Bexar County Criminal Defense
One graphic, every platform size
How a single approved campaign image renders into the full set of platform sizes plus a short MP4, each built to the firm’s palette and carrying the advertising identity block.
One announcement, a dozen shapes
The feed wants a square. Stories want a tall vertical. LinkedIn wants something wider, the press sheet wants a banner, and a short video wants its own frame. The old way to honor all of that was to make the graphic once and then redraw it five times, or to post one shape everywhere and watch it crop the firm’s name off the top. The Creative Studio takes a different path: you settle the announcement once, and the Studio renders it across the set of platform sizes a practice actually posts to, each composed for where it will live rather than stretched to fit.
This is the part that quietly eats a marketing afternoon, and it is the part a machine should carry. The facts are the same in every size. The composition is what changes, and the Studio changes it so the headline reads in the square, the date survives the vertical crop, and the contact line stays on the banner.
The set, sized for where each piece lands
A defense practice does not keep every channel, so the set is built around the ones it does. A square for the main feed. A vertical for stories and reels. The wider frame LinkedIn shows to other lawyers and CLE audiences. A landscape image for the press sheet and the website. The variations a feed and a profile and a shared link each render differently. Every size the platforms ask for, drawn from one approved design, so the firm posts the right shape to each place instead of one shape that fights the others.
Every size in the set carries two non-negotiables: the firm’s palette, so the account reads as one practice and not a scrapbook, and the advertising identity block the Texas rules require, so a graphic never leaves looking like an ad a lawyer is not allowed to run. The sizing is automatic. The compliance furniture rides along in every frame, not bolted on afterward.
The MP4: the same campaign, moving
Alongside the still set, the Studio renders a short MP4 from the same approved campaign, the announcement as a few seconds of motion for the feeds that reward video. It is the same facts, the same palette, the same identity block, set in motion rather than redrawn from scratch in a separate video tool. A CLE looks like a CLE moving, the way it looked like a CLE sitting still. No invented courtroom scenes, no stand-in clients, no manufactured drama, because the video reflects the truth of the announcement the same way the still images do.
And the clip is composed for this announcement, not stamped from a template. The motion, the layout, and the pacing are drawn fresh for each video, so the firm’s eight seconds do not come out looking like every other firm’s eight seconds with the words swapped. The type is set large and readable, sized for a phone held at arm’s length, never the cramped small print that gives a machine-made clip away. Reach is the point, and so is not arriving generic to get it.
The point of the MP4 is reach without a second production. The platforms that bury a static post will show a short video, and the firm gets one without leaving the system or hiring it out. One announcement becomes the still set and the clip together, from one approval.
Made once, approved once, held until you send
The reason to render the whole set at once is that it travels through one gate. You approve the campaign, not a stack of separate files. The set and the MP4 are produced, staged together in the firm’s queue, and held, because the same wall stands here that stands across the Studio: nothing posts, emails, or publishes until the attorney’s approval and the State Bar advertising-review step are both on the record.
So the work is wide and the brakes are the attorney’s. The Studio sizes the campaign for everywhere it could go, and a lawyer decides whether and where it goes. That is the trade the whole machine is built on: the routine fan-out is the machine’s to do, and the decision to publish is the lawyer’s to make.
The whole machine
Ten logins down to two
One subscription stands in for the stack a defense firm usually stitches together, so the practice runs on two things it already trusts: Google Workspace, where the files and matters live, and The IMC Machine, where the matter runs. LawPay and QuickBooks, the money rail, stay where they are, fed by the Machine. Casework, evidence, motions, vouchers, marketing, and events, in one place.
San Antonio and Bexar County. The Machine is built for here first. For another city, county, or region, the build-out is custom and carries its own setup fee.
