Project Management Software for Media
The publish date isn't a target, it's a fact: the paper goes out, the broadcast airs, the episode drops, whether or not the piece is ready.
A deadline that doesn't move, for content only you consume
A media company doesn't work like an agency. There's no external client approving the final cut. A newsroom, studio or publisher makes its own content for its own audience, which sounds like it should be simpler. It isn't, because the deadline is absolute in a way an agency's rarely is. A print run has a press time, a broadcast has an air time, a newsletter has a send time. There's no version of "we asked for one more round": the slot exists whether the piece is ready or not, and it fills with whatever is ready, finished or not.
What actually goes wrong is coordination across a chain that has to close in order: reporting or production, then editing, then legal or standards review, then layout or edit, then publish. Any one stage running late compresses everyone downstream, and because the final slot is fixed, the compression always lands on whoever is last in the chain. Usually that's the layout or edit desk, the person with the least ability to fix what caused the delay in the first place.
ShipSprint's job here is to make that chain visible before the slot arrives, not just to record that it was missed afterward. A story or segment moves through its stages on a board, hours logged against production get counted properly, and the forecast shows whether today's pace clears the next deadline, not the one after it. That's the practical difference for a newsroom: a piece running late becomes visible on Tuesday, not something everyone discovers together at the layout deadline.
None of this asks a newsroom to work differently. It just asks the tool to keep up with a pace the schedule already set, rather than whatever cadence a generic project tracker assumes everyone works to.
Built for a schedule that doesn't negotiate
Six pieces for a production chain that ends the same way every day or every week, on the clock.
Boards carry per-column WIP limits, so a backlog in editing or standards review is visible before it becomes the reason an edition goes out short. New assignments land in a triage inbox instead of a producer's messages, so nothing gets slotted in without being sized against what that edition already carries.
Delivery forecasts are calculated from the team's measured pace as work moves through the board, so a piece running behind its usual production time shows up as at risk days or weeks early. There's still time then to pull in help or cut it from that edition, instead of finding out at the layout deadline.
Logging a day's hours takes about five seconds and sits next to the task just closed. For a newsroom or studio tracking cost per piece or per episode against a budget, that's real production data instead of an estimate reconstructed at month end.
Everyone opens to a "my day" screen: today's items, a one-tap time log, and one tap to say "I'm blocked," which pulls in whoever owns the hold-up (legal, an editor, a source) with context attached, instead of a message that sits unread while the clock runs.
A built-in wiki keeps house style, standards decisions and past editorial calls next to the coverage they affect, with page history, so a ruling made on one story doesn't get silently reversed on the next. Any sentence can become a task.
The owner command center answers "where is every desk, every show, right now?" in a single view, and a Monday digest arrives without a producer building a status report first.
The compression lands downstream, unless it's visible upstream
When the slot is fixed, a late input doesn't extend the deadline. It just shrinks whatever's left of the process for whoever comes next, which is usually a smaller team with less room to absorb it.
- WIP limits on each stage show a backlog in editing or standards review before it becomes the reason a piece drops from the edition
- A board per desk or show keeps a slow-moving investigative piece from clogging the same lane as same-day coverage
- Forecasts rebuilt from real production pace catch a piece drifting behind schedule while there's still time to reassign it, not at the layout deadline
- A wiki tied to the work keeps a standards or legal note attached to the piece it governs, instead of living in an email thread nobody can search later
- Separate boards per output (print, web, broadcast) mean one format hitting its deadline doesn't mask another quietly missing its own
Editorial and production sit alongside HR, operations and any commercial or ad-sales team on the same subscription, each with its own templates and vocabulary. ShipSprint also connects to Claude and ChatGPT, so an editor can ask what's still open for tomorrow's edition without opening the board. What the product covers is on the product overview.
One newsroom, several outputs, one deadline board each
Most media operations aren't publishing to one format any more. The same story might run as a same-day web piece, a longer feature for print, and a segment for a broadcast or podcast slot: three different deadlines, three different production paths, often three different people, all coming out of one piece of reporting.
Treating that as one task with three due dates undercounts the actual work and hides which output is at risk. Each format gets its own card on its own board, linked back to the same source reporting in the wiki, so a delay on the print layout doesn't get confused with a delay on the web version that already published on time.
It also makes freelance and stringer contributions easier to account for. A contributor's piece moves through the same triage inbox and stage columns as staff work, and the hours or fee attached to it show up in the same place as everything else, instead of living in a separate spreadsheet a production editor reconciles once a month. That's a small thing that adds up: the same five-second time logging built for staff works exactly the same way for a stringer's invoice, so a freelance budget stops being something reconstructed after the fact.
That matters at settlement time, when a freelance budget gets checked against what was actually commissioned that quarter. A production editor working from the board has an accurate answer immediately; one working from memory and a shared inbox is usually reconstructing it the week invoices are due.
Common questions
Yes. Forecasts are built from your team's actual measured pace as work moves through the board, not from a sprint calendar. An air date or press time works as the fixed point the same way a sprint end date would.
Each gets its own board with its own columns and WIP limits, so a daily news desk and a longer-form investigative team don't have to share a workflow that fits neither of them, while an editor-in-chief still sees all of it from one screen.
Free covers up to 5 users and 2 projects, forever, enough to trial the model on one desk before rolling it out further. Team is ₹299 per user per month, or ₹2,899 a year, for up to 40 users. Business, at ₹599 per user per month or ₹6,499 a year, adds forecasts, scorecards and the owner command center, the parts most useful once a fixed publication schedule is on the line every single day, across more than one desk or show. Every paid plan starts with a 14-day full-access trial on Business, sample project preloaded, no card needed. Full pricing is on the pricing page.
No. No screenshots, no keystroke logging, no activity tracking. Only outcomes: what shipped and the hours the person logged themselves. Scorecards are leave-adjusted and visible to the person they describe, which matters in a newsroom where the workload swings with the news cycle, not the calendar. More on how that's handled is on the security overview.
Yes. Each output gets its own card on its own board with its own deadline, even when several outputs trace back to the same piece of reporting kept in the wiki. So a delay on the print layout doesn't get lost inside a web version that already shipped on time.
Related pages
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