To credit music in a film, use the exact wording and placement required by the music license or production agreement, then list the music actually used on the film’s cue sheet. First clear the relevant rights: the song’s composition and a particular recording are separate, and using a commercial recording may require permission for both. A credit is not a substitute for permission.
Music credit starts with rights clearance
A song and a recording of that song are distinct rights objects. The composition is the underlying musical work; synchronization permission covers using that composition in timed relation to images. A particular recorded performance has separate sound-recording rights, often called master rights. BMI explains these distinctions in its overview of copyright types.
For a commercial recording, you may need written permission from both the composition’s publisher or authorized administrator and whoever controls the master. The Texas Music Office advises filmmakers to obtain written publisher permission and notes that the label—and sometimes the artist—may also need to grant permission for an existing recording. A public-performance license from a performing-rights organization (PRO) is not a substitute for sync or master-use permission: BMI distinguishes performing rights from sync and sound-recording rights.
Rights ownership, licensing practice, and delivery requirements vary by territory and contract. The sources here provide U.S.-oriented guidance; for a particular film, the signed agreements and applicable distribution requirements control. Consult entertainment counsel if ownership or clearance is unclear.
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How to prepare the music credit and clearance
1. Inventory each cue and identify the rights holders
For every piece of music, record the exact title, songwriter or songwriters, publisher, PRO, recording artist, label or master owner, and exact recording or version used. The Texas Music Office guidance recommends gathering the title, songwriter, publisher, and PRO before contacting a PRO to locate the publisher.
Also note where and how the music appears: scene, source or background use, duration, and whether it is in the opening or end credits. Record any intended use in a trailer, advertisement, or other promotion outside the film itself. These details help define the permission you need; Universal Music Group’s Film & TV licensing request form, for example, asks about the production, media rights, term, territory, scene, nature and duration of use, and budget.
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2. Get written permission for the intended use
Ask the composition publisher or authorized administrator for sync permission. If the film uses a specific commercial recording, also seek master-use permission from its owner. Confirm that the agreement covers the actual title and version, media, territory, term, number of productions, edits, and any trailer or paid-promotion use. Do not assume clearance for the film automatically covers a separate promotional use.
There is no generally applicable fee established by these sources. Request a quote for the defined use and check that all relevant owners or co-owners have approved it. UMG’s licensing request form illustrates why licensors need details such as territory, term, scene, duration, and budget; it also notes that separate publisher permission may be needed for the composition.
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3. Use the agreement’s credit wording
The reviewed official sources do not establish one universal on-screen credit format, font size, duration, or placement for every film. Check the executed music license and production agreements for the required wording and placement. If a clause is unclear, ask the licensor to approve the proposed line in writing, and check the distributor’s or platform’s delivery requirements.
Use the licensor’s required legal name and associate the credit with the correct track and version. Check opening credits, end credits, and promotional materials separately if the agreements treat them differently. These are practical checks, not a universal legal formula.
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4. Prepare the cue sheet from the finished cut
A cue sheet records the music used in an audiovisual work. BMI describes it as a list of music performed in a film or program and says it provides a basis for allocating performance royalties. Build it from the locked or final cut, then reconcile each entry against the final sound mix and clearance records. Check titles, writers, publishers, PROs, and actual durations or uses, and update the sheet if the picture or music changes.
Submit the cue sheet through the workflow designated for the production and keep proof of delivery. BMI and ASCAP’s 2007 announcement about RapidCue describes a historical electronic submission system; it does not establish the platform or deadline required for every production today. Confirm current requirements with the production and relevant PRO.
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5. Keep a clearance packet
Keep the cue inventory, ownership information, correspondence, signed sync and master-use licenses as applicable, approved credit wording, payment records, restrictions, final-use details, cue sheet, and submission receipt together. Share the relevant records with the editor, producer, business-affairs contact, and distributor as needed.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Choosing music with credit and clearance in mind
When weighing a commercial song, commissioned score, or library/production music, assess the same practical questions before committing:
Quick Recap
- Rights completeness: Who controls the composition and recording, and can you obtain every permission the intended use requires?
- Scope: Does the deal cover the film’s planned release, territory, term, festivals or streaming, trailers, paid promotion, and other intended uses?
- Budget: What is the quote for that defined scope? Do not assume a generally applicable fee.
- Exclusivity and duration: What restrictions apply under the specific agreement? BMI notes that library arrangements can differ in duration and exclusivity; check the current contract rather than relying on general examples in its music-placement guidance.
- Credit and reporting: What exact credit is required, and who is responsible for preparing and submitting cue-sheet data?
- Operational certainty: Have all necessary owners approved, and does the final recording match the one cleared?
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