Arcads brings performers, Creatify brings drafts, Cutroom brings the finished ad

Arcads is strong at something nobody could afford before. You bring forty words. It brings back fifteen people saying them.

Delivery is a real performance variable. Pace, warmth, whether somebody sounds like they are reading. Booking fifteen people to test it has never been possible.

What arrives is a read. No opening line written to earn the fourth second. No cutaway on the claim that needs evidence. No captions, and most people watch on mute.

That work lands on you, in another tool, on a Thursday evening. Cutroom does it in the same pass as the transcription, for 100 credits a take.

Arcads also thins out at the pause. A clear, confident read comes back clean. The half second of hesitation before somebody admits something true does not, and that hesitation is often the whole reason a UGC ad works.

Price it per published ad rather than per render. At a one in three keep rate, thirty published ads is ninety renders, and ninety renders is the tier you end up buying.

Four hundred SKUs and one marketer is not a taste problem. It is a counting problem. Creatify is shaped around the count.

Point it at a product page. It pulls the assets, drafts angles and assembles something watchable. At ten past five, a draft you can argue with beats a blank document.

The failure mode is convergence. Auto-drafted scripts share a structure and a set of conventions. Twenty variants turn out to be one script in twenty hats.

So price the editing, not the drafting. An hour of somebody rewriting twenty drafts is the real line item. It appears on nobody's plan page.

A draft is a starting point, not an ad. Somebody still has to cut it, caption it and decide what the first three seconds do.

Cutroom starts from the other end. The words are already yours, already said out loud, and the machine builds the ad around them.

One take goes in. A finished 9:16 MP4 comes out. B-roll landed on the right words, captions burned in, the dead half seconds gone.

The machine transcribes the take, plans the cut and searches millions of free clips. Then you direct it on the transcript.

Highlight a phrase and a clip lands over exactly those words. Delete a line and the cut rebuilds around the gap. Change the pace and the whole edit re-cuts. None of that costs a credit.

The facts a buyer needs before starting: somebody films the take, three minutes is the ceiling at upload, and 9:16 is the only shape that comes out.

The take can be a phone propped on two books in a kitchen. That is the point. The output reads like a person rather than like software, which is what this feed pays for.

Published benchmarks put the share of ad creatives that carry spend at roughly 5 to 8 percent. That is Motion's analysis of 550,000+ Meta ads. Call it one in thirteen at the generous end.

Six creatives in a month is not a test against that rate. It is a raffle with six tickets in a draw of fourteen.

Nobody on your team is short of angles. Ask a founder for twenty and you have them before lunch. Half are worth filming.

What caps the number is the cost of turning one angle into a file that can go live. The brief. The booking. The wait. The edit. Two revision rounds. The export.

So the question is not whether your creative is good. It is whether you sampled enough of it to find out.

Each tool here is a different answer to that one sentence. Cutroom's answer is 110 credits and no timeline session at all.

Finished ads published. Scripts written and never filmed. The larger number names your gap.

If both numbers came out small, write ten more angles before buying anything. Nothing on this page manufactures something worth saying.

There is a second sorting question. Are you buying volume or credibility? Generated performers are cheap and endless, which suits thirty cold tests. A real person is finite, and a real person is what carries the spend once an angle works.

Agencies often end up with two of these rather than one, because the shortage changes per client. That is a normal outcome.

Whichever you buy, count the finished ads at the end of the month rather than the assets in the folder. Those two numbers are rarely the same.

The rows below are the same decision in one screen. Two of them go to Arcads. The rest are what happens after somebody films.