Cutroom
Who it is for
Different constraints, different maths. Find the one that sounds like your week.
Your catalogue is not under-shot. *It is under-sampled.*
Every route to ecommerce creative bills per finished asset. So an invoice decides how many angles you test, not your ideas. That is why the account has run the same three hooks since March. Here is the arithmetic behind it, which angles the quote killed, how one phone take becomes a finished ad, and how many a month Cutroom puts in reach.
The supplier clip is *already running on nine other stores*
Everyone testing this product downloaded the same supplier footage. Same clip, same track, same white text on top. The feed has already seen it. Here is what duplication costs you, why creative moves slower than your product tests, why a spoken read cannot be downloaded, and what eight openings from one afternoon come to.
The camera roll is full. *The posting schedule is not.*
Filming was never the problem. Thirty-one clips from the last month sit on the phone and four of them went out. The gap is an editing queue. Here is why the queue forms, what it quietly does to what you say, how a re-cut becomes a reading task, and how many posts a month that puts back on the schedule.
You are paid per deliverable. *The re-cuts are unpaid.*
The brief says one video. The follow-up message asks for three hook variants and a version without the first line. You film once, cut four times, and the invoice does not change. Here is where the hours actually go, why revisions are asymmetric, what a variant costs when the cut is compiled from the transcript, and what that does to a rate card.
Nobody owns creative here, so it lands on *whoever has a free Thursday*
There is no creative team, no retainer and no queue. There is a founder with a Thursday afternoon. That is why the account has run the same two ads since the launch post in April. Here is what two creatives can and cannot tell you, why hiring around it is slow, how a sales call becomes an ad, and what changes when an attempt costs 110 credits.
It does not take your craft work. *It takes variant four.*
Your timeline editor is unbeatable on grade, on mix and on frame-level control. None of that is going anywhere. Where it loses money is the fourth hook variant for a client testing openings. Here is what that work costs you, why a compiled cut rebuilds itself, what a test set sells for, and what stays in your timeline.
The retainer says four videos. *That is the client's sample size.*
The scope line that says four videos a month was written to protect your margin. It also decides how many creative bets the client gets to place. Here is what four attempts can tell you, where the retainer leaks hours, how one client take becomes a quarter of openings, and what a scope line looks like when an ad costs 110 credits.
You sell one thing. *You still need twelve doorways.*
One offer does not need volume testing. That is the objection every coach raises, and it is wrong. What you are testing is not the offer. It is which problem someone was already searching for when they met you. Here is how to find twelve entrances, where the words already exist, how to film them in one sitting, and what twelve cost.
Nobody scrolling wants a product tour. *They want their Tuesday named.*
The default SaaS ad is a screen recording with a caption over it, and it performs badly on cold traffic. A stranger has no reason to care about a dashboard until somebody names the mess it replaces. Here is who should say that out loud, where the script already exists, how one AE take becomes an ad, and what sixteen tested objections cost.
Money was never the constraint. *Your Tuesday evening was.*
You run the ads, the support inbox and the product, so creative is whatever is left at 9pm. The account still runs on the two ads you managed in January. Here is what those unmade ads cost, why the editing evening is the real bottleneck, how one take clears in ten minutes, and what an attempt costs when it stops taking one.
The best promo you own is *buried in module four*
Somewhere in the course is a two minute stretch where you explain the thing people were getting wrong, and it lands every time. That passage sells the course better than any promo written from scratch. Here is why launches fail on creative supply, why teaching beats announcing, how one passage becomes twelve openings, and what twelve cost.
A small radius means *the same people, every week*
Targeting five miles around the shop gives you a tiny audience. Frequency climbs fast, and the ad that worked in week one is furniture by week three. More budget makes it worse. Here is why rotation is the lever, who should be on camera, how twenty minutes before opening becomes an ad, and what four fresh ads a week cost.
One take in. A finished ad out. See it on your own footage before you decide anything.