News doesn't wait for the edit bay to free up. When a story breaks mid-shift, the distance between a reporter's raw footage and a published, on-brand video is the whole game — and in most setups that distance is measured in hours and hand-offs. This is a workflow that closes it, so the same person who has the footage can ship the finished clip.
The design work is already done and waiting in a template. The shift is spent on the story, not on rebuilding the look.
STEP 01Grab the right template
Open the category that matches the story — breaking news, report, special program — and pick the template built for it. Because the brand, layout and animations already live inside, you're starting at 80%, not zero. No decisions about color, font or lower-third style; those were made once, by design.
STEP 02Drop in footage and fill the fields
Place your clips into the template's placeholders — fixed slots that hold position and size, so nothing shifts. Then fill the marked text fields: headline, standfirst, name. You're only touching what's meant to change; the rest is locked and stays right.
“Start at eighty percent. Spend the shift on the story, not the styling.”
STEP 03Let Auto Scene and captions do the grind
Run Auto Scene to split longer footage into workable scenes, and let automatic subtitles draft your captions — translated between Arabic and English if you need both. Then do the one thing the software can't: read it. Confirm names, numbers and terminology before it goes anywhere.
STEP 04Add a cover, export every ratio
Attach a cover frame so the thumbnail is on-brand, then export the ratios you publish in — 9:16, 1:1, 16:9 — from the same project in one pass. The social desk gets a matching set, the player gets its wide cut, and everything carries the same captions.
STEP 05Publish — and it's on-brand by default
Because the identity came from the template, there's no final brand check to fail. What you publish looks like your channel because it couldn't have looked like anything else. The loop closes in one shift, by one person, without a queue.
The point of this workflow isn't speed for its own sake — it's resilience. When any producer can take a story from footage to publish, the newsroom stops depending on one editor's availability and starts moving at the pace of the news. That's the difference between a team that reacts and a team that keeps up.