CIU111 – Copyright and Contracts

Welcome back! This week we are exploring the topic of Copyright & Contracts.

Despite the fact that I have not had a lot of experience dealing with copyright in the past, I have always felt that I had a decent level of understanding when it comes to the basics of both copyright, and contracts. However, upon reading this week’s lecture material, and attempting the contract based exercises in class, I quickly realised that my understanding of the concepts involved was pretty limited, and very little of it applied to my future work in the animation field.

(Common Sense Education, 2014)

The short video above explains the basics of copyright in an easy to understand manner. Also covering the 4 points of fair use, and some other handy tips about avoiding online copyright infringement, I found it explained these concepts in a very easy to understand manner. Great for a beginner like me!

When it comes to copyright in the animation industry, one thing to be aware of is who actually owns the copyright for a piece of work. If an animator creates a piece of work in their own time, then they own the copyright to that work.
“Corporate authorship” is one of the main exceptions to this. Corporate authorship occurs when the animator creates their work while under contract for someone else. The most common example of this is work created for a studio. When this is the case you are often compensated for your work in other ways, such as being paid a salary. (Kenny, 2011)

(Ted Goff Copyright Cartoon, 2003)

The other side of copyright law that it is important to be aware of involves plagiarism and using other people’s work. Essentially, any time that someone uses work that is not their own as part of their work, written permission must be given by the copyright owner to legally be able to use the work. On top of that, content creators that you might outsource parts of your project to such as audio design, acting performances, photography, costume design, and almost any other artistically created content, need to be fairly compensated to legally use their work. (acmi, n.d.)I have found further researching this weeks topic to be quite interesting. I now realise how important it is to be aware of the issues surrounding copyright and compensation in fields of work involving the arts.
Moving forward, this knowledge will help me to not only make sure that I am fairly compensated for my work, or the use of my work, but also to make sure artists whose work I reference in my own, or artists I collaborate with, are compensated fairly as well!

Thanks for reading!


acmi Generator, (n.d.). Copyright Law and Ethics. Retrieved from

Common Sense Education, (2014, September 5). Copyright and Fair Use Animation. [Video file]. Retrieved from

Ted Goff Copyright Cartoon [Image] (2013). Retrieved from

Kenny, C. (2011). Animators and the Law – Copyright. Retrieved from

Ruth, G. (2015). Exposure vs. Exploitation. Retrieved from


CIU111 – Your Income & Your Art

Hello and welcome to my blog! Over the first half of this school trimester, I will be writing a reflective journal for the subject CIU111 – Overview of Industry. In it, I will be further exploring and commenting on the topics covered in class each week, while examining how they will potentially effect my future as an animation professional.

Our class this week focused on a number of potential types and sources of income stream available to people working in different areas of the new media and creative industries, while also examining the various positives and negatives of the careers paths in our different fields.

While it is not an area that I have put much time into researching or thinking about so far in my studies, beyond a surface level at least, I found it very helpful to explore the potential job paths in the animation industry, such as studio work, freelance, crowdfunding and running your own business, and look into them in some more detail.

(Studio Workers at Industrial Light and Magic, n.d.)

During my research one of the things that has become apparent, is the way in which a lot of people’s careers transition through different sources of income in the animation industry. The project-driven nature of the animation industry means that, even at a lot of the larger companies, team sizes can grow and decline in line with the work load at a given time. This means that animators often have to turn to other sources of income, such as starting a business or freelancing in order to make ends meet. (Williams, 2014)

These alternatives to full-time studio employment can require the use of a number of skills not directly related to animation in order for your solo work to be an effective source of income. Bookkeeping, contract negotiations, copyrights, time management and building a solid client base, are all skill areas that can negatively effect the success of your creative ventures if not managed well. (Sanders, 2015)

Further reading on the topic for this week has led me to consider my potential career paths for the future. With there being a strong likelihood of having to work with a number of income sources, and varying levels of job stability, I will have to consider expanding my knowledge base to include some of these non-creative skills to help my journey moving forward.

Next week we will be diving further into the topic of copyright and contracts. Thanks for reading!

(That’s All Folks, n.d.)


Studio Workers at Industrial Light and Magic [Image] (n.d.) Retrieved from

Sanders, A. (2015) Freelance Animation Work Contracts, Copyright & Benefits. Retrieved from

That’s All Folks [Image] (n.d.). Retrieved from

Williams, A. (2014) How to survive as a freelance animator. Retrieved from