Performing Rights

PERFORMING RIGHTS UPDATE:

As Performances Go Online

The Future Of Performing Rights From A Composers POV

The future is here NOW and increasingly performances of our music emanate from the internet.  How will this affect our performing rights?  We will discuss potential threats to our performing rights income that are occurring right now and how we can deal with them.   In addition our panel will address the issues and factors that affect proper receipt of the money your music earns. Our panel will take an in depth look at the anatomy of cue sheets, the need for copyright, and the changing structure of revenue streams. From the filing of cue sheets through the monitoring of your statements, we’ll arm you with the information you need to protect your earnings.

Our panel will be:

STEVE WINOGRADSKY – With thirty years experience as an attorney in the music industry, Steven Winogradsky is a partner in Winogradsky/Sobel in Studio City, California, providing global media and music business affairs & legal support for composers, songwriters, music publishers, recording artists and television, film, video and multi-media producers.  In addition to an entertainment law practice, the company handles music clearance and licensing in all media for many production companies, worldwide administration of the publishing catalogs for a number of clients and New Media strategies and Revenue Modeling. 

KEITH ZAJIC – A skilled negotiator and dealmaker, Keith served at Warner Brothers as Executive Vice President, Music Business Affairs, from 1989 through 2009. Prior to his position at Warner Brothers, Keith served as Senior Vice President of Business Affairs for Columbia Pictures Music Group, after serving as an associate attorney with Barovick, Konecky, Schwartz, Kay & Braun and Loeb & Loeb. Keith has been involved with the blockbuster soundtracks “The Big Chill,” “Ghostbusters,” “City Of Angels,” “Space Jam,” and “The Bodyguard” as well as negotiating and supervising in various  areas of music legal affairs.

CHRIS WOODS – Chris is Executive Vice President of TuneSat, a proprietary audio fingerprint technology company which detects music being played just about anywhere, even in the noisiest of environments – under dialogue, sound effects, or voiceovers – in full duration, providing unrivaled accuracy in reporting information to clients. He has an extensive background in the music business and sound processing technologies, and has been instrumental in building TuneSat’s technological portfolio, including the surveying, acquisition and development of audio fingerprinting technologies.  His knowledge of practical music royalty collection issues positions him as a leader in the development of TuneSat.

WILLIAM GOLDSTEIN – 50 movie and film credits, recording artist for Motown and CBS Masterworks, with over 30 albums currently on line, most on his own label. An innovator in technology, recording the first score on a computer for film or TV in 1985. Has written on the arts for the LA Times and The NY Times, and a unique improviser at the keyboard.

Moderated by:

DENNIS C. BROWN – Longtime Performing Rights Committee co-chair, Dennis has been writing for television for twenty years, and has had a keen interest in the proper filing of cues sheets and the importance of statement monitoring from the start of his career.

GARRY SCHYMAN – Garry Schyman is a composer for film, television and video games. His recent scores for Bioshock and Dante’s Inferno have garnered him numerous awards and nominations.  He is a long time SCL board member, former Vice President, and his work on the performing rights committee and in music publishing ventures has educated him to the world of performing and mechanical rights for composers.

This seminar took place March 24th, 2011 at the American Film Institute, Los Angeles, California.