5in5 - Weekly Executive News

A recurring internal news program hosted by Western Union's Chief Marketing & Digital Officer. 50 episodes over a year and a half. I owned everything the audience saw: the show package, lower thirds, animated data graphics, and the edit of every single episode, from raw camera footage to final cut, usually within hours. The name said it all: five updates in five minutes (though it often ran longer).

case study

background

Western Union's CMO wanted a direct, human line to employees — a regular show covering company news, financial updates, shout-outs, and events, delivered on camera in his own voice instead of another email nobody reads. He'd record himself and send over the raw footage. Everything after that was mine.

objectives

Turn raw executive footage into a broadcast-style news program employees would actually watch — and do it fast enough to keep a news cadence, week after week.

background

Western Union's CMO wanted a direct, human line to employees — a regular show covering company news, financial updates, shout-outs, and events, delivered on camera in his own voice instead of another email nobody reads. He'd record himself and send over the raw footage. Everything after that was mine.

objectives

Turn raw executive footage into a broadcast-style news program employees would actually watch — and do it fast enough to keep a news cadence, week after week.

context

background

Western Union's CMO wanted a direct, human line to employees — a regular show covering company news, financial updates, shout-outs, and events, delivered on camera in his own voice instead of another email nobody reads. He'd record himself and send over the raw footage. Everything after that was mine.

objectives

Turn raw executive footage into a broadcast-style news program employees would actually watch — and do it fast enough to keep a news cadence, week after week.

context

background

Western Union's CMO wanted a direct, human line to employees — a regular show covering company news, financial updates, shout-outs, and events, delivered on camera in his own voice instead of another email nobody reads. He'd record himself and send over the raw footage. Everything after that was mine.

objectives

Turn raw executive footage into a broadcast-style news program employees would actually watch — and do it fast enough to keep a news cadence, week after week.

results

Raw footage to final cut in hours

Weekly at its peak for eight months, then bi-weekly — every episode delivered on schedule for a year and a half.

~50 episodes, zero missed ship dates

~50 episodes, zero missed ship dates

A same-day pipeline: cut the recording, source imagery for every person and topic mentioned, animate the data, ship.

results

Raw footage to final cut in hours

Weekly at its peak for eight months, then bi-weekly — every episode delivered on schedule for a year and a half.

~50 episodes, zero missed ship dates

A same-day pipeline: cut the recording, source imagery for every person and topic mentioned, animate the data, ship.

A show, not a memo.

The brief was simple: company news should feel like news. That meant a real show package — an open with energy, a consistent titling system, and graphics that could carry financial updates without putting anyone to sleep.

A system built for speed.

The entire package was designed as a kit. Lower thirds, transitions, and chart templates were built once in After Effects and reused across every episode — so each new edit was about the story, not rebuilding graphics from scratch. That's the only way a one-person team keeps a news cadence for a year and a half.

Data that reads at a glance.

Episodes regularly covered financial results and company metrics. I built animated charts that made the numbers land in seconds — clear hierarchy, one message per graphic, motion used to guide the eye rather than decorate.

The newsroom rhythm.

The footage would arrive, and the clock would start. A typical episode meant cutting the raw recording, sourcing imagery for every person, event, and topic mentioned, writing and placing on-screen text, animating the data — and delivering the same day.

What it taught me.

Broadcast craft is a discipline of constraints: tight deadlines, a format that must stay recognizable, and zero tolerance for a missed ship date. 5in5 was where brand design, motion, and editorial judgment had to work as one — every week.

role

Sole designer and editor, working directly with the CMO. Show packaging, motion graphics, data visualization, photo research, on-screen copy (with a copywriter surfacing key points), editing, and delivery.

impact

~50 episodes shipped over 1.5 years, Raw footage → final cut within hours

scope

Show open & outro · Lower thirds & titling system · Animated charts & data graphics · Editing & post · Editorial photo research · On-screen copy · Reusable motion templates

category

Motion & Video

say hello

Open to full-time roles, freelance projects, and creative collaborations.
Let’s build work that looks sharp, works hard, and scales.

say hello

Open to full-time roles, freelance projects, and creative collaborations.
Let’s build work that looks sharp, works hard, and scales.