One brand, every screen.
Set your colours, fonts and lower thirds once and everything the platform produces picks them up. Because they resolve live, changing the brand restyles work that has already gone out — so it shows you what an edit will touch before you commit.
One brand definition, laid out for each screen shape and resolved at the moment a clip is made.
Every channel has a document specifying the exact orange, the exact typeface, the exact height of the lower third. Every channel also has a bulletin where the graphic is four pixels off, a social clip where somebody used last year's logo, and a package where the subtitles are a size that cannot be read on a phone. The guidelines are not wrong. They are just a description of what ought to happen, applied by hand, dozens of times a day, by people working at speed.
Brand Studio makes the guidelines the thing that actually runs. Colours, typefaces, logos, lower thirds, subtitle styling and the shape of every graphic live in one place, and every studio reads from it at the moment of use rather than keeping its own copy. Nobody applies the brand, because the brand is not something you apply.
12 things it does. Open any one for how it works.
Colours, typefaces, logo variants and sound stings in one place. Upload the fonts your channel is licensed to use and they become available everywhere, including in rendered video.
Build name strips, headline bars, tickers and full-frame titles on a canvas — position, type, colour, timing, animation. What you see while designing is what comes out of the render.
A graphic that looks right in the editor cannot come out wrong in the bulletin.
Each graphic has named fields — the name line, the title line, the picture box. Designed once by whoever owns the look, filled differently every time it airs by whoever is on shift.
A lower third designed for widescreen does not work vertically. Lay each shape out separately, or let it adapt and correct only what it gets wrong.
Set how many lines a field may run to and what happens when a name is longer than expected. A graphic that breaks on the one long title is a graphic that breaks on air.
Size, colour, position and background for captions, set per screen shape — because a caption that reads on a television is unreadable on a handset.
One authored value renders correctly at every resolution, so a caption sized for a 1080-line bulletin is not suddenly a quarter of the height on a four-K master.
A breaking-news treatment, a sports treatment, an election treatment — sharing the structure of the original but not its styling. Switch the whole look without rebuilding a single graphic.
A group running several channels keeps them side by side, each with its own kit and templates, and moves a template between them when a design is worth sharing.
Before you change a brand, you see everything that points at it — every project, clip and template. That list is what your edit is about to restyle.
A brand that genuinely applies everywhere is a brand where one change reaches everywhere. You see that before pressing save rather than discovering it in an export the next morning.
Each save keeps the state before it. If a change was wrong, go back to any earlier version — and going back moves the history forward rather than erasing what happened.
The animated furniture your motion designer already built in After Effects can be brought in and turned into a template the platform fills — so a rebrand does not mean rebuilding a look you already own.
Your designer keeps their tools; the newsroom stops depending on their availability for every name strip.
Clips, packages, bulletins and social exports read the brand at the moment they are made. There is no step where somebody remembers to add the logo.
Colours, typefaces, logo variants and stings. An afternoon's work with your brand document open beside you.
The name strip, the headline bar, the quotation card. Three or four templates cover the overwhelming majority of what a bulletin needs.
Check the vertical and square versions rather than assuming. Ten minutes here prevents a year of clipped text on social.
One pass, per screen shape, and every caption the platform ever burns in follows it.
Everything downstream picks it up. You come back when the channel rebrands, or when a variant is needed for an election.
New palette, new typeface, new lower third. You change it in one place on Sunday evening, and everything produced from Monday carries it — with no memo, no retraining, and no clip going out in the old look because somebody was working from a saved copy.
A major story breaks and the programme moves to its breaking treatment. Switching the variant restyles every graphic in the bulletin at once, rather than a designer opening eleven templates and changing the same colour eleven times.
You are about to nudge the lower third up twelve pixels. The panel tells you that four hundred and six clips, nineteen projects and two other templates read this brand. That is not a warning against the change — it is the information that makes it a decision rather than a surprise.
Every edit shows what it will affect first. No change to a live brand happens without the operator knowing its scope.
Restore any earlier state. Restoring moves the history forward, so the record of what was tried is never lost.
Let a template adapt itself to a new screen shape, or place every element yourself. Most desks adapt first and correct the two that matter.
Upload the typefaces your channel is entitled to use. Nothing is substituted quietly for something that looks similar.
Because brands resolve live, an edit has consequences beyond the screen you are on. Those consequences are shown before the save, not after the export.
If a font is missing, you are told. A graphic quietly rendered in something similar is worse than a graphic that did not render.
Overflow is a decision you make at design time — wrap, shrink or truncate. It is never resolved by whatever happens to fit.
Every state before every save is kept. A rebrand you regret is a restore, not a rebuild.
A brand book describes what should happen. This is what happens. Every clip cut at midnight, every package assembled under deadline, every vertical export for social reads the same source at the moment it is made — so consistency is not something the newsroom has to maintain through vigilance. The people who care most about the brand stop policing it, and the people working at speed stop being the reason it slips.
Not necessarily. Simple furniture is quicker to rebuild here than to import, but the animated work your motion designer already produced can be brought in and used as a base you fill with text.
No — brands sit side by side in one place, each with its own kit and its own templates, and a design can be copied from one to another when it is worth sharing. Which channel a piece of work belongs to is chosen on the work, not on the login.
No. What you approve on a monitor is what comes out of the export.
Whoever owns the channel's look — usually one person in graphics or presentation. Editing a brand is a permission, so a producer can use the templates all day without being able to alter them.
The useful demonstration is the one that runs on your footage and your wire feeds. Tell us how your desk works and we will show you the parts that matter — and say so where we do not help.