产生权利 & 许可的日志

什么是权限和许可记录?为什么它很重要?

在一个完美的世界, all the material in your project would be originally produced by you and not subject to 任何 rights restrictions, 合同, 或者合理使用决定. 现实是 任何 媒体项目, 不管它是虚构的, 实验, 或文件形式, will have some elements around which the maker will need to clarify his or her usage terms or rights before being able to publicly exhibit the project without concern about potentially legitimate infringement claims.

独立的制造商, 尤其是纪录片制作人, 在合理使用方面有比我们想象的更多的法律上可辩护的权利吗, but in order to include rights-protected material in your work you need to fist properly and comprehensively log 所有的 你作品中与权利相关的材料的实例. 这包括任何静止的照片, 艺术作品, 来源的音频剪辑或视听媒体剪辑, 委托的分数, 以及任何偶然/偶然捕捉到的音乐实例, 艺术作品, 商标品牌和标志, 等.. This logging process needs to happen and all rights matters fully considered and addressed before you lock a project. Having to go back in and make changes to a project’s content or end credits after the considerable time and expense of mixing and mastering can be disastrous.

一些配股问题显而易见. If you are directly adapting a source work under copyright or commissioning a composer or artist to produce original materials for your piece (i.e. 动画序列, 艺术作品, or musical score) you will need to develop a usage contract/release with these artists (see our 音乐发行表格 查看协议样本).

其他情况就不那么清楚了, a comprehensive log becomes the starting point for you and other counsel to assess the level of risk or exposure you may have with your work. You may need to consult with a faculty member or legal professional to get advice on particular instances listed before taking 任何 action. T在这里 are 任何 number of recording companies or publishers who will gladly take your money and issue you a contract for the incidental inclusion of their work in your project that is in fact defensible as fair use. According to experts such as Creating a comprehensive log and going over it with a knowledgeable independent party before taking 任何 action or making 任何 direct inquiries to a copyright holder can save you a great deal of worry, time, 从长远来看，还有钱.

Down the road, a distributor may secure, or require you to secure, Errors and Omissions (E&O)参展前投保. 比如汽车保险，E&保单将包括 只有 列明的当事人和列明的在诉讼索赔时的责任实例. 确保这种保险的第一步是权利和许可日志. The log is usually reviewed by an attorney who drafts a risk assessment letter based on this log, assessing the level of litigation exposure to which the project’s content may expose filmmakers and distributors. 记录一个实例(i.e. a Mariah Carey song audible in background of an interview scene in a shopping mall) does not mean you will necessarily ever need to pay rights or even contact a rights holder. So resist the urge to omit items for fear they will make your project seem overly complex from a rights standpoint. 任何实例 未列出的 在你的日志里 不包括在内 根据委托书或任何出具的保险单，列出 一切.

即使你不需要得到E&保险啊, having a detailed log provides peace of mind to the independent filmmaker and 任何 potential distributor that the project has been fully vetted for rights issues and that public distribution/exhibition can proceed in without concern or undue risk.

看到我们的 山姆权限和权限日志s 作为您自己的日志的示例和模板. 

 

什么是合理使用?我何时可以主张合理使用?

Independent artist and filmmakers are often surprised by how much latitude they actually have to utilize rights-contingent material freely in their own creative work and legitimately claim fair use. It is important to underscore that claiming fair use is not some sort of absolute immunity. 而, considering whether usage is “fair" involves assessing copyright law (and sometimes privacy law), along with 任何 particular legal case precedents in a particular jurisdiction (laws vary significantly from country to country). Such assessment and precedent helps you to determine if you would have a defensible “fair" usage position were you ever approached by someone with a complaint, 请求付款, or legal suit regarding your use of material for which they claim ownership or authorship.

特定组织对风险暴露的解释和校准方式不同, 律师, 或分销商, 所以你需要自学. 知识就是力量. 在美国，媒体中心已经做了大量的工作 & 关于合理使用的社会影响，特别是在使用 网络媒体 来源和为记者提供最佳实践， 纪录片导演, 关键的学者. 娱乐律师Michael C. Donaldson和Lica C. Callif的 通关和版权:你需要知道的电影和电视的一切 is also an excellent resource, which extends such questions to the realm of fictional media as well. 

为评估合理使用的合法性提供一些一般的出发点, 问自己这些关于包含版权材料的问题:

1. 用法有明确的要点吗? Is it essential for edifying a larger historical/cultural point or commentary being addressed or made in your work?

2. 我是否只使用了我所需要的? No set amounts are clarified in the law but need to defend “reasonable" clause in 任何 fair use claim.

3. 这是a的一个实例吗 偶然的 或偶然捕获(i.e. music was playing on a parade float in background; subject was standing in a position w在这里 billboard or piece of 艺术作品 happened to be in background)? You can see that such 偶然的 instances are harder to establish with scripted or fictional work w在这里 you have more control over what is in the frame, but inclusion of trademarks may still be defenisble in fictional contexts provided the inclusion doesn't tarnish the trademark or imply an endorsement. 

4. 有用吗? 变革? Does it add something new to the existing work and transform it in a fashion (via montage, 例如)将其从原始作品的形式中移除, content, 商业可行性?

5. Have I performed due diligence to identify and credit artists/copyright holders of 任何 materials not produced by me in my end credits? Even if fair usage is claimed by you and you never contact or approach the author or copyright holder, 在知道作品和作者的时候注明出处, 在降低侵权指控的风险方面迈出了一大步吗, 因为它声称你并没有试图声称所包含的工作是你自己的. 请注意，您通常不会在您获取材料的地方(例如.e. youtube或Archive.Org)，只有作品的标题和署名的制作人/版权所有者.

这5个问题并不全面, 但他们, 包括样例日志条目 在这里 能让你有个好的开始吗.