The Tool Desk
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You usually keep ownership. The important question is not whether a showcase takes your copyright, but exactly what limited or expanded license you grant, for how long, in which territories and media, and whether winner status triggers broader rights.
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Clear the rights before you submit
The person entering the series should be the owner or an authorized representative who can make binding permissions on behalf of the production. Showcases place the burden of clearance on the submitter, not on the programmers.
Copyrighted material
Review every element that was not created specifically for your production: music, stock footage, photographs, illustrations, clips, scripts, logos, fonts, game footage and other supplied assets. Sundance tells entrants that unlicensed or uncleared material remains the responsibility of the project owner to license, clear or replace if the work is accepted. Its guidance also requires permission for trademarked and copyrighted material before public exhibition.
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A sync license for a song may cover one platform or one term but not a festival stream, broadcast, social clip or archival use. Check the grant for each medium and territory. If a license excludes public performance, online streaming or promotional excerpts, obtain an additional permission or replace the element before submitting.
Performances, names and likenesses
Obtain releases from actors, presenters, interviewees, voice performers and anyone whose name, image or likeness is used. The World Health Organization’s Health for All Film Festival rules also call for originality and permissions covering names, likenesses, biographies, photographs and clinical details. That is especially important for documentary or health-related web series, where a contributor’s personal information can create a separate privacy obligation.
Warranties, indemnity and chain of title
Some showcases require a release in which you warrant that you have exhibition and promotion rights and agree to indemnify the organizer against related claims. Tribeca’s rules identify clearances, warranties of exhibition and promotion rights, and indemnity as part of its release requirements. Keep a chain-of-title folder containing contributor releases, music and footage licenses, location permissions, trademark permissions and correspondence that confirms any unusual grant.
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A submission license and a selection license are not necessarily the same. Uploading a screener may authorize evaluation only. Selection can trigger a separate agreement covering public exhibition, streaming, broadcasts, promotion or additional events.
| Showcase or rule set | Stated rights or ownership term | Practical implication |
|---|---|---|
| Cue Film Fest | Non-exclusive, worldwide, royalty-free license for screening, streaming and promotional use for two years | You retain ownership, but the organizer can use the project in the listed ways during the two-year term. |
| WHO Health for All Film Festival | Winner extension: perpetual, non-exclusive, sublicensable, worldwide license to reproduce, publish, disseminate, exhibit and otherwise use the video in any format or media | A winner may grant substantially broader and longer-lasting rights than an ordinary submission. |
| VIDO TV & Film Festival | Creators retain 100% ownership of their content and all underlying rights | Ownership retention does not remove the need to sign the festival’s exhibition and delivery agreement. |
| RTV rules | A private screener alone does not grant republication rights; supplied promotional assets may be separately authorized | Confirm which poster, stills, trailer, synopsis, biography and credits the organizer may publish. |
Questions to answer in every agreement
- Is the license exclusive or non-exclusive?
- Does it cover screening, streaming, broadcast, download, social clips, press use and archival access?
- What are the start and end dates?
- Is the territory worldwide, or limited to a country or event?
- Can the organizer sublicense the work to partners, platforms or additional events?
- Does a winner receive a different license from a selected or nominated project?
- Are your poster, stills, trailer, synopsis, biography and production notes licensed separately?
- Can you continue showing the series on your own site or YouTube channel?
Do not assume that “non-exclusive” means “narrow.” A non-exclusive license can still be perpetual, worldwide, sublicensable and valid across every media format. Read the permitted uses and term together.
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What to include with the initial submission
Prepare a clean review package before opening an entry form. Requirements vary by category and edition, but the following items recur.
Secure screener
Provide a working private link or upload with clear playback, correct aspect ratio and stable audio. Sundance requires multi-episode submissions to be supplied as one continuous file or link for episodic categories, with a 10GB ceiling. If your series has separate episodes, assemble the requested continuous file without adding unapproved graphics or commercial breaks.
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Rio Webfest lists the title, production location, submission type, links to two episodes or a one-off video, a password when needed, synopsis, director, producer, cast, crew and promotional poster artwork. Check every link in a logged-out browser and test the password on a different device.
Series and creator materials
SeriesFest uses FilmFreeway’s Secure Online Screener and asks selected projects to complete an information form containing a logline, pilot synopsis, season outline, character descriptions, producing team, goals and creator statement. Draft these fields before the deadline so the wording stays consistent across the entry form, press materials and eventual program listing.
| Submission item | How to prepare it | Common failure to prevent |
|---|---|---|
| Review screener | Private, tested link or compliant upload; use the requested episode arrangement | Expired password, blocked geography, missing episode or a file that exceeds the stated limit |
| Synopsis and logline | Keep a short logline and a fuller synopsis ready in plain text | Descriptions that contradict the submitted cut or reveal an ending the program does not request |
| Credits and team | List director, producer, cast, crew and producing team exactly as they should appear publicly | Misspelled names or omitted contributors who later need to approve publicity |
| Poster artwork | Supply the requested promotional image at the specified dimensions and file type | Low-resolution art, unlicensed logos or text that becomes unreadable in a thumbnail |
Deliverables after selection
Selection normally starts a second, more technical phase. Preserve the accepted cut and ask for the organizer’s delivery specification before exporting anything.
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Exhibition master and preview material
VIDO lists a representative package: a final exhibition file, preview clip, posters, stills, synopsis, cast and crew credits, closed captions, English subtitles and an executed license agreement. The exhibition file is the version the audience will see; do not silently substitute a later edit after approval.
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SeriesFest says selected entrants may need exhibition copies and press or publication assets and must complete rights clearances before public screening. RTV identifies poster, stills, an approved trailer, synopsis, director biography, portrait, credits, production notes and the selection result as publicity materials that may require separate authorization.
Keep a single asset manifest with each file name, version, dimensions, language, usage permission and expiration date. This prevents an organizer from using an old trailer or a still that contains an element removed from the final cut.
Signed paperwork
Return the exhibition or license agreement, contributor confirmations and any requested rights schedule by the stated deadline. If a clause grants perpetual or sublicensable rights, ask whether it applies only to the winning entry, to supplied promotional assets, or to every submitted episode.
Subtitles, captions and accessibility
Language requirements are showcase-specific, so treat them as technical deliverables rather than optional extras.
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- Sundance requires on-screen English subtitles at submission when a project contains significant non-English dialogue.
- VIDO requires English subtitles for all submitted content and lists closed captions among possible delivery materials.
- An organizer may request a caption file, a captioned master, subtitles burned into the picture, or more than one of these. Those are different deliverables.
Ask for the final specification after selection: accepted file formats, frame rate, time-code standard, reading speed, speaker identification, sound-effect cues and whether captions must be open or closed. Check subtitles against the locked picture. A late edit that changes shot timing can desynchronize an otherwise correct file. If audio description is requested, obtain the required narration format and mix specification before mastering.
Premiere status and prior online release
An existing online release does not automatically disqualify a web series. Sundance applies category-specific public-availability cutoffs, while Rio Webfest’s published rules focus on entry data and episode links. The decisive language is the current edition’s definition of premiere, public availability and eligible release date.
Before submitting a series already on YouTube or another platform, check:
- Whether the category requires a world, national, regional or online premiere.
- Whether an unlisted or password-protected link counts as public availability.
- Whether only the submitted episode must be unreleased, or the entire season.
- Whether removing a public episode restores eligibility, and whether the rules permit that remedy.
- Whether the showcase’s license conflicts with your existing platform agreement.
Save a copy of the applicable edition’s rules and record the publication date of each episode. Do not rely on a prior year’s wording.
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A practical submission workflow
- Audit the rights. Inventory music, footage, artwork, marks, locations, performances, names, likenesses and personal information. Match each item to a written permission.
- Confirm authority. If you are a producer, distributor or representative rather than the copyright owner, obtain written authorization to submit and grant exhibition rights.
- Build the screener. Follow the category’s episode order, file limit and link rules. Test playback, captions, subtitles and password access.
- Prepare metadata. Write the title, logline, synopsis, season outline, character descriptions, credits, creator statement and production location once, then reuse the approved wording.
- Check eligibility. Compare the current edition’s premiere, prior-release, completion-date and category requirements with your series.
- Submit and archive. Save the confirmation, uploaded file checksum or version name, entry form and the rules in force on the submission date.
- Respond to selection requests. Ask for the exhibition specification and license before sending a master. Deliver the final file, captions or subtitles, stills, poster, trailer, synopsis, credits and signed agreements in the requested formats.
- Approve publicity. Review names, credits, biographies, photographs and excerpts before publication, especially where an asset has a separate permission or expiration.
Common problems and how to fix them
Uncleared music discovered after selection
Do not wait for the organizer to solve it. Replace the track or obtain a license that covers the showcase’s territory, term, media and promotional excerpts, then deliver a new locked master and identify the changed time code.
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A private screener mistaken for a publicity license
RTV’s rules specifically distinguish a private screener from republication rights. A password-protected link lets programmers evaluate the work; it does not automatically authorize a poster, clip or episode to be republished. List publicity assets separately in the agreement.
Winner clause broader than expected
Some winner terms expand from a short exhibition window to perpetual, worldwide, sublicensable use across media. WHO’s winner language is an example. Ask whether the broad grant is mandatory, whether it can be limited to the winning video, and how it affects your ability to license later distributors.
Missing contributor release
Contact the contributor before delivery and obtain a release covering exhibition and promotion. If consent cannot be obtained, remove or replace the material where practical and document the edit.
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Subtitle or caption rejection
Check whether the showcase wanted English subtitles burned into the picture, a separate subtitle file, closed captions, or all three. Re-export from the locked master using the organizer’s frame-rate and naming conventions, then watch the entire file with captions enabled.
Questions to ask before signing
- What exact file will be screened, and can the organizer request a replacement?
- Where and for how long may the work be exhibited or streamed?
- May the organizer sublicense it to partners or include it in later events?
- Are trailers, clips, stills, portraits, biographies and production notes covered by a separate permission?
- What happens to the license if the event is postponed, canceled or moved online?
- Do you retain the right to host the series and license it elsewhere?
- What accessibility files and technical specifications are mandatory?
- What deadlines apply to the master, captions, artwork, credits and signed agreement?
The safest approach is to treat an online showcase as two transactions: an evaluation submission and, if selected, a documented exhibition and publicity license. Clear every underlying right first, verify premiere rules for the current edition, and deliver the exact technical and promotional package requested rather than assuming a general upload covers it.
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