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  1. Ah ha! I didn't know such places existed. Thanks so much! Tracy
  2. Thanks everyone. I'm not musically retarded, but I'm a one-lady show (write, shoot, edit). It's nice to just use some existing music sometimes, though I've thought about using the program soundtrack. Since I'm in-between projects, I think I'll give it a whirl. I've actually had really bad luck with asking local musicians to write stuff for me. Everyone's always excited in the beginning, but when it comes time to deliver things fall through. Maybe it's because I'm married :lol: salute!
  3. Does anyone have suggestions of *GOOD* royalty free music? I'd be looking for a few different kinds: 1. techno 2. classical 3. new age 4. indigenous thanks
  4. Hello again, Does anyone know of a source to find examples for work contracts? I'm setting up a film job with a state agency and would like to have a contract between "me" and "them." If you don't have a source for an example, do you have recommendations for what should go in the contract? One thing I'd like to include is copyright of the footage. I'd like it to stay with me (the shooter). Any thoughts? Thanks again!
  5. Yes, I've called the artist as well as the record company, and I wanted to be sure that I couldn't just use fair use. My thoughts were that I couldn't--though I was curious. The education part of fair use isn't particularly clear. In fact, several film professors have told their students they could use whatever they wanted in their student films because it falls under fair use. Scary, since this isn't true.
  6. I've visited Wilno - one of those small towns made up of lots of draft dodgers. Lots of neat people there (not to mention wolves). And it's nice & quiet. I'm no soldier... I just want a job :D Thanks for the advice & conversation.
  7. Okie dokie, this is what I found for Laws in the US for using muisc in a student project. http://www.utsystem.edu/OGC/IntellectualPr...ol2.htm#perform RULES OF THUMB FOR DIGITIZING AND USING OTHERS' WORKS IN MULTIMEDIA MATERIALS FOR EDUCATIONAL PURPOSES The CONFU Fair Use Guidelines for Educational Multimedia suggest that fair use requires adherence to specific numerical portion limits, that copies of the multimedia work that includes the works of others should be strictly controlled, and that fair use "expires" after 2 years. Our Rules of Thumb acknowledge that these are important considerations, but the Guidelines numbers do not describe the outer limits of fair use. Despite their tightly controlled approach, the Guidelines can provide helpful guidance and we recommend that you read them. Please keep in mind that the rights described here are rights to create unique works, but not to make multiple copies and give them out (distribute them). 1. Students, faculty and staff may incorporate others' works into a multimedia work display and perform a multimedia work in connection with or creation of class assignments curriculum materials remote instruction examinations student portfolios professional symposia. 2. Be conservative. Use only small amounts of other's works. 3. Don't make any unnecessary copies of the multimedia work. RULES OF THUMB FOR MUSIC The Guidelines for Educational Uses of Music negotiated in 1976 can provide helpful guidance and we recommend that you read them. 1. Limit copying as follows: sheet music, entire works: only for performances and only in emergencies sheet music, performable units (movements, sections, arias, etc.): only if out of print student performances: record only for teacher or institutional evaluation or student's portfolio sound recordings: one copy for classroom or reserve room use 2. Include any copyright notice on the original appropriate citations and attributions to the source. 3. Replace emergency copies with purchased originals if available. Guidelines For Educational Uses of Music The purpose of the following guidelines is to state the minimum standards of educational fair use under Section 107 of H.R. 2223. The parties agree that the conditions determining the extent of permissible copying for educational purposes may change in the future; that certain types of copying permitted under these guidelines may not be permissible in the future; and conversely that in the future other types of copying may not permitted under these guidelines may be permissible under revised guidelines. Moreover, the following statement of guidelines is not intended to limit the types of copying permitted under the standards of fair use under judicial decision and which are stated in Section 107 of the Copyright Revision Bill. There may be instances in which copying which does not fall within the guidelines stated below may nonetheless be permitted under the criteria of fair use. A. Permissible Uses 1. Emergency copying to replace purchased copies that for any reason are not available for an imminent performance, provided purchased replacement copies are substituted in due course. 2. a) For academic purposes other than performance, multiple copies of excerpts of works may be made, provided that the excerpts do not comprise a part of the whole which would constitute a performable unit such as a section, movement or aria, but in no case more than 10% of the whole work. The number of copies may not exceed one copy per student. B) For academic purposes other than performance, a single copy of an entire performable unit (section, movement, aria, etc.) that is (1) confirmed by the copyright proprietor to be out of print, or (2) unavailable except in a larger work may be made by or for a teacher solely for the purpose of his or her scholarly research or in preparation to teach a class. 3. Printed copies that have been purchased may be edited or simplified, provided that the fundamental character of the work is not distorted, that the lyrics (if any) are not altered, and that no lyrics are added, if none exist. 4. A single copy of recordings of performances by students may be made for evaluation or rehearsal purposes and may be retained by the educational institution or individual teacher. 5. A single copy of a sound recording (such as a tape, disc or cassette) of copyrighted music may be made from sound recordings owned by an educational institution or an individual teacher for the purpose of constructing aural exercises or examinations and may be retained by the educational institution or individual teacher. (This permitted copying pertains only to the copyright of the music itself and not to any copyright which may exist in the sound recording.) B. Prohibitions 1. Copying to create or to replace or substitute for anthologies, compilations or collective works. 2. Copying of or from works intended to be "consumable" in the course of study or of teaching such as workbooks, exercises, standardized tests and answer sheets and like material. 3. Copying for the purpose of performance, except as in A(1) above. 4. Copying for the purpose of substituting for the purchase of music, except as in A.1 and A.2 above. 5. Copying without inclusion of the copyright notice which appears on the printed copy. C. It is U. T. System policy that an immediate order for the purchase of replacement copies is to be placed on a one for one basis, and all reproduced copies of the musical work are to be destroyed upon receipt of the ordered copies. Any other method of calculating the number of replacement copies to be ordered, such as an inventory taken after the performance, is unacceptable. It is expected that staff and faculty routinely involved with performances will emphasize planning procedures so as to avoid use of emergency copying on a routine basis.
  8. Ha ha... well, anyone's better than ol' Georgie...
  9. Hi Phil, I apologize. I did a search in the forums and "fair use" did not return any results. Refering to your comment below, my film is a documentary. Does this make a difference? By "fairly unknown" artist I mean it's not Aerosmith or Pink or whatever... I don't expect you to be a lawyer, or to gain legal advice from you...it was just my impression that until I sell the film I don't need to pay for permissions. Thank you again for your time and response. "Again, while I'm not a lawyer, I cannot conceive of any circumstance whatsoever where a non-documentary work could rely on fair use."
  10. Does applying for dual citizenship for Canada / US work for obtaining jobs in the film industry? I've recently contacted a production company I would love to work with who are based in Canada. The gentleman was nice enough to point out that to work for them (and at all in Canada for that matter) that I would need to be a Canadian resident for a minimum of 2 years before they'd hire me. There are a lot of production companies in Canada that make the types of films I want to be involved in (science & natural history). I'm mainly interested in camera, but would do just about anything to be involved in this type of programming. I'm sitting here on the shore of Lake Erie looking at the nice green grass on the other side :D Any experiences? comments? ideas? Thanks so much!
  11. Hi, I'm not sure if this is the appropriate forum room, so I appreciate your attention. What exactly are the boundries for fair use when it comes to music usage? I would like to enter my student film into festivals that uses music from a fairly unknown artist. Do I need to pay for copyright permissions just to enter festivals? I understand that if I sell the film or that if it is broadcast that I must pay, but what about general film entries? The record company wants $500 a song just for use to enter festivals. :blink: That's a lot for a recent graduate to cough up (3 songs... $1500!) Thanks so much.
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