Agency: The Martec
LENOVO: LA VIDA EN LENOVO
Lenovo's first brief was a Spanish-language film built from two recorded answers by a product manager in Peru, with translated title and question frames supplied and the editing approach left open within the guidelines.
Late in the process the client replaced their end bumper and asked for the careers CTA to sit inside it, without being able to release the working file. Masking was defeated by the animation and shadow behind the tagline, and replicating it by hand would have meant retouching seventy-five frames. Since the guidelines forbid rebuilding the logo lockup, the CTA was mocked up beneath it at a third of the scale instead, and approved.
Font: Gotham
LENOVO: DAY IN THE LIFE OF ISG
The second Lenovo brief covered nine employees across three continents, to be cut into four themed sections inside a 120-second cap: rapid-fire introductions, a typical day, the best part of the job, and advice to candidates.
One contributor's clips lagged in the timeline while playing cleanly as raw files. Matching the composition frame rate made no difference, and the fault persisted across both After Effects and Premiere, so the clean playback was screen recorded and used instead. Another's audio carried a background buzz, compensated on levels. The running order was reworked so nationalities and genders alternated rather than grouped.
Font: Gotham
TAKEDA: PARTNERSHIP HIGHLIGHTS
Made for a single room, this reel opened a partnership review and had to account for a year of work in sixty seconds: employee stories, programme figures, and the range of topics covered, without becoming a slide deck.
Data was animated over the footage rather than beside it, covering advocates onboarded, stories published, stories in progress, and content spanning DE&I, Black History Month, Hispanic Heritage Month and the STRIVE employee resource group. Client feedback separated the figures onto individual cards appearing one at a time, and replaced the closing logo with a co-branded statement. The cut came down from over ninety seconds to exactly sixty.
Font: Gotham
TAKEDA: FLEXIBLE WORK MODELS
Takeda's culture supported flexible working but had no systematic part-time contracts behind it. This film was made to shift internal perception rather than describe a policy, promoting job-sharing as something normal and workable.
Two contributors were paired deliberately by vantage point, a people leader and an employee, and cut against the same questions, so each topic is answered twice from opposite sides. Question cards carry the structure, captions run throughout, and the film closes on a QR code linking to Takeda's internal guidance.
Font: Gotham
NTT: THE IMPORTANCE OF EMPLOYEE EXPERIENCE
NTT's group CHRO recorded four answers on employee experience, to be assembled into a single thought leadership piece. A fixed rule ran through the brief: text and lower thirds always sat to the left of frame, vertically centred, whatever the shot behind them. Beyond that the client wanted a strategic reading of the material rather than a straight transcription, so the edit had to find one argument across four separate answers while holding the same visual anchor throughout.
Footage was graded and reframed so the caption zone stayed clear across all four answers, with captions built from the supplied transcript. A later take arrived delivered freely rather than to script, so captions were re-cut to the spoken version and the on-screen points rebuilt around what was actually said. Two guideline updates landed during the build, first typography and then type colour, and both were rolled through the full set.
Font: Noto Serif, Noto Sans
NTT: SMART SPORTS, SMART CAREERS
With the Tour de France already underway, NTT DATA needed a recruitment film marking a decade as the race's technology partner, published within days. Seven employees across several territories had each recorded themselves separately, to a script, on their own devices.
The intro frame was left open, and the film was built to carry a set of clips as one piece: burnt-in captions throughout, title cards repositioned to clear each speaker's face, and weights matched across cards that had drifted apart.
Font: Noto Serif, Noto Sans
