ASCAP  & BMI concerned only with public
      performance
    http://www.harryfox.com/public/licenseHome.jsp
   Recording – license through labels
     Sites   with free downloads
         POSSIBLE OWNERS –
            FILM, VIDEO
   Producer              Interviewee
   Production            Actors
    company               Screenwriters
   Performer(s)          Director
   Composer              Location
   Distributor (of
    various markets)
     PUBLIC PERFORMANCE
   Motion Picture Licensing Corporation
    www.mplc.com
   Movie Licensing USA
    www.movlic.com/
   Swank
    www.swank.com
    LICENSING FILM, VIDEO CLIPS

 Corbis
 Agent representation
    www.WhoRepresents.com
      POSSIBLE OWNERS --
          WEBSITES
 All previously mentioned potential
  owners
 Creator of website (author)
 Institution or entity
 Publisher of text
             CONCLUSION
 Web makes getting permission easier
 Include your limitations in the
  permissions request
     Only for classroom use
     One time only use for audience of X
      number of attorneys
     On web with password protection
     Commercial use

				
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