Do you accept client supplied music files?

Yes. We accept client supplied music. Use it for that client's project only, and confirm who cleared the track in the project's contract before production moves past the treatment stage.

Can you use a library track for a paid campaign?

Possibly, but it depends on the licence. Check the licence for the right uses and territories, and record the permission in the project agreement before the work moves beyond the treatment stage.

Will you generate music and own the rights?

We produce on third party generative platforms, and each platform has its own terms that affect what rights you have in the output. Any platform licence that would affect how you can use a finished piece should be captured in the project agreement.

When do I need a real shoot for music or sound?

When a film must be a record of something that happened on the day, or when approvals require actual footage, a real shoot is the right answer. That is agreed at the brief rather than assumed.

How do I start the conversation about music clearance?

Start with the brief form. Our creative director reads it and replies within 24 hours. The first conversation covers what the piece has to do, where it runs, and what clearances you will need.

28 October 20266 min readVSNRY Motion

Can You Use Music In An AI Made Film?

RightsAI Video

Yes. Music needs a licence whatever its source. We treat music as a rights question and record permissions at the brief. Bring licences and receipts to the first conversation so the project contract records the allowed uses and territories.

Why music is a rights question

Music is not a technical detail you add after the edit. It must be cleared for the use it is going into, so licences are a planning item, not a finish step. We treat clearance as part of the brief because the permissions you need hinge on where the film runs, how it will be used, and the territories the campaign covers.

Licences define the uses you may make of a track, not the production technique. A file that is fine for an internal cut can lack permissions for paid advertising, broadcast or festival submission. Confirm licence line items at the brief so rights are recorded before any delivery is mastered. That allows a clearance or a replacement to be planned.

Bring any licence paperwork and receipts to the brief so we can price and contract around the real rights picture. Use the Brief a Project form to start that conversation. Nothing is committed at that stage, and the treatment is the cheapest point to change the creative approach, so clearances are best settled before shot design begins.

Three rights situations you will meet

We separate generated audio, licensed library music and a client's supplied track because they are different rights situations. Each path brings different licences, proof requirements and platform terms. Treat them as separate line items in the contract so the brief can record who clears the composition, who clears the master, and the territorial limits.

If you want a library track, check the licence for paid ads, online platforms and the territories you need. Library plans often gate commercial and broadcast rights behind higher tiers. Get the licence wording in writing and attach it to the project agreement so the permissions survive any later platform dispute.

For generated music, ask the platform for written licence terms because platform rules affect commercial use. We produce on third party generative platforms and each has its own terms that are not identical across a project. Any platform licence that affects use should be appended to the project contract.

Generated tracks, libraries and a client supplied song

If a client supplies masters, we use those brand assets only for that client’s project. We do not train models on them and we do not reuse them on another client's work. That is current practice rather than a documented policy, so how long files are kept is agreed project by project and written into the contract.

When you hand us a supplied track, be ready to show who owns the composition and who owns the master. Rights can be split across publishers, performers and labels, and platforms or broadcasters will ask for proof. Ownership and any third party clearances should be included in the project contract before moving on.

A licence that covered your last campaign may not cover the next. Library terms differ by plan, medium and territory, and automated Content ID claims can follow a file even if it is generated. Keep licences and receipts with the assets and record them in the contract so you can show them if a claim appears.

What the studio says it does now

We direct every project. Our creative lead fixes blocking, lensing and continuity on shot sheets before a single frame is generated, so picture and music are designed to work together rather than fitted in at the end. That alignment is why the brief and the treatment set the creative frame, not the export step.

Our pipeline produces frame accurate lip sync so a performance holds across languages and versions. We make music videos and release films for labels and promoters, built shot by shot rather than filmed, so a release schedule is not held up by a shoot day. See music and labels for the service description.

Nothing leaves without the director looking at it. Grading, logo lock ups and master delivery are a directed stage of the process, a craft and continuity review by the person who directed the piece. That is not a legal clearance, a rights check or a compliance sign off, and it should not be relied on as one.

What the studio has not published, and what to ask for

Our responsible production note names gaps rather than covering them up. There is no written approval procedure listing who can sign off, and on projects so far that sign off has been handled in conversation. If those points matter to you, ask for a named approval workflow in writing as a contract deliverable before production leaves the treatment stage.

When you ask, be specific. Request the exact licence wording, the territories and media it covers, and whether any platform terms limit use. Insist on the receipts and the account or plan that authorised commercial output. Have us append those documents to the project agreement so they are binding for delivery.

Ask for a chain of custody for the music asset: who generated or supplied it, which account or subscription authorised commercial use, and what receipts prove it. We say these details belong in the project agreement, so make them a written deliverable before versioning moves to finish and delivery.

Release, broadcast and festivals in Dubai

Our responsible production page is a working draft and it has not been through legal review. If you need theatrical, broadcast or festival approval in the UAE, get written confirmation from the distributor, broadcaster or festival about the licence language they will accept rather than assume the same wording will pass.

Exactly what wording local distributors, broadcasters or festival organisers will accept for a generated track is not published on our site. If you depend on a release, ask the outlet for written confirmation of the licence terms they require and insist those terms are appended to the project agreement before delivery.

If you are unsure how to proceed, record the music licence terms in the brief and the project contract and attach the receipts to the files. For planning versions and formats, use the Every Market Calculator to see how languages and formats add work for each route. Open the calculator at Every Market Calculator.

Sources

Music must be cleared for the use it is going into: https://www.vsnry-motion.com/responsible-ai-production, read 19 October 2026.
Three different rights situations for music: https://www.vsnry-motion.com/responsible-ai-production, read 19 October 2026.
Studio has not written an audio rights clearance process: https://www.vsnry-motion.com/responsible-ai-production, read 19 October 2026.
Every project is directed by a human creative lead: https://www.vsnry-motion.com/responsible-ai-production, read 19 October 2026.
Studio works in English and German with frame accurate lip sync: https://www.vsnry-motion.com/services, read 19 October 2026.
Music video and release film service described: https://www.vsnry-motion.com/music-labels, read 19 October 2026.
The computing figure leaves out the studio's own work and fee: https://www.vsnry-motion.com/pricing, read 19 October 2026.
Creative director replies within 24 hours to a brief: https://www.vsnry-motion.com/brief, read 19 October 2026.
A real shoot is the right answer when approvals require actual footage: https://www.vsnry-motion.com/services, read 19 October 2026.

Common questions

Do you accept client supplied music files?: Yes. We accept client supplied music. Use it for that client's project only, and confirm who cleared the track in the project's contract before production moves past the treatment stage.
Can you use a library track for a paid campaign?: Possibly, but it depends on the licence. Check the licence for the right uses and territories, and record the permission in the project agreement before the work moves beyond the treatment stage.
Will you generate music and own the rights?: We produce on third party generative platforms, and each platform has its own terms that affect what rights you have in the output. Any platform licence that would affect how you can use a finished piece should be captured in the project agreement.
When do I need a real shoot for music or sound?: When a film must be a record of something that happened on the day, or when approvals require actual footage, a real shoot is the right answer. That is agreed at the brief rather than assumed.
How do I start the conversation about music clearance?: Start with the brief form. Our creative director reads it and replies within 24 hours. The first conversation covers what the piece has to do, where it runs, and what clearances you will need.

More notes

Working on something like this?

These notes describe how the studio runs its own productions. If you have a piece that needs the same discipline, send the brief over. Nothing is committed and nothing is quoted at that stage.

Brief a Project See the method