Ad Template System and Production Kit for Paid Teams

A kit covers four aspect ratios across eleven placements, and the reason it is eleven rather than three is that a square static dropped into a Reels slot puts your claim under the caption bar where nobody reads it. Every template ships against the real safe area of the surface it runs on, measured on device, not against the guidance deck. What gets specified: Safe zones per placement, including the roughly one-third of a nine-by-sixteen frame that Reels and Shorts cover with interface, and the right-hand rail TikTok occupies. A legibility floor for burned-in captions: minimum cap height as a proportion of frame height, minimum contrast against the busiest frame behind it, and a rule for what happens when the footage goes bright. Motion tokens: three durations, one easing curve, and a stated position on when text is allowed to move at all. Export presets with codec, bitrate and file-size ceilings per platform, so nothing gets recompressed into mush on upload. What you actually get handed: An After Effects project with the controls exposed through Essential Graphics, so an editor working in Premiere can retarget a template without opening After Effects or knowing what a null object is. A Figma file for statics with variables driving colour and type and auto-layout holding the composition together, so a resize does not become a redraw. Source files, not flattened outputs. The naming taxonomy, which is the part that pays for itself: Every template writes an ad name that carries angle, hook and format in fixed positions. Reporting then groups by argument without anybody maintaining a spreadsheet, and six months later you can answer which angle is working rather than which ad is working. Most kits skip this because it is unglamorous. It is the reason clients still use the kit two years on. Handover built to survive staff turnover: A written spec, a recorded walkthrough per template family, and a short document on when to break the system. That last one matters. A kit with no permission to deviate gets abandoned the first time somebody needs something it does not cover, and the second half of the year runs on ad hoc files again. What we do not do: Brand identity. No logo, no wordmark, no identity guidelines, no colour system invented from scratch. We build the production layer on an identity that already exists. Digital asset management. We will name and structure the outputs so a DAM can ingest them cleanly, but we do not implement one. A template for every conceivable format. Kits that try to cover everything get abandoned. We build the eight to twelve that carry your volume and write down what to do with the rest. Rebuild the system in Canva by default. If Canva is your team's real production environment, say so before we start. We will either build there or decline the work. What we will not do is deliver an After Effects system nobody in your building can open, then call it delivered. Who this is not for: A brand mid-rebrand. Templates built on an identity that changes in March are rework scheduled in advance. A team producing four ads a month with one editor. You do not have a systems problem, you have a briefing problem, and a kit would be an expensive way to not fix it. Companies whose editing is fully outsourced to an agency unwilling to work in your files. Ask them first. We have had kits delivered to teams who could not get their vendor to adopt them, and the fault was not in the templates.