PERFORMANCE AD CREATIVE
Ad units built for the first two seconds, muted, on a phone.
Paid social creative is not small cinema. It is a unit judged on the first two seconds, muted, on a phone, against somebody thumbing past. So it gets written backwards from the hook: the claim, the angle and the opening frame are decided first, and the beautiful shot only survives if it earns its place in the cut.
I produce in volume because that is what a media buyer actually needs. Eight to twelve written hooks, the strongest ones built as stills, then full 6, 15 and 30 second units in 9:16 and 4:5 — framed native, not cropped from a landscape master. Captions burned in, safe zones respected, sound treated as an upgrade rather than a requirement.
What I do not do is buy the media. No ad account access, no bid management, no attribution dashboards — you get files, a naming convention and a test plan that says which variant tests which idea. Creative is one input out of several, and I would rather be judged on the asset than on somebody else's targeting.
WHAT I DO
- Hook bank — eight to twelve written openers across different angles (problem, price, proof, demo, pattern-break), ranked before anything gets produced.
- First-frame stills for the shortlisted hooks, so weak openers die at the still stage instead of inside a media budget.
- 6, 15 and 30 second units built natively in 9:16 and 4:5 rather than cropped down from one landscape edit.
- Burned-in captions and on-screen text positioned inside platform safe zones, clear of the caption bar and the CTA button.
- Sound-off first construction — the ad has to read muted, with audio as an upgrade for the people who have it on.
- Static companion creative — the same angle as a single frame, for feed placements and for wherever video gets throttled.
- A test plan and naming convention your buyer can load into a campaign without a handover call.
HOW I WORK
- 01
ANGLES
I pull the real objections and benefits out of your reviews, support threads and sales notes, then write more hooks than will ever get built.
- 02
HOOKS
The first two seconds get produced first as stills, and the openers that do not stop a thumb get cut there.
- 03
CUT
Full units get built around the surviving hooks, each carrying one clear claim and one unmistakable product moment.
- 04
SPEC
Safe zones, captions, ratios, durations and file specs checked against the actual placement before anything is handed over.
BEST FOR
- Brands already spending on Meta who run dry of fresh creative every three weeks.
- Media buyers who need structured volume and clean variables, not one beautiful film.
- Products with a visible demo moment — before and after, assembly, texture, scale, speed.
- Accounts where creative fatigue rather than targeting is what stopped working.
NOT THIS
- Not media buying. I do not have access to your ad account, do not set budgets or bids, and do not touch Ads Manager. Files and a test plan come to you; the buying stays with you or your buyer.
- Not the launch film. A brand film is written for feeling and arc and lives on its own page; these units are written against a cost per result.
- Not analytics or attribution. I do not build dashboards, model attribution or read significance — I make sure the variants are clean enough for your numbers to mean something.
THE PROOF
Published case studies from ai commercial production work. Each one names the client and shows what was delivered.
STRAIGHT ANSWERS
REST OF AI COMMERCIAL PRODUCTION
MAKE A
WISH.
Tell me what you're building. I'll tell you how loud it can get.
- /01
YOU WRITE
Tell me what you're building and what's in the way. Two lines is enough.
- /02
WE TALK
A 30-minute call, booked within 7 days. Real questions, no pitch theatre.
- /03
YOU GET A PLAN
Scope, timeline and an honest number, usually within a week.