Rights and releases: who owns the work you make

This is general information to help you ask better questions. It is not legal advice, and the details depend on your situation and your contract. For anything with real money or a long-term commitment attached, talk to a lawyer, your union or a professional body for your field.

Who owns what you make

In the UK, copyright usually belongs to the person who created the work: the photographer who took the photograph, the songwriter who wrote the song, the filmmaker who shot and edited the film. Copyright arises automatically. You don't need to register it.

There are important exceptions. If you make something as part of your job as an employee, your employer usually owns it. And a contract can change who owns what, which is why it matters so much what you sign.

Being paid to make something doesn't, on its own, mean the client owns the copyright. Many creatives are surprised by this in both directions: clients who assumed they owned everything, and creatives who signed it away without noticing.

Licence or assignment

There are two main ways to let someone else use your work:

A licence gives them permission to use it in certain ways, while you keep ownership. A good licence says where it can be used (social media, print, broadcast), for how long, in which countries, and whether it's exclusive.

An assignment transfers ownership to them. After that, it's theirs, and you may need their permission to use it yourself, even in your own portfolio, unless the contract says otherwise.

As a working rule, licences are usually better for creatives, because you keep control and can charge again for wider use. If a client wants an assignment, it's reasonable to ask why, and to price it accordingly.

Read the usage clause

When you get a contract or a booking email, look for words like "in perpetuity", "worldwide", "all media now known or hereafter devised" and "buyout". These describe very broad use. They might be fine for the job, but they should be reflected in the fee.

Also check whether you're allowed to show the work in your portfolio and on your social media, and from when. Some clients ask you to wait until a campaign has launched.

Credit and moral rights

UK law gives creators certain "moral rights", including the right to be identified as the author of the work and the right to object to treatment that's damaging to it. Some of these rights need to be asserted, and contracts often ask you to waive them. If credit matters to you, ask for it in writing.

Releases for people and places

If your work includes recognisable people, a signed release is the normal way to confirm they agree to how it will be used. This matters most for commercial work such as adverts, brand content and anything sold. Many clients, publishers and stock libraries won't accept work without one.

A release should say who the person is, what they're agreeing to, how the work may be used, and whether they're being paid. For anyone under 18, a parent or guardian signs.

Some locations, especially private property, may also need permission to film or photograph, and some ask for a location release.

If you're the one being recorded (a model, performer or podcast guest), read the release before you sign it, and ask questions if the use is wider than you expected.

Music in your work

If you're a filmmaker or podcaster, any music you use needs to be cleared. That usually means permission for both the composition and the specific recording. "I only used fifteen seconds" is not a defence. Royalty-free and production music libraries are an easier route, but read their licence terms too.

If you're a musician, you may be owed money when your work is played or broadcast. Collecting societies exist to gather and pay these royalties to songwriters, publishers, performers and recording owners. It's worth finding out which ones apply to you and registering your work.

Keep records

Keep copies of contracts, booking emails, releases and invoices in one place. Note the date you made each piece and who was involved. If there's ever a question about who owns what, records are what settle it.

Useful places to start

The UK government's Intellectual Property Office publishes plain-English guidance on copyright. Unions and professional bodies for musicians, photographers, filmmakers and writers often have template contracts, rate guidance and advice lines for members.