Everything after the amen
Postlude takes the stream you already run and finishes the week for you. The full message and the Shorts go up on YouTube, the episode lands on Spotify, and the Reels for Instagram and Facebook arrive cut, captioned and sized — so the only thing left is a thirty-second upload by whoever already has the password.
Running live on a weekly service since August. One operator, zero manual uploads.
Every stage hands off to the next on its own. The only human decision left is whether you want to glance at the clips before they go — and you can turn that off too.
One feed from your booth reaches YouTube and your Facebook page at the same time. You paste a stream key in once and nothing changes about how your team runs the room.
Countdown, worship, announcements and giving come off the front. What publishes starts on the first sentence of the message, with chapters and real captions.
The same message becomes a podcast episode with its own artwork and show notes, delivered to Spotify and everywhere else your feed reaches.
Five vertical clips, captioned and framed on the speaker. The Shorts post themselves to YouTube on a schedule; the Reels sit in your dashboard, finished, for whoever runs Instagram.
Multistreaming stops when the stream stops. Clip generators want you to upload the video, choose the clips, export them, then open each platform and post. The handoff always lands on the same person — a volunteer, on a Monday, after a full Sunday.
We built this because that handoff kept failing in our own church. Clips sat as unfinished drafts three weekends out of four and nobody noticed until the slots had passed. Automating the cutting was never the hard part. Removing the person in the middle was.
No credits to budget, no "clip packs" to ration. One service in, the whole set out.
Trimmed to start on the teaching. Chapter markers, an uploaded caption file, a title and description written for the search people actually use, and a thumbnail built from a frame where the speaker's eyes are up.
Hosted feed included, so there is nothing to set up. Episode art carries your series design, and the show notes are written from what was actually said, not from a template.
Vertical, captioned, cropped to follow the speaker rather than the stage. The YouTube Shorts publish on a schedule. The Instagram and Facebook Reels arrive as ready files — right aspect, right length, captions burned in — with a clean no-caption copy of each for your editor.
The whole service, timestamped, searchable, and accurate enough to quote from. Useful long after the week it came from.
Upload your series design once and every thumbnail, cover and episode tile for that series is built from it, so the shelf looks like one thing instead of eleven.
One message listing what went live, what is scheduled and when, and anything that needs you. If something failed, you hear it from us before you notice it yourself.
Automation earns trust by what it declines to touch.
Somebody mixed that room on purpose. We copy the audio across bit for bit rather than running it through a loudness pass that pumps the quiet moments. If anything ever alters it, the system refuses to publish and tells you.
The published cut starts after the music, so your licensed songs are not the thing getting matched, muted or claimed on a platform that never reads your paperwork. It is a legal feature before it is an editorial one.
A real caption file, uploaded with the video rather than left to auto-generate. Most of the people who meet your church this week will meet it with the sound off.
We read a year of our own retention data before writing a single rule. People leave early, so the quotable sentence goes first and the setup gets cut — the opposite of how a sermon point is built, and the reason these clips hold.
Going live uses a stream key you paste in once. It can start a broadcast and do nothing else, and you can revoke it in a click. We never ask for standing permission to publish on your Facebook page or Instagram, because handing that to an outside company is a real risk. The Reels arrive as files and go up from the phone that already has the login.
Nothing to install, no camera to replace, no contract. Cancel after any Sunday.
Your streaming license stays yours — we publish to your channels, under your accounts, and you keep every file. A current CCLI Streaming licence is on you; we will ask to see it before the first service.
Send us one past service. We will run it through and send you everything it produces, before you decide anything.
Send us a Sunday