There was a time, not long ago, when the thought of using material that could not be cleared was quickly banished from a documentarian's mind. Incidental capture of music and logos were feared by makers who found, after completing their films, that reputable outlets and distributors would not work with their films unless every possibly copyright-protected part of the movie was cleared, and no one understood the difference between copyright and trademarks. It was a seller's market, and copyright holders were wielding their power to extort exorbitant prices out of filmmakers who had none to
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