Thank you! Glad I can help. I have some questions about the content id new rules but i think this is not the place to post them.
Are you referring to this pop-up with check boxes?
No, I’m not referring to something technical about the interface. I’m curious about the rules. It says that you can’t use content id for film music, so if i want to release my film score as an OST album, i can’t use the content id feature?
@zirnoise I"ve reached out to the skilled YouTube specialists here at iMusician to jump here. Where have you seen this information about OST/Film not being able to be used for Content ID?
In the eligibility guidelines. Maybe I understand wrong?
You’re 100% right. @Noelia maybe you can give more details on the point “the track is not taken from a soundtrack (i.e video games, tv or films)”?
Not wrong @zirnoise
So YouTube CID is very particular in what it can accept, I’ll try to explain it in the the easiest way, otherwise one of our YT team can jump in.
So… If someone uploads a clip of the film and you have CID activated, YouTube will essentially “demonetise” try that clip from the uploader and give some money to you.
Normally with film soundtracks you essentially give the owner of the film the license to use your sound across the film but also promotion of it etc etc and they could use YouTube to promote the film, which could include your music and therefore YouTube will put a copyright claim on this video.
… Definitely not the best explanation so one other thing to try to explain it…
We had a customer who had their music in a game. People would upload videos of themselves playing this game. Unfortunately the customer CID’d their tracks and then everyone who uploaded these videos for a “content strike” and some had their video de-monetised. The game owner was happy for People to upload these videos (your advertising for them) and so you can imagine the backlash.
We a final point, CID is not the same as delivering a team to YouTube “music” and both methods can generate revenue, CID is a very tricky thing. I hope this helps.
In my humble opinion, I would advise not using CID if your track, or part of your track is included within a film
@Noelia will probably be much much better at this and probably give me a disappointed taking to after this crappedy description lol
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Yeah, I understand.
Thanks for your responses!
When i released an OST I talked specifically about this problem with the producers and negotiated to have content ID on the tracks. So my question is, isn’t it more of a case by case, film/game music composers problem, and less of a distributor problem?
Good question, I don’t have an answer for you right now. This is quite a specific case but congrats to you for taking thing into the details on this
Thank you. So, it is a general content id rule or a iMusician specific rule?
Good question, I’ll get answer for you asap
Hey @zirnoise - We’re still on it, @Noelia will come back to you tomorrow, thanks for your patience on this. 
Ah, no problem guys. I think my next film OST release is going to be in december - january. I’m only at the composing stage for a shortfilm right now.
I’m just curious for future projects.
Thanks
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Hey @zirnoise , thank you for your question 
Simon is right here, usually when you are hired to compose an OST for a film (or your composition is bought), the owner of the film will own the license to use your sound across the film for promotion purposes, etc.
On the other hand, what we state in the list of eligibility is that it’s not allowed to use samples taken from existing TV shows, films, and video games.
If you have a specific arrangement in the contract with the film owner, feel free to send it to us so we can activate the content ID for your OST.
Hope this answered your questions!
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Hi @Noelia,
Thank you for your answer. It did answer my questions.
I usually budget trailer and promo music separately exactly for this reason. 
I’ll contact you about this at the next release before uploading the music.
Cheers and thanks guys for your readiness and answers. This is why I chose iMusician 
.
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