Media Work Sample Clauses

Media Work. 6.1 The musician, on acceptance of an engagement under the Terms and Conditions of this Agreement, accepts and recognises that his or her performance and all associated rehearsal sessions may be recorded or broadcast by audio and/or visual means under the terms of the collective agreements between the BBC and the Society or recording companies and the MU. All assignable performers’ rights under this agreement are vested in the Society except those rights assigned to the BBC under its agreement with the Society. 6.2 EPK
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Media Work. By payment of the rates shown in Clause 2 above, the Trust can require a musician to perform or rehearse for media work as part of his or her obligations, without additional payment, subject to the following conditions: • A points system will be applied to the categories of media work as set out in Appendix A. • Points will be allocated initially at the time of recording in exchange for the musician’s consent to be recorded as shown in column 2 below • Additional Points will then subsequently be allocated for various uses as and when they arise as shown in column 5 of the table in Appendix A • A maximum of 80 points per annum may be used in any combination of the above allocations shown below • A maximum of up to 10 unused points may be carried forward to the following year • The year will be the contract year commencing 1st April and finishing 31st March • Categories of media work not specified above may subsequently be included in this agreement and have an appropriate points value allocated to them by agreement with the Musicians Union • The Trust will keep a record of the number of points used by the musician during the year. Where the maximum of 80 points allocation is exceeded within the year, the musician will be paid the appropriate MU media rate for all additional media sessions in addition to, or where appropriate in place of, the rates shown in Clause 2 above • The Trust will not use any recording for the purpose of evaluating the performance of the musician.
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Media Work. (a) The Musician, on acceptance of a live engagement under the terms and conditions of this Agreement, may be required to perform or rehearse for audio or video recording, sound broadcasting, television or any other form of audio and/or visual media subject to the limitations and uses outlined in this clause of the Agreement. (b) All performers’ rights under this agreement are vested in BCMG. (c) The Musician shall receive an appropriate proportion of the BCMG Media Payment where due, as detailed in clause 10 (g) (h) and (i) below. (d) New recordings whose primary purpose is as a soundtrack for cinema release, short items for advertising jingles or signature tunes/soundtracks for programmes not featuring BCMG, shall be paid at the current appropriate MU rate. Any fee paid to BCMG for this work shall not form part of the Net Media Income calculated in clause 10 (g) below. (e) The secondary use of partial extracts from existing BCMG-owned material for wholly commercial purposes such as television advertisement, feature film soundtrack or signature tunes/soundtracks for programmes not featuring BCMG shall not be deemed to be included under the terms of this Clause 10. In these instances a further fee shall be payable to those musicians who took part in the original recording. (f) A Media Committee shall be formed and shall consist of the 2 elected musician representatives on BCMG’s Board, and up to 2 representatives of the Company. The Media Committee shall be convened at least twice a year and shall consider all media opportunities involving new and non- traditional media (webcasting etc), as and when they arise. (g) The Media Committee shall agree the parameters for Net Media Income from media projects and consider individual cases which fall outside those parameters as necessary. The Net Media Income shall be the total amount of money earned by BCMG from a media project after the subtraction of the costs specifically incurred by BCMG in earning that income. (h) A BCMG Media Payment shall be payable to those musicians involved in each media project, equal to 85% of the agreed Net Media Income from that project with the remaining 15% being retained by BCMG as a management charge. (i) Each BCMG Media Payment shall be divided amongst the musicians involved in that media project in proportion to the actual contribution made by each musician to the project. (j) Archive & Promotional Musicians engaged under this Agreement permit the engager to record rehearsals, ...
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Media Work. The musician, on acceptance of a live engagement under the Terms and Conditions of this Agreement, accepts and recognises that the concert performance and all associated rehearsal/patching sessions may be recorded or broadcast by audio and/or visual means for any purpose and by any means of transmission, without further payment over and above that due under Clauses 2 and 4 of this Agreement. Studio recording sessions for CD, sound file, televis ion, cinema soundtrack or any similar use that are not of concerts and associated rehearsal/patching sessions will continue to attract the appropriate MU media rates.
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Media Work. Broadcasts and Recordings (a) A musician contracted under this Agreement may also be required to play for any media-related work in any format as part of his or her normal duties subject to the limitations and additional payment provided in this clause 10 and the musician shall assign to Sinfonia Viva all relevant assignable intellectual property rights in respect of this clause 10. (b) Sinfonia Viva recognises the need to embrace existing and developing digital technologies and make the most of the publicity opportunities (including, but not limited, to social media, press and audience footage) these present whilst at the same time protecting the rights of the musicians and copyright holders of musical works. Sinfonia Viva may make (or allow to be made) audio and audio-visual recordings of any session where a musician has been booked under the terms of this agreement for a live engagement. Recordings fall under two categories – commercial and non-commercial. (i) Non Commercial Recordings are where there is no commercial value to the recording but they serve to promote Sinfonia Viva and include (but are not limited to) the following: • Use of extracts on the Sinfonia Viva Website and social media platforms (including live transmissions). Where whole works or concerts are used this would have commercial value and be paid in accordance with the media points table below • Promotion of Sinfonia Viva events (including use on Viva adverts) • Education workshops and culmination performances (copies given to participants as part of the project) • Use for project evaluation to funders / promoters • Live Big Screen relays to non-paying audiences. Deferred relays would attract relay fees as outlined in the media points table below • Live or deferred relays by Sinfonia Viva to non-fee paying audiences such as care homes, schools etc as part of a package of wider engagement with these audiences. Third party (ie Radio (including internet-based stations) broadcasts are classified as having commercial value and are therefore subject to media payments outlined below. • Recording of student compositions (ie GCSE/A-Level/University degree course) to be used for exam submissions • News reporting and Press features about Sinfonia Viva (see (e) below). (ii) Where there is a commercial value to the recording, a media rights points system will be applied, payment for which is £15.00 per point, payable in addition to the live engagement rates as defined in clause 2 above. Points p...
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Media Work. Articles will be strategically placed in the highest circulated media that that relates to your Company=s business and the stock and financial markets in general.
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Media Work. 8.1 The musician shall undertake media work without additional payment, subject to the following conditions: 8.2 The Trust confirms that Archive Recordings will not be used for the evaluation of the performance of any musician.
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Media Work. (a) The Musician, on acceptance of a live engagement under the terms and conditions of this Agreement, may be required to perform or rehearse for audio or video recording, sound broadcasting, television or any other form of audio and/or visual media subject to the limitations and uses outlined in this clause of the Agreement. (b) All performers’ rights under this agreement are vested in BCMG. (c) The Musician shall receive an appropriate proportion of the BCMG Media Payment where due, as detailed in clause 10 (g) (h) and (i) below. (d) New recordings whose primary purpose is as a soundtrack for cinema release, short items for advertising jingles or signature tunes/soundtracks for programmes not featuring BCMG, shall be paid at the current appropriate MU rate. Any fee paid to BCMG for this work shall not form part of the Net Media Income calculated in clause 10 (g) below. (e) The secondary use of partial extracts from existing BCMG-owned material for wholly commercial purposes such as television advertisement, feature film soundtrack or signature tunes/soundtracks for programmes not featuring BCMG shall not be deemed to be included under the terms of this Clause
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Media Work. Articles will be strategically placed in the highest circulated media that relates to your Company's business and the stock and financial markets in general. Articles are subject to NTSF's review prior to placement and NTSF will receive copies of such articles.
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Related to Media Work

  • Development Work The Support Standards do not include development work either (i) on software not licensed from CentralSquare or (ii) development work for enhancements or features that are outside the documented functionality of the Solutions, except such work as may be specifically purchased and outlined in Exhibit 1. CentralSquare retains all Intellectual Property Rights in development work performed and Customer may request consulting and development work from CentralSquare as a separate billable service.

  • Extra Work At any time during the Term of this Agreement, City may request that Consultant perform Extra Work. As used herein, “Extra Work” means any work which is determined by City to be necessary for the proper completion of the Project, but which the Parties did not reasonably anticipate would be necessary at the execution of this Agreement. Consultant shall not perform, nor be compensated for, Extra Work without written authorization from City’s Representative.

  • Creative Work The Executive agrees that all creative work and work product, including but not limited to all technology, business management tools, processes, software, patents, trademarks, and copyrights developed by the Executive during the term of this Agreement, regardless of when or where such work or work product was produced, constitutes work made for hire, all rights of which are owned by the Employer. The Executive hereby assigns to the Employer all rights, title, and interest, whether by way of copyrights, trade secret, trademark, patent, or otherwise, in all such work or work product, regardless of whether the same is subject to protection by patent, trademark, or copyright laws.

  • Localization Should any Seller Affiliate and any Customer Affiliate wish to enter into an agreement for the provision of Deliverables, Products and/or Services ("Local Agreement") in the Netherlands, Canada, Hong Kong, the United States, Australia, Ireland, Singapore, South Africa or the United Arab Emirates (as applicable) Local Agreement(s) can be agreed between the Parties and added as Exhibit(s) to this Agreement by way of addendum. The terms of this Agreement shall be incorporated into each such Local Agreement except to the extent that the Local Agreement expressly states that any amendments shall take precedence.

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  • Software Development Software designs, prototypes, and all documentation for the final designs developed under this agreement must be made fully transferable upon direction of NSF. NSF may make the software design, prototype, and documentation for the final design available to competitors for review during any anticipated re-competition of the project.

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  • Curriculum Development This includes the analysis and coordination of textual materials; constant review of current literature in the field, some of which are selected for the college library collection, the preparation of selective, descriptive materials such as outlines and syllabi; conferring with other faculty and administration on curricular problems; and, the attendance and participation in inter and intra-college conferences and advisory committees.

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