Can I put &quot;Original Motion Picture Soundtrack&quot; on my album cover (which is not a soundtrack)? If I wrote an album with a soundtrack-&quot;feel&quot; to it, which (crucially) is not a real motion picture soundtrack, would I be allowed to put &quot;Original Motion Picture Soundtrack&quot; on the album cover for artistic purposes?
Yes. You could, assuming that you did not associate it with any real motion picture (which would be a trademark violation). You'd probably want to clarify in fine print somewhere, however, to avoid confusing your fans.
Copyright is hard. The movie has a copyright, and so has its ship model. This is the original copyright. The boardgame has a token. That thing has its own copyright, no matter if it's a parody of another thing or not. The copyright holder might not be the boardgame maker, but it is under copyright. In any way, parody is fair use, so no harm here. The model has a copyright, but also infringes on the film's copyright as it is a derivative of the film. If the film copyright holder wants, they can have it taken down and sue the maker. In any way, this model is available under a specific license. The model license is clearly Non Commercial. The CC-A-NC license can't be changed to one that is commercial. You can only add more No categories. The questions: 1 - No. Your work is a derivative work of both the model AND the boardgame. You don't parody the boardgame. 2 - You need a license from not one but at least two sources: the model author and the boardgame copyright holder. You might even need a license from the original film company. 3 - YES. He made the model, he can license it as he wants, but the license might be ineffective: He might have coverage under an explicit fan license with the movie company to make the model (allowing sharing under such other license) or not (when it might be silent acceptance of fan works, am implicit license or just plain lack of knowledge of the infringing model) - determining if the company wants to pursue is not your legal battle. Your battle is more likely with the copyright holder (of movie and boardgame) anyway because you lack a valid license from them. &quot;I used this infringing model and breached the license I got it under&quot; is... a very precarious point in court. 4 - No. You used the other work, you can't get out of the CC-A-NC license by altering the item. It'll always be a derivative work of the model you put in. You only get copyright in the changes. The resulting item has shared copyright with the original model maker. He gave you a license to do that, but the unbreakable condition unless you get a different license is: You can't ever sell this, you HAVE to tell them that I was part of this design.
Regardless of the license associated with a document, there is no copyright protection on information. Copyright protection prevents copying "expression", e.g. the wording, but not the facts / opinions expressed through those words. The non-legal academic concept of "plagiarism" is where the notion of attribution primarily comes into play. There is a special exception under 17 USC 106A that imposes an attribution requirement for works of visual art. CC and other license schemes may add in an attribution requirement for actual copying of the expression (the "BY" attribute in CC). If a work is licensed under CC-BY, you may copy the actual expression provided that you follow the terms of the license, which primarily means that you have to attribute the work in the prescribed manner. This does not apply to extracting information from a work, because information is not protected by copyright.
if I directly purchase this custom content... As a general rule, &quot;intellectual property&quot; is very different from tangible property - arguably, &quot;intellectual property&quot; is a misnomer. Trying to apply concepts from property law (such as &quot;a thing has a single owner, who can do anything not illegal with it as they please&quot;) is fraught with danger. You would generally not &quot;purchase content&quot;, but rather purchase a license for the content, allowing you to do various things. One of those things might be to &quot;curate/edit this collection of recordings and present it publicly as an art project (probably just online)&quot;. Another might be to &quot;to sell or otherwise profit from this&quot;. All that depends on what your contract says. In an ideal world(?), contracts would all be detailed enough to leave no uncertainty about what is allowed and what is not. In the real world, a bunch of SMS can form a contract. For instance, the following is a contract: A (version 1): Hey B, could you send me a clip of you waving at the camera? I will pay $10 for it. B: sure ...but it’s not clear what A and B agreed as to what the clip would be used for. Saving and viewing on A’s device, probably yes; putting it in fullscreen in the next blockbuster movie, probably no. Showing it to A’s friends, putting it in an art project? That’s getting dicey. You might have heard about &quot;work for hire&quot; granting full copyright control to whoever pays for the work to be created. In the united-states, the above exchange does not explicitly designate the content as work-for-hire, as would be required by 17 U.S.C. § 101 (&quot;...if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire&quot;). Here’s a better SMS contract: A (version 2): Hey B, could you send me a clip of you waving at the camera? I will use it to make an art project, collating many such clips, and publishing that on the internet. I will pay $10 for it. B: sure Here there’s no question that B agreed with the proposed use. On the other hand, it’s likely than a different use would be deemed a copyright violation - the contract was proposed by A and should be understood as limiting A’s right to use the clip to exactly what they said they would do. If they wanted it to say something else, they could have sent a different SMS (see contra proferentem).
Here's where you went wrong legally: Suppose I legally obtain some digital image created by somebody else (e.g., by downloading from a public website). That, right there, is copyright infringement- unless the copyright owner has granted permission or the image is public domain you cannot copy it - this breaches "the right to make reproductions". By posting it on the web (assuming that it isn't itself an infringing copy) they have given implied permission for you to look at it in a web browser but not to copy it into a presentation even if that presentation is never presented. If it is presented then that makes the infringement worse - it adds breaches of "the right to communicate to the public" and "the right to use the work as a basis for an audiovisual work". How is this different from the computer wallpaper? It isn't. If you are using the one of the defaults that shipped with the OS then the license gives you permission. If you are using someone else's copyright without permission then it's a breach. There are defenses to copyright infringement but these are quite nationally variable - search this or other sites for "fair dealing" and "fair use".
The quote in the question and the question text both imply that what is protected by copyright is &quot;creative effort&quot; or &quot;creative value&quot;. In united-states law at least, the test is &quot;originality&quot;. In many, probably most, cases these will be the same. But there can be things with &quot;creative value&quot; that are not considered original enough for copyright protection, or in some other way are not subject to copyright protection. Individual words or short phrases such as the titles of works are not protected by copyright, even if they have creative value, for example. An improvised song or dance that is not recorded is not protected, however creative it may have been, because it was not &quot;fixed in a tangible form&quot;. However, a hash computed from a text is indeed a fact, just as a statement of the number of characters the text contains, and it would not be protected by copyright. The hash algorithm might or might not be protected by patent, and the code to a hash program might be protected by copyright. But the resulting hash value will not be protected by either.
You don't need to &quot;publish&quot; your song to obtain copyright protection. Original works are protected by copyright at the instant they are fixed in a tangible medium. This means that if you type the lyrics, write an arrangement of notes, or record yourself playing the song, the song is copyrighted.
The software is "work for hire" and the copyright is owned by the client, not you. This is the default rule when copyrightable work is done on this basis in the absence of an agreement to the contrary. To not be "work for hire" you would have had to have a written agreement to the contrary or would have had to written the software before you were engaged by the client and then sold it to the client as an off the shelf finished product. [After further research I have determined that the language above is not accurate.] While you didn't have a written agreement, you did have an agreement reached without committing it to a final written form signed by both parties that is sufficient to cover all of the material terms of the contract and that is a binding and fully performed agreement. UPDATE: The "work for hire" issue is a bit more complex than I initially stated. Here is an American Bar Association summary of the issue in the independent contractor context (there is also a plausible argument that while the parties characterized you as an independent contractor for tax purposes that you were in fact of de facto temporary employee in which case it would automatically be work for hire, but I'll put that issue aside and take it at face value): Under the Copyright Act (17 U.S.C. §§ 101 et seq.), a work is a “work made for hire” only if: (1) it is prepared by an employee within the scope of his employment; or (2) it is specially ordered or commissioned from an independent contractor pursuant to a written agreement and the work falls within one of nine statutorily defined categories. . . . For works created by independent contractors, only the following types of works are eligible to be “works made for hire”: a contribution to a “collective work” (a work, such as a periodical issue, anthology, or encyclopedia, in which a number of contributions, constituting separate and independent works in themselves, are assembled into a collective whole); a part of a motion picture or other audiovisual work; a translation; a “supplementary work” (a work prepared for publication as a secondary adjunct to a work by another author for the purpose of introducing, concluding, illustrating, explaining, revising, commenting upon, or assisting in the use of the other work, such as forewords, afterwords, pictorial illustrations, maps, charts, tables, editorial notes, musical arrangements, answer material for tests, bibliographies, appendixes, and indexes); a “compilation” (a work formed by the collection and assembling of preexisting materials or of data that are selected, coordinated, or arranged in such a way that the resulting work as a whole constitutes an original work of authorship); an “instructional text” (a literary, pictorial, or graphic work prepared for publication and with the purpose of use in systematic instructional activities); a test; answer material for a test; or an atlas. This software is clearly specially ordered or commissioned from an independent contractor. I suspect that if you looked at the course of dealings including the client's specification of what work needed to be done (probably in part by email or in some other written form) that it would meet the requirement of a written agreement even though there wasn't a document called a contract signed by both parties. But, this still begs the question of whether it falls in one of the nine statutory categories. This American Bar Association source says that custom software doesn't qualify. The list above does not include many types of works that businesses frequently hire outside personnel to create, such as websites, logos, advertisements, photography, and custom software. For works that do fall within the defined categories, the business must have a written agreement from the author expressly stating that the work is made for hire for it to qualify as such. Although the agreement and course of dealings between a business and an independent contractor may give rise to an implied license for the business to use the works created by the contractor, it is highly preferable to avoid relying on an implied license. Any business that engages a non-employee to create a work and intends to own the copyright to such work should have a written agreement with the author expressly stating that the work is made for hire (if it falls within one of the eligible categories). If the work is not eligible to be a work made for hire, and for good measure even if it is, the written agreement should include a provision assigning the copyrights to the business. An example of such a provision is: “To the extent that the Work Product is not recognized as a ‘work made for hire’ as a matter of law, the Contractor hereby assigns to the Company any and all copyrights in and to the Work Product.” By including such a copyright assignment clause, a business will be able to obtain the copyrights it expects, even if the work does not qualify as a “work made for hire.” The copyright office's official publication on the subject provides a statutory citation (17 USC 101), and doesn't contradict the ABA presentation, although it is less detailed and specific on the legal issues. This section of the United States Code is a series of definitions. The relevant one states: A “work made for hire” is— (1) a work prepared by an employee within the scope of his or her employment; or (2) a work specially ordered or commissioned for use as a contribution to a collective work, as a part of a motion picture or other audiovisual work, as a translation, as a supplementary work, as a compilation, as an instructional text, as a test, as answer material for a test, or as an atlas, if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire. For the purpose of the foregoing sentence, a “supplementary work” is a work prepared for publication as a secondary adjunct to a work by another author for the purpose of introducing, concluding, illustrating, explaining, revising, commenting upon, or assisting in the use of the other work, such as forewords, afterwords, pictorial illustrations, maps, charts, tables, editorial notes, musical arrangements, answer material for tests, bibliographies, appendixes, and indexes, and an “instructional text” is a literary, pictorial, or graphic work prepared for publication and with the purpose of use in systematic instructional activities. In determining whether any work is eligible to be considered a work made for hire under paragraph (2), neither the amendment contained in section 1011(d) of the Intellectual Property and Communications Omnibus Reform Act of 1999, as enacted by section 1000(a)(9) of Public Law 106-113, nor the deletion of the words added by that amendment— (A) shall be considered or otherwise given any legal significance, or (B) shall be interpreted to indicate congressional approval or disapproval of, or acquiescence in, any judicial determination, by the courts or the Copyright Office. Paragraph (2) shall be interpreted as if both section 2(a)(1) of the Work Made for Hire and Copyright Corrections Act of 2000 and section 1011(d) of the Intellectual Property and Communications Omnibus Reform Act of 1999, as enacted by section 1000(a)(9) of Public Law 106-113, were never enacted, and without regard to any inaction or awareness by the Congress at any time of any judicial determinations.