Exclusive Rights and Ownership Contract II by John Ravenell The world of feature-length background music composer is not only one of the most creative and financially interesting areas of music, but also one of the most demanding in terms of musical competence and training, experience and discipline in accordance with strict schedules and deadlines… Having a song in a movie or composing a score for a movie can open up an unlimited number of possibilities and be a life retirement for writers and music publishers. A timetable must be set for both parties. A most pessimistic scenario for a composer would be, for example, to agree on an x amount for a project that appears to be a 2-month gig, which suddenly extends to a year in which the composer cannot work on other projects, but must live with the money he has programmed for two months. Formulations such as “The last cut for the composer must be delivered to him at the latest… etc. to help set deadlines and better plan things for both parties. The scorer is hired to compose all the points (and, in some cases, individual songs) for the film, as well as to organize and orchestrate the score; conducting an orchestra to record the work; Creating, tracking and processing the recording of the score; and provide the final master recording, fully worked and mixed, in accordance with the film`s post-production plan. Some composers will do everything themselves, while others will “perform” certain tasks (e.g. B orchestration, directing, etc.).
2. The producer undertakes to pay Composer, as full compensation, all the services he demands in relation to the image and for all the rights granted by the composer, provided that the composer provides in full and faithfully all the services he requires, the sum of ` and other valuable considerations, including a DVD copy of the project with musical score and a credit in the project. Under a lease agreement (“rental work”), the producer (normally the film studio or production company) is the author under U.S. copyright law. All specific music rights that the composer may retain must be written down and signed by all parties. The duration of copyright protection for “works for rent” created on or after January 1, 1978 is 120 years from the year of creation or 95 years from the year of publication, if the period is shorter. The duration of copyright for other types of works written on or after January 1, 1978 is the life of the author or works over 70 years. With this grant, the studio becomes the holder of all copyrights and is generally free to transfer or grant these rights to others. b) the amounts to be paid in accordance with paragraph 2. (a) (1) and 2. (a) (2) are considered to include all amounts payable under an applicable collective agreement to which the manufacturer is paid on the basis of your contracts signed in connection with your benefits, including, but not limited, minimum wages for work performed in a category under an agreement of the American Federation of Music (“AFofM”) and ancillary benefits. If you are entitled to compensation in addition to that covered in paragraph 2 under an AFofM agreement.
(a) above any use of the results and revenues of your services under this agreement, such compensation will be payable at the minimum rates provided for in the current AFofM agreement. a) You must organize, organize, orchestrate, produce, soften, adjust, direct and host the original music required by the producer to form the score (the “score”) for possible admission into the production. They perceive all the services provided by original music composers for film performances at the time and in places, Which the manufacturer has determined, In accordance with all instructions and requests of the producer and according to the following schedule: As many composers are brought into the film just before post-production (the time the film was shot and worked) , the composition and recording time of the score is generally relatively short (for example. B 4 to 12 weeks) and