VSL & UGC variant production
Never turn down an account because you can't edit fast enough.
You record hooks, body and offer once, to a fixed spec. We send back hundreds of variants, every one cut through the same pipeline. Draw against it the week you win the account, not the month after you've hired for it.
- Unlimited caption fixes
- 7-day scratch window
- Volume make-good, in variants
Creative supply caps the account.
Meta will spend whatever you hand it. What runs out first is finished ads, and budget won't fix that.
One recording, one spec.
You record hooks, body and offer separately. After that it's multiplication through one pipeline. Nothing to brief, nobody to chase.
Capacity without a salary.
An editor costs the same in the month a client leaves. Rented capacity stops when the contract stops.
The output
Video editing at scale, nearing full automation.
Each video runs a different hook or offer against the same body, so the only variable moving between them is the one you're testing.
Treatments
Pick a look, we hold it across every variant.
Choose the treatment once and it becomes part of the spec. Every cut after that matches it, whether it is the fourth or the four hundredth.
Animated diagrams
Concepts drawn on screen as she says them.
3D visualisation
Anatomical and product renders cut to the script.
B-roll cutaways
Supplied and stock footage timed to the beat.
Lower thirds and badges
Names, labels and callouts off one template.
Kinetic captions
Word-level highlight, timed to delivery.
Light and particle overlays
Motion accents layered over the talking head.
Why the line wins
Six things that change the day you stop hand-cutting.
These gaps close the week production leaves your payroll.
01 · When a client leaves
Salary stays
Your client gave thirty days notice. Your editor didn't.
01 · When a client leaves
Cost leaves with it
Capacity ends when the contract does.
02 · Variance between two ads
Editor-dependent
You think you tested a hook. You tested a hook plus whoever cut it.
02 · Variance between two ads
Zero
One spec, one line. Only the tested variable moves.
03 · Onboarding a new account
Hire ahead of revenue
Or turn it down. Or take it and under-deliver.
03 · Onboarding a new account
Same week
Draw against capacity you already hold.
04 · Coordination
Briefs, timezones, QC
A second business you never wanted to run.
04 · Coordination
One intake spec
Record to it. Nothing else to manage.
05 · Turnaround on a batch
Two to four weeks
By delivery, the winner you're replacing is already tired.
05 · Turnaround on a batch
Same week
Body approved, batch ships.
06 · What breaks at scale
The accounts you already have
Winning client five is what breaks one through four.
06 · What breaks at scale
Nothing
Throughput is what you rented. Adding accounts doesn't move it.
The workflow you're handed
You record three things, once.
You record to the spec and we multiply it. The whole intake is a shot list and a deadline.
01 · Hooks
Recorded back to back
02 · Body
The argument, once
03 · Offer
Or folded into the body
You record
One session, to the spec. Scripts available if you'd rather we wrote them.
You approve the body
One round included. You get 24 hours to respond. After that it ships as cut, so the line never stalls.
We deliver finished files
Every ratio, captions burned, named and tagged. Ready to launch, not ready to edit.
Terms, in plain language
Every remedy is paid in variants.
A refund undoes the work and leaves you with the same empty ad account. When we miss, we settle it in output.
Unlimited caption fixes
Misspellings, wording, caption timing. We correct those free, however many passes it takes. They're our mistakes.
One body revision
Each body gets one revision round. Changes after that are new direction, so we quote them as new work.
Volume make-good
Land under your committed count and we carry the shortfall into the next month at double, free.
7-day scratch window
We delete client footage seven days after delivery. Nothing gets archived or reused, and that clause is in the contract.
The make-good runs on three-month terms only, since a shortfall needs a following month to land in. Month to month is available without it.
Who runs the line
Meet Brandon.
Brandon. Five years editing, working freelance across video and photo.
I built the line because the work that kept coming in was highly repetitive video editing, and demand for it outran what any single editor could hand-cut in a week.
Every cut that reaches you came through the same pipeline, on the same export preset, against the same spec. Consistency is the thing you're paying for, and it doesn't come from talent. It comes from the line.
Contracts run in three-month blocks rather than a year, so you always know when you can walk. You get a named contact who answers, and the same person is accountable for every batch.
Start here
Bring your worst ad and watch it get recut.
Upload your footage when you book. We run it through the line on the call, you watch the counter climb, and you keep whatever comes out of it.