The Work
The Metaverse campaigns ran across roughly two years, arriving in waves as new partners and platforms were brought on board. Each campaign featured a different industry partner, such as companies like Nanome (medical collaboration), Rezzil (football training) and Lufthansa Technik (aviation maintenance), showing how the Metaverse could transform their respective fields. All routes followed the same core design language for consistency, adapted per partner and market.
The volume of output was quite substantial. Across HTML, video, digital out-of-home, statics and GIFs, we produced well over 800 assets during the time I worked on the campaigns.
HTML Banners
The HTML banners were built to appear simple with clean animations, and copy fading in line by line, but the code behind them was designed to handle considerably more complexity than the visuals suggested. Working with my manager, I helped develop a reusable template system where the number of copy lines could be configured per market rather than hardcoded. Each line faded in independently, and the template handled the timing and sequencing automatically based on how many lines were present.
This meant that rather than rebuilding or manually tweaking each banner for different copy lengths across markets, the localisation team could configure the template and move on. For a campaign running across multiple routes and markets simultaneously, this saved a significant amount of time.
Video & Motion
The motion assets covered a range of formats and treatments. Some used actual video footage, others applied a parallax effect to a static image to give the illusion of depth and movement. Some were full-screen, others were cropped compositions with copy arranged around the image. All were produced in After Effects.
As with the HTML, we built a master template and used it as the basis for all variants, ensuring timing, pacing and animation style remained consistent across every route and format. Adapting from the master rather than building fresh each time kept the output cohesive and the turnaround manageable.
Digital Out-of-Home (DOOH)
DOOH placements were part of the broader campaign mix, requiring assets built to large-format specs and adapted for specific placement contexts. These had their own production requirements around resolution, file format and timing, and had to remain visually consistent with the rest of the campaign across very different display environments.
Statics & GIFS
Statics and GIFs were used wherever file size requirements ruled out video or HTML. The majority of GIFs mirrored the animation style of the HTML banners and motion assets, maintaining consistency across the campaign even in lightweight formats.
Statics presented their own challenge. With no animation to spread content across frames, everything had to land in a single composition. This was particularly demanding in markets with longer copy, such as French and German, where fitting accurate translations into the same layout as the English source required careful collaboration with the localisation team and, in some cases, layout adjustments to accommodate the extra length.
