Where to find footage you are actually allowed to cut

Paid campaigns

This is the largest supply, and it pays directly. Creators post briefs with approved sources and a rate per thousand views.

The licence is the brief. Approved sources, approved platforms, a deadline, and usually rules about edits.

Trap: treating the creator's whole channel as fair game when the brief named three videos.

CC-BY and the rest of the Creative Commons family

CC-BY permits reuse and remixing, on condition you attribute. Attribution is a condition, not a courtesy.

Attribute with the title, the author, the source link, the licence name, and a note that you modified it.

Trap one: ND licences forbid derivative works, and a clip is a derivative work.

Trap two: NC licences forbid commercial use, and getting paid per view is commercial.

Trap three: an uploader can mark a video CC-BY without having held the rights to license it.

Public domain

In the United States, published works from 1930 and earlier are in the public domain. 1931 follows in 2027.

Works of the United States federal government are not subject to copyright under 17 U.S.C. §105.

Trap: a restoration, a new soundtrack or newly shot framing material can carry its own fresh copyright.

Trap: state and foreign government works are a different question, and terms vary by country.

Own content, including your client's

The cleanest supply, and the most neglected. A podcast back catalogue is years of uncut moments.

For agencies, get it in the contract: the right to cut and post from the client's recordings, in writing.

Trap: guests, licensed music and screen-shared material inside your own recording belong to other people.

Then the actual problem

Once the supply is cleared, the work is choosing. A two-hour recording holds maybe six moments worth cutting.

That is what ViralFoundry does: paste the Source, declare the basis, get the Moments ranked with timecodes.