Product video, built without a camera.

Satirical pharma spot, 54 seconds

A US healthcare analytics company wanted the look of a pharmaceutical ad turned against itself. Script to delivery, including the voiceover, the supers and the fast disclaimer read at the end. Every line was machine-transcribed and checked word for word against the approved script before the client saw a cut, because in this category a dropped word is not a style note. Closed at 5.0, on budget, on time.

Northlark x Bayline Freight

Ops data lived in four systems that never agreed, so one weekly report took three days to rebuild. The video follows that from the Monday morning grind to trucks leaving on time, with the two numbers that matter landing exactly on the words that say them.

Sample project. Northlark and Bayline are fictional, the craft is not.

Capability reel

Kinetic typography, counters and charts driven by a data file, and word-level captions burned straight from the transcript, each word timed to the audio rather than typed by hand. The same build exports widescreen, vertical and square, re-laid out for each rather than cropped.

Capability demo. The figures shown are sample data, not a client result.

A process, not a chart: 44 seconds of onboarding

A twelve week client onboarding, drawn as three dated stages and then shown inside the product itself. The interface in this piece is not a screen recording and not a mockup pasted on a background: the sidebar, the panel, the cursor and the click are drawn in code, so a wrong label is a one line fix rather than a re-shoot. That matters most in regulated work, where wording gets approved late and then changes.

Sample project. Kestrel Wealth is a fictional firm and every figure shown is sample data, not a client result.

SaaS explainer, 46 seconds

The problem, what it costs, then the product doing the work: a source connects in two clicks, shipments stream onto a live board, a filter narrows it to the exceptions, and the number the dispatcher sees turns out to be the number the customer sees. Cursor, clicks, panels and status changes are all animated, so the walkthrough shows exactly the flow you want shown, in the order you want it.

Sample project. Northlark is a fictional brand and every figure shown is sample data, not a client result.

A 42 second explainer, built from one brief file

Every line of copy, every figure and every screen in this video comes from a single structured file. Changing a claim means changing a line in that file and rendering again, so nothing is redrawn by hand and nothing drifts between versions. That drift is what usually breaks a series that runs for months.

Sample project. Cedarline is a fictional brand and every figure shown is sample data, not a client result.

Product turntable, 8 seconds

One continuous orbit at a constant speed, so a buyer sees every side without a cut. The card stays in the slot and the cable stays attached for the whole turn, which is the part that usually breaks when a product move is faked.

Self-serve kiosk: one turn, two finishes, one room

A buyer asks three questions about a machine this size, and this is all three in seventeen seconds: what does it look like from every side, what does it look like in the other colourway, and what does it look like standing in my lobby. The shelves, the drawer and the screen stay in the same places across all three, because the object is locked to a single reference frame rather than described again each time.

Three cuts, 21 seconds

The cuts run back to back so you can see the pacing change between them. Each opens on its own line, because the first second is the only one a scroll gives you.

The source here is our own sample piece, so the brand and the figures in it are invented. On your footage the cuts are chosen from what your speaker actually says.

Background swap, 8 seconds

The room is generated to match the camera that shot the original, which in this case does not move. The foreground is then graded to the new light — the step that usually gives a swap away, because a person lit for an office does not belong in a sunset without it.

Dubbing, priced per language

The script is rewritten to fit the shot rather than translated word for word: Spanish runs at a different length than English, and a line that overruns leaves a presenter moving their mouth after the sentence has ended. One master becomes four markets without booking the studio again.

Clinic spot, 30 seconds

Four shots, one rule per shot. The presenter talks about how a visit works, never about treatment. The nurse scene carries its own label. Captions are cut from the recorded audio, so what is on screen is what was actually said.

Listing video, 18 seconds

The product on white opens and closes the cut, and the three scenes in between show it where a buyer would meet it. There’s no voice: a listing is usually watched with the sound off, and the cut still has to read.

Module, 39 seconds

Three steps, then the rule for a declined card, then a four word recap. Every line is captioned. A second language is the same pipeline and not a new shoot, so a bilingual set costs less than twice one language.

Three markets, 29 seconds

The script is timed to the shot, not translated word for word. A literal Spanish line ran short of the take by more than two seconds, so it was rewritten to fill the shot. Subtitles ship in every language with the cut.

Fourteen ads, one gap, three tests

The library shows a launch push, not a steady state. Every ad at the top started inside eight days. Five text lines carry twelve of them, and four of those lead with the device. The sharpest sentence the brand owns sits on its homepage instead, and the buyer most likely to answer it is the one the ads never speak to.

Tour from renders, 19 seconds

Three moves through the same invented building: the lobby, the glazed atrium, the courtyard pool. The camera only travels forward, and only as far as the renders actually cover.