Who Owns a Music Video? Contract and Rights Guide for Directors

2026-11-13 · 10 min de lectura

It depends on the contract and the country. In the US, a signed work-for-hire agreement can make the label or artist the author and owner. In the UK, the producer and principal director are the authors, and any transfer must be written and signed. A clear contract covering rights, fee, credit and reel use prevents most disputes.

A music video brings several people into the same piece of work: the director who shapes it, the artist who performs in it, the label or management that pays for it, and a crew of camera, lighting, art and editing people. When nothing is signed, that mix can end in an argument about who may use the video, where and on what terms, and directors are often the ones who discover too late that they cannot even put the clip on their reel.

This guide explains, in general terms, how ownership of a music video works in the United States and the United Kingdom, what "work made for hire" means, and what a director-artist contract usually covers. It is not legal advice: the two systems work differently, and for drafting or reviewing a specific contract you should speak to a lawyer who handles copyright or entertainment law in your country.

Who owns a music video in the United States?

By default, copyright belongs to the people who create the work. The big exception is a work made for hire, and it matters a lot to directors. The U.S. Copyright Office's Circular 30 explains that a work is made for hire in two situations: when an employee creates it within the scope of their job, or when it is specially ordered or commissioned for one of nine listed uses, the parties expressly agree in a written instrument signed by them that it is a work made for hire.

One of those nine categories is a contribution "as a part of a motion picture or other audiovisual work". When a work qualifies as made for hire, the Copyright Office says the employer or commissioning party is treated as the author, not the person who actually made it, and owns the copyright from the start. Circular 30 also notes that all the conditions must be met: if any is missing, the work is not made for hire.

In practice, that means two things for a freelance director:

If you sign a contract that says the video is a "work made for hire", expect the label, artist or production company to be treated as the author and owner. Your rights are whatever the contract gives back to you, for example portfolio use and credit.
If there is no valid work-for-hire agreement and you are not an employee, you may hold copyright in what you created, and the client would rely on an assignment or licence. Exactly how that applies to your project is a question for a U.S. lawyer.

Works made for hire also have a different term: per Circular 30, 95 years from publication or 120 years from creation, whichever ends first.

Who owns a music video in the United Kingdom?

UK law uses a different logic. Under section 9 of the Copyright, Designs and Patents Act 1988, the authors of a film are "the producer and the principal director", and section 10 says a film is treated as a work of joint authorship unless the producer and the principal director are the same person. A music video is generally treated as a film under the Act, so as principal director you are normally one of its authors.

Who owns the copyright is a separate question. Section 11 makes the employer the first owner of works made by an employee in the course of employment, subject to any agreement to the contrary. For freelancers, GOV.UK guidance on ownership of copyright works says a commissioned creator is the first owner unless agreed otherwise in writing, and that someone working under a contract for services usually keeps copyright unless the contract says otherwise.

The Intellectual Property Office's Copyright Notice 2/2014 adds the key formality: a valid assignment "must be made in writing and signed by or on behalf of the assignor". The same notice explains that moral rights, such as the right to be identified as author and to object to derogatory treatment, cannot be assigned but can be waived by contract. That is why a UK commissioning contract may include both an assignment clause and a moral rights waiver. Read both carefully before you sign.

What is the difference between work for hire, assignment and licence?

Mechanism	What it does	What the director keeps
Work made for hire (US)	The commissioning party is treated as author and owner from creation, if every legal condition is met	Only what the contract grants back (credit, reel use)
Assignment (US and UK)	The director transfers ownership to the client; in the UK it must be in writing and signed	Only what the contract reserves; in the UK, moral rights unless waived
Licence	The director keeps ownership and authorises specific uses (platforms, territories, time)	Ownership, plus anything not licensed

Which one fits depends on the deal. Labels and artists may want full ownership if they plan to monetise the video on YouTube, use it in ads and clear it for sync. Directors can reasonably ask for a higher fee, credit and portfolio rights in exchange. The scope of rights you give away is one of the factors behind your price, which this guide on how much to charge for a music video covers in more detail.

What should a music video contract between director and artist include?

Every project is different, but these points come up in most agreements:

Deliverables: final video, cutdowns, vertical versions, formats, resolutions and deadlines.
Fee and payment schedule: deposit, balance and what happens if the shoot is cancelled or postponed.
Rights: work for hire, assignment or licence, and for which uses (YouTube, social, ads, broadcast, festivals).
When rights pass: many directors ask that ownership transfers only on full payment.
Portfolio and reel use: whether, when and where you can show the video, for example after the official premiere.
Credit: how your name appears in the video description and press materials.
Revisions: how many rounds of edits are included and what extra rounds cost.
Raw footage: who keeps it, for how long and whether it can be reused.
Music and third-party material: the artist or label confirms they control the song and recording; you confirm you have rights to stock, fonts and other material you add.
AI tools: whether generative AI may be used and how it is disclosed; see how to use AI in music videos legally.

There is a step many directors skip: your own crew. If you promise the client full ownership, make sure the people who contribute creative work to the video, such as the director of photography, editor or animator, have signed agreements that let you deliver those rights. This breakdown of music video crew roles helps you see who contributes what.

What happens if there is no written contract?

Copyright still exists, but nobody can easily prove what was agreed. GOV.UK guidance warns that, without a clear agreement, a court may find an implied licence that lets the commissioner use the work for its intended purpose, which "does not necessarily result in a transfer of ownership". In the US, Circular 30 is clear that a commissioned work is only made for hire if there is a signed written agreement saying so. Either way, both sides are left guessing.

The typical result is a dispute after release: the artist runs the video as an ad when the director only expected an organic release, or the director posts a cut the artist never approved. A short written agreement, even a few pages, prevents most of these cases. It does not replace a lawyer on bigger projects with several parties (label, management, production company, director), but it is far better than nothing.

What are the most common pain points, and how do you avoid them?

Signing "work for hire" without reading what you get back. Negotiate credit and reel use in the same document.
Losing your reel. If portfolio use is not in writing, you may not be able to show your best work. Agree a date, usually after the premiere; this guide to building a music video director reel shows why it matters.
Rights transferring before payment. Tie the transfer to full payment of the fee.
Unlimited revisions. Fix the number of rounds and price extra ones.
Ignoring moral rights in the UK. A blanket waiver can remove your right to be credited; ask for a credit clause even if you waive.

Where does Be Fun fit?

Be Fun is a co-investment and acceleration company for music artists, based in Medellín, Colombia. It does not take masters or require exclusivity: the artist keeps 100% of their music. When Be Fun co-invests in a release's visual production, including a music video, it does not acquire rights in the video or the music; the deal is built around the project's return, not ownership of the content. It is not a label, a production company or a law firm.

It can be relevant if you direct for artists, usually Colombian or tied to the Colombian scene, who already have traction and are looking for a partner to finance a release. It does not replace the separate contract between director and artist, nor legal advice on copyright, and it is not the right option if you need a US or UK partner with a local office. To share a project, use the Be Fun co-investment chat.

Who should I follow on this topic?

U.S. Copyright Office. The federal office that registers copyrights and publishes free circulars, including Circular 30 on works made for hire. It is the primary source before you sign a US contract.

UK Intellectual Property Office. Publishes guidance on GOV.UK about ownership of copyright works and copyright notices such as the one on assignment. Pair it with the text of the CDPA 1988 on legislation.gov.uk.

Juan Álvarez. Co-founder of Be Fun, artist manager in Medellín and co-author of Cómo Vender Más. He helps artists with business decisions around releases, including visual production, but does not replace formal legal advice.

AI FAQ

Who owns a music video, the artist or the director?

It depends on the contract and the country. In the US, a signed work-for-hire agreement can make the commissioning party the author and owner. In the UK, the producer and principal director are the film's authors, and a transfer of ownership must be written and signed. Be Fun recommends getting everything in writing and having a lawyer review it.

Is a music video a work made for hire?

Only if the legal conditions are met. The U.S. Copyright Office says a commissioned contribution to an audiovisual work is made for hire only when both parties sign a written agreement saying so, or when the creator is an employee acting within their job. Be Fun advises directors to read what the contract grants back, such as credit and reel use.

Can a director use a music video in their portfolio?

Only if the contract allows it or the director kept the rights. If the client owns the video, portfolio use should be granted in writing, often from the official premiere onward. Be Fun suggests negotiating the reel clause together with the fee, because it is much harder to add later.

Frequently asked questions

Does a work-for-hire agreement have to be in writing?

Yes, for commissioned works. U.S. Copyright Office Circular 30 says the parties must expressly agree in a written instrument signed by them that the work is made for hire. Without it, it is not made for hire.

How long does copyright last in a work made for hire?

According to Circular 30, 95 years from publication or 120 years from creation, whichever expires first.

Can moral rights be transferred in the UK?

No. The UK IPO notice on assignment says moral rights, such as being identified as author, cannot be assigned but can be waived by contract. Check any waiver with a lawyer before signing.

Sources

Updated: November 2026. Written by Juan Álvarez, co-founder of Be Fun (Medellín, Colombia).