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Client refusing to pay balance.


Jack Norflus

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You own the copyright as soon as you press record button, simply put it's your work (unless you signed a contract stating otherwise).

 

 

-I'm surprised this didn't come up sooner. Unless you sign a contract in advance that designates ownership and rights to whomever, the person hitting the button is the owner... 

 

+1 to everyone suggesting to hold onto some or all files with sketchy clients. A $30 thumb drive and a stamp is cheaper than court fees.

  

     I had a sketchy client producing a feature film in which the crew received a small amount of contracted payment every Friday and a large lump sum (the second half) of pay 14 days after last days of production. Having been warned by a producer to be cautious ahead of time helped me come to the decision to withhold all sound footage until payment was made in full. I sent a scratch track to camera for dailies and to get a start on their edit, so they could still work on the project. Sure enough, when wrap came around we started hearing 'We're going to have to push payments, blah blah.' 

     'No problem! You can send me a hard drive with my final check and I'll return it with your mix tracks (once the check clears, of course). I was paid in full very shortly thereafter.

     What one could get in trouble for is if a Mixer *hypothetically* still held onto a few days of footage containing pivotal plot points/ larger actors until the REST of the crew and cast were also paid in full. In this *hypothetical* situation, the Mixer's contract stated dates by which the Mixer would be paid. Since those dates came and went beyond a reasonable range, the contract was null and void anyway, though..... Hypothetically, of course.

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Its been 6 months and its the principal of it now.

How many people has she screwed over in the past? Not sure but my guess from her attitude and the way she has been dealing with this is I am not the first.

Will I see the money? From what I am being told its unlikely.

But I will make sure that she knows that I don't take crap from no one. This dog isn't going down without a fight.

Time to muddy the clients name on Social Media
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I think you guys are right (Matt Martin etc). At the college radio station I work at, this came up for some reason I can't remember. We owned the performance rights because we mixed and recorded it, but acknowledged it was them performing their songs. I think it was in regards to a band selling a recording of their live set to a label (without our permission), and that we couldn't just put out a cd of their live songs.

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We owned the performance rights because we mixed and recorded it

 

Are you sure those are the words your lawyer used? 

 

I've always understood "performance rights" to be short for "public performance rights", which belong to the composer and lyricist, usually through their publishing company, and usually represented by the Performing Rights Societies (ASCAM, BMI, and SESAC in the US). This covers any public performance of the words and music, by any musician. in any arrangement... along with public exhibitions of recordings of the songs (see below).

 

I've always understood the "master rights" and "reproduction rights" to be those belonging to the recording company (i.e., your college's station), and covering the rights to THAT recording of THAT specific performance. What the (P) indicates on a CD. What I've got to clear if I'm going to mix your station's recording into a film track, and then make release prints or DVDs. 

 

There's also sync rights in a film track, which is the composer/lyricist's right to control derivative works (i.e., visual sequences) based on the song. But that's another issue.

 

IANAL. If your lawyer used different terms, I'd like to know it for my own education.

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Lots of great free legal advice here. Be advised that it may be worth about as much as you're paying for it.

For instance, you don't own a copyright on the contents of the recording, that belongs to the person, or persons, who created that content -- or their assigns. If you do own a copyright it would be to the recording, rather than the contents of the recording.

Therefore, I doubt that a form PA would apply; more likely it would be a form SR, but I'd want to research that further before being certain.

Legally, it could demonstrate "bad faith" on your part, laying claim to a copyright that isn't yours. If anyone goes this route, be careful to only claim rights that you're entitled to.

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Lots of great free legal advice here. Be advised that it may be worth about as much as you're paying for it.

For instance, you don't own a copyright on the contents of the recording, that belongs to the person, or persons, who created that content -- or their assigns. If you do own a copyright it would be to the recording, rather than the contents of the recording.

Therefore, I doubt that a form PA would apply; more likely it would be a form SR, but I'd want to research that further before being certain.

Legally, it could demonstrate "bad faith" on your part, laying claim to a copyright that isn't yours. If anyone goes this route, be careful to only claim rights that you're entitled to.

I am the business partner to an experienced entertainment and intellectual property attorney in a development company.

I checked with him regarding copyright rules.

You are the copyright holder of the sound recording of the performance in question fromthe moment you hit record.

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I am the business partner to an experienced entertainment and intellectual property attorney in a development company.

I checked with him regarding copyright rules.

You are the copyright holder of the sound recording of the performance in question fromthe moment you hit record.

That echos what I said. You own a copyright to the RECORDING (form SR), not the PERFORMANCE contained on the recording (form PA).

That is, of course, until the copyright ownership is transferred by virtue of whatever contractual agreement you have with the entity who hired you.

IANAL-ADWTBO

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I'm thinking JB is John B

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