Short-form ads, built to find your winner.
Scripted, voiced and edited in-house, for Meta, Instagram, TikTok and YouTube. We test angles fast, then double down on the creative that actually pulls. Direct-response from the first frame.
That workflow is open source: ltx-faceid-lipsync, along with the rest of our local pipeline tooling.
Three formats. Real samples.
Almost everything below is a finished ad we produced end to end: script, voice, footage, edit, end card. The clips marked single shot in Product Film are exactly that, kept in because they show the raw look.
UGC Avatar
UGCA first-person testimonial delivered by a generated spokesperson. The highest-converting format on social feeds.
- Character + voice
- Testimonial script
- Captions + overlays
Cinematic Storyboard
CinematicArt-directed to one coherent visual world. Premium production feel, no stock look, and a deliberately degraded one when the story wants it: Found Footage is a 65-second handheld POV built to look like a re-uploaded 2008 camcorder tape.
- Art-directed world
- Score + VO
- Any location
Product Film
ProductA continuous, scored product film with voiceover. Real-commercial production for DTC brands and launches. The clips marked single shot are exactly that, not finished ads, with their own sound.
- Continuous camera
- Product hero shots
- Score + VO
Found footage, feature cut
Campaigns for brands that do not exist.
Everything in this block is spec work: fictional brands, synthetic presenters, no client attached. We build the formats end to end before anyone asks for them, so you can judge the finished thing rather than a promise.
PREPPA, mini-VSL
1:01A direct-response VSL for a fictional kitchen gadget: three presenter takes, demo b-roll cutaways, title and end card, the voice running continuous under the picture.
TaskDeck, e-learning lesson
0:46A micro-lesson for a fictional kanban tool. The presenter hands off to a real recorded screencast of the product UI with cut-in zooms, then comes back on camera for the takeaway.
A campaign needs the same product in every hand. Octa Drops is one fictional dropper bottle carried across four clips as a video reference: three presenters, three funnel stages, the bottle reference-faithful in each one.
Courses and ads travel. The same presenter delivered the same line in five languages, and the framing is matched across all five takes: only the language changes.
And one continuous fifteen-second take, subtitled in English: she opens in English and switches through Spanish, Japanese, Korean and Chinese mid-take, no cuts.
Pick a look, not just a format.
The format decides what the ad does. The look is a separate choice, and photoreal is only one of them. Same turnaround as everything above.
Photoreal
0:19The hardest thing to fake is a face doing something involuntary. Two people, one catching the other's laugh.
Anime
0:20Clean 2D linework and character-driven framing, held from the first frame to the last.
3D character
0:19Feature-style character animation, with cloth, hair and subsurface skin doing the work.
Claymation
0:25Stop-motion look, lit like a physical set. One unbroken take.
A swatch holds a look for a few seconds. These four carry one through a finished piece: voiced spots and unbroken takes, the style surviving every cut.
Campfire
0:30The 3D style through a full 30-second spot: one character, voiced, the face holding across every cut.
Cel Snap
0:23Starts photoreal, snaps to cel-shaded animation and back, same performer and rooftop throughout.
Orchestra Pit
0:25Opens on one clay trombonist, then the camera pulls back to a full orchestra. One take.
The Operator
0:25A single clay figure working a brass control booth, every knit and fingerprint left in.
Sound that was never added afterwards.
Picture and audio come out of the same pass, so a sound belongs to the frame that made it rather than being laid underneath. Unbroken takes of 10 seconds to a minute, no cuts, no sourced foley. Turn the volume up: muted, these are half of what they are.
The Storm
Fifty-six seconds in one shot, from a night storm above the cloud deck down to the water. Thunder, rain and the waterfall are all in the generated take. The loop at the top of this page is cut from it.
Six takes where the sound is the point
The Forge
About 70 hammer strikes settle into a 62bpm groove on their own. Median gap 0.975s, and it tightens as it goes.
Sound First
A packed stadium turns out to be one television in an empty room. The audio builds 36x to get there.
The Pop-Up
A cut-paper city rising in three tiers, stepped to true stop-motion twos.
The Canopy
Each crash comes from the branch that visibly moved, receding across the frame.
The Display
A wing-snap you can see the wings make.
The Weather
Rain crossing a valley, heard before it is seen.
We also fix footage that already exists.
Relighting a graded shot, or generating a camera angle that was never filmed. Both are demonstrated before and after on recognisable film footage.
See the post-production demosWe make films, not just ads.
“She Never Asked” is an original SUPERTRIPS short-film teaser: written, shot, scored and cut in-house. Proof the range runs all the way to longform narrative.
The Vault
Some of what we can do doesn’t belong on a public page: real-person spokespeople and no content filter, because it runs on our own machines rather than someone else’s. Drop your email to watch.
Unlock the vault →Let’s find your winning creative.
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