What is a sync license?

Why two licences instead of one

A song exists as two separate copyrights: the composition, meaning the melody and lyrics, and the master, meaning the specific recorded performance of that composition. Using a song in a video means synchronizing both layers, so you need permission from whoever controls the composition, usually a music publisher, and separately from whoever controls the recording, usually a record label or the artist directly for independent releases.

If you only clear one side, you are still infringing the other. This is the single most common licensing mistake in independent film and content creation, where a creator gets 'permission' from the artist to use their song without realising the publishing side, often controlled by a separate songwriter or publishing company, also needs sign off.

What the license actually specifies

A sync licence spells out the term, meaning how long the use is permitted, the territory, meaning where it can be shown, the media, meaning whether it covers broadcast, streaming, theatrical release or all of those, and whether the use is exclusive or non-exclusive. Fees scale with all of these factors: a worldwide, all-media, exclusive, perpetual licence for a national advert costs far more than a festival-only, one-year, non-exclusive licence for a short film.

The document that closes the deal

The sync licence agreement itself, sometimes bundled with a separate master use licence in one contract for convenience, is the document that actually authorizes the use. It should specify the exact cue, the exact edit or version if trimmed, and the precise scope of use. Verbal or emailed approval without a signed licence leaves both sides exposed if a dispute arises later over scope or payment.

Library music and blanket deals as an alternative

Many productions avoid the two-clearance problem entirely by using stock or library music, where a single company controls both the composition and the master and issues one combined licence. Streaming platforms and broadcasters sometimes hold blanket licences with performing rights organisations that cover some uses automatically, but sync rights for a specific placement are almost always negotiated separately from those blanket performance licences.