Is a Toronto Entertainment Lawyer Right for Your First Art Show?

How Legal Support Can Elevate Your First Art Show

Your first art show is a big deal. You have the work, you have a venue, you might even have buyers lined up. But the real success of the show depends on more than the art on the walls. It often comes down to the fine print behind the scenes.

In a city like Toronto, with galleries, pop-ups and all year cultural events, new artists are under pressure to move quickly. That speed can lead to rushed agreements, unclear promises and confusion about money, copyright and risk. We want to help you see where legal support fits in and when an arts and entertainment lawyer in Toronto can turn a stressful first show into a solid step in your career.

What Makes a Toronto Art Show Legally Risky

Most first-time artist exhibitors are focused on getting a yes from a venue. Once that happens, the details can feel less urgent. That is where problems often start.

Common trouble spots include:

• Handshake deals with venues or curators  

• Vague promises about promotion and media coverage  

• Informal commission arrangements on sales  

• No written plan for damage, loss or late payments  

Toronto has its own added layers. Depending on the type of event, you may be dealing with:

• City rules for pop-up spaces or special events  

• Insurance requirements set by local galleries or landlords  

• Cross-border buyers coming through for festivals and cultural weekends  

If something goes wrong, you do not want to be arguing over what was said. You want clear written terms that protect your work and your income.

Key Contracts Every First-Time Exhibitor Should Understand

Even a small show can involve several different agreements. Understanding what you are signing is just as important as hanging the art straight.

A gallery or venue agreement often covers:

• Who is responsible for marketing, opening reception and day-to-day staffing  

• Who handles set-up and take down, including packing and transport  

• Security and insurance responsibilities while the work is on-site  

• How sales are processed, who collects the money and when you get paid  

Consignment and commission terms should clearly state:

• Commission percentage and who pays any payment processing fees  

• When you are paid after a sale and how refunds are handled  

• Whether the venue can give discounts and how that affects your share  

• Whether the venue can sell prints or reproductions, and for how long  

You may also have collaborations and sponsorships. For example, agreements with photographers, designers, or brands providing products or services. An arts and entertainment lawyer in Toronto can help you:

• Put expectations in writing before money or work change hands  

• Set clear ownership of photos, video or promotional material  

• Avoid surprise obligations that carry on long after the show ends  

Protecting Your Copyright, Brand and Future Income

Many new artists worry that selling a piece means they are giving up all rights to it. In most cases, that is not how copyright works. You usually keep the copyright to your artwork even when the original is sold. This matters if you ever want to create:

• Prints or posters  

• Merchandise like shirts or tote bags  

• Licensing deals for books, album covers or film sets  

You also need to think about image use rights. Venues, media and influencers love to share work. Your agreements can address:

• Whether the venue can use your work in future marketing  

• How you are credited in social media and press  

• Limits on commercial use of photos that show your work  

Then there is your growing brand. Your name, artist logo and taglines can become valuable identifiers over time. For artists planning a long-term career in the Toronto and Canadian art markets, a basic trademark strategy can help protect those identifiers and keep others from trading on your reputation.

When an Arts Entertainment Lawyer in Toronto Is Worth It

Not every art display needs legal support. Hanging a couple of pieces on the wall at a small local café, with a simple one-page agreement, may be lower risk. But as soon as money, publicity and higher stakes enter the picture, legal advice becomes much more advisable to obtain.

It often makes sense to work with a lawyer when:

• You are part of a curated gallery show with formal contracts  

• You are showing at a busy festival, fair or cultural event  

• A company or brand is sponsoring the show or providing funding  

• There is interest in reproductions, licensing or longer-term deals  

For a first art show, an arts and entertainment lawyer in Toronto can help you with:

• Reviewing and marking up gallery and venue contracts  

• Negotiating sales, commission and payment terms  

• Spotting liability and insurance gaps that could leave you exposed  

• Flagging business structure issues that may affect tax and future growth  

If you have a limited budget, it can help to:

• Prioritise the highest-risk agreements, like venue and sales contracts  

• Ask for a focused review of specific sections that worry you  

• Prepare your questions and documents in advance so your time is used well  

Setting up Your Art Career Like a Real Business

At some point, your practice shifts from hobby to business. Regular sales, commissions and repeat exhibitions are clear signs that you are running more than a casual side project.

Some basic business points a lawyer can flag include:

• Whether to operate under your own name or set up a separate entity  

• How to handle partnerships or collectives with other artists  

• The importance of clear records for sales, expenses and commission payouts  

The choices you make around your first show can shape your future options. Fair, clear pricing now can help you build trust with galleries later. Smart contract terms can make it easier to apply for grants, secure representation or license your work down the road. Treating this first show like a business move, as well as a creative milestone, sets a strong foundation.

Your Next Steps Before Opening Night

As your show approaches, a simple pre-opening checklist can keep you organised and reduce stress. Key items often include:

• Gather every agreement related to the show, in one place  

• Confirm how sales will work, how refunds are handled and when you are paid  

• Clarify who is responsible if work is damaged, stolen or lost  

• Confirm what kind of photos and videos are allowed and how they can be used  

• Verify what insurance is in place and whose policy it is  

It is wise to speak with a Toronto arts and entertainment lawyer well before installation day. That way, if there are red flags in your contracts or gaps in protection, there is still time to talk with the venue, adjust terms or make backup plans. At Sanderson Entertainment Law, we focus on helping creative professionals in visual arts treat their shows not just as one-off events, but as building blocks in a long, sustainable career.

Protect Your Creative Work With Experienced Legal Guidance

If you are ready to move your creative career forward, we are here to help you understand your rights and negotiate fair agreements. Work directly with an experienced entertainment lawyer in Toronto at Sanderson Entertainment Law to address contracts, royalties, and collaboration issues with clarity and confidence. Reach out today through our contact page to discuss your project and explore your options.

This post is written for Canadian artists and is based on Canadian law. It is general information only and is not legal advice for your specific situation. 

Toronto Collaboration Agreements: Splits, Credits, and Exit Clauses

Collaboration can make your music stronger, but it can also cause the most significant disputes of your career. When a track takes off and there is no clear agreement, people start arguing about who owns what, who gets paid, and who gets named. That is when friendships, bands, and teams can break down.

In Toronto, we see this often. A group of writers, producers, and featured artists spend late nights in a studio, the song lands on a playlist, streams climb and then a label, publisher, or distributor asks for the paperwork. Handshake deals and DMs do not hold up well when real contracts, copyright ownership, and tax questions arise. This is where clear, written collaboration agreements, by qualified music agreement lawyers can help protect both the music and the relationships.

Stop Losing Friends Over Splits: Why Collab Deals Matter

A typical Toronto session might include bandmates, a producer, a beatmaker, a topliner, and a featured artist working in the same room or trading files online. Everyone throws in ideas. Someone fronts the studio time. Someone else brings their audience. People leave thinking they will sort out the details later.

Then the song goes viral or lands a sync offer and suddenly these key questions arise: Who owns the song and the master, who controls approvals for remixes, syncs and remasters, who gets credited and how and who is allowed to sign with a label or publisher based on this track.

Under Canadian copyright law, rights normally belong to the creator or creators, unless the rights have been clearly assigned or licensed in writing. If all you have are text messages, half-filled split sheets, or a casual social media chat, labels, publishers and platforms may not accept that as adequate proof of rights.

Collaboration agreements sit beside other music deals like:

• Management agreements  

• Producer agreements and record production agreements  

• Publishing contracts like composer agreements and co-publishing agreements  

When these contracts line up, the team knows where revenue flows and who has authority to sign off on deals. It is smart to lock in agreements before year-end shows, grant reports and accounting deadlines turn small issues into more serious problems.

Getting Splits Right Before the Song Blows Up

Many disputes come from mixing up two different rights: the musical work, which covers songwriting and composition and the sound recording, often called the master. You can have one split for songwriting and another split for the master. If that is not written down before release, you risk streaming income, neighbouring rights and publishing royalties getting stuck or misdirected.

Common Toronto collaboration setups include:

• Beatmaker plus topliner, where one creates the track and another writes melody and lyrics  

• Band plus outside producer, who often contributes to the songwriting 

• Featured verses, where a rapper or singer adds a short but important part  

• Remote writers, sending hooks, chords, or lyrics by email or shared sessions  

Tools like split sheets, composer agreements and co-writer agreements help capture the essentials in a useful way. That includes each person’s creative role, percentage shares for both work and master, who can approve licenses and remixes and how disputes are to be handled.

Publishing arrangements depend on clean splits. Publisher single song contracts, co-publishing agreements and administration of music catalogues all rely on accurate, agreed upon numbers. If the splits are inaccurate or incomplete, mechanical licences, synchronization licences and sub-publishing agreements can be delayed or blocked. That can stop your track from being pressed, streamed, synced, or used internationally.

Credits, Managers, and Producers: Protecting Your Reputation

Credits are not just about ego. They affect producer agreements, record production agreements, and future recording agreements. When labels and distributors look at a project, they review who did what. Clear writing and master credits help them understand who to deal with and how.

If collaborators are miscredited or not credited at all, they may:

• Claim breach of contract  

• Demand corrections and amending agreements  

• Seek dispute resolution

Those kinds of credit disputes do not stay isolated to liner notes. They can also slow down:

• Record release schedules  

• Publishing agreements

• Endorsement and commercial tie-in opportunities  

Good paperwork can avoid legal issues arising. When the legal side matches the public-facing credits, it is much easier to grow your name and reputation without constant corrections or disputes.

Exit Clauses, Replacements, and Breakup Plans

Most artists focus on finishing the track, not on what happens if things fall apart later. Exit clauses and clear processes for changes can save a project when relationships shift. Key “what if” scenarios include:

• One member leaves the group and wants to start a new project  

• A collaborator refuses to promote the track or blocks licences   

Exit terms can cover how someone can step away without blocking releases, how income continues or stops for a departing member and how amending agreements can reset splits or roles.

Musical group partnership structures and personal service agreements can also spell out who controls the publishing rights, band name, logos, songs, masters, catalogue, group social media accounts and domain names.

Beyond the Track: Visuals, Videos, and Brand Tie-Ins

A modern record release is rarely just audio. Artwork, photography, video, and branding are tied in from the start. That means often connecting with visual artist and film or TV contracts, such as:

• Art dealers for cover art and gallery pieces  

• Copyright licences for logos or illustrations  

• Photography needing model releases for band members or extras  

• Music video production using performer or actor agreements and location releases  

When these agreements are obtained, you have the right to:

• Use artwork on covers, vinyl, and digital platforms  

• Recut videos for short clips, social media and ad campaigns  

• Include visuals in sync pitches and live show visuals  

Documentation in writing also supports endorsements and commercial tie-ins, merchandising agreements for clothing, posters, merch bundles and trademark registration to protect band names, logos, or slogans. Copyright registration, non-disclosure agreements and confidentiality clauses help keep unreleased tracks, artwork and brand plans safe while you talk with publishers, distributors, managers, or potential investors in the Toronto entertainment market.

Lock in Your Next Collaboration Before Release Day

Before the next release cycle, it is worth reviewing your catalogue. Many artists discover gaps such as:

• Songs with no signed collaboration agreements  

• Producer agreements that do not match current credits  

• Co-writer or composer agreements that never got fully signed  

• Publishing and recording deals that assume splits that are no longer accurate 

A focused contract review with experienced music agreement lawyers can connect the dots between:

• Collaboration and co-writer deals  

• Producer and recording agreements  

• Publishing and administration contracts  

• Live performance and merchandising arrangements  

By reviewing these agreements in advance, you protect both your revenue and your relationships. Clear contracts, thoughtful amending agreements, and, when needed, structured mediations give Toronto creators confidence to create, release and scale their careers without losing friends or control of their work.

Protect Your Music Career With The Right Legal Support

If you are negotiating a recording, publishing, or collaboration deal, our experienced music agreement lawyers can help you understand the terms and protect your rights. At Sanderson Entertainment Law, we work closely with artists, producers and music businesses professionals to create practical agreements. Reach out today to discuss your situation and get clear advice tailored to your goals, or contact us to book a consultation.

This post is written for Canadian artists and is based on Canadian law. It is general information only and is not legal advice for your specific situation.

Beyond the Band: Incorporation Decisions with a Toronto Entertainment Lawyer

Set Your Creative Business up for Long-Term Success

Turning creative momentum into a real business is a big step. When your band, production company, or arts collective starts getting steady work, it is no longer just friends creating for fun. It becomes something that needs structure, planning and protection.

Picture a Toronto band that has had a strong late summer festival run. There are guarantees coming in, merch is finally selling and a few sync emails sit in the inbox. Year-end is on the horizon, and questions pop up: Who owns what? How do we split things fairly? How will this all look at tax time?

That is where incorporation comes in. For musicians, filmmakers, producers, visual artists and writers, choosing the best business structure can protect personal assets, clarify ownership and make tax season less stressful. As an entertainment lawyer in Toronto, this moment arises often. In this article, we outline when to consider incorporation, how it affects bandmates and collaborators and the practical steps to move from an informal group to a structured business.

When a Band Becomes a Business

Many creative projects start as casual sessions in a jam space or small studio. At some point, the signs start to change. You might notice things like:

• Regular paid gigs or touring offers  

• Sync or licensing opportunities for film, TV, games, or ads  

• Grant or investor interest  

• Consistent income from streaming

• Substantial merch sales at shows or online

When money is coming in on a steady basis, you are no longer seen as a simple hobby in the eyes of the Canada Revenue Agency. You are running a business, even if you have not called it that yet. That shift matters for tax reporting, deductions, and how you handle losses and profits.

Industry partners often expect that same shift. Labels, publishers, broadcasters, and some grant funding agencies prefer to deal with corporations. It can make contracts cleaner and help them know exactly who they are dealing with. As annual reporting and funding cycles come around, having a corporation in place can help your project look organized and ready.

Choosing a Business Structure for Creatives

There are a few main ways to set up a creative business:

• Sole proprietorship  

• Partnership  

• Corporation

A sole proprietorship is simple, but puts all the risk and income under one person. This can work for a solo composer or writer, at least at the start. Partnerships are common when two or more people work together in common with a view to making a profit. The issue is that partners can share personal liability, even if only one partner caused the problem.

A corporation is its own legal person. It can sign contracts, own assets and earn income. For bands, production companies, or creative collectives, incorporation often provides:

• Limited liability protection for personal assets  

• A clear structure for rights and revenue  

• A process for adding or removing members

Shares can be set up to match how your group works in real life. For example, you might tie share classes or voting rights to:

• Band roles and workload  

• Songwriting or composing credits  

• Producer or director ownership  

• Administrative or business duties

An entertainment lawyer in Toronto can help build a structure that fits how you create and earn. There is also the choice between provincial and federal incorporation. For artists based in Ontario but working across Canada and abroad, touring and streaming income may come from many places. The right choice may depend on where you perform, where your partners are based, and how you plan to grow.

Protecting Rights, Revenue, and Relationships

As your project grows, the value often sits in rights and branding. That might include:

• Songs and compositions  

• Master recordings  

• Film and TV rights  

• Scripts and screenplays  

• Artwork and designs  

• Band or project name and logo

Incorporation can help collect these rights under one owner: the corporation. This reduces guesswork later about who owns what. It also makes it easier to license rights, sign with labels or publishers, or grant specific rights to funders and broadcasters.

Share structures and shareholder agreements are key tools here. With clear contracts, you can plan for:

• Lineup changes in a band  

• A director or producer stepping away  

• Side projects that share some members  

• A member selling their interest or being bought out

Without a plan, these moments can cause tension or even end a project. With a clear structure and agreements, everyone knows what happens if someone leaves or if the project brings in a new partner.

It is also smart to line up your corporate documents with other agreements you already have or expect to sign. That can include band agreements, producer agreements, management contracts, and publishing or sync deals. Aligning these pieces helps avoid conflicts between contracts and makes sure the company can carry on business even if members change.

Tax, Funding, and Year-End Planning

Many creatives start thinking about incorporation as tax season approaches. A corporation can open up planning options, such as:

• Different ways to pay yourself, like salary or dividends  

• Possible income splitting with family members, in some cases  

• Claiming business expenses inside the company  

• Retaining income within the corporation

These choices come with rules and should always be made with both qualified legal and accounting advice. An entertainment-focused accountant can work with a lawyer to structure your income from festivals, tours, releases, and licensing into a plan that makes sense for you.

Incorporation also matters for funding and industry programs. Some grants, co-production deals and broadcaster or distributor programs look more closely at incorporated entities. Being set up as a corporation before these programs open can help you move quickly when applications or deal opportunities arrive.

From Jam Space to Incorporated Company

So how do you move from an informal group to an incorporated creative business? A typical process might look like this:

• Choose a business name and check availability  

• Decide on provincial or federal incorporation  

• Draft and file the articles of incorporation  

• Set up the share structure and initial shareholders  

• Prepare corporate records and resolutions  

• Put key agreements in place, like a shareholder or band agreement

A strong support team makes this smoother. For many artists, that team includes:

• An entertainment lawyer  

• An accountant familiar with arts and entertainment income  

• Sometimes a business manager or financial advisor

To get ready, it can help to work through this short checklist:

• Review current contracts and any offers on the table  

• List all revenue streams, including live, digital, merch, and licensing  

• Talk through roles and expectations with bandmates or collaborators  

• Note upcoming funding or application deadlines  

• Book time with professional advisors to discuss incorporation options

Taking these steps before year-end can set your creative work up for a stronger, more organized next phase in the new year.

Protect Your Creative Work With Experienced Legal Guidance

If you are navigating contracts, rights management or complex industry relationships, we are ready to help you move forward with confidence. Speak with an experienced Sanderson Entertainment Law team member to understand your options and avoid costly mistakes. We will review your situation, clarify your legal position and help you put practical protections in place. To schedule a consultation, contact us today.

This post is written for Canadian artists and is based on Canadian law. It is general information only and is not legal advice for your specific situation.  

When Film Lawyers in Toronto Should Review Your Script

Protect Your Script Before Cameras Roll

Obtaining a legal review of your script at the right time can save you from a lot of stress and legal issues later. Such legal review can prevent last-minute rewrites, production delays and changes you never wanted to make. It can also make funders, broadcasters, and distributors more comfortable saying yes to your project.

As a Toronto entertainment law firm that works with film professionals, we see how timing can affect everything. Financing cycles, festival deadlines and broadcaster timelines all push projects toward tight fall and winter production schedules. Knowing when film lawyers in Toronto should review your script helps you plan better and keep your project moving.

In this post, we walk through the key points where legal review makes sense, from an early solid draft to pre-production and into contracts and credits. You will see where legal input can protect your story, your team and your budget, without shutting down your creative process.

First Draft Vs Final Draft: When Legal Review Starts to Matter

Your script does not need to be perfect before a lawyer can look at it. It should be “legally reviewable,” which usually means:

• The core story is clear  

• Main characters are defined  

• Settings are mostly stable  

• The main themes are set  

Dialogue can still change. Scenes can move around. What matters is that the bones of the script are in place so legal issues can be spotted early.

For some projects, very early legal input is helpful, especially when you are working on:

• Biopics or stories about real people  

• Projects based on public figures or well-known events  

• Stories clearly inspired by real events in Toronto or other real cities  

In these cases, waiting until the “final draft” can be risky. You may discover defamation or privacy issues only after you have locked the story, attached talent and prepared budgets. Early legal review can flag high-risk choices so you can adjust before you fall in love with details that are legally hard to defend.

It is also important to keep the roles clear. Creative editing shapes story, tone and character arcs. Legal vetting looks for things like defamation, privacy concerns, and obvious copyright problems. When you bring in film lawyers in Toronto at the right draft stage, you protect yourself from legal trouble while still leaving lots of room for creative change.

Scripts Based on Real People, Places, and Events

Any time your script is close to real life, risk goes up. That does not mean you cannot tell bold stories. It just means you should understand where the legal lines might be.

Some common risk areas include:

• Defamation, where a character clearly resembles a real person and is shown in a false and damaging way  

• Misappropriation of personality, where someone’s identity or image is used for commercial gain without permission  

• Breach of privacy, especially in intimate or sensitive storylines based on private lives  

• Misleading portrayals tied to real businesses, landmarks, or neighbourhoods  

Real brands, artworks and music in your script can also create issues. A scene that casually shows a logo, drops song lyrics, or features a painting on the wall can trigger clearance needs later. What seems small on the page can become a big legal and production task.

A Toronto entertainment lawyer can help you decide:

• Whether name changes or composite characters are enough distance from reality  

• When you should add or strengthen disclaimers  

• When you need formal life rights, location agreements, or releases  

By reviewing your script before you lock in locations or approach real businesses, you give yourself more options. You can adjust characters, tweak settings, or rework references in ways that still serve your story but lower legal risk.

Adapting Books, Podcasts, and Online Content

If you are adapting existing work, legal review is critical before you put serious money or time into development. This includes:

• Novels and memoirs  

• Podcasts and radio series  

• Graphic novels and webcomics  

• Online series, blogs, and long-form posts  

The key idea here is “chain of title.” You need to know who actually owns the rights, and what they are allowed to give you. That can be affected by:

• Earlier publishing or production agreements  

• Co-authors or collaborators  

• Underlying material inside the work itself  

If the rights ownership is not clear, it can deter funders and distributors later. Contracts may look clean, but if someone else has a hidden interest, your project can stall just when you want to move forward.

Trouble often shows up in fringe areas, such as:

• Fan fiction that builds on a popular franchise  

• “Inspired by” stories pulled from social media posts or threads  

• Older works that might or might not be in the public domain  

Film lawyers in Toronto can help assess these sources, look at any existing contracts and build adaptation or option agreements that match how you plan to use the work. Getting this done early can make your script far more attractive to partners who need legal clarity before committing.

Pre-Production Deadlines: Legal Checks Before You Lock the Budget

Once your script is mostly set and you are thinking about schedules, casting and locations, legal review becomes more time sensitive. Before you lock the budget you should know which script elements will be expensive or hard to clear.

A legal review at this stage can flag things like:

• Popular songs that will likely need licences  

• Frequent or central use of brand name products  

• Recognizable artworks, statues, or murals  

• Stunts, safety concerns, or risky activities  

• Use of minors or sensitive subject matter  

With this information, you can choose to change the script, swap out references, or plan for the extra cost. It is much cheaper to re-write a scene now, than to rebuild it on set because you cannot clear what you planned to shoot.

For Canadian projects, there is also the link between your script, legal review and the expectations of broadcasters, funders and distributors. A script that has been looked at by film lawyers in Toronto can better support:

• Funding applications that ask about rights and clearances  

• Errors and omissions insurance, which often needs comfort on legal risk  

• Broadcaster content standards, especially for TV or streaming projects  

Getting these checks done before pre-production begins gives you a stronger footing when you are finalizing deals and timelines.

Scripts Moving From Page to Screen: Contracts and Credits

Once your script is moving toward production, it stops being just a creative document and starts guiding contracts. A legally vetted script helps shape clear agreements with writers, directors, and other key creatives.

Some areas where script and contracts meet are:

• Credit allocation, including “created by,” “written by,” and “story by” credits  

• Future use of characters, worlds, and potential spin-offs or sequels  

• Rights to unused material, drafts, and cut scenes  

As workshops, table reads and rehearsals happen, new material often gets created. Jokes, lines and even whole scenes can be added by actors, directors, or other team members. The script, and how it evolves, connects to whether someone is an employee or an independent contractor and what rights they may keep in their contributions.

Film lawyers in Toronto can help line up your script, your contracts and your marketing plans so they support each other. That reduces the chance of disputes later over creative control, editing rights, or approvals once you are in post-production and getting ready to promote the project.

Make Your Script Legally Shoot-Ready

Knowing when to bring in an entertainment lawyer makes the process smoother and less stressful. In short, it is time to get legal input when:

• Your story, main characters, and settings are mostly stable  

• You are using real people, businesses, events, or landmarks  

• You are adapting books, podcasts, or online content  

• You are setting your budget and schedule for pre-production  

• You are approaching financing, insurance, or broadcaster deadlines  

To prepare for an efficient review, it helps to:

• Keep a list of names, brands, music, artwork and real stories in your script  

• Note where characters or places are based on real people or locations  

• Save earlier drafts and key notes so context is clear  

• Flag any scenes you are already concerned might be sensitive or risky  

Taking these steps early can make your script stronger both creatively and legally. It also puts your production in a better position when cameras start to roll, whether you are shooting in Toronto or elsewhere. Sanderson Entertainment Law works with film professionals to review scripts, clear rights, and support contracts so that the story you want to tell can reach the screen with fewer unexpected legal problems.

Protect Your Creative Work With Experienced Legal Guidance

If you are developing a film, television, or digital media project, our team at Sanderson Entertainment Law is ready to help you navigate the legal details with confidence. Work with trusted film lawyers in Toronto who understand the realities of the Canadian entertainment industry. We will review your contracts, protect your rights, and support you from early development through distribution. To discuss your project and next steps, please contact us today.

This post is written for Canadian artists and is based on Canadian law. It is general information only and is not legal advice for your specific situation.