音乐使用表生成器
做出版权管理组织和电影节要的那份文件
这个免费的音乐使用表生成器，做的是那份标准交付文件：告诉版权管理组织你的片子里有哪些音乐、是谁写的、怎么用的、用了多久。为准备电影节或发行材料包的电影人、作曲和后期统筹而造。
版权管理组织（ASCAP、BMI、SESAC、SOCAN、PRS）直接依据音乐使用表向作曲和出版方支付版税，这也是发行方和电影节把它列进必交材料的原因。每一条都带一个使用类型，因为使用方式会改变版税权重：在这些组织的计费公式里，画面内使用和片头片尾使用通常比背景使用付得多。时间码按时:分:秒填写，因为版权组织按时长而不是按帧来计算音乐。
全部在你的浏览器里运行，并在本地自动保存。没有任何曲目数据、联系方式或制作信息被发送到服务器。
一行一条，按播放顺序排列。时长由入点和出点时间码算出。
你的使用表会在这个浏览器里自动保存，可以关掉标签页之后再回来接着填。
音乐总时长
00:00:00
1 条里有 0 条时间码有效并计入了总时长。
工作原理
先填好制作信息表头，然后为每首曲目加一行：曲名、作曲、出版方、演奏者、版权管理组织、使用类型，以及入点和出点时间码。工具会校验每一个时间码、算出每条的时长，并汇总音乐总时长。PDF 导出会把表排成横向表格、表头信息放在最上方，这是音乐监制和发行方期待的格式；CSV 导出则能直接在 Excel 或 Google 表格里打开，方便那些用表格追踪曲目的制作。
音乐使用表怎么填，以及谁真的会看它
电影节要的音乐使用表不是为填而填的文件。当你的片子放映或播出时，影院或电视台会把这次使用上报给版权管理组织，而组织会依据存档的那份使用表付钱给你的作曲。没有使用表就没有版税，这也是作曲会催制作方去报备、发行方会退回缺了它的材料包的原因。
使用类型那一列，比大多数第一次做制片的人以为的更重要。压在对白下面的背景器乐，版税权重低于画面里能看到的人声演唱，而片头和片尾主题各有自己的权重。因为背景是默认项就把每一条都勾成背景，是一个常见错误，在片子长期发行的年份里，它会实实在在让作曲少拿钱。
时间码要取自锁定后的画面，按时:分:秒从节目开头算起。版权组织按时长计算，所以出点马虎或缺失的使用表会低估音乐用量。这个生成器替你算好每一条的时长和总计，导出一份 PDF 放进交付材料文件夹，还给你一份 CSV，好让同一批数据在发行方坚持用他们自己模板时也能直接填进去。
适合谁
- 独立制片 把发行清单上的音乐材料这一项结掉，不必为一个项目去买一套音乐监制软件。
- 作曲 把一份填好的使用表交给制作方，你的版权管理组织和出版实体都写对，版税才真的走得到你这里。
- 后期统筹 对着锁定画面的时间码记录曲目，同时导出 PDF 和 CSV，让电影节材料包和内部追踪表保持一致。
Cue Sheet Generator: the complete guide
It captures the production header and one row per music cue (title, composers, publisher, performer, PRO, usage type, IN and OUT timecodes), computes per-cue and total durations, and exports a landscape PDF or a CSV.
For this workflow, the central problem is clear: the cue sheet is a required deliverable that PROs pay composer royalties from, yet most productions reach delivery without one and end up reconstructing music timings from memory. Left unresolved, this creates downstream friction and slower decisions. The practical target is a complete, correctly formatted music cue sheet with validated timecodes, computed durations, and PDF and CSV exports ready for the deliverables package.
Limitation to keep in mind: It does not verify writer splits, publisher entities, or PRO registrations against any database, and it works in HH:MM:SS rather than frame-accurate timecode, which matches PRO practice but not an EDL.
Advanced workflow: Post teams fill the sheet against locked picture, export the CSV into their delivery tracker, and re-export the PDF whenever a version change moves cue timings, keeping the festival package and the internal log identical.
Step-by-Step Workflow
- Fill the production header first: title, episode, company, contact, and air or release date, exactly as they should appear on the filed sheet.
- Add cues in playback order with IN and OUT timecodes from locked picture, and let the tool compute each duration.
- Set the usage type per cue deliberately (background, visual, main title, end title), since usage changes PRO royalty weightings.
- Export the PDF for the deliverables folder and the CSV for your tracker, and send copies to every composer and publisher listed.
Use Cases By Profile
- Producer: clear the music cue sheet line on a distributor's deliverables checklist without music supervision software.
- Composer: deliver a cue sheet with your PRO affiliation and publisher listed correctly so performance royalties route to you.
- Post supervisor: log cues against locked picture and keep PDF and CSV versions of the sheet in sync through version changes.
Common Mistakes To Avoid
- Marking every cue as background instrumental by default, which undercounts royalty weightings for on-screen and title music.
- Building the sheet before picture lock, so every timing shifts and the filed sheet no longer matches the finished film.
- Leaving publisher or PRO fields blank, which stalls royalty distribution even when the composer is credited correctly.
Professional Best Practices
- Fill in the cue sheet the same week you lock picture, while the session files and music licenses are still open on your desk.
- List every co-composer with their own PRO affiliation; split disagreements discovered at the PRO stage take months to fix.
- Keep the total music duration handy: distributors sometimes cross-check it against the music license terms in the same package.
Treat this tool output as a decision support layer, not a replacement for authorship. Great scripts are remembered for specific choices, emotional precision, and clarity of dramatic movement. Tools help by removing noise so your energy can go where it matters: character, conflict, escalation, and payoff. If you review outcomes after each pass and keep an explicit log of accepted changes, your workflow becomes faster and more predictable from draft to draft. That consistency is exactly what professional collaborators value: fewer surprises, clearer rationale, and a script that evolves with intent.
Extended FAQ
How do I fill out a cue sheet for a short film?
Exactly like a feature, just shorter: production header, then one row per cue with title, composers, publisher, performer, PRO, usage type, and IN and OUT timecodes from your locked cut. Even a three-cue short needs one if it will screen at festivals or stream through a distributor.
What usage types pay the highest royalties?
Weightings differ by PRO, but visual vocal and featured performances generally rank above background uses, and main title and end title themes carry higher weightings of their own. That is why the usage column deserves real attention, not a default value.
Do I need a cue sheet if I only used licensed library music?
Yes. Library tracks have composers and publishers who collect performance royalties too, and the license you signed almost certainly obliges you to file a cue sheet. The library's metadata sheet usually lists the exact writer and publisher names to enter.
What is a PRO and which one should I list?
A performing rights organization collects performance royalties for writers and publishers: ASCAP, BMI, and SESAC in the US, SOCAN in Canada, PRS in the UK. List the PRO each composer and publisher is actually affiliated with; it is their registration, not the production's choice.
How accurate do cue sheet timecodes need to be?
To the second, measured from the start of program on the locked picture. PROs credit music by duration rather than frame position, so HH:MM:SS is the standard. What matters most is that IN, OUT, and duration are consistent and come from the delivered version.
Can I send distributors a CSV instead of a PDF cue sheet?
Most distributors expect a formatted PDF, and some insist on their own template. The practical move is to keep both: file the PDF as the deliverable and keep the CSV so you can paste the same rows into any house template in minutes.
常见问题
它是一部片子或一集里每一段音乐的记录：曲名、作曲、出版方、演奏者、版权管理组织、使用类型和时间。版权管理组织用它来分配演出版税，发行方和电影节也把它列为标准交付材料。
背景音乐能听见但音源不属于场景本身，比如压在对白下面的配乐。画面内使用指演奏能被看到，或者音源在画面里很明确，比如场景中正在演奏的乐队。在计费公式里，画面内使用通常有更高的版税权重。
很多电影节要，几乎所有发行方和电视台都要。它通常和对白台本、音乐授权一起列在交付清单里。在画面锁定时准备它只要一小时；一年之后凭记忆重建它，才是制片们真正后悔的事。
从节目开头算起的时、分、秒（时:分:秒），每条一个入点和一个出点。帧数通常省略，因为版权组织按秒计的时长给音乐记账，而不是按帧的位置。
按惯例由制作公司准备并报备，通常经由电视台或发行方，但实际上作曲经常要自己追这件事，因为版税全靠它。不管由谁报备，表上列出的每一位作曲和出版方都应该拿到一份副本。
