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    Whether you are looking for shorts, clips, fillers, interstitials, music only, or award winning programming, Powersports makes filling your acquisition needs easy. Please check out our catalog online by clicking World Wide Catalog, or going to our Middle East website: www.powersports-me.com/.

    Sincerely,

    The McAbians, and all of your friends at Powersports



    To preview ROCKETS’ RED GLARE, click here:

 

PRODUCER SUBMISSION

After looking over the information below, please querying us by email (to Joel Bailey, VP Acquisitions; joel@ps-mill.com) and tell us a little bit about your program (running time, number of episodes, format that it was shot on, and a brief synopsis of the subject matter).

You may be asked to send a screener of your program (preferably on DVD) and a flyer or literature, if you have it (see Contact Us for our street address).

You will need to allow a couple of weeks for the evaluation process. We’ll notify you of our decision by e-mail or phone, but please note that screeners will not be returned.

The following FREQUENTLY ASKED QUESTIONS will help fill in many details of how we work.

What genres of programs do you distribute?

  • Documentaries of all types
  • Travel/cultural programs
  • Religious content
  • “How-to”/ Instructional/DIY
  • Health & fitness
  • Arts & culture
  • Social affairs
  • Political programs
  • Historical documentaries
  • Children’s programs (both live action & animation)
  • Extreme sports
  • Motorsports
  • TV serials (drama or non-fiction)
  • Feature films
  • Light erotica (no explicit/adult content)
  • Music performances/events

In what length should the programs you distribute be in?

We distribute broadcast-quality, professionally-produced programming in the following formats:

  • Single/special one-hour programs (44-60 min.; although the preferable duration for one-hour specials is either 48 or 51:30 min.).
  • Limited series or collections of either half-hour (22-24 min.) or hour-length (44-60 min.) programs.
  • Full series of half-hour length (22 min.); preferably 13 eps. or more.
  • Feature-length films and documentaries.
  • Collections of short-form programming (i.e., clips/shorts/vignettes) to be used as interstitial content or sold in a clip format for digital (“new”) media exploitation, such as mobile/wireless exploitation and internet applications (within an IPTV offering or for VOD).

What kinds of programs are you looking for?

We’re looking for quality, informative, entertaining and commercially-viable content that is global in it’s appeal, can be licensed to multiple media platforms (i.e., different types of rights) and is as global in nature as possible.

What rights do you license?

We require exclusive distribution rights of completed programs/series for the following media platforms on a worldwide basis (some territories/rights may be excluded on a case-by-case basis and as available & negotiated):

  • Broadcast in every form- terrestrial, cable, satellite, DTH, etc.
  • VOD (Video-on-Demand); whether via cable/satellite or internet.
  • Internet- IPTV, VOD or by ad-supported rev-share.
  • Mobile/wireless devices.
  • Ancillary rights (learning or correctional facilities, military installations, airlines, cruise liners, trains or other forms of similar exploitation).
  • DVD/BluRay/VCD, etc.

Why must these rights be exclusive?

For a number of reasons as follows:

  • Non-exclusive rights diminish from the perceived value of any content for a number of reasons- first, people will be reluctant to evaluate any content that may be sold concurrently by a different entity, “price wars” may occur with different distributors depending on their core competency and, over time, this approach may obviously result in conflicting agreements.
  • When licensing media rights, which are an intangible asset, the licensing entity has to hold a very high regard and level of trust the entity they are licensing the content from and, with rights not being granted on an exclusive basis by the producer/rights holder to the distributor, that brings both the perceived value of the content as well as trust or professional level of the distributor into question.
  • We spend the marketing costs and incur the distribution expenses for every bit of content we distribute without having those monies returned to us and, as such, whatever exposure is gained by our expense, should be enjoyed by ourselves and the producer and not a third party also authorized to license certain rights/territories for the same content.
  • In many cases, licensees license exclusive rights in their territories with an overspill and will only do business with program suppliers or distributors who only control exclusive rights so that there are no potential conflicts with agreements from other distributors arise.

How long is the term of your standard distribution contract?

  • Normally, our Standard Distribution Agreement is for five years with automatic 2-year renewal terms. With most content, we are more than happy to introduce mutually agreed-upon financial benchmarks to be achieved within specific milestones; usually, around the 24-30 month mark.

If our program is fully underwritten and, to satisfy our sponsors or build our brand recognition, we are in need of better distribution and market penetration, not revenue, would you still be interested in our content?

Get in touch with us and we’ll discuss your options- our distribution channels are geared to give you and any sponsors maximum exposure in the markets and media platforms we serve.

What is a music cue sheet?

A music cue sheet is a document prepared by the producer, that lists all music contained in the production including titles of each track (or cue), composer(s), publisher(s), lyricist (if any), performing rights affiliation, and use (theme, performance, background, etc.) and timing of each music track. The cue sheet is used by all parties in the royalty distribution process to determine the amount of royalties to be paid for the public performance of the music contained in the program. The information contained in the music cue sheet also determines whether a fee must be paid to a performing rights society.

What is the correct running time for a television program?

Most territories operate within the range of 50-54 minutes, with some accepting programs that are 48 minutes in duration; anything less than that is extremely difficult to sell. Individual half-hour episodes (of a series) should be in the range of 22 to 24 mins. (NOTE: Individual half-hour specials/one-offs are virtually impossible to sell anywhere). Generally speaking, half-hour slots are reserved for series of 13 episodes or more; there is a bit more flexibility with series that are considered to be an episodic “one-hour”.

Do we need to create foreign language versions ourselves?

No, the broadcasters (or other licensees) will handle their own language versioning; whether it be sub-titling or voice-over. As you will see in the Deliverable section of this Q&A, you must provide us with a post-production transcript (MS Word and Adobe PDF documents) and you must also provide us with the proper audio track configurations on your masters or it will be virtually impossible to sell your programs to any non-English speaking market.

What are the Deliverables you require?

  • Digital Betacam master with international (M&E) soundtracks in whatever format (PAL or NTSC) the program/series was originally shot/produced in and without commercial breaks.
  • Music cue sheets.
  • Time coded post-production scripts (also referred to as “dialogue lists”).
  • A general series synopsis (if applicable).
  • A short episodic synopsis/topics covered in every episode (again, if applicable).
  • Promotional images; as many varied promotional images are available at a 1000 x 1000 pixel size for an 8” x 10” image rendering at 300 dpi.
  • Any other language versions available for the program/series, if any.
  • Any logo or credits to be added to the publicity material created.

What masters do we need to provide and how should we configure the audio?

We require NTSC or PAL digital betacam masters (whichever the original shooting format of the content was ) cloned from your first-generation digital master, or dubbed from your first-generation analog betacam SP master and WITHOUT commercial breaks. We also accept betaSP, DVCam or DVCPro masters if a program was produced in either of those formats. And of course we require HD formats for HDTV programs. Commercial breaks and blacks must be removed. Audio channels one and two should be your full audio mix, preferable stereo left and right, if your program is in stereo. Channel three should be the M&E (Music and Effects) track, often called a "Mix minus Narration" track (all audio elements except the off-camera narration). If possible, it is useful to use channel four for the "true M&E," which is only music and sound effects (no dialogue-on-camera and no narration). And of course, along with a properly-configured broadcast master, we need a continuity transcript of the program indicating both narration and interviews or on-camera dialogue -- time-coded, if possible. Finally, in recent years it has become important to provide "textless" or "clean" masters. In other words, "lower-thirds" (English-language chyrons or graphics identifying locations or interviewees, for example) should be removed. This enables our international clients to easily re-do these "lower-thirds" in their own language. In many cases producers do not have the right delivery materials, but if we think your program has potential we will work with you to best organize the materials you do have.

We are producing a program for a specific channel or client as a commission and they have left us with certain territories/rights to exploit ourselves; are you willing to acquire just specific rights?

Based on the format and quality and salability of the program, let us know what rights/territories are available and we’ll discuss limited rights should we feel these are still of value.

When and how do we get paid?

As is the norm within our industry, we can provide quarterly royalty reports or, if needed on a more timely basis, we are more than happy to pay our producers/rights holders for deals consummated even after a couple of weeks from receiving payment from our licensees ourselves (in lieu of quarterly royalty payments) so that there is no “lag” time between when we actually receive revenue and pay it forward to our producers/rights holders. The method of payment is either by check or wire transfer and, if the deal calls for payment in currency other than U.S. dollars, the exchange rate is of course calculated by our bank at the time the wire transfer is remitted.

 

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