Building a campaign
motion toolkit for FORA.
Client | FORA
Production | Two Degrees Studio
Concept & Campaign | Two Degrees Studio, with the FORA creative team
Video & Motion | Two Degrees Studio
Design & Brand | FORA in-house creative team
FORA came to us with one striking asset and a big ask: turn aerial footage of their London portfolio into a full campaign for the first half of 2026.
The footage was beautiful. But a beautiful view isn't a campaign, and a network of workspaces as good as FORA's deserves more than a single hero shot that runs once and fades. FORA is "London's office," a premium flexible-workspace operator with locations right across London, the UK and Germany. The job was to make that scale work everywhere their audience actually looks: paid social, display, the website, member comms, sales enablement, print, and the screens inside their own buildings.
So we didn't treat this as a list of edits to cut. Working in conjunction with FORA's own creative team, whose brand and design gave us the identity to build from, we set out to make something they could keep using: a campaign toolkit that takes their look into motion and holds a whole campaign together, not three separate projects stitched to look related.
The Challenge
Aerial footage is lovely to look at, but it doesn't want to tell a story. It's built for one wide, cinematic moment, not for the range of sizes, formats, and placements a full quarter of marketing needs. The shot that lands on a homepage won't carry a vertical story, a display banner, an email header, or an office screen on its own.
Underneath the creative problem sat two practical ones. FORA's channels weren't being fed with enough fresh assets, and creative that runs too long quietly stops working, the audience has seen it, so it slips past them. And without enough variation in market, there was no clean way to learn what was working, where, or why.
The real brief, then, wasn't "make more edits." It was to take one asset and build a flexible campaign toolkit from it, one that keeps the work feeling fresh, stretches across every touchpoint, and gives FORA something real to test and learn from.
The Solution
Working alongside FORA's creative team, we started with the thinking, concepting, and ideation for the campaign itself, then built the two moving parts that would carry it: an animated location pin, and a text ticker.
The pin does the real work. Dropped onto the aerial footage, it turns a passive landscape into a live map of where FORA is, every marker a building, a neighbourhood, a reason to look closer. Because it's a designed, branded element that lives on top of the footage rather than baked into it, it moves freely. It can multiply across a wide city shot to show the breadth of the portfolio, or settle on one location to tell a single building's story. From lead gen to education, socials, the website, or sales enablement, the flexibility of the pin let us build one narrative across many channels while keeping every asset unmistakably FORA.
The text ticker gave us a consistent way to carry messaging across all of it without crowding the frame, so information could move at the pace each channel needed.
The Process
The pin didn't arrive fully formed. Before we settled on its final behaviour, we explored a few different ways it could animate, how it drops in, how it holds, how it lets go, testing which movement felt most like FORA and read most clearly at small sizes and fast scroll speeds.
We took the same approach with the word ticker, working through a handful of options for how the text should move, appear, and hand off from one message to the next.
Landing these behaviours early gave everything that followed a shared set of parts to build from. The animated pin and ticker aren't a one-off treatment, they're the beginning of a toolkit FORA can keep drawing on, with enough built-in variation to keep the creative fresh and to properly A/B test placements. Both the aerial footage and the animated statics work well in display, for instance, so the plan is to run both and see which earns its place.
The Work
With the toolkit in place, we produced a wide range of edits for paid social, web ads, display, the website, member comms, member stories, print, and internal screens. Each one is built for its format and placement rather than cropped down from a single master, and each one still reads, instantly, as part of the same campaign.
The Impact
The immediate delivery was a full set of campaign-ready assets across the whole funnel. The more useful outcome was the toolkit underneath them: a flexible set of moving parts, anchored by the animated location pin, that FORA can keep drawing on well past H1.
That toolkit answers both problems the brief set out. Turning one asset into many format-native edits keeps the channels fed and holds off the fatigue that creeps in when the same creative runs too long. And building in real variation, different cuts, statics against footage, messaging through the ticker, gives FORA something to measure properly, so the next round of work is a decision rather than a guess.
Most campaigns peak on launch day, then go quiet. This one wasn't built to. The toolkit stays with FORA, ready to keep the work fresh and moving long after the first films have had their moment.
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