Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
39 Cards in this Set
- Front
- Back
|
Back-End Participation
|
getting to participate in film’s profit
|
|
|
Sideling
|
when the musician is filmed and pretending to perform
|
|
|
Transfer costs
|
costs of transferring music from the recording studio to the film
|
|
|
Mag stock costs
|
actual soundtrack imprinted on the film
|
|
|
Certificate of Authorship
|
Certificate that claims composition does not infringe copyrights and confirms deal-points of the deal
|
|
|
Final assembly
|
new name for final cut
|
|
|
Spotting
|
the director and composer sit down with a final cut of the film and decide which parts need music
|
|
|
Holdback
|
the period between the release of the soundtrack and your own master
|
|
|
Conversion costs
|
costs of converting a film recording to a master that can be used in a master
|
|
|
Single card credit
|
no other credit is on the screen the same time as yours
|
|
|
Crawl
|
credits that role at the end of the film
|
|
|
Designer goods
|
designer is paid a fee (or royalty) on these goods
|
|
|
Value-Added Tax or VAT
|
a tax on goods at each stage of creation
|
|
|
Hubbing
|
you base yourself in a central location while you play venues within a short flight from that city
|
|
|
Peppering the house
|
promoter gives away free tickets to fill the house
|
|
|
Split/point deals
|
adding a promoter profit raises the point at which you split the next
|
|
|
Promoter profit deals
|
promoter’s profit is an added expense
|
|
|
Net profits
|
gross receipts less the promoter’s expenses
|
|
|
85/15-90/10
|
Usual split (the artist gets 85-90% and the promoter gets the rest)
|
|
|
Versus deal
|
when you get a guarantee against a percentage of the net profits versus a plain percentage
|
|
|
Buy-on
|
you get the opening slot on a major tour by paying money to the headliner
|
|
|
Venue Deals
|
promoters traditionally rent the buildings from the owners and then turn around
|
|
|
Secondary Market
|
a place where tickets are resold after their first sale
|
|
|
Walk-up
|
The bulk of the audience walks up to the venue and purchases tickets
|
|
|
Itinerary
|
tour routing
|
|
|
Fist to File Rule
|
someone who has never used the name could beat you to filing that name in a particular territory
|
|
|
CTM registration
|
a single registration that covers all 27 countries of the European Community
|
|
|
Intent to use
|
federal service mark application
|
|
|
Deadlock
|
an equally divided vote where nothing can be done
|
|
|
Limited Liability Company or LLC
|
partnerships, but they provide the limited liability of a corporation
|
|
|
Leaving member
|
the person leaving the group
|
|
|
Floor
|
If you are a composer of a song that is not going to be on the soundtrack you negotiate a floor which is a grantees that you have a minimum number of songs on the soundtrack wither you are on the song or not (usually 1 or 2 songs)
|
|
|
First priority
|
(means they are not exclusive)- can take other jobs as long as the film is first priority
|
|
|
Orchestrator
|
Makes score into individual instruments (like a producer)
Paid fee (usually per page up to a fixed amount) |
|
|
True composer
|
Does the entire underscore
|
|
|
Film songwriter
|
-Does the underscore
-Under the film or background music -Never get publishing but recently are beginning to start to get royalties -Can’t be exclusive must be first priority |
|
|
Key member
|
Certain members of the group are designated key members, if this member leaves or breeches the contract the record company can treat the event as a breach by the whole group
|
|
|
Two types of merchandising
|
1. Tour
2. Retail |
|
|
Which licenses must be received from who?
|
-Artists must sign a performance licenses
-Must get mechanical and sync license from record company -Must get a master use license from record company -For a music video you just need a sync license |
