Accounting Provisions in Contracts

Studio accounting has always been tricky to understand, for just about everyone. That is why being knowledgeable about what contract terms say in regard to accounting can help writers, actors, directors, and producers ensure they are being paid the correct amount at the correct time.

First, let us look at the timeline for payments. Contracts governed by guilds such as WGA and SAG require productions to pay out any residuals or participation payments on a monthly or quarterly basis, depending on the type of production and where it is exhibited. The tricky part is that a fiscal quarter does not have to match up with a calendar year, so some companies may have their quarterly reports due at different times than other companies. For instance, Warner Bros. has a fiscal year that matches the calendar year, January to December, while Universal has a fiscal year that runs from April to March. Artists should make sure to understand when the company’s fiscal year begins so they do not accidentally think a late payment is one that came early.

When a profit participation or residual payment does come, and hopefully it does, it should be in the form of a check. Along with the check, the artist should always receive a statement detailing market usage, receipts, expenses, and other important information that allows the artist to verify the payment amount. Failure to provide these documents is a breach of the collective bargaining agreement and would need to be rectified. In the case of projects that are not governed by guilds, this failure may be a breach of the contract provisions governing accounting, which is why it is crucial to pay close attention to those clauses.

But what if a payment does not arrive, or what if the payment is incorrect? This is where an audit may be appropriate. Typically, an audit will have to be requested by the artist and will be made at their financial expense, which may not be cheap. However, if the audit uncovers that a large enough error has been made, the studio may be forced to cover the costs. Audits are usually limited to one per year from any single artist. Note that some contracts do not automatically include audit provisions, so this is something that is important to check every agreement for prior to signing.

The accounting provisions in a contract are usually buried deep down among other miscellaneous terms, but they are crucial in determining how and when an artist gets paid after the project has been released. While many major studios may be governed by guild rules that require the studios to abide by specific accounting provisions, independent productions may not be subject to those requirements. That is why artists should know what to look for in these often-overlooked provisions. Knowing these terms and understanding the rights artists should have will help when negotiating for work and allow the artist to prevent themselves from being taken advantage.

A Guide to States and Film Tax Credits

In the world of entertainment, one of the key considerations for filmmakers is often where to shoot their next project. It's not just about finding the perfect location or the ideal setting; it's also about the financial incentives that states offer through film tax credits. These credits can significantly impact the bottom line of a production and influence decisions about where to film. So, let's take a closer look at which states are currently leading the pack in offering attractive film tax credits and which ones are the hottest destinations for filmmakers.

Top States Offering Lucrative Film Tax Credits

  1. Louisiana: A southern state that has become a favorite among filmmakers is Louisiana. With tax credits of up to 40% on qualified spending, including resident and non-resident labor, as well as a competitive infrastructure for film production, Louisiana continues to attract major Hollywood productions.
  2. Georgia: Known as the "Hollywood of the South," Georgia has been a top destination for filmmakers in recent years, thanks in large part to its generous tax incentives. Productions can receive up to 30% in transferable tax credits after adhering to certain requirements and for certain qualified expenditures, including salaries for in-state workers and money spent on goods and services within the state.
  3. New Mexico: The Land of Enchantment has long been a popular destination for filmmakers, offering a 25-30% refundable tax credit on eligible production expenditures. In addition to its stunning landscapes and diverse locations, New Mexico's film tax incentives make it an attractive option for both large-scale productions and independent filmmakers.
  4. New York: While New York may not offer the highest tax credits compared to some other states, its robust film industry and diverse locations continue to draw filmmakers. With a 30% tax credit on qualified production expenses incurred in designated areas outside of New York City, as well as additional incentives for post-production work, the Empire State remains a powerhouse in the film industry.
  5. California: Despite facing stiff competition from other states, California remains a top destination for filmmakers, thanks in part to its iconic locations and established infrastructure. While its tax credit program is not as lucrative as some other states, California offers a 20-25% tax credit on qualified production expenses, along with additional incentives for filming in certain regions.

Top Cities for Filmmakers

  1. Los Angeles, California: As the heart of the entertainment industry, Los Angeles continues to be a popular destination for filmmakers. With its abundance of soundstages, studios, and experienced crew members, LA offers filmmakers unparalleled resources and opportunities.
  2. Atlanta, Georgia: With its booming film industry and diverse array of filming locations, Atlanta has emerged as a major hotspot for filmmakers. From urban cityscapes to picturesque countryside, Atlanta and its surrounding areas offer a wealth of options for productions of all sizes.
  3. New Orleans, Louisiana: Known for its unique blend of historic charm and vibrant culture, New Orleans is a favorite among filmmakers seeking atmospheric locations. With its tax incentives and rich filmmaking history, NOLA continues to attract productions from around the world.
  4. Albuquerque, New Mexico: With stunning desert landscapes, a diverse array of locations, and its year-round sunshine, Albuquerque has become a go-to destination for filmmakers. From blockbuster films to hit television shows, Albuquerque offers filmmakers a unique backdrop for their productions.
  5. Wilmington, North Carolina: Dubbed "Hollywood East," Wilmington has long been a popular destination for filmmakers on the East Coast. With its scenic coastline, historic downtown area, and experienced film crews, Wilmington offers filmmakers a charming and versatile backdrop for their projects.

When it comes to choosing the perfect location for your next film production, it's essential to consider not only the aesthetic appeal of the destination but also the financial incentives offered by each state. Whether you're drawn to the bustling streets of Atlanta, the picturesque landscapes of New Mexico, or the iconic landmarks of New York City, there are plenty of options to suit every filmmaker's vision and budget. So, grab your camera, pack your bags, and get ready to bring your story to life in one of these exciting filming destinations.

California Assembly Bill 5 and its Impact on the Film Industry

California’s Assembly Bill 5 (AB5), enacted in 2019 and later amended in 2020, brought significant changes to the entertainment industry, specifically with respect to freelance independent contractors working on films. AB5 changed how companies were meant to classify workers, and individuals who were previously deemed W-9 independent contractors were now suddenly considered W-2 employees. Being aware of AB5’s intricacies is essential for producers and production entities engaging key crew and talent for their film projects in California.

The ABC Test, a codified cornerstone of AB5, mandates that a worker be classified as an employee unless the hiring entity can prove these three conditions are met:

Control and Direction: The worker is free from the hiring entity’s control and direction in the performance of their work.

Work Outside Usual Business: The work performed by the individual is outside the hiring entity’s usual course of business.

Independent Trade, Occupation, or Business: The worker is engaged in an independently established trade, occupation, or business.

For industries like film production, where a production company needs control and direction to ensure a project runs smoothly, classifying crew and talent as independent contractors is a challenge. The law requires a nuanced approach to avoid misclassification, which can lead to severe financial penalties that will hinder any project’s development. To navigate these challenges, producers and production entities have a few options when constructing their agreements with talent and crew members:

Exclusive Engagement of Loan-Out Companies: Contracting exclusively with a worker’s loan-out company significantly mitigates the risk of misclassification as this avoids creating a direct-hire relationship with the individual worker. By contracting instead with the individual’s loan-out company (usually an LLC), there is a chance that the relationship would  qualify under AB5’s business-to-business exemption.

Abstaining from WMFH Clauses: It is important for hiring companies to make sure they own the rights and proceeds of the services provided by cast and crew, therefore, “work made for hire” provisions (“WMFH”) are typically seen in agreements. However, under the California Labor Code, including a WMFH clause in an independent contractor agreement will transform that contractor into a statutory employee. Opting for an assignment of rights provision instead may avoid triggering immediate statutory employee classification.

Allowing Limited Rights Retention: Even if WMFH clauses are included in the agreement, modifying them to allow contractors to retain limited rights in the commissioned work may also prevent statutory employee misclassification.

Furthermore, when looking to hire talent and crew members, bringing in a payroll company can certainly streamline the onboarding process and help ensure AB5 compliance. In fact, the Screen Actors Guild (“SAG”) requires all SAG productions to use one of their pre-approved entertainment payroll companies. By engaging a payroll company, they can ensure compliance with federal and state employment laws. Choosing whether or not to use one depends on factors such as the complexity of the production, the specific services and commissioned work sought from cast and crew, budget, and the overall willingness to outsource payroll responsibilities.

Complying with AB5 requires a careful consideration of these options. By adopting the appropriate approach on a case-by-case basis, producers and production entities can adequately mitigate the risk of statutory employee misclassification and ensure safe passage through California’s evolving employment regulatory landscape.

 

 

Uncovering Fair Use

Navigating Copyrighted Material as an Artist

As a creative individual, you are constantly gathering inspiration from the world around you, including from other people—their books, films, pictures, or anything else. So how do you draw inspiration without infringing on the copyrighted material of others? A concept that is crucial to understand in answering this is the fair use doctrine—a legal principle that gives you some leeway when it comes to using copyrighted material in your own creations. 

Fair use is what bridges the gap between copyright law and your First Amendment right to expression. In essence, fair use allows for the limited use of copyrighted material without the need for permission from the copyright owner in specific situations. But fair use is not a free pass to use any copyrighted material however you see fit. Congress drafted the basic approach to fair use in Section 107 of the Copyright Act, which takes several factors into account when evaluating whether or not the copyrighted material may be fair use: 

Note that each of these factors will be weighed differently, and the ultimate decision will be based on the specific facts of each individual case. Unfortunately, there are no blanket statements you can make when it comes to a fair use analysis.

Fair use is often implicated in the world of documentaries, and has significantly altered the documentary film landscape. The increased cost of licensing film clips, photos, and other materials has become financially burdensome for documentary filmmakers. Moreover, certain points in documentaries may not be adequately portrayed as a result of refusals by the owners of originally copyrighted material to license or assign those materials. Consequently, in many instances, footage used in documentary films is unavailable, except for when it is used pursuant to fair use. 

Remember, fair use does not justify blatantly taking the intellectual property of others for your own purposes. Instead, it may allow you to create something new and unique using someone else’s copyrighted material as an inspirational element in certain circumstances. It is also important to remember that fair use is a flexible doctrine, and there are no hard and fast rules. Each case is evaluated on its own merits and courts can consider the above factors, amongst other facts, in their analysis. That being said, many intellectual property attorneys can offer what we call opinion letters, which will provide you with a starting point as to the potential vetting of a copyrighted material. Consider obtaining one of these letters at the outset, to determine which parts of your film you may need to obtain releases for before getting too far into the production process. 

 

The Essential Guide to Financing Your Independent Film

Navigating Regulation D

If you're an independent filmmaker seeking investment funds for your next project, congratulations! You’ve reached a significant milestone! The prospect of financing may seem daunting, but the starting place should be understanding the regulatory landscape surrounding private offerings. This will be crucial for securing financing while staying compliant with federal and state securities laws. Let’s dive into the essentials. 

Regulation D private offerings, commonly known as “Reg D Offerings,” allow businesses, and your production entity specifically, to raise capital by selling “securities” without having to fully register these securities with the Securities and Exchange Commission (SEC). When financing your independent film, you will very likely be offering a security to your investors in one of the following ways: by offering partial ownership stake in your production entity, by offering participation rights, such as a percentage of gross or net proceeds after the film is distributed and in exchange for their investment, or by utilizing a debt instrument, such as taking out a loan. All of these are considered “securities” for legal purposes, which would normally need to be registered with the SEC.

Fortunately, Regulation D offers exemptions for private offerings, which means certain forms of securities can be exempt from the reporting and registration requirements. Crucially, this means you will be spared from the tedious and expensive headache that is formally registering your securities with the SEC. One of these exemptions is Rule 504, and is likely to be the most suitable exemption for your financing needs. Rule 504 permits offerings of up to $10 million within a twelve-month period to both accredited and non-accredited investors. This means you can offer your securities to a wider range of investors irrespective of their income or net worth, since the SEC usually requires accredited investors meet certain income and net worth thresholds in order to invest in securities. However, you need to be wary of the specific limitations with Rule 504, such as the mandatory compliance with state securities laws and regulations in all of the individual states in which your securities are offered or sold, otherwise known as each state’s “blue sky laws”.

To effectively utilize your Rule 504 exemption, you must file a Form D notice with the SEC within fifteen days of the first sale of securities. If you are raising money from investors residing in California, you must also comply with the state blue sky laws overseen by the Department of Financial Protection & Innovation by filing a Limited Offering Exemption Notice, also within fifteen days of the first sale of securities. As outlined above, this first sale of securities will likely be the first investment you receive from a financier for units or shares of your company.

Remember, compliance with both federal and state securities laws is critical. And if your offering includes out-of-state investors, you must also consider their state’s blue sky laws and exemption requirements. Compliance helps secure your project’s future and ensure you will not face penalties from the SEC. These can be complicated situations, so if you are unsure about any of these aspects, consider bringing on help to make sure you stay in compliance.  

Maximizing Your Film's Earnings

A Guide to Film Bonuses for Producers, Actors,
Writers, and Directors

The best part about making a film is the creative expression and collaborative experience that happens along the way. The second-best part? Getting paid for it. Whether you are a producer, actor, writer, or director, there are three major categories of payment: Guaranteed Compensation, Backend/Contingent Compensation, and Bonuses.

Bonuses can be attached to many different points along a film’s life, such as production, post-production, distribution, and beyond. Here is a list of the most common bonuses and how they are applied.

Bonuses can be a great negotiating tool. Often, producers and financiers are looking to reserve as much funding as possible upfront, so negotiating larger bonuses that are payable down the line can pay off in a big way. Just remember to be specific and understand the terms that are being agreed to, because the language may set these thresholds at impossible levels, meaning you may never see those bonuses. Adjusting each bonus to reasonable thresholds on each specific project will be necessary for securing those bonuses that are likely to pay out. Successful projects can generate a lot of revenue, so be sure to negotiate properly for your fair share, or bring on a representative who can negotiate for these bonuses on your behalf.

 

Employing Child Actors in California Entertainment Productions

Ensuring Success and Compliance

In the vibrant world of entertainment, the inclusion of child actors adds depth, authenticity, and charm to productions. From heartwarming commercials to blockbuster movies, the presence of young talent captures the imagination of audiences worldwide. However, behind the scenes, the employment of child actors in California comes with a unique set of legal responsibilities and considerations.

Whether or not a production is registered as a SAG signatory, one major requirement of hiring a minor is obtaining the necessary permits. The California Labor Code, along with the Department of Industrial Relations (DIR), mandates that minors working in the entertainment industry must obtain a work permit to render entertainment-related services. Not only does the minor need a work permit, but the production company must also secure a permit from the Department of Industrial Relations to employ a minor in the entertainment industry. This permit is only valid as long as the production company has a valid workers’ compensation insurance policy.

Another requirement is the establishment of a Coogan Account. The minor’s parent or legal guardian is in charge of setting up a Coogan Account for the minor and providing the production company with a statement about the account, including information like the name of the financial institution and confirmation that the account has been created. After the production company confirms receipt of the statement, the production company must deposit fifteen percent (15%) of the minor’s gross pay directly into that Coogan Account.

California law also imposes strict limitations on the working hours and conditions for child actors, which may differ based on the minor’s age. The state's labor laws outline maximum work hours, mandatory rest breaks, and restrictions on late-night filming for minors. Furthermore, California requires the appointment of a studio teacher and the full-time presence of a guardian to oversee the education and welfare of the child actor on set. Studio teachers play a vital role in ensuring that minors receive adequate schooling and supervision while juggling their professional commitments. Production companies must adhere to these regulations to ensure the well-being and safety of child actors involved in their projects.

In addition to regulatory compliance, it is essential for production companies to prioritize the overall welfare and development of child actors. This includes creating a nurturing and supportive environment on set, providing age-appropriate supervision, and addressing any concerns related to the child's well-being promptly.

Employing child actors in entertainment productions is a rewarding yet complex endeavor that requires careful planning, diligence, and compliance with legal regulations. By emphasizing the safety, well-being, and rights of child actors, production companies can create a positive and supportive environment where young talent can thrive.

If you are a parent of a child actor, reach out to the expert entertainment attorneys at Ameri Law to take the steps necessary to protect your child's rights and income.

The Power of Parody

Luther R. Campbell v. Acuff–Rose Music

From copyright clashes to free speech battles, the realm of entertainment law is a captivating arena where law and creativity intersect. One pivotal case that has shaped this dynamic field is Luther R. Campbell v. Acuff–Rose Music, a case that underscores the significance of parody in the realm of copyright law.

In 1989, 2 Live Crew, a rap music group, released their album "As Nasty As They Wanna Be," featuring a track titled "Pretty Woman," which parodied Roy Orbison's classic song "Oh, Pretty Woman." Initially, the group’s manager had asked Acuff-Rose Music for a license to use Orbison’s melody, but they were refused. Nevertheless, 2 Live Crew recorded and released the parody anyways. Naturally, Acuff–Rose Music sued 2 Live Crew, arguing that the group’s parody constituted copyright infringement, leading to a legal showdown that would ultimately redefine the boundaries of fair use and artistic expression.

At the heart of the case was the question of whether 2 Live Crew's parody constituted transformative commentary protected under the fair use doctrine. 2 Live Crew contended that the song's use of Orbison's melody and lyrics was transformative, offering a satirical commentary on the original work and its portrayal of women. Acuff-Rose Music argued that the song’s commercial purpose disqualified it from fair use protection.

In a groundbreaking decision, the United States Supreme Court sided with 2 Live Crew, holding that “Pretty Woman” was protected by fair use because it was a transformative parody of Orbison’s “Oh, Pretty Woman.” In its deliberation, the court engaged in a nuanced discussion of parody versus satire, distinguishing between the two forms of artistic expression. While satire seeks to criticize or ridicule societal norms or individuals through exaggeration or mockery, parody takes a different approach, using elements of the original work to create a new, transformative commentary. Indeed, “Pretty Woman” had taken pieces of “Oh, Pretty Woman,” but the Court found that no more than necessary was copied, and that as a parody, the “heart” of the original song must be copied to properly invoke the work it is commenting on. Looking at the song as a whole, the Court found that 2 Live Crew had departed from the original work, and produced new, distinctive music.

Further, the Court emphasized that parody, when done in a transformative manner, enjoys heightened protection under the First Amendment and thus constitutes fair use—a crucial victory for artists seeking to engage in social commentary through their work.

By recognizing the unique role of parody in cultural commentary, the Court affirmed its importance as a vehicle for social criticism and artistic innovation, setting a precedent that continues to shape the legal landscape of creative expression. As we reflect on this seminal case, we're reminded of the importance of protecting creative freedom and fostering an environment where artists can fearlessly push the boundaries of expression.

Red Flags in Film Distribution Deals

What Producers Should Be Wary of in Distribution Contracts

For producers aiming to secure the best deals for their projects, navigating the world of distribution can feel like diving into uncharted waters. From unreasonably lengthy contract terms to distribution expenses, here are some contract terms to keep an eye out for in distribution deals, and our solutions to safeguarding your project's best interests.

  1. Unreasonably Long Terms
    • Distribution Agreements will last for an agreed-upon term, which can be anywhere from 3 years, to eternity. During this Term, the Distributor has the (usually exclusive) right to market and distribute the film. 
    • It’s well known that movies generate the most excitement when they're brand new. As time passes, however, the hype dies down, and the audience’s interest fades. With that in mind, it’s important for producers to be cautious about agreeing to long terms, especially when working with a fairly new or unknown distributor. No producer wants to be stuck in an agreement with a distributor for years if the distributor hasn't been promoting the film effectively. Generally, Distributors prefer long contracts to ensure they can recover their costs, but one solution is to start with short terms and extend them automatically when certain goals are reached.
  2. Uncapped Distribution Expenses
    • Distribution expenses are the costs that a distributor incurs in the process of distributing the film. Typically, a distributor will seek to recoup all of their expenses before any profit reaches the producer. These expenses can include film market expenses, promotional expenses, and direct distribution expenses.  It's smart to set a cap on these expenses, so the distributor doesn't keep adding more costs that they will want to recover.
    • If no cap can be placed, producers can try to restrict the types of expenses the distributor can recover. This can be done by specifying what kinds of expenses can be recouped, or clearly defining what a category of expenses will include.
  3. Cross-Collateralization
    • Cross-collateralization happens when the distributor bundles a film with several others and pools all of the expenses together so that the profit generated by any one film may be applied to the pooled expenses, rather than to just the expenses incurred by the film alone. This allows distributors to greatly reduce their risk, but presents an issue for the producer.
    • For example, say a producer’s film does really well and generates revenue, while another in the bundle does poorly and costs the distributor money. Cross-collateralization would allow the distributor to use the producer’s film’s revenue to offset the others loss, leaving that producer with less money than it would have been entitled to.
    • Producers should try and specify that their film’s revenues will not be subject to the costs of other titles in the package.
  4. Sub-Distributor Fees
    • Often times, Distributors will seek to engage sub-distributors to either promote the film for them, or to distribute in territories they are not active in. Distributors typically try to obtain worldwide distribution rights but will then subcontract a foreign distributor who is more familiar with the country or territory they are targeting. 
    • If the Distributor engages sub-distributors, the Distribution Agreement should make it clear that the distribution fee is inclusive of any and all sub-distributor fees. Otherwise, a producer could find themselves paying both the distribution fee, and the fee that the sub-distributor is charging.
  5. No Termination Right
    • It's always important to have an escape plan, i.e., the right to terminate the agreement. Most distribution deals restrict a producer's ability to end the contract, but it's worth pushing for a right to terminate in the event the distributor fails to perform as promised or fails to pay on time. This gives the distributor extra motivation to market and distribute the film effectively.
    • If the contract is terminated, make sure it's clear that all rights granted go back to the producer.

Effectively managing the complexities of film distribution agreements demands careful attention and skillful negotiation. As your trusted entertainment attorneys in Beverly Hills, CA, Ameri Law emphasizes the importance of informed decision-making and negotiating fair terms so that you can confidently ensure the success of your projects.

Understanding Trademark and Copyright Laws In The Entertainment Industry

A Comprehensive Overview of IP Laws For Creators

The entertainment industry is a multifaceted industry with a wide range of creative individuals all of whom require specific trademark and copyright protections for their work. Copyright and trademark are the two most important, and most valuable
intellectual property rights for creatives in this industry.

Trademarks protect brand names and logos associated with goods or services, while copyright protects original works of authorships that are fixed in a tangible form of expression, like books, scripts, images, movies, and comics. No matter what part of the entertainment industry you are in, having an experienced entertainment attorney help protect your work is essential to the success of your career as a creative, and the monetization of your work. In this comprehensive guide, we will explore the key
principles and concepts of copyright and trademark law, and how they apply to various sectors within the industry.

Copyright Law in the Entertainment Industry

Copyright law is the foundation of intellectual property protection in the entertainment industry. A copyright owner has exclusive rights in and to their work, whether it be a script, film, painting, photograph, or other piece of original work. These exclusive rights include the right to distribute, perform, reproduce, display, and create derivative works based on the original work. As the holder of these exclusive rights, a copyright owner can prevent others from infringing on their rights.

Although a copyright exists from the moment a work is created, you may not be able to sue another individual or company if they infringe on your exclusive rights without registering your copyright with the U.S. Copyright Office first. Having an experienced
entertainment attorney register your copyright with the U.S. Copyright Office is the best way for you to ensure that your work is properly protected. Should you ever discover that someone has stolen your work in any way, shape, or form, a registered copyright will give you the ability to pursue legal action for infringement and/or claim statutory damages. It can also deter someone from taking your work and profiting from it.

In the entertainment industry, copyright law is particularly important for protecting musical, dramatic, literary, or artistic works such as scripts, films, TV shows, music compositions, songs, poetry, podcasts, and other types of creative work. Copyright law
can protect a film from being distributed or duplicated without authorization, safeguard a musician’s original composition, and give social media influencers the right to control the reproduction of their work.

Trademark in the Entertainment Industry

Trademarks also play a significant role in the entertainment industry because they protect a person or company’s ability to brand and market a product or service. Trademarks also help consumers easily identify the source of a good or service and know the quality that they are receiving if they choose to purchase that good or service. While trademarks typically protect brand names and logos, they can even protect celebrity names, social media handles, or someone’s distinctive image or voice. In the
entertainment industry, trademarks are vital to creating and protecting a brand identity.

Securing a trademark registration can be complicated and requires thorough knowledge and research by an experienced IP attorney to ensure that your desired mark is eligible and not already in use. Proactive enforcement strategies, including monitoring by an IP attorney for potential infringement, and understanding how to take appropriate legal action, are vital for protection.

Getting Legal Help to Protect Your IP

If you are a creator in the entertainment industry and you have created something special, then you need to protect it. Speaking with an entertainment attorney as soon as possible is the best way to ensure that your creative work is properly protected, so you
can pursue your endeavors comfortably and confidently.

In addition to protecting your work, an entertainment attorney can also help you draft or review contracts to help ensure that you are being paid and credited properly for your contributions to a project. A verbal contract is not going to protect you. You need to
have a written legal agreement that has been reviewed and approved by an entertainment attorney.

If you are a creator of any kind looking for copyright and trademark protection or need the advice and guidance of an entertainment attorney specializing in intellectual property law, contact the experts at Ameri Law in Beverly Hills, CA.