27 Dec
Posted by Chad Fitzgerald as Audiovisual Derivative, Copyright, Film, Option, Work for Hire
Q: When a writer sells the rights to his script to a production company, I understand that the writer no longer has the right to option his script to other production companies, even if he receives a better offer. That being said, does the writer lose all creative control once he signs his name on [...]
30 Aug
Posted by Patricia Millett as Copyright, Non-exclusive License, Work for Hire
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Q: About 20 years ago, a U.S. film production had done a location shoot in Japan, and I was one of the local hired crew. Since my position allowed me to shoot photographs on set, I also videotaped the production as well—creating sort of “behind the scenes” videos. The video was never intended for [...]
19 Aug
Posted by Randy as Copyright, Employee, Within the Scope of Employment, Work for Hire
Q: I have an issue with a large client that has never asked me to sign any agreement or contract. A little while back, they asked me for a year’s worth of B roll footage I shot for them. I eventually gave it to the client because I thought it was covered under the “work [...]
30 Jul
Posted by Chad Fitzgerald as Copyright, Life Story Rights, Release to Portray, Right to Adapt an Article into a Screenplay, Right to Option a Literary or Intellectual Property, Work for Hire
Q: I recently read an article in my local paper about a man who has survived a number of natural catastrophes. I found his story fascinating and would like to make it into a film. To do this, would I have to acquire the rights to the article from the writer or acquire the individual’s [...]
24 Jun
Posted by Greg Korn as Assignment, Copyright, Film, Implied License, Work for Hire
Q: In shooting promotional/marketing or educational/instructional videos, my clients often seem confused about who owns the raw footage and who owns the finished piece when the project is complete. My understanding is that the clients own the finished piece that I was contracted to produce, but I reserve the rights to the master, raw footage [...]

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