One campaign. Every language, every screen, every cut — generated.
Broadcast motion graphics built once and generated across Indian languages, aspect ratios and durations, with each version re-laid out for its own screen rather than cropped from a master. Brand and product stay identical across thousands of films because they are enforced by the pipeline, not checked by eye.
One source, a whole campaign
Six films from one source
Same campaign, same brand, same beat. Different language, screen and length — and a different layout and animation for each screen.
Six of 93. Every one generated from the same two source files.
What this line actually covers
Brand campaigns that have to run everywhere at once: on television, in Reels and Stories, in the feed, in a dozen languages and in two or three lengths. Traditionally each of those is a separate edit, and by the fiftieth version the brand has started to drift.
We built one such campaign for a national DTH and OTT platform: a launch offer told across five Indian-market versions, three scenarios, three aspect ratios and two cut lengths — 93 broadcast films from a single authored source, delivered as ProRes 422 HQ masters with H.264 review copies.
Not a crop. Not a dub.
Every screen gets its own layout
A widescreen film centred in a vertical frame is not a vertical film. Each aspect ratio is laid out against the brand’s own artwork for that ratio, and the elements scale independently: in the square version, the call-to-action column drops to half size while the offer panel holds at four-fifths. No single resize can do that, which is why cropping fails.
Every screen gets its own motion
The phone enters from the side in widescreen and from below in portrait; the badge travels to a different resting place in each. What stays fixed is the beat: every version of every film shares one timeline, so the edits match frame for frame.
Every market gets its own screen content
The OTT line-up changes by region because the regional bundle is different. Response numbers, regional legal lines and showcase artwork are set per market, and headlines follow the brand’s own transliteration. Voiceover drives the picture: app icons land as they are named, the price lands on the spoken price, and the phone number reveals digit by digit as it is read.
Designed once, generated at volume
The brand’s artwork is the source of truth, the film is authored a single time, and every version after that is data.
Brand artwork in
The brand’s own design files are the source of truth. Type sizes, colours, corner radii, strokes and vector marks are read straight out of them for every aspect ratio, not redrawn.
One film, authored once
The motion design is built a single time, with every timing tied to a shared beat grid so that it re-times cleanly from a 15-second to a 10-second cut.
Variants as data
Each language, market, scenario, ratio and cut is a row of data — copy, numbers, artwork, geometry — never a separate edit and never its own animation.
Automated conformance
Before anything renders, every version is checked against the brand artwork for type size, colour, layout overlap, motion and contrast. Drift fails the gate.
Broadcast render
Each film renders frame-exact with true cinematic motion blur and is delivered as a broadcast master plus a review copy, reconciled against the full list so nothing is missing, stale or surplus.
Thousands of films, one source
The axes multiply. The source does not.
5 in this campaign
Headroom: 12
3 in this campaign
Headroom: 8
3 in this campaign
Headroom: 4
2 in this campaign
Headroom: 4
1 in this campaign
Headroom: 3
93 in this campaign
Headroom: 4,608
Adding a language is one row of data and its artwork. Adding an aspect ratio is one layout. And a single correction — a price, a logo, a colour — lands in every film at once, which is the real argument for generating rather than producing. Every film renders independently, so throughput scales with infrastructure rather than with editors.
Who this is for
Brands running the same campaign across many markets and many screens: telecom, DTH and OTT operators, FMCG and consumer-durables launches, banking and insurance offers, auto and two-wheeler campaigns, and retail promotions that need to be live in every language and every format on the same day.
Where FRAM3 sits
Template tools resize a design and swap its text. They do not re-lay out a film for a different screen, re-choreograph its motion, time graphics to a voice, or prove that version 4,000 still matches the brand artwork. FRAM3 builds the campaign as a governed source and generates every version from it, with conformance checked by the pipeline on every render.
Need a presenter in every film as well? Bulk video generation puts a personalised, lip-synced person on screen, from one photo, in their own language.
What we deliver
- Broadcast masters (ProRes 422 HQ) and H.264 review copies for every version
- Distinct layouts and motion for 16:9, 9:16 and 1:1 — not crops of one master
- On-screen content localised per market, not only the voiceover
- Graphics timed to the voice in each language
- Subtitle sidecars from measured cues
- Automated conformance against your brand artwork, before render
- A reconciled delivery: every film accounted for, nothing stale, nothing surplus
One engine, sharpened from every direction.
Running one campaign in every language and on every screen?
Tell us the markets, the formats and the lengths. We will show you the whole matrix.