The offices had mixed fluorescent and daylight. We did not fight the mix with a full gel package; we chose a white balance and a grade that made mixed sources look like a decision.
Portraits were lit with a small key that could be packed in ten minutes so the documentary unit was not waiting on a stills circus. Interviews used the same key direction.
The film cut around real work, not staged huddles. Stills from the same days became the careers-site grid. HR still uses both.