Watch it work
Real jobs, edited so they can be told in a minute. The one thing we never touch is the clock: every time Sekondo quotes is the real one. And every one of these videos was cut, subtitled and rendered with Sekondo in After Effects.
You give it the heart of the brand. It builds the manual in ten minutes
Josephine hands over what makes the identity: the colour palette, the logo in proportion and its approved versions, so nobody has to make them up. With just that, Sekondo builds the manual in Illustrator page by page, with every page Josephine usually puts in her manuals.
What Sekondo did on this job
- Creates the manual's eighteen artboards
- Builds the opener for every chapter: the brand, the symbol, colour and type, applications and use
- Measures the grid over the symbol and draws its clear space
- Takes the colour palette from the material you give it, with its codes
- Creates the paragraph styles for the corporate typeface
- Lays out the mission, vision and values page with the copy Josephine gave it
- Places the alternative versions of the logo
- Lays out the website as an application of the brand
- Where the call is not its to make, it leaves Josephine a note, and when she answers it applies her copy and her values
- Adds the misuse page, which is its favourite
You retouch one. It does the other 124, a second a photo
125 new photos from the jeweller, to be retouched and published on the website and on social media, and each one arrives different: other light, other angle, other size. Josephine retouches the first in front of Sekondo: the cut-out, a professional retouching finish, the fit in the catalogue, and the shadow, reflection and gradient the way she taught it. It takes notes and does the 124 that are left, measuring every photo before it touches it.
What Sekondo did on this job
- Watches Josephine retouch the first photo and notes every step
- Cuts the ring out of the camera shot
- Fits it on the canvas like the rest of the catalogue
- Sends it through the AI with a detailed prompt written for that photo, not a generic one, and brings it back to its own layer
- Adds the shadow, the reflection and the gradient the way Josephine does
- Measures every photo before touching it
- Does the 124 photos that are left with what it has learnt
- It does not matter how they arrive: from the camera to the shop
- Retouches all 125 photos at a second a photo
- Exports them at the sizes the catalogue, Instagram and the jeweller's website need, and posts them on the website and on Instagram once Josephine says yes
They want it in English tomorrow. Twelve pages, seven seconds
Josephine is asked for the dossier in English by tomorrow. Sekondo reads it all before touching anything and translates it frame by frame: every text keeps its style, the table is not rebuilt, and where the new language runs longer it makes it fit.
What Sekondo did on this job
- Reads the whole dossier before touching anything
- Translates the master pages
- Translates frame by frame: headline, body and caption, each text keeping its style
- Translates the table cell by cell, without rebuilding it
- Where the new language runs longer, it makes it fit
- If a text overflows, it fixes it
- If a paragraph does not convince you, change it by hand or ask for it, and the rest stays as it is
- Leaves layers, styles and swatches untouched
- Twelve pages in English without copy and paste
- Finishes and leaves it on screen for you to review; a single Cmd+Z undoes all 321 changes
You ask for the manual animated. A minute and a half later, it is
Josephine wants her manual animated for a presentation, with some play in it, nothing static. Sekondo builds the video in After Effects from an empty project: one composition per page, each cut into pieces and moved without a single keyframe, and it ends with the whole manual in flight.
What Sekondo did on this job
- Builds one composition per page: genesis, construction, versions, type, website and colour
- Places each page and cuts it into pieces, each with its own mask
- Puts the six colour cards and the footer on a layer each
- Centres every anchor point so each piece grows from its centre
- Animates without a single keyframe: one control and one expression move all twelve pieces
- Names and colour-codes the layers, in order
- Gives every page the pace and the time it needs
- Animates grid, palette, type, usage and website, page by page
- Finishes with the whole manual in flight
- It does not stop: where it has doubts, it leaves Josephine a note for her to settle when it is done
You hand it the conference footage. 68 seconds later, it is cut
Josephine hands over the raw footage from a conference: eighty clips with camera names, long takes and four speakers. Sekondo sets aside the repeats, sorts the good takes by scene, trims each one to what matters, adds the lower thirds and cuts the one-minute highlights reel, with the client's video on the stage screen.
What Sekondo did on this job
- Takes the footage as it comes off the camera: 80 numbered clips, no names, no order
- Sets aside what does not work —57 repeated or failed takes— in its own folder, deleting nothing
- Renames the 23 good ones by scene: exterior, arrival, speakers, screen, audience, applause and cocktail
- Imports them into Premiere in bins by scene and builds the running order
- From each long take, keeps only the seconds that matter and joins them to the previous one
- Reframes the static shots with scale and position, so they breathe
- Puts the client's video on the stage screen: a chroma key over the green and a wipe that fills it in
- Adds the four speakers' animated lower thirds, in the brand's typeface and blue
- Opens with the logo fading in, PRESENTS and the conference title with its venue and date
- Lays the music from end to end and saves the project
- Leaves it cut in Premiere, tracks and bins in place, for Josephine to review
- And the same in English: the same clips, the lower thirds in their language
You hand it 72 photos to develop. Ten minutes, one by one
Josephine comes back from a week of jobs with 72 photos still to develop — weddings, concerts and night portraits — RAW and JPG mixed, just as she shot them. Sekondo measures every file before touching it: the white balance each light asks for, the exposure it is missing, the shadows and the tone curve of each photo. Not one of them gets the same treatment. When it is done it groups them by job and exports for print and for social, named.
What Sekondo did on this job
- Connects to the catalogue and reads the 72 photos still waiting
- Measures every file before touching it, RAW or JPG
- Sets the white balance each light asks for: neon, tungsten or LED
- Lifts the exposure on what came out dark and holds the highlights back so they do not blow
- Opens shadows, cleans luminance noise where the ISO climbed, and works the tone curve
- Crops and straightens the horizon where the shot was handheld
- Takes to black and white the one that asks for it, and keeps night looking like night
- Not one of them gets the same treatment: no preset synced across the whole folder
- It does not touch the originals: the develop is reversible and stays in the catalogue
- Groups them by job into collections: wedding, company cocktail, concert and night portraits
- Exports each group for print and for social, named
One bridge, the whole suite
Every Sekondo panel behaves the same way: it sits in your Adobe app, connects to your assistant and tells you what it’s doing in plain English. Learn it once.
| Operating system | macOS 13.5 or later · Windows 10 or later |
| Adobe apps | 2024 releases or later of the six applications (Premiere Pro: 25.6 or later) |
| AI assistant | Claude Code, or ChatGPT through Codex, its desktop app — on your own subscription |
| Network | Local only, between the panel and the bridge; no inbound ports |
| Disk | Around 120 MB |
Three applications. Three assistants.
Every application has its own panel and its own assistant, and they stay out of each other’s way: each one takes a single command and finishes it before the next. So Photoshop, Illustrator and InDesign can be open at the same time, an assistant in each, all three on the same job while you decide what comes next. Mix whichever you like — Claude in Illustrator and ChatGPT in InDesign — on your own subscriptions. Two assistants on the same application, no: they would get in each other’s way. And each one tells you what it did when it is done.
Do it.
And explain it to me.
“Make these forty-three layers come in one after another, three frames apart, without a single keyframe. And explain to me why it works.” Both things in the same command, because with a deadline under way you cannot choose between getting it done and learning how.
And it does not explain from memory: it explains inside your document. It opens the panel where the thing lives, points at the property it touched and leaves the cursor there. The difference between reading how it is done and seeing it done in your own file, with the window open in front of you, is months.
Next time you will not need it for that. Which is exactly the idea.
If something is missing,
it makes it.
Halfway through a job there is always a piece missing: a background, a texture, a mock-up, the shot nobody took on the day. Sekondo does not stop halfway: it goes to the stock library or generator you use, gets it and carries on. You see it at the end, with the piece in place, the reason it picked that one and a note wherever it had doubts.
It finds it, or makes it
It goes into your stock library, on your account. If what it needs does not exist, it generates it. And when there are fifty options, it throws away the forty-nine that do not work.
It fixes it
Upscales it, removes what is in the way, reframes it. The file moves from one tool to the next without ever landing on your desktop.
It places it, and tells you
In your document, at its size and in its box. And when it is done it tells you what it brought, where from and why.
A logo in JPG
“The client sent the logo as a 400-pixel JPG.” It vectorises it and leaves it in Illustrator as paths, with its layers, not as an image pasted on top.
It compares, discards, retouches, advises and changes its mind when it got it wrong.
It cannot fly yet. But it will.
Two days of work.
One sekondo.
Every video is edited with the tool it shows, on real files.