Inputs and outputs, the distinction most documents are organised around
Permissions documents split the pipeline in two: what you supply and what the model returns. Grants and disclaimers usually address the output, while the exposure that matters most often arrives with the input. As of 2026-09-22.
| Question | What the phrase answers |
|---|---|
| What you upload | An input rule, where one exists |
| What you type | Also an input on some documents, and rarely logged |
| What the model returns | A grant, and sometimes an ownership disclaimer |
| What you publish | Your own decision, governed by everything above |
Inclusion rule. Phrases that appear in more than one vendor's permissions documents and that change what a sentence means. A phrase used by a single vendor in a single clause is described on that vendor's own page instead. Order. Reading order: where you meet it, then what it settles, then what it does not.
1The output half is the easy half
A supplier can say what it permits and what it claims about the render, because those are statements about its own position. It is the part that fits neatly into a grid and the part most documents get to.
That convenience is why comparison tables are almost entirely about outputs. It does not follow that outputs are where the trouble is.
2The input half is where a claim comes from
A photograph of somebody, a client's footage, a piece of music, a competitor's frame: each arrives with rights already attached and none of them is created by the generator. A grant over the output does not touch any of it.
Which is why a document that conditions its grant on the inputs is being stricter and more honest than one that grants freely and says nothing. The condition sits where the risk does.
3What a production has to keep on the input side
A list of what went into each clip, including prompt text where a document treats it as an input. Almost nobody keeps prompt logs unless they have been told to, and they cannot be reconstructed afterwards.
Releases for identifiable people belong in the same place. Both records answer questions that arrive after publication, when the only alternative to a file is somebody's memory.
4A generator's account of it
Alongside the terms behind “Inputs and outputs”, SceneMixer's guides describe the work itself this way:
The music runs across the end card and comes to an end with the film.
SceneMixer, Where the Music in an Ad Video Comes From — “Does the end card have music?” (read 2026-10-13)
A dish photo is cleaned into a product shot and the ad is built around it.
SceneMixer, An AI Ad for a Restaurant, a Café or a Dish — “Will the dish look like my dish?” (read 2026-10-13)
5Where the sourced wording is
A word page, not an entry in the register: nothing above is attributed to any vendor and nothing above is legal advice. The quoted clauses are on commercial use, the column this phrase turns up in is input restriction, and the reading rules are on the reading page. Next words: Watermark, Acceptable use, Terms of service.