Copyright lawyer in Bucharest (authors’ rights, licensing, online content takedown)

In copyright matters, the distance between “I created this” and “I can prove it and stop unauthorised use” is usually evidence and speed. Without a clean record of what was created, when it was created, in which version, where it was published and who copied it, infringement becomes normalised, content multiplies and the damage becomes harder to control. Online, the problem grows quickly: a photo, video, text, graphic, course, creative logo element, script or software component can be copied, reposted, monetised and moved to other accounts before you manage to react.

This page explains, in a clear and practical format, how I can help you protect and enforce copyright and authors’ rights: from evidence structuring, rights audits, contracts, licences and assignments to notices, platform takedowns, negotiations and litigation where that route is efficient. The objective is not simply to produce a legal reaction, but to choose a useful one: stop the infringement, preserve evidence, recover what can realistically be recovered and create a clear framework for future uses.

In practice, copyright is relevant for creators, photographers, visual artists, musicians, authors, journalists, bloggers, podcasters, influencers, marketing companies, agencies, startups, software developers, platforms, brands, freelancers and companies commissioning creative content. Problems appear especially when it is unclear who owns the rights, what was licensed, what was assigned, what may be reused, what remains with the author, what may be shown in a portfolio and what happens if a collaboration stops.

The information below is general and does not replace legal advice on a specific matter. In copyright files, details in the documents, source files, contributions, contracts, publication history and actual use can change the correct strategy. For a first review, send the work or content, evidence of creation, infringement links, relevant screenshots and the contracts or correspondence explaining the relationship between the parties.

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In 30 seconds: how I can help

Useful copyright assistance is not only about sending an aggressive notice. Sometimes the best first step is evidence preservation and a fast takedown. In other situations, a licence negotiation, a contract clarification, a cease-and-desist letter or court action is more effective. Before reacting, we need to establish which right you have, what evidence exists, who is infringing, where the infringement appears, how urgent the harm is and what result you actually need.

For the main English service page in this area, see Copyright lawyer in Bucharest: authors’ rights, licensing and online content takedown. For industrial property matters that often overlap with copyright, see Industrial property lawyer in Bucharest: trademarks, designs and patents.

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Practical working principles

1. Evidence first. Before any step, we identify which documents, screenshots, source files, metadata and communications must be preserved, so they are not lost and cannot be easily disputed later.
2. Choose the right tool. Sometimes a notice and fast takedown solve the issue. Sometimes the correct route is damages, injunction, negotiation, licence or court action.
3. Good contracts prevent disputes. In commissioned creative work, marketing, software, photography, video and social-media content, conflict often starts with unclear clauses. We clarify them before they become expensive.
4. Do not confuse copyright with trademarks or designs. A photograph, text or software file is assessed differently from a brand name, registered logo or industrial design. Sometimes the right strategy combines several IP tools.
5. The response must be proportionate. Not every infringement justifies litigation. Sometimes the goal is fast removal. In other cases, the goal is compensation, deterrence or public clarification of rights.
6. The outcome must be implementable. The objective is stopping unauthorised use, removing content, recovering damage where efficient and creating a clear framework for future use.
7. The position must withstand counter-notices. In platform procedures, an incomplete notice may be reversed. Evidence and wording should therefore be prepared carefully from the start.

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What copyright commonly protects in practice

Most practical copyright files involve digital content and commercial creative work. Each case depends on facts and documents, but the discussion usually concerns works expressed in concrete form: text, images, photographs, video, music, graphics, software, educational materials, campaigns or complex creative assets. An abstract idea, general style or inspiration is not protected in the same way as the concrete form of the work. The first step is therefore to identify precisely what protectable content exists.

• texts, articles, scripts, books, guides, educational materials, courses and presentations
• photography, video, graphics, layouts, marketing materials, banners, illustrations and visual assets
• music, voice-over, podcasts, audio materials, performances and neighbouring rights
• software, mobile apps, source code, object code, documentation and preparatory materials
• websites, creative digital components, interfaces and original structures, depending on contribution
• content published on YouTube, TikTok, Instagram, Facebook, marketplaces, streaming platforms and newsletters
• brand campaigns, creative packages, launch materials, advertising content and influencer content
• adaptations, translations, derivative materials and compilations, where protection requirements are met

For a practical introduction to copyright for online creators, see Copyright for online creators: YouTube, TikTok, blogs and podcasts. For a broader IP overview, see How to really protect your intellectual property rights in Romania.

Evidence of authorship, priority and infringement

In a copyright dispute, the question “who created it?” quickly becomes “what can you prove?”. It is useful to have source files, drafts, edit history, metadata, emails, briefs, approvals, invoices, original posts, indexed links, backups and any document showing the evolution of the work. The clearer the evidence, the stronger the notice, negotiation or litigation position.

Evidence of infringement must be preserved quickly. Online content can be deleted, modified, moved to another domain, reposted on another account or hidden behind a platform. Simple screenshots may help, but in important files a more robust record should be considered: dated captures, links, archiving, notarial or technical records where useful, metadata, publication history and comparison between original and copy. For repeated infringements, the pattern should be documented, not only one isolated episode.

• source files: PSD, AI, RAW, video projects, source code, audio files, drafts and intermediate versions
• metadata, edit history, commits, exports, backups and creation dates
• emails, chats, briefs, orders, approvals, deliveries and invoices
• original links, posts, newsletters, published pages, campaign materials and archived versions
• screenshots of infringement with date, URL, apparent author, platform and commercial context
• evidence of monetisation, traffic, sales or economic effect of unauthorised use
• correspondence with the user, platform, host or intermediaries

Infringement: notice, takedown, negotiation and litigation

Not all infringements should be handled the same way. If the objective is immediate removal, a takedown procedure may be more effective than a long notice. If the user is a commercial partner or former client, a notice proposing licensing or compensation may be useful. If the infringement is serious, repeated or profitable, escalation to court may be necessary, including interim measures.

For online infringement, see Online copyright infringement in Romania: legal options for foreign creators. For photos and images, see Protecting photos and images online in Romania.

1) Evidence preservation and fast assessment

We begin with a legal snapshot of the infringement: what content is involved, where it appears, since when, who uses it, what profit or advantage is obtained and how it compares with the original. Before any message is sent to the user, we check whether the notice may cause the evidence to disappear. Sometimes the first useful step is evidence preservation, not immediate confrontation.

• identifying the original work and the copied version
• comparing copied elements: text, image, structure, composition, code, sound or video
• screenshots, archiving and documentation of links
• identifying the account holder, domain, platform or company
• assessing urgency: monetisation, active campaign, advertising, reputation or loss of exclusivity

2) Cease-and-desist, removal and negotiation

A good notice is not just a threat. It should identify the right invoked, the original content, the infringement, the specific demand and the deadline. Depending on the case, the demand may be cessation, removal, correct attribution, retroactive licence, compensation, public clarification or guarantees that the infringement will not repeat.

• notices to users, companies, agencies, brands, publishers or producers
• requests for cessation, removal, correction, licensing or compensation
• negotiation: licence, acknowledgement, damages, coexistence or withdrawal
• strategy if the infringement continues, expands or moves to other platforms
• preparing a position that can later be used in litigation

3) Platform takedowns and content removal

When the main goal is to stop the use quickly, we use platform procedures and prepare notices so they are complete and consistent with the evidence. Platforms may request identification of the protected work, the original link, the infringing link, declarations regarding rights ownership and contact data. An incomplete notice can be rejected or may allow a credible counter-notice.

For blocked or stolen channels, see Your YouTube or TikTok channel was shut down or stolen.

• preparing notices for platforms, hosts, marketplaces or social networks
• checking the difference between copyright, trademark, image rights, reputation and terms-of-service violations
• responding to counter-notices or rejections
• monitoring reposts on alternative accounts or domains
• documenting the effect of the takedown for later negotiation or litigation

4) Litigation and damages where it is worth it

Litigation should be considered where the infringement is serious, repeated, commercial, where the damage is relevant or where notices do not work. In court, the right, the infringement, the scope of use and the damage must be proved. Sometimes an interim measure is useful for fast cessation. In other cases, the main goal is damages, publication of the judgment, prohibition of future use or a future licence.

For litigation strategy examples, see How a music artist can defend copyright in Romania, Defending music copyright on appeal in Romania and Cross-border IP litigation in Romania for foreign rights holders.

• claims to stop infringement and prohibit further use
• interim measures where there is urgency or risk of hard-to-repair harm
• damages and recovery of loss where there is evidence and economic efficiency
• technical, music, software, graphic or valuation expert reports where needed
• defence where you received a notice or claim for alleged infringement
• negotiation in parallel with litigation where a commercial solution becomes more efficient

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Creative contracts: licences, assignments and collaborations

In creative collaborations, conflict often appears because nobody clearly defined who owns the rights, what is assigned, what is licensed, what remains with the author, what may be reused and what happens if the project stops. Wording such as “all rights” or “the client owns the content” may be insufficient or unbalanced if it does not clarify term, territory, channels, exclusivity, remuneration, deliverables, source materials and moral rights.

For creators, influencers and performers, see Assignment and licence agreements for influencers and creators. For licensing and franchising, see Licensing and franchising IP in Romania for brands.

• licences: exclusivity, territory, term, channels, royalties, revocation and sublicensing
• assignments: subject matter, guarantees, limits, delivery, payments, conditions and liability
• creator contracts: deliverables, approvals, reuse, portfolio, modifications and moral rights
• agency contracts: ownership, rights over the concept, source materials and subcontractors
• campaign contracts: use in social media, ads, outdoor, TV, landing pages and marketplaces
• clauses for termination of collaboration and use of materials after project completion
• confidentiality, know-how, non-compete and protection of unpublished materials

Software, mobile apps and commissioned development

Software raises special issues. It is not enough to establish who paid for development. The parties must clarify who owns the code, which libraries were used, what open-source licences exist, who may modify the application, who may reuse components, what is delivered at the end and what happens if the developer leaves or the project is interrupted.

In software projects, evidence may include repositories, commits, technical specifications, documentation, tasks, messages, versions, server access, credentials, designs, databases and preparatory materials. For this area, see Protecting software and mobile apps in Romania and the service page IT and tech disputes: SaaS, outsourcing, software development, escrow and IP.

• legal audit for apps, websites, platforms, plugins, themes, interfaces and documentation
• contracts with developers, freelancers, agencies, co-founders or internal teams
• clauses regarding source code, preparatory materials, documentation, access and handover
• review of open-source licences and use restrictions
• strategy where a developer refuses handover or uses code in another project
• defence where infringement of software copyright is alleged

Photos, video, visual materials and social-media content

Photos, video materials and graphics are among the most frequently copied types of content. The issue appears in campaigns, websites, marketplaces, articles, advertising, social-media posts and presentation materials. Sometimes the user believes that “it was on the internet”, that mentioning the author is enough or that partial modification solves the problem. In reality, each case is checked based on rights, licence, source, context and actual use.

• preserving evidence of the original photo or video
• analysing the licence or permission invoked by the user
• notices and takedowns for websites, platforms, marketplaces and social-media accounts
• approximate damage and licence-fee assessment
• defence where you used visual content and received a notice
• contracts for photo shoots, video production, campaigns and portfolio rights

Digital content, brands, income and tax coordination

Copyright is not only a protection issue. It can also be a monetisation, tax, accounting and contracting issue. Creators and companies may receive income from licences, assignments, digital content, courses, video materials, music, photography, software, affiliate projects, brand collaborations or franchise structures. The way the contract is drafted may influence not only the rights, but also income reporting and audit risk.

For the tax side, see Income from copyrights, trademarks and digital content in Romania. For trademarks, see Registered trademarks in Romania and the EU. For online creators and tax audits, see ANAF tax audits of influencers and content creators.

• monetisation contracts for creators, influencers, artists and digital entrepreneurs
• licences for brands, educational content, photo-video materials, campaigns and software
• clauses on remuneration, sales reporting, royalties and audit rights
• separating copyright from trademark, image rights, reputation and unfair competition
• coordination with tax matters where income is relevant or recurring

Who owns the work: author, client, agency, producer or company?

One of the most frequent sources of conflict is the assumption that payment automatically means complete transfer of rights. In many collaborations, the client believes it owns everything because it paid. The creator believes only a limited use was granted. The agency may claim rights over the concept. The freelancer may claim source materials. The company may argue that the employee or contractor created the work for its business. Without clear clauses, conflict becomes predictable.

For a narrative explanation of this issue, see Who really owns a story?. For music and performance-focused rights, see IP protection for performing artists and musicians in Romania and How musicians protect copyright and royalties in Romania.

• analysis of each person’s contribution to the work
• review of contract, briefs, payments, deliverables and approvals
• distinguishing assignment, licence, commission, collaboration and mere permission
• clarifying rights over source materials, unpublished versions and concepts
• negotiation strategy where the business relationship should be preserved
• litigation or notice where use clearly exceeds the rights granted

AI, generated content and copyright risks

AI tools add a new layer to copyright files. The relevant question is not only whether a tool produced a piece of content, but what inputs were used, who selected and edited the output, what contractual terms apply, whether training or output raises copyright issues, and how the material will be used commercially. Companies and creators should also check whether their own works are being used as inputs, references or datasets without permission.

For a broader technology and copyright context, see The EU AI Act, copyright and data protection: what it means for companies and developers in Romania. The practical point is simple: where AI-generated or AI-assisted content is used commercially, contracts, evidence, source records and platform terms should be checked before disputes arise.

• review of AI-assisted content workflows and source materials
• contract clauses on AI use, training restrictions, originality and warranties
• risk analysis where AI output resembles third-party content
• evidence strategy where your works are copied, scraped or used without permission
• coordination with data protection, trade secrets and platform terms where relevant

You received a copyright notice: how to respond

If you received a notice alleging copyright infringement, the first step is not to deny everything automatically and not to delete everything without analysis. We need to check who sent the notice, which right is invoked, which content is identified, whether a licence or exception may apply, what you actually used and what risk exists. Sometimes the notice is justified and should be negotiated. Other times it is exaggerated, incomplete or used as commercial pressure.

• checking the alleged rights holder and the right invoked
• analysing the content used and the source from which it was obtained
• checking licence, contract, exception or permission available
• risk assessment: takedown, litigation, damages, account block and reputation
• reasoned response, negotiation, controlled removal or counter-notice where appropriate
• internal measures to avoid repeating the problem

Foreign creators and rights holders enforcing copyright in Romania

Many copyright problems connected to Romania involve foreign creators or foreign companies. The author may live abroad, the platform may be international, the infringing user may be in Romania, the content may be hosted elsewhere and the commercial impact may be spread across several markets. In these situations, the practical question is not only whether copyright exists, but where action is efficient, which platform procedure is fastest, which Romanian legal tools are available and how Romanian steps fit into the wider enforcement strategy.

Romania is an EU Member State, which means that Romanian copyright enforcement operates within a European framework. For a foreign rights holder, that usually helps with conceptual alignment, but it does not remove the need to build a local evidence file. Romanian proceedings still depend on documents, translations where needed, proof of authorship, proof of ownership or licence, proof of infringement and a clear explanation of the practical harm caused by the unauthorised use.

Where a foreign creator is involved, one of the first steps is to clarify standing: who may act, in what capacity and based on which documents. The author, publisher, exclusive licensee, production company, label, agency, platform partner or corporate rights holder may not all have the same procedural position. If the contract chain is unclear, enforcement becomes slower and easier to challenge. This is why cross-border files often start with a rights-chain audit before a notice or court step is sent.

• reviewing authorship, assignment, licence and representation documents
• checking whether the Romanian use is commercial, repeated, localised or connected to a Romanian entity
• preparing evidence that can be understood by Romanian platforms, courts or counterparties
• coordinating Romanian action with EU platform tools, foreign counsel or group IP teams
• deciding between platform takedown, cease-and-desist, negotiated licence, interim measures or litigation
• preparing translations and powers of attorney where formal action is needed

Platform strategy: why a takedown is not just a form

Platform procedures look simple because they are often presented as online forms. In practice, the quality of the submission matters. A weak takedown may be ignored, rejected or reversed. A strong takedown links the original work, the infringing content, the rights holder, the legal basis and the requested action in a way that is easy for the platform to process and difficult for the infringer to neutralise.

The platform strategy also depends on the objective. If the content is harming a launch campaign, speed is the priority. If the infringement is part of a broader commercial dispute, the takedown should not destroy evidence needed later. If the infringer is using mirror accounts, the response should include monitoring and repeat enforcement. If the platform operates outside Romania, the local Romanian route may still be useful against the user, company, reseller or commercial beneficiary.

Sometimes the platform issue is not a classic copyright takedown. It may involve impersonation, brand misuse, misleading accounts, fake stores, unfair competition, breach of marketplace rules, hacked channels or disputes over account ownership. In those cases, the copyright argument may need to be combined with trademark, unfair competition, contractual or data-protection arguments. The correct framing can determine whether the platform acts quickly or sends a generic refusal.

• identifying the correct platform category: copyright, trademark, impersonation, privacy, fraud or terms violation
• preparing a concise but evidence-based takedown request
• preserving evidence before the platform removes or hides the content
• tracking repeat uploads, mirror accounts and new URLs
• responding to counter-notices, appeals or platform requests for additional proof
• deciding when platform action is enough and when legal action against the user is necessary

Business collaborations: agencies, brands, campaigns and commissioned content

Commercial copyright disputes often arise not between strangers, but inside a business relationship: a brand and an influencer, a client and an agency, a photographer and a company, a software developer and a startup, a production house and a performer, a designer and a marketplace seller. The problem is rarely that nobody discussed the content. The problem is that the parties discussed business deliverables, but did not clearly discuss rights.

For example, a brand may commission a campaign and later reuse the materials in paid advertising, outdoor, packaging, marketplace listings or other countries. The creator may have priced only a limited social-media campaign. An agency may reuse a concept for another client. A company may ask for source files that were never included in the agreed price. A freelancer may publish the work in a portfolio, while the client considers the project confidential. These issues should be solved in the contract before the campaign goes live.

A good creative contract should not be written only for the moment of delivery. It should also cover later uses: renewals, extensions, paid media, derivatives, modifications, localisation, translations, source materials, subcontractors, moral-rights issues, exclusivity, approvals, deadlines and what happens if payment is delayed. When these clauses are absent, the dispute becomes a reconstruction exercise based on emails, invoices, drafts and commercial habits.

• campaign contracts for brands, creators, agencies and production teams
• clear rules for organic posting, paid ads, whitelisting, boosting and reposting
• clauses for territory, duration, exclusivity and platform-specific use
• source-file delivery and project handover clauses
• portfolio, confidentiality and publication-approval clauses
• rules for derivative works, edits, translations, localisation and future adaptations

Preventive copyright system for companies and creators

For creators and companies that publish content regularly, copyright protection should not be handled only after an infringement. A simple internal system can prevent many problems: naming files consistently, keeping drafts, recording approvals, storing contracts, documenting licences, marking usage limits and preserving publication records. The goal is not bureaucracy. The goal is to be able to prove quickly what you own, what you licensed and what others are not allowed to do.

For companies, the internal system should answer practical questions. Who is allowed to download stock images? Who checks licences? Where are creator contracts stored? Which materials may be reused in ads? Are source files owned or only licensed? Can old campaign materials be reused after the licence term? Are employees and contractors assigning rights correctly? Are AI tools allowed in the workflow? Who approves publication of third-party content?

For creators, the system should protect both evidence and business value. It is useful to keep original project files, export versions, publication timestamps, contracts, invoices, performance data, usage approvals and a list of licences granted. This helps not only in disputes, but also in negotiations, brand collaborations, audits, investment discussions and long-term monetisation.

• content register for important works and campaigns
• template clauses for licences, assignments and commissioned work
• evidence folders for source files, drafts, exports, metadata and approvals
• internal checklist before publishing third-party content
• platform and account access rules for monetised channels
• periodic review of recurring licences and expiring usage rights

Typical situations where it makes sense to talk

• your content is copied on websites, social media, marketplaces or video platforms
• you have a dispute with a client, agency, freelancer, developer, producer or co-founder over rights in the work
• you want to license content: brand assets, course, photography, video, software, graphics, text or music
• you received a notice alleging infringement and need a response strategy
• you want to use content created by others and need to check the licence
• you need an internal policy for content: who may use what, with which approvals and on which channels
• you want contracts with influencers, photographers, videographers, copywriters or developers
• your channel, account or monetised content was blocked, stolen or copied
• you need to distinguish copyright, trademark, design, image rights and unfair competition
• you want solid evidence before sending a notice, filing a takedown or starting litigation

How we work, step by step

1. Initial discussion and objective. We establish whether you need protection, cessation, removal, negotiation, licensing, damages, defence or litigation.
2. Evidence audit. We check what exists, what is missing, what must be preserved immediately and what may be challenged by the other side.
3. Identification of right and rights holder. We separate author, economic-rights holder, licensee, assignee, client, agency and collaborators.
4. Strategy and calendar. We choose the correct order: evidence preservation, notice, takedown, negotiation, contract, interim measures or court.
5. Execution. We draft notices, requests, contracts, responses, platform filings or court documents.
6. Follow-through. We monitor replies, removals, counter-notices, negotiations and reposts.
7. Implementation. We close the file through cessation, removal, licence, assignment, compensation, settlement or judgment, where appropriate.

Documents useful for the first review

You do not need to send the entire project history at the beginning. For the first review, the work, evidence of creation, evidence of unauthorised use and the contracts or conversations explaining the relationship between the parties matter. After the initial review, a short list of additional documents can be prepared.

Document	Why it matters	Notes
Original work and source files	They prove the concrete form of the work and the author’s contribution	Include drafts, versions, exports, metadata and working files
Links and screenshots of infringement	They show where, when and how the content is used	Include date, URL, platform, account and commercial context
Evidence of original publication or use	Supports priority and chronology	Posts, website, newsletter, campaign, invoices and archived copies
Contracts, licences, assignments, briefs	They show which rights were granted or retained	Send annexes, orders, approvals and discussions about deliverables
Correspondence with client, agency or user	Shows the parties’ intention and collaboration limits	Emails, messages, minutes, approvals, refusals and handovers
Evidence of damage	Needed where damages are sought	Similar licences, losses, sales, monetisation, costs and traffic
Notices received or sent	Shows the conflict stage and procedural risk	Include replies, deadlines and proof of communication
Short chronology	Connects documents to facts and shows urgency	One or two pages are enough at the beginning

Common mistakes I help you avoid

• sending notices before preserving evidence, allowing the content to disappear or change
• assuming that mentioning the author’s name solves unauthorised use
• confusing copyright with trademark, design, image rights or reputation
• signing broad contracts without checking term, territory, exclusivity and reuse
• not keeping source files, drafts, metadata and relevant communications
• accepting an overly broad assignment for a fee that only covers limited use
• assuming that payment of an invoice automatically transfers all rights
• using images found online without checking the licence and rights holder
• treating takedown as a simple technical form, without evidence and strategy for counter-notices
• starting litigation without checking economic efficiency, evidence of damage and enforcement risk
• leaving portfolio use, source materials and reuse unclear after the project is completed

Relevant internal links

• Copyright lawyer in Bucharest: authors’ rights, licensing and online content takedown
• Industrial property lawyer in Bucharest: trademarks, designs and patents
• IT and tech disputes: SaaS, outsourcing, software development, escrow and IP
• Tax law and tax litigation in Bucharest
• Law office services in Bucharest and Romania
• Legal fees
• Contact lawyer

Useful blog resources

Frequently asked questions

Is it enough to put a copyright notice on my website or material?

It helps as a signal, but it does not replace evidence and correct steps. When a dispute appears, source files, publication history, contracts and the way you react matter more: notice, takedown, negotiation or litigation.

What should I do first if my content was copied?

Preserve evidence: screenshots, links, date, context, original work and copy. Do not start discussions that may weaken your position before the evidence is secured. Then we choose the efficient tool: notice, takedown, negotiation or litigation, depending on the stakes.

Can I ask for money for unauthorised use?

Sometimes yes, but the decision is also economic. We must check what can be proved, what damage exists, what licence fee would be reasonable, who infringed and what can realistically be recovered. Sometimes fast cessation is more efficient than long litigation.

How do I avoid rights disputes in a project with freelancers or agencies?

Through clear contracts: who owns the rights, what is licensed, what is assigned, what may be reused, what may be shown in a portfolio, what is delivered, when payment is due and what happens if the project stops. In copyright, a good contract is prevention.

If I paid a creator, do I automatically own all rights?

No automatic assumption should be made. Payment may cover services, a limited licence or an assignment, depending on the contract and context. For certainty, the contract should state clearly which rights are transferred, for what term, in which territory, through which channels and with which limits.

Can I use images found online if I mention the source?

Mentioning the source is not, by itself, a licence. The rights holder, licence, purpose of use, restrictions and allowed context must be checked. In commercial projects, the risk is higher if there are no clear documents.

What if the platform rejects my takedown request?

We check the rejection reason, complete the evidence, reformulate the request or choose another tool: notice to the user, host or company, negotiation or litigation. If there is a counter-notice, the position must be prepared carefully because the dispute may escalate.

What legal fee should I expect?

After the initial review, I propose a fee model: fixed, hourly, staged or complementary success fee where permitted. I explain what it includes and which collateral costs may appear: evidence preservation, translations, expert reports, fees, platform procedures, litigation or monitoring.

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Let’s define the next steps quickly and clearly

Tell me what content is involved, where the infringement appears, who uses it, whether contracts exist and which deadline is pressing. It may be a photo, clip, text, course, campaign, software, graphic, song, podcast or social-media channel. I will respond with concrete next steps and the short list of documents that matter.

E-mail: alexandru@maglas.ro | WhatsApp: message on WhatsApp

Official sources and legal references

The sources below are useful for checking the general legal framework. For a specific matter, the applicable version of the law, contracts, publication date, platform terms, rights holder and available evidence must be checked.

• Law no. 8/1996 on copyright and neighbouring rights, Romanian legislative portal
• Law no. 365/2002 on electronic commerce, Romanian legislative portal
• Regulation (EU) 2022/2065 on digital services, EUR-Lex
• Directive 2009/24/EC on the legal protection of computer programs, EUR-Lex
• Directive 2001/29/EC on copyright in the information society, EUR-Lex
• Directive 2004/48/EC on the enforcement of intellectual property rights, EUR-Lex
• Directive (EU) 2019/790 on copyright and related rights in the Digital Single Market, EUR-Lex
• Romanian Copyright Office

Note: the information on this page is general. In copyright matters, details in documents, contributions, contracts, platforms and actual use can change the solution.