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Clearance & Copyright

Clearance & Copyright

by Michael C. Donaldson

First published 2014 · 558 pages · about 9 hours to read

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About this book

Clearance and Copyright is the industry-standard guide to almost every conceivable rights issue that filmmakers, videomakers, television producers, and Internet content creators might encounter. From the initial acquisition of material through the rights issues that arise during preproduction, production, postproduction, and release, this legalese-free guide now extensively revised, updated, and expanded will help you protect yourself and your work from disastrous legal actions. Among this edition's new features are links to 25 downloadable contracts and 50 illustrative film clips.

Will you like it?

This guide suits independent filmmakers, video makers, television producers and online creators who need to clear music, footage, literary material and other existing work before they release it. Its stage-by-stage structure, from acquisition through release, lets readers find the rights question they face now, and its contract forms are meant for direct use.

  • copyright clearance
  • rights acquisition
  • fair use
  • releases and permissions
  • legal risk for creators

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Quick answers

What age is Clearance & Copyright for?
Adults.
Is Clearance & Copyright a standalone?
Yes, it stands on its own.
Does Clearance & Copyright have violence, sex or strong language?
Nothing a reader needs warning about.

Written with AI from what's known about the book.

Reader's guide

Themescopyright clearance, rights acquisition, fair use, releases and permissions, legal risk for creators, distribution requirements

copyright clearance · rights acquisition · fair use · releases and permissions · legal risk for creators · distribution requirements

StylePlain, direct, non-technical prose written for practitioners. The book is organised by production stage, so readers can go to the section that matches the step they are at. It is a long reference book, roughly 558 pages, with contract forms and illustrative film clips in the new edition.

Plain, direct, non-technical prose written for practitioners. The book is organised by production stage, so readers can go to the section that matches the step they are at. It is a long reference book, roughly 558 pages, with contract forms and illustrative film clips in the new edition.

How it was writtenMichael C. Donaldson is an American entertainment lawyer who has advised filmmakers and media producers. The book was first published in 1996 and has been revised several times. This dossier describes the 2014 revised and expanded edition, which adds downloadable contracts and illustrative clips.

Michael C. Donaldson is an American entertainment lawyer who has advised filmmakers and media producers. The book was first published in 1996 and has been revised several times. This dossier describes the 2014 revised and expanded edition, which adds downloadable contracts and illustrative clips.

How it was receivedThe book is widely known in independent film and video circles as a standard reference on clearance and copyright. Readers use it as a practical handbook rather than a legal textbook. Its usefulness depends on the edition, since laws and practices change over time.

The book is widely known in independent film and video circles as a standard reference on clearance and copyright. Readers use it as a practical handbook rather than a legal textbook. Its usefulness depends on the edition, since laws and practices change over time.

Questions to discussWhich clearance problem would be most likely to delay a film you are making, and at what stage would you deal with it?

These may talk about the whole book.

  1. Which clearance problem would be most likely to delay a film you are making, and at what stage would you deal with it?
  2. How does the book's stage-by-stage structure change the way a filmmaker might use it compared with reading it straight through?
  3. When is a general guide enough, and when should a creator consult a lawyer about a specific clearance question?
  4. What are the risks of relying on fair use for a documentary or a remix, and how does the book suggest weighing them?
  5. How do the release requirements of festivals, broadcasters and distributors shape what a filmmaker must clear?
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Written with AI from what's known about the book.

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