June 13, 2020
By Sheila Curran Bernard and Kenn Rabin Editor’s Note: This article is adapted from the second edition of Bernard and Rabin’s Archival Storytelling:
Copyright
November 1, 2003
A client once asked me if the legal and business issues concerning an audio-visual project would change, since mediamakers are producing more
April 20, 2004
A review of Michael Donaldson's 'Clearance & Copyright: Everything the Independent Filmmaker Needs to Know,' 2nd Edition
March 29, 2014
Music supervision is one of those coveted jobs by individuals who are passionate about music and who sense they can match songs with images. Driving
May 31, 2004
Documentary filmmaking continues to enjoy a surge in popularity, visibility and exhibition, in styles and formats ranging from short to feature-
February 18, 2014
Over the last decade, there has been an explosion of music documentaries finding their way to both the big and small screens. Making one is in many
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In today's fast-paced and budget-conscious entertainment industry, increased programming and production opportunities in film, television, radio and
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Filmmakers have often told me that they find the scoring process to be one of the most daunting aspects of making movies. Even some seasoned
August 31, 2004
Who owns the images of our world? Where do ideas end and images begin? How can we both defend the freedoms and rights of filmmakers and encourage the
March 3, 2013
Documentary filmmakers who use archival materials fall into two basic categories: those who are savvy about rights clearance issues and those who