Broadcast and CTV masters recut vertical, English and French

Cropping a 16:9 master to 9:16 removes the left and right thirds of every frame, which is where the product usually sits and where the broadcast editor put the negative space deliberately. This work starts from the edit, not the export. I want the Premiere or Resolve project, the ProRes 422 HQ master, separated stems for voice, music and effects, and the After Effects package behind the graphics. With those, a thirty-second CTV spot becomes a vertical cut with a different shot order, different type and a different opening in about ten working days, French included. With only a flattened MP4, you are paying for a rebuild, and I quote it as one rather than delivering a crop under another name. The frame is smaller than the file: 1080 by 1920 is not the canvas. TikTok's in-feed interface covers roughly the top 130 pixels, the bottom 480, and a right rail near 120 pixels wide. Reels and Shorts each clear a different region, and the handle sits somewhere else again. I compose to the clear area of the placement actually being bought, and deliver separate masters wherever the difference moves the subject rather than one centred cut that survives nowhere. Sound is off and the opening is a decision: These placements start muted and end at the first thumb movement. The opening has to carry the subject, not a logo sting, and everything the ad needs read has to be burned in. Platform auto-captions mis-set proper nouns, place names and prices, and they set them in the middle of the interface. Quebec French is not French subtitles: The Charter of the French Language requires French to be markedly predominant in commercial advertising in Quebec, and the 2022 amendments tightened how trademarks and slogans are handled. Beyond the law, a France-French read in a Montreal feed is audible inside one sentence. I write and direct the French cut with Quebec talent. Where a claim will not carry into French without changing meaning, I raise it rather than translating around it. Loudness and delivery: Broadcast and CTV masters are mixed to minus 24 LKFS under ATSC A/85. Social platforms normalise near minus 14 LUFS integrated, so a compliant television mix arrives quiet and then gets pushed by the platform. The vertical cuts are remixed to the destination rather than level-matched. Deliverables are H.264 High profile MP4, SRT sidecars in both languages, and a one-page spec and safe-zone reference your team can hand to any future editor. What I will not do: Shooting, casting, music licensing or clearance extension. If your master's music licence covers Canadian broadcast and not social worldwide, that is a legal step ahead of delivery and I will not deliver against it. I do not treat automatic reframing as a deliverable; it is a competent rough pass and it is not an edit. And I do not build variant sets for an algorithm to sort through. Volume adaptation is real work, priced by the unit, and someone else should do it for less than I would charge you. Wrong fit: Ads whose payload is a legal super or a dense end card. The vertical frame will not hold it, and the answer is a different ad rather than a different crop. Also wrong for teams who want the vertical cut approved by the same people, in the same meeting, that approved the television spot. It is a different edit, and it loses that argument every time.