The primary IP right in film and TV is copyright, which protects original works such as:
Copyright protection arises automatically in Europe and the UK upon creation, but careful stewardship and self-custody is needed in order to record, secure and prove rights.
Ownership depends on the nature of the relationship: employees’ output is generally owned by the employer, while freelancers or contractors may retain rights unless assigned by contract. Ensure all contributors sign written agreements assigning necessary rights to the production company.


Include appropriate waivers, clearances, and usage rights in contracts with cast and crew.
While film and TV content is protected by copyright, titles, logos, character names, and franchise branding may also be protected under trade mark law, particularly where used in:
Registering key names and marks strengthens control over brand use and licensing. Clearance searches are vital to avoid infringing pre-existing trade marks.
Film and TV projects are built on complex rights chains and commercial agreements. Ensure clarity over:
Written agreements should define the scope, duration, exclusivity, approvals, royalties, and attribution obligations. Keep documentation organised and up to date.

Unsolicited idea submissions present a legal risk. If someone claims you used their idea without permission:
Filming buildings and landmarks may create copyright issues, especially in countries where architectural works are protected and not subject to full freedom of panorama. While UK law offers relatively broad exceptions, care should be taken when distributing content internationally (e.g. in France or Germany).
Third-party brands and products visible in scenes may cause:
To reduce legal exposure:
Common risks include:
Protect your rights by:
“A movie like ANTARA generates so much copyright, both
integral to the movie and in ancillary fields, such as collectables,
games, costumes and artwork”.

Alex Amartei
Writer and Producer

