Who you are, what you stand for, and why it matters, told in a format audiences actually watch.
Crafted demonstration of what you offer, built for conversion and credibility.
Testimonials and case study cuts that earn trust and reduce purchase friction.
Six recent paid social cuts across public events, brand activation, lifestyle, space and community, venue work and brand storytelling.
Lock Off-Road launched at the National 4x4 Outdoors Show. Half a day on site, one camera bag, and the reel was cut and live while the doors were still open, then boosted as a Meta ad from the stand.
Read the case studyTen times more views than reach, which means it was watched on repeat rather than scrolled past. The paid boost did the reach work and the content did the engagement work.
Meta reporting supplied by the client for the single reel, published 21 August 2026.
“Professional, easy to work with, and highly organised, he ran the entire shoot efficiently while maintaining a great eye for detail.”
Dynamic Wheel Co, Google review
Event and activation coverage, product detail, service explainers and people-led content. All of it shot vertical first and cut into enough variations to actually test.
A trade stand, a venue launch, a finish line your brand is sponsoring. It gets filmed while it is happening rather than reconstructed afterwards, because a room that is genuinely full is the one thing you cannot stage. One day on site normally carries the paid cut, the organic recap and the variations underneath both.
Detail work on the product, shot so the finish, the build quality and the scale of it read on a phone held at arm's length. It is the closest thing paid social has to a shop window, and it does the job a specification list never will for someone who has not heard of you yet.
Short pieces that teach the buyer something true about how the work is done, what it costs, or what usually goes wrong. Educational content earns trust before it asks for anything, and it gives you something worth posting in the stretches between campaigns.
Your team, your customers and the people actually using the thing, filmed as people rather than props. It is the difference between a feed that looks like a business and one that looks like a stock library. Testimonials live here too, shot to feel native to the feed and cut to a fifteen and a forty second version from the same interview.
Every cut is built from its opening frame backwards, because on a cold feed the hook is the entire buying decision. The same footage gets several different openings so you can test which one holds, rather than guessing once and spending against it.
Nine by sixteen is the primary format, composed for that frame on the day. Square and landscape versions come out of the same session. It is the opposite of the usual order, and it is why the subject is not half out of frame.
One idea delivered as multiple cuts with different hooks, lengths and end cards. A single hero ad cannot be optimised, because there is nothing to compare it against and no way to know whether the creative or the targeting is the problem.
Burnt-in captions styled to the brand, and edits that make sense with the sound off, because a large share of the feed is watched muted. Sound-on gets its own pass rather than being an afterthought.
Most paid social underperforms because of what sits in front of the budget, not the budget itself. Boosting a video amplifies a statement, and the quality of that statement tells your audience exactly what kind of brand you are.
I build ad content from your brand pillars: the stories, people, products and values that make you worth choosing. Native to the platform, credible to the audience, and worth the spend behind it.
It suits brands putting real budget into sustained campaigns on Meta, TikTok or YouTube, typically lifestyle, hospitality and consumer. If you are testing the channel for the first time, or running cheap creative built for volume, a performance agency with in house production is the better fit and I will happily refer you.
Content that looks like an ad performs like an ad. Content that looks like a story performs like a story, and gets shared, saved, and remembered.
Three to five distinct concepts, each with two or three hook variations, is a realistic first test. That is enough for the platform to find a winner without splitting the budget so thinly that nothing gets out of the learning phase.
One expensive hero ad is the most common way to spend a quarter's budget and learn nothing.
No. I make the creative. Media buying, audiences and budget sit with you or your agency, and that split is deliberate.
I will work directly with whoever runs the account, and if you share what is happening in the numbers I will tell you what I would change about the creative.
At a reasonable spend, seven to fourteen days is usually enough to separate the creative that holds attention from the creative that does not.
Judge it on hook rate and hold rate before you judge it on conversions. If people are not getting past three seconds, the problem is upstream of your landing page.
Often, yes, and it is worth checking before shooting anything new. Existing brand film footage frequently has usable material buried in it that was never cut for paid social.
Send it through and I will tell you honestly whether there is a campaign in it or whether it needs a shoot day.
If your monthly media spend is under about a thousand dollars, custom creative is usually the wrong first investment. Fix the offer and the landing page first.
Above that, creative is normally the highest-leverage thing you can change, because the spend is the accelerant and the creative decides the direction.
A refresh cut from existing footage turns around in three to five business days.
A new shoot is two to three weeks end to end. Most accounts settle into a rhythm of a shoot day each quarter and refreshes in between, which keeps fatigue down without a standing production commitment.
Yes, for the hooks and the short-form structure, which is the part that decides whether an ad works.
You know your offer and your objections better than I do, so the strongest scripts come out of a short call where you talk me through what customers actually say before they buy.
You get a commercial licence covering paid and organic use across every platform, in perpetuity, with no separate media buyout.
Where a shoot involves hired talent rather than your own team, their usage is a separate term and is quoted as its own line up front.
Half an hour, no pitch deck. You will leave knowing whether this is the right next investment for your brand.
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