Customer Story
Tariq Aziz
How Northfold ships 4× more social cuts
A six-person team rebuilt its social media video editing around five AI agents.
Northfold is an entertainment studio with a six-person content team and a release calendar that never slows down. A year ago the team shipped about twelve social cuts a week. Today it ships fifty. Nobody was hired, and nobody works later. What changed is how Northfold handles social media video editing: the repetitive first pass belongs to Kaviyan’s AI agents, and the editors keep the decisions.
Where the week used to go
Daniel Okafor, Head of Content at Northfold, describes the old routine plainly. Every Monday went to rough cuts. Editors pulled selects from the weekend’s footage, built an assembly for each show, then rebuilt the same intro, lower thirds and end card for every format. A note on one title meant opening five projects instead of one.
The team was skilled, but most of its hours went to work that looked identical from week to week. First cuts reached review on Wednesday. By Friday the calendar was already behind.
A first assembly before the editors arrive
Northfold connected Kaviyan to the editing software it already used, so nothing had to be exported or rebuilt. Weekend footage goes into a project on Sunday night. Cut, the editing agent, builds a rough cut for each episode, trims dead air and tightens the pacing. When the editors sit down on Monday, a first assembly is waiting on the timeline.
“We used to spend Mondays on rough cuts,” says Okafor. “Now Cut has a first assembly waiting, and a full social edit ships in an afternoon.”
The assembly is a starting point, not a verdict. Every cut stays editable, and the editors still move scenes, swap takes and change the ending. They begin with a draft instead of an empty timeline.
Lower thirds that live as reusable blocks
The second change was quieter. Northfold moved its recurring pieces (intros, lower thirds, captions and end cards) into shared blocks. Flow, the motion agent, places and animates them in every cut, sized for each aspect ratio. When a show changes its typeface or a sponsor changes its logo, the block is updated once and every cut that uses it follows.
Hue matches the grade across cameras, and Echo cleans the dialogue and balances the music bed. A cut that leaves the timeline already looks and sounds like Northfold.
How social media video editing runs at Northfold now
The weekly routine is short enough to fit in a list.
Sunday night: weekend footage goes into the project, and Cut prepares a first assembly for each episode.
Monday morning: the editors review the assemblies and shape the story.
Monday afternoon: Hue grades, Echo mixes, and Flow adds titles, captions and lower thirds from the shared blocks.
Before the day ends: the edit is exported in every format the channels need, up to 4K at 60fps.
A full social edit now ships in an afternoon. The rest of the week goes to work the team used to postpone: longer features, new formats and experiments.
The results
Weekly output rose from 12 social cuts to 50, a little more than four times as many.
First assemblies are ready before the working week starts.
A brand change is made in one block instead of in every project.
The team is still six people.
Okafor’s advice to other content teams is to start with the most repeated task, not the most impressive one. For Northfold that was the rough cut and the lower third. Once those two ran on their own, the rest of the pipeline followed.
Teams that want the same setup can start on the free plan, or ask Kaviyan Studio to build the first blocks with them.
