The edit is finished, but the team cannot find the document showing whether its music is cleared for paid social, a website hero, an event screen, and a later cutdown. That is a launch risk and an avoidable re-edit. Put the intended uses on paper while music choices are still flexible.
Identify the two works in the track
In U.S. copyright guidance, a song's underlying composition and a particular sound recording are distinct works, commonly licensed separately. The U.S. Copyright Office explains the distinction and its guide to synchronization describes audiovisual use of a composition and a recording as separate permissions. The legal route can differ by jurisdiction, contract, or library. The practical procurement question is: Who can authorize this exact music and recording for this exact campaign?
An “original score” is not automatically unrestricted. Identify the composer, performers, producer, samples, and any pre-existing material. A stock-library track is not automatically cleared for every use; inspect the applicable license rather than the product name. If the film uses a new cover, ask who controls the composition and the new recording. Treat any “royalty free” label as a prompt to read the actual terms.
Define the use in one record
For each cue, capture these fields before the final mix:
| Field | Question to settle |
|---|---|
| Track and recording | Which composition and which master recording, version, and duration? |
| Film versions | Main film, short cuts, vertical edits, subtitled versions, trailers, stills with audio? |
| Channels | Website, organic social, paid ads, streaming video, venue, internal presentation? |
| Reach | Which countries or regions, and for how long? |
| Changes | May the team loop, trim, remix, or replace dialogue and re-export? |
| Parties | Which brand, agency, distributor, and partner may publish it? |
| Evidence | Where are the signed permission, license terms, invoice, and track ID stored? |
This is a buyer's scope checklist, not a statement that every field is a legal requirement everywhere. The rights holder or qualified adviser should confirm the needed permissions for the intended markets. The U.S. Copyright Office notes that audiovisual synchronization has no general compulsory license that makes a chosen track available on demand; this is why an uncleared choice may need replacement.
Match the paper to the export
Have the producer compare the approved audio file against the final video exports and the distribution plan. Record the file hash or version ID if several edits circulate. If a later cut adds a new channel, market, or partner, reopen the permission record before publishing. Keep a music-free mix and a replaceable audio stem so a rights or creative change does not force a full rebuild.
The brand handoff inventory should include third-party materials; the music-use record goes further by tying a particular cue to particular film versions. ARCHV can use it alongside campaign edit reviews so the client receives both a finished film and a clear map of where that film can actually run.