The stores' channel, run from one desk

Hundreds of screens and no remote control

Every GAME store has screens playing trailers, releases and promotions. What it didn't have was a central way to govern them: deciding what plays, in which stores and between which dates was a process scattered across emails, shared folders and goodwill.

Retina was born to close that gap. It is the GAME TV platform: the marketing team and merchandising leads assemble a sequence — video, image and audio on a timeline —, pick the stores or groups that will play it, and give it a start and an end date. The system does the rest.

The design challenge was the balance: underneath, it is a video editor, with channels, tracks and per-clip properties; on the surface it had to be usable by someone whose job is not editing video, but making sure Friday's campaign reaches 230 stores at once.

A short system, fixed before the screens

Before drawing the editor, the foundations were fixed in Figma: colour, typography and components, each on its own board. With 47 screens ahead, every decision taken once is a decision that doesn't have to be argued 47 times.

The palette is deliberately narrow: two neutral scales — a dark one for the tool and a light one for surfaces and documents —, a single teal accent that marks everything actionable, and the four status colours. Nothing else.

A video editor that doesn't intimidate

Retina's central screen is laid out like any professional editor — and at the same time, like none of them. On the left, the documents: everything imported, each with its thumbnail. In the centre, the preview with its playback controls. On the right, the clip's properties: start and end dates, duration, group and store. At the bottom, the channel: the timeline where clips are dragged, ordered and trimmed.

The difference from a real editor lies in what isn't there: no effects, no transitions, no colour grading. Everything that was removed is a mistake that can no longer be made at eleven at night before a launch.

From the cutting desk to 230 stores

A sequence is Retina's unit of work: an assembly with a name, a start date and an end date. The list shows them as a flat table — id, name, start and end — with search by name, id or date, because that is how the team asks for them.

Creating a new one asks for exactly three fields, and the fourth step is the one that matters: choosing the stores. The selector lets you tick store by store, apply a saved template or reach for groups — Península, Canarias — and keeps the chosen ones in sight as chips that come off with a single cross.

Administration, in the same language

Around the editor sit three management modules, and all three speak alike: dark table, search at the top, actions at the right of every row. Stores are listed with their code, their name and their full address, and they group — Península, Canarias — so nobody has to tick 230 boxes each time.

Files come in through an import screen with drag and drop, three clear doors — image, video, audio — and the 500 MB limit written where it can be seen, not in an error message after the upload has already been waited on.

And users are managed with two profiles: administrator, who governs the platform, and merchandiser, who assembles and broadcasts. Each sees their own, and the list shows every person's profile next to their corporate id.

From three hours to forty-five minutes

Preparing a campaign for the store screens went from about three hours to about forty-five minutes. Not a desk estimate: it is what the two people at head office who assembled the broadcast every week report, before and after Retina.

A good part of the saving comes from unification: where there used to be three applications — one for video, one for the in-store music and one for campaigns — there is now a single platform, and the 230 stores broadcast from it.