Cue sheets are one of the most important aspects of music supervision and licensing. They’re the key to making sure composers, publishers, and artists actually get paid when their music is used in TV, film, or advertising. The problem is, cue sheets are often misunderstood, overlooked, or filled out incorrectly.

This guide comes from a panel hosted by Orfium and the Guild of Music Supervisors, featuring Bryan Bakke (Director of Business Development at Orfium), Neha Gandhi (Music Coordinator at Yay Team), Jonathan Schultz (Producer/Engineer/Music Editor), and Joel Stoner (Senior Manager at Orfium).

We’ve pulled together their insights into a clear Q&A format that walks you through everything: what a cue sheet is, how to create one, what happens after you submit it, and even how to handle tricky situations like public domain covers, unreleased tracks, and fixing mistakes.

Q1) What is a cue sheet and why is it important?

A cue sheet is the official log of all music used in a production, whether that production is a TV show, film, trailer, or advertisement. It includes information such as the title of the track, the composer, the publisher, the label, identifying codes (ISWC, ISRC, IPI/CAE), and the exact on-screen duration.

Cue sheets are not just paperwork; they are the mechanism that ensures performing rights organizations (PROs) like ASCAP, BMI, and PRS can pay royalties to the correct rights holders. In other words, a cue sheet is essentially a paycheque for composers, publishers, and other music stakeholders.

If you’d like to learn more about how to handle cue sheets, from cue sheet 101 to best practices, download Orfium’s Cue Sheet Guide for free here.

Q2) What information must be included on a cue sheet?

At a minimum, a cue sheet should contain two layers of information:

  1. Header information: Program or film title, type of production, season and episode number (if applicable), production company, air or release date, and alternate titles.
  2. Per-cue metadata: Title of the track, names of composers and publishers (with IPI/CAE numbers), label or master owner, ISWC and ISRC codes if available, usage type (background, visual vocal, end credits, etc.), timecodes for in and out points, and the exact duration of the music.

Adding a notes or comments field can also be very helpful for clarifications, such as corrected spellings or special circumstances.

Q3) How precise do cue sheet durations need to be?

Durations must be frame-accurate. It is not acceptable to round up or round down. PROs often cross-check cue sheet data against the length of the program, and if the total listed music duration is longer than the program itself, payments can be delayed or withheld.

Q4) How do you create a cue sheet?

Cue sheets can be created in several ways:

Q5) What is the best workflow for ensuring accuracy in cue sheet timings?

Music editors often begin tracking cues from the start of a project, including temporary score, licensed songs, actor performances, and archival clips. Before the final mix, they confirm clearance limitations with supervisors, such as whether a song must end before the credits.

After the mix, editors use tools such as Pro Tools Strip Silence to identify cue regions, but they always refine start and end points manually at the frame level. They may checkerboard music stems, export EDLs, and use software platforms to reduce human error. The ultimate goal is to ensure that every cue is measured accurately so that rights holders are paid correctly.

Q6) How is licensing information gathered and verified for TV and film production?

Music supervisors and coordinators handle licensing by obtaining agreements from labels, publishers, libraries, or composers. At the time licenses are delivered, they request the relevant cue sheet metadata.

Verification is critical. Every name must be spelled correctly, publishers and writers must be matched to their PRO registrations, and splits must be accurate. Supervisors often cross-check with ASCAP, BMI, or PRS repertoire databases. Because writers and publishers can change PRO affiliations, verification is an ongoing process right up until the show or film is released.

Q7) What happens after a cue sheet is submitted to the PRO?

Once submitted, the cue sheet is ingested by the PRO, often in a standardized internal format. The PRO then matches the metadata against its repertoire database, aggregates performance logs (when and where the program aired), and uses that information to allocate royalty payments.

Having ISWC, Tunecodes and ISRC codes included can greatly speed up the matching process, but the most important elements remain accurate titles, composer names, publisher names, and IPI numbers.

Q8) Can cue sheets be corrected after submission?

Yes, but the process can be slow and complicated. Ideally, errors are caught during the broadcaster or studio’s review stage before submission. If mistakes are found later, PROs may require a corrected or replacement cue sheet. Rights holders can also flag errors if they notice missing payments. However, corrections after submission often delay royalties, so accuracy from the start is the best safeguard.

Q9) How should different types of music be listed on a cue sheet?

Q10) How should covers of public domain songs be credited on a cue sheet?

You should include the title, mark the work as Public Domain, and list the arranger. Depending on the PRO, the arranger may be entitled to royalties for the new arrangement.

Q11) Should each cue have a unique title, or can they be grouped together under one title?

Both methods are used. Some composers roll up cues under one title (for example, “Film Title BG Cues”), while others give each cue a unique name. Rolled-up registrations can simplify administration, but unique titles are often more practical for reuse in other productions and for accurate tracking on platforms such as YouTube.

Q12) What happens if a song is unreleased and not registered with a PRO?

Unreleased songs still belong on the cue sheet. If licensing is in place, registration can happen later. In these cases, PROs may temporarily roll cues up under a generic title until registration is complete. Independent artists should be encouraged to register their works quickly to avoid delays in royalty payments.

Q13) Should administrators and publishers both be listed in a cue sheet?

Yes. If the administrator and publisher are different entities, both should be included on the cue sheet to ensure complete and accurate information.

Q14) How are ghost writers or arrangers protected legally?

If ghost writers or arrangers have properly registered their contributions with a PRO, then they are protected. Cue sheets should reflect the splits accurately. In cases of conflict, PROs may investigate and request clarification. Ultimately, contracts and registrations determine payment.

Q15) Do music supervisors ever submit cue sheets directly to PROs?

This depends on the project. On larger studio projects, submission is usually handled by the studio or through a platform. On smaller independent projects, the music supervisor may take responsibility for submitting directly.

Q16) How important are ISWC and ISRC codes?

ISWC and ISRC codes are very useful because they provide unique identifiers for works and recordings. However, they are not always available, especially for new releases. The most critical information remains accurate titles, composer and publisher names, and IPI numbers.

Q17) How should actor performances be managed in cue sheets?

If actors are singing, humming, or whistling, these uses must be included on the cue sheet. Supervisors must confirm that such performances are covered in the actor’s contract and ensure that the melody used is public domain or cleared. If not, Automated Dialogue Replacement (ADR) may be needed to replace the melody.

Q18) How do you handle incidental music in archival footage in cue sheets?

Archival footage with incidental music still requires clearance. If clearance is impossible, production teams may need to scrub or replace the audio to ensure compliance.

Q19) How should foreign writers without a local PRO be managed in cue sheets?

Foreign writers who live in countries without their own PROs should still be listed on the cue sheet. They can join a PRO in another territory, such as BMI, ASCAP, or PRS, to receive payments.

Q20) What are the top best practices for avoiding delayed and disputed royalties?

Conclusion

Cue sheets are one of the most important parts of the music licensing process. They’re the tool that makes sure everyone who created or owns the music in your project gets paid what they deserve.

The main takeaway is: accuracy is everything. Double-check your metadata, keep your timings frame-perfect, and make sure all the writers, publishers, and codes are included. It saves headaches later and keeps royalties flowing to the right people.

So the next time you’re working on a project, treat the cue sheet like it’s as important as the final mix. Because for the people who made the music, it really is.

To learn more about how to handle cue sheets, from cue sheet 101 to best practices, download Orfium’s Cue Sheet Guide for free.

Download Your Cue Sheet Guide

Following the overwhelming success of our “Cue Sheet Essentials” webinar, we returned with a follow-up webinar that dug deeper into advanced cue sheet management and its critical role in effective music rights management. If you’ve been challenged by slow, complex cue sheet processes impacting your revenue and causing unnecessary stress, this is the webinar recording you need to watch.

Attendees joined us for “Level Up Your Cue Sheets: AR and Best Practices,” a free webinar where industry leaders Mark Vermaat of Orfium and Janine Kerr (former VP of Music at FanDuel, Fox Sports, and NBC) shared expert insights for robust cue sheet management and optimized music rights management.

In this recorded session, you’ll learn how to elevate your cue sheet processes, including how to:

Live Audience Questions with Answers From our Experts

  1. I’m working on an indie feature where the director wrote/recorded their own song and put it in the film (the characters in the scene sing along to it on the radio). The director doesn’t have a PRO or publisher—in this case, what should they put in the cue sheet since they don’t have a PRO or publishing information for their song?

The film producer should have an agreement with the director establishing a work-for-hire arrangement, even if it’s for no fee or a nominal amount. If there’s no Performing Rights Organization (PRO) involved, the agreement should include a performance buyout. With a buyout, the performance information isn’t required on the cue sheet. However, it can be included with a note like ‘PRO buyout’ for internal tracking, indicating no payment is needed. Alternatively, if the composer wants backend royalties, they need to quickly register with a PRO to register the song and follow the standard procedure. Please note that in most countries outside the US, a performance buyout is not possible. 

  1. If there is no publisher info always required how do the publishers get paid? Writers often have different publishers from song to song.

Writers frequently have different publishers for various songs, particularly those composing specifically for film and television scores. A writer might work across multiple shows, each with different publishing arrangements. While the necessity of a publisher on cue sheets can vary, consistently including publisher information helps prevent errors. In the US, including the publisher is generally considered essential. This practice ensures accurate payouts, especially since societies often register works directly from the cue sheet. Without publisher details, it may become unclear who should receive royalties.

In scenarios outside the US, some societies rely on pre-existing registrations and might not directly use publisher information from the cue sheet. If a publisher hasn’t registered the work independently, the society might not make a payment, relying instead on matching composer name and title. Nevertheless, especially within the US, consistently providing publisher information is crucial because the cue sheet can be the primary source for a work’s registration in a society’s database.

  1. Does the cue sheet include the ISRC? 

Typically, for US television work, ISRC codes aren’t included unless it’s a promo with an ISCI code. This differs from Europe, where cue sheets often include ISRC codes, even for production library music, due to reporting requirements for European neighboring rights societies. Their validation systems often mandate ISRC codes. The remit of the US neighboring rights society SoundExchange doesn’t include broadcast and streaming media which likely explains the absence of ISRC codes. However, US studios and broadcasters should recognize potential revenue outside the US and register their controlled music to collect those earnings.

  1. Is there an international unique ID for a cue sheet per production, like the ISRC?

There are two main identifiers for audiovisual programs, similar to ISRC for recordings or ISBN for books. One is ISAN (International Standard Audiovisual Number), primarily used in Europe for rights management. The other is EIDR (Entertainment Identifier Registry), more focused on the supply chain but also used by PROs in the US. Both ISAN and EIDR are crucial identifiers for AV content and have online resources for further information. While these identifiers are important, their adoption across the industry is not yet consistent, partly due to different application levels. Increased and widespread use of both ISAN and EIDR would be beneficial.

  1. Music duration vs. program duration is always an issue for PROs – can Soundmouse help with this?

Soundmouse has a setting to disallow the submission of cue sheets when the music duration exceeds the program duration. By default, this is allowed, but the setting can be adjusted to either completely prevent submission or issue a warning. If you need help configuring this, contact the client accounts team.

  1. Is there an association that has the final say over what is required on a cue sheet such as with the publisher information example, and why is there no standard regulation for this?

Human errors can happen when entering track titles, like inputting “60 second theme” instead of the actual title. You can register alternative titles (AKAs) with Performing Rights Organizations (PROs) if necessary. For example, a track named “The Theme Song Title” could also have “60 Second Theme” registered as an AKA.

Different PROs worldwide have varying requirements for cue sheets. These requirements often depend on a few factors:

  1. How will the audio recognition react to live music in the background such as from a scene or theater performance?

As a parallel example, in live sports, background music played in the stadium that is not intended as a feature should not be recognized. Solutions such as Soundmouse often have a function to filter out crowd noise to prevent its detection. The audio originating from the production studio (truck) is what is relevant for cue sheets, whereas ambient background noise is not. It’s advisable for editors/producers/cameras to avoid focusing on instances like a crowd chanting a song, as this could be interpreted as featuring the music, potentially leading to clearance and payment obligations. Claims for unlicensed use can be costly, so avoiding such situations is important.

  1. As a composer, how does switching from one US PRO to another US PRO affect cue sheets that have been previously submitted? Do the cue sheets need to be updated with the new PRO info or does the PRO listed on the cue sheet pass royalties on to the composer’s new PRO?

When a composer switches their PRO affiliation in the US, previously submitted cue sheets are generally not updated with the new PRO information. By the time a cue sheet is submitted, the musical work will likely have already been registered. The PROs manage royalty distribution by maintaining a “chain of title” for the work, allowing them to track and direct payments even if the composer subsequently changes PROs.

However, it’s crucial for the composer to take proactive steps:

The PROs will claim royalties for the songs they control. Once the switch is made, the new PRO will handle this for future earnings.

  1. If my company has composers on staff, where the company will own both writers and publishers share of the work created by the company composers, do we need to credit the composers on the cue sheets?

Typically, composers are a mandatory field for reporting, so the cue sheet will not be accepted by the PRO unless the composer name is included. Please note that most  PROs don’t allow for this model, so be mindful that many composers are not in a position to transfer the copyright to a company if they are members of PROs.

  1. Is there an international unique ID for a production that is captured on the cue sheet so that if you sync globally to a program, that same ID would be submitted by the broadcaster to the European CMO?

This could be ISAN or EIDR (see previous question). In theory, this would be the ideal solution.  In practice, we are still a long way off.

  1. How do you detect visual music?

The best-case scenario is that the song is known about and permission to use it (called clearance) is sorted out before any filming happens. This means the right teams already have all the information they need.

If that doesn’t happen, here are other ways to find out: Problems can be caught when someone is reviewing the list of all the music used (this list is called a cue sheet). Another way is by watching the actual video clip (some services, like Soundmouse, even provide this footage). If anything looks out of place or unclear, someone will need to investigate further.

To avoid issues later on, producers should really talk to the music department before they start filming. Getting official permission to use music should always happen before the cameras roll.

Live events can create unique problems. For instance, if someone unexpectedly starts singing a song, the permission to use that song will need to be obtained after the event has already been broadcast. In such cases, it can help to send a clip to the copyright owners showing how the music was used. This shows it wasn’t a planned use and can make it easier to get the rights sorted out after the event, even though getting permission beforehand is always the better approach. It’s not the best way to do things, but sometimes unexpected uses happen.

Thankfully, having the actual video footage makes this whole process much easier. In the past, someone had to manually watch live events, carefully timing and noting down every single piece of music used. This was an incredibly time-consuming job, especially for long broadcasts.

In the world of music and entertainment, cue sheets play a vital role in ensuring that music creators are properly compensated for their work when their music is used in any audiovisual production. Whether you’re a composer, musician, publisher, broadcaster or part of a production team, understanding cue sheets is essential for navigating the complexities of music licensing and royalty distribution. This essentials guide will provide you with a solid foundation in cue sheet essentials, empowering you to manage your cue sheets effectively to avoid financial losses and possible legal compliance issues.

What is a cue sheet?

A cue sheet is a detailed document that lists all the music and how it was used in a production, such as a film, TV show, video game, podcast, or commercial. Think of it as an ingredient list for all the musical elements that make up the soundtrack. Historically, cue sheets were paper-based, but today, digital spreadsheets and cloud-based platforms are used to improve efficiency and accuracy.

Why do you need a cue sheet?

Cue sheets serve several crucial purposes:

*Performing Rights Organizations (PROs): Organizations like ASCAP, BMI, and SESAC that collect and distribute royalties to their members (composers, publishers, and songwriters).

Who is responsible for cue sheets?

Creating and managing cue sheets is a collaborative effort involving several key players:

Composers & Publishers: 

Why do Composers & Publishers need to complete cue sheets?

What happens if you don’t complete your cue sheets correctly?

Studios and Production Teams: 

Why do Studios & Production Teams need to complete cue sheets?

What happens if you don’t submit cue sheets correctly?

Networks and Broadcasters: 

Why do Networks & Broadcasters need to complete cue sheets?

What happens if you don’t complete and submit cue sheets correctly?

What information do you need to put in a cue sheet?

A cue sheet is a comprehensive record of every musical element incorporated into an audio visual production. To ensure clarity and accuracy, a cue sheet is divided into distinct sections:

Production Details

This section sets the stage by clearly identifying the project. It includes essential information such as the title of the production (film, TV episode, etc.), the production duration, the episode number (if applicable), the production company responsible, the release date and any specific production identifiers (contract number or production number for example). This information helps connect the cue sheet to the correct production, ensuring that the music usage is properly tracked and attributed.

Music Details

This is the heart of the cue sheet, where each piece of music used is meticulously documented. It includes a range of crucial details:

Other Cue Sheet Information

In addition to the core elements, a cue sheet may include supplementary information to provide a more complete picture of the music usage:

By carefully (with attention to details such as spacing and capitalization!) capturing all these details, a cue sheet becomes a comprehensive and reliable record of music usage, ensuring that all rights holders are properly identified and compensated.

The Cue Sheet Lifecycle

Understanding the journey of a cue sheet gives valuable insight into its importance:

  1. Initial Cue Sheet Creation: Begins during pre-production, where the music supervisor or coordinator logs each piece of music used.
  2. Collaboration: Editors, sound mixers, and composers contribute to the cue sheet, adding precise timings and usage details.
  3. Optimization: Cue sheet software streamlines the process, reducing errors and kicking off collaboration on data gathering and cross-checking.
  4. Review: The cue sheet undergoes a thorough review for accuracy and completeness.
  5. Delivery to PROs: The completed cue sheet is sent to the relevant PROs (e.g., ASCAP, BMI, SESAC).
  6. Sharing: Copies are shared with publishers, broadcasters, and other relevant parties.
  7. Analysis: PROs analyze the data and match music usage to their databases.
  8. Calculating Royalties: Royalties are calculated based on the verified information in the cue sheet.
  9. Royalty Delivery: PROs distribute the royalties to the appropriate music creators.

For more insights, watch and hear from seasoned industry experts Sean Novak from NBCUniversal and Mark Vermaat from Orfium:

Cue sheets might seem like just an administrative detail, but they can have a major impact on your projects and revenues. Mismanaged cue sheets can lead to legal issues, missing revenue, and unnecessary headaches.

That’s why we brought in industry experts to share their knowledge and best practices in this informative webinar. And now, you can catch the replay right here! 👇

This webinar is essential viewing for:

What you’ll learn:

Webinar Audience Questions, Answered By Our Experts

What are some red flags studios should look out for when reviewing a cue sheet to ensure it’s complete and accurate before submission?

Tips for Ensuring Cue Sheet Accuracy:

How do you reconcile two pieces of music playing at the same time in a cue sheet?  Like a crossfade?

When two pieces of music overlap in a production (e.g., during a crossfade), cue sheet reporting requires careful consideration. Here’s how to approach it:

Key Considerations:

In essence, reconciling overlapping cues often involves making judgment calls and slight adjustments (carve-outs) to ensure accurate reporting while staying within the program’s total runtime.

Who shares the cue sheets with Publishers?

While cue sheets are primarily submitted to Performing Rights Organizations (PROs), studio and networks that create cue sheets should also share them with publishers, as this is also an important aspect of the process. Here’s a breakdown:

As the cue sheet’s owner, who is ultimately responsible for ensuring its accuracy and obtaining agreement from all relevant parties?

The reporting entity is responsible: The organization that submits the cue sheet to the Performing Rights Organizations (PROs) is ultimately responsible for its accuracy.

Responsibility varies by country:

When a production company owns the publisher’s share of music used in their film/TV series, what are the various options for managing those publishing rights? What factors should they consider when choosing the best approach?

Music publishing administration is specialized: Managing music publishing rights effectively requires expertise. Many companies specialize in providing these services.

Production companies often use external administrators: Even producers, studios, and networks that own music copyrights frequently sign administration deals with dedicated publishing companies. This allows those publishers to:

Distributors and broadcasters don’t handle publishing: Content distributors and broadcasters focus on distribution, not music publishing administration.

Do you have any recommendations for hunting down royalties from the publisher side, when the worst happens and because of data errors/quality, matching via the PROs fails completely?

It can be frustrating when data errors on cue sheets prevent accurate royalty matching and payment. Here’s a recommended approach for publishers to address this issue:

  1. Obtain the Cue Sheet: Request a copy of the cue sheet from the PRO or the production company. This will help you identify any errors related to your music.
  2. Analyze for Errors: Carefully review the cue sheet for any inaccuracies, such as incorrect song titles, composer names, publisher information, or durations.
  3. Contact the Cue Sheet Creator: Reach out to the production company or cue sheet creator and explain the errors you found. Provide clear evidence of the inaccuracies and request corrections.
  4. Work with the PRO: If contacting the cue sheet creator is unsuccessful, contact your PRO (e.g., ASCAP, BMI). They can act as an intermediary and help facilitate communication with the production company.
  5. Persistence is Key: Be persistent in your efforts. Royalty recovery often requires follow-up and continued communication with the relevant parties.
  6. Timely and Accurate Cue Sheets are Crucial: Emphasize the importance of timely and accurate cue sheets to the production company. Explain that these documents are essential for proper royalty distribution and fair compensation for music creators.

Additional Points to Consider:

What is the correct way to report music videos in a cue sheet, and should they be categorized as ‘background’ or ‘visual’?

Disclaimer: This webinar and the Q&A are for informational purposes only and should not be construed as legal advice.


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