Navigating the Boundaries of Public Domain and Fair Use
(Music Supervisor, Neophonic)
Part 1: what are the parameters of public domain, where can you find the best resources, how can you confirm something is in the public domain, what are the repercussions if you are wrong.
Part 2: what are the basic parameters of ‘fair use’, who judges what falls under fair use, examples of when it goes wrong.
TYPE: Presentation and Discussion
ROOM: MACDONALD HALL
TIME: 2:00pm - 2:50pm
(Music Supervisor, Neophonic)
Being a Michigan native it’s no surprise that Jennifer Reeve started her career in Music Supervision working as an Executive Producer, picking temp tracks for automotive advertising in a Creative Editorial House. Getting a taste for the Music Supervision biz by helping such clients as Chevrolet, Pontiac and GM, Jennifer decided to make a move from advertising into Film and TV Music. After snagging a Diploma from London’s Royal School of Music, Jennifer packed her bags and moved to England to earn a Master’s Degree in Music For Film (specializing in Music Supervision). With six years of Postproduction experience and Master’s degree in hand, Jennifer moved to LA to become part of Team Neophonic.
That was 15 years ago – in that time, Jennifer has become an invaluable part of Neophonic: supervising, consulting and sharing her musicology expertise with a myriad of clients such as HBO, 20th Century Fox, Warner Bros., Sony Pictures, Amazon, Netflix and National Geographic. Jennifer’s experience in Musicology has made her a sought-out resource for period pieces such as Boardwalk Empire, The Knick, John Adams, Mildred Pierce, Grey Gardens and Bessie (for which Jennifer won a Guild of Music Supervision Award.)
Her latest projects include: Mudbound (Netflix), Elvis Presley: The Searcher (HBO), Timeless (NBC), S.W.A.T. (CBS), Sense 8 (Netflix), and Mad Dogs (Amazon).
Chris Perez joined Donaldson + Callif in 2009 and became a partner in the firm in 2014. Chris specializes in all aspects of the firm’s practice, including representing independent filmmakers through financing, production, rights clearance and distribution.
Chris has received the following honors and recognition:
Named one of “Hollywood’s New Leaders” by Variety, recognizing outstanding entertainment industry insiders in various categories.
Named in Variety’s 2016 and 2017 Legal Impact reports for his legal work on various productions.
Selected for inclusion on the 2016, 2017, and 2018 Southern California Super Lawyers Rising Stars list.
Named one of California Lawyer’s Attorneys of the Year in 2016 for his work with Michael Donaldson on an exemption to the DMCA for documentary filmmakers.
Chris regularly lectures on production, distribution, financing, and clearance issues at UCLA, USC Law, the USC School of Cinema, UC Irvine, Cal Arts, the School of Visual Arts and Columbia College of Chicago as well as for members of the International Documentary Association and Film Independent.
Chris graduated from the University of Michigan and earned his J.D. at the USC Gould School of Law. Prior to working with Donaldson + Callif, Chris worked for California Lawyers for the Arts, Technicolor, and the Cyberlaw Clinic at the Berkman Center for Internet & Society at Harvard Law School.
Chris has also contributed to several of the firm’s advocacy projects and is currently a member of the Board of Directors for the International Documentary Association.