# Sync portal
Source: https://docs.aden.space/docs/help/promote-grow/sync-portal

A kind-aware pipeline for sync licensing opportunities (film, TV, ads, trailers, games) and A&R briefs (a label looking for songs to cut): run by an organisation across its roster, or by an artist team on its own catalogue, on the same kanban board. Stages from first contact to placement with per-kind wording, brief criteria (genres, BPM range, reference), pitched tracks, an activity log and the money booked per deal. Also works with artists, tracks and counterparty companies that aren't on Aden yet, as a conversion funnel to onboard them.
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## What it is [#what-it-is]

The sync portal is one place to run sync placements. An organisation: a sync
agency, label, publisher or management company. Runs them across all the
artists it works with; an artist team runs its own briefs on the same board.
Every brief or opportunity (a film scene, a TV episode, an ad campaign, a game
trailer) becomes a card on a pipeline board that moves from first contact to placement,
with the tracks you pitched, the money booked and everything that happened
along the way.

## Using it [#using-it]

* **Add an opportunity.** From your organisation's *Opportunities* page,
  click *New opportunity* and fill in the brief: title, media type (film, TV
  series, advertising, trailer, video game…), the company or music supervisor,
  an optional fee estimate and pitch deadline, and which of your artists it's
  for.
* **Or add an A\&R brief.** Pick the *A\&R briefs* type in the create dialog for
  a label or publisher brief looking for songs to cut. Instead of a media
  type, a brief carries what's being asked for: genres, a BPM range and a
  reference link, shown as chips on the card. On a briefs-filtered board the
  stages read *New → Pitched → Negotiating → Signed → Released* (or
  *Passed*); everything else, pitching tracks, activities, money, works the
  same as a sync deal.
* **Work the pipeline.** Drag cards across the stages, *New → Pitched →
  Negotiating → Licensed → Placed* (or *Lost*). You can also reorder cards
  within a stage to prioritise. Use the search box and the media-type and
  artist filters to narrow the board. Each column header carries the stage's
  colour and count, and a **+** appears on hover that opens the create dialog
  already set to that stage.
* **Start from a lead.** A lead on your CRM pipeline (organisation or team
  scope) has a *Create opportunity* button: it spawns a card on this board
  with the company, primary contact, source and value estimate carried
  across, linked back to the lead (`lead_id`).
* **Placing creates the licence.** When a card enters *Licensed* or
  *Placed*, every approved pitched track automatically gets a licence record
  in the licensing CRM (`rights_deals`, `record_kind = license`) carrying
  the counterparty, term, territory, fee and contract. One licence per
  (opportunity, track): bouncing back to Negotiating and re-placing never
  duplicates.
* **Pitch tracks.** Open a card and add tracks from any artist team linked to
  your organisation. Each pitched track gets its own status. Pitched,
  shortlisted, approved or rejected, so you always know which song is in the
  running.
* **See what can actually be cleared.** Every pitched track carries a
  clearance badge, *Ready to clear*, *Slow to clear* or *Can't clear*, worked
  out from the song's own metadata: whether collaborator splits are confirmed
  and add up to 100%, whether it's marked one-stop, whether there's an
  instrumental version, an ISRC and a licensing contact. Open the badge for the
  list of what's still outstanding, so a song is fixed before a supervisor asks
  rather than after.
* **Keep the history.** Log notes (calls, emails, meetings) on each
  opportunity; stage changes and pitches are recorded automatically in the
  activity log.
* **Track license terms.** Once a deal is licensed or placed, record the
  license window (a month, a year, until 2030, or in perpetuity), the
  territory, and upload the signed contract (PDF/doc): it opens securely
  from the deal and the artist team can read it too. The *Placements* view lists
  every done deal sorted by soonest expiry, with statuses like *Active*,
  *Expiring soon* (within 60 days), *Expired* and *Perpetual*, so renewals
  never slip.
* **Teams run their own sync board.** An artist team's *Sync* page has two
  tabs. **Our pipeline** is the team's own board. The same kanban, filters,
  create dialog, deal sheet and placements view the org side uses, where the
  team creates its own briefs and pitches its own tracks. **Run by
  organisations** lists, read-only, the deals a label, publisher or agency is
  running for them: license window, territory, air date, which of their tracks
  made it, the signed contract, and which organisation manages it. Internal
  pipeline details of those org deals (fees, notes, other artists' pitches)
  stay private to the organisation.
* **The sheet is four tabs.** *Deal* (the record, the counterparty and the
  pitched tracks), *License*, *Money*, *Activity*, on an underline tab strip.
  Fields carry no visible label: the placeholder is the label and the
  `aria-label` repeats it, so the sheet is a list of controls instead of a
  label ladder. The pitch deadline and the perpetuity switch keep a visible
  name, because a bare date or a checkbox says nothing once filled in. Save
  and delete sit in a sticky footer, reachable from any tab.
* **The contact is a person the workspace already knows.** The counterparty's
  contact is picked with `ExistingContactPicker` from the org's or the team's
  contact book, and stored as `contact_id`. The picked name and email are
  written to `contact_name` / `contact_email` too, so the board card and the
  email composer keep reading one field. Typing them by hand still works for
  a supervisor who is not in the book.
* **Book the money on the deal.** A deal's sheet has a *Money* section: book
  the licence fee as income, the agent commission or clearance cost as an
  expense, and see the net. Each line is a normal financial entry. It counts
  in the team's or the organisation's books like any other. It just also
  points at the deal. Unlinking leaves the money where it is.
* **Work with people who aren't on Aden yet.** An opportunity can be for an
  external artist (just type their name), the counterparty can be a company
  that isn't on Aden (free text) or an Aden organisation you pick from the
  directory, and you can pitch external tracks by title, artist and link.
  Everything off-platform is marked *Off Aden*: when the artist joins (or
  you add them as a team), link the real team and tracks and the deal history
  carries over.