A roster solves supply. It does not solve being recognised.

Write the scripts, pick the faces, and by the afternoon ten variants exist without a single person being booked.

That removes the slowest part of video, which is never the editing. It is getting a human, a location and a camera into the same hour.

It also lets you test who your audience responds to. Age, energy, delivery, all varied without a casting budget.

It removes the scheduling risk that kills most content calendars. Nobody is ill, nobody is travelling, nothing slips a week.

If nobody at your company will film, that is the right purchase and nothing here changes it.

Here is the part a roster cannot hold. The presenter that felt fresh in March has appeared in four other categories by June.

A face nobody else can rent is the one asset in an ad account a competitor cannot license.

Cutroom is built around that face. One take of up to three minutes goes in.

Back comes a finished 9:16 MP4, captions burned in and coverage sitting on the words you marked.

On a hook test a shared face costs nothing. On the creative carrying serious weekly spend, it undercuts the claim.

There is a second cost that shows up later. Repeat customers recognise a brand by its presenter, and a rented presenter cannot be that anchor.

The value is not the face on ad one. It is the same face at ad twenty, when a viewer has seen you five times and stops treating you as a stranger.

That asset takes about six weeks of consistent posting to build and cannot be licensed by a competitor at any price.

It costs a phone and a window with light in it, which is the cheapest moat available in a paid account.

Five exposures to the same real person is familiarity, and familiarity lowers the cost of the sixth ad.

Five exposures to a shared roster face is noise, because the viewer has met that face selling three other categories.

Upload one take of up to three minutes. It returns transcribed, drafted into a full cut, and captioned as a 9:16 MP4.

Highlight a phrase and a clip lands over exactly those words. Swap it, or search millions of free ones.

Delete a line and the cut rebuilds around the gap. Change the pace and everything re-cuts, coverage ceiling included.

Emphasise the word your claim turns on so it pops in the captions. Fix a mis-heard word and the burned-in text follows.

Choose one of six caption packs and how each clip enters: cut, whip, punch, glitch or sweep.

No timeline, no keyframes, no layers. Eleven marks, then an export at 20 credits per finished minute.

Coverage is capped by pace: 40 percent on chill, 45 on normal, 52 on fast. Your face carries most of the runtime.

One talking-head take of up to three minutes goes in. One 9:16 MP4 comes out, captions burned in.

There is no roster and no way to generate a presenter from a script alone.

There is one speaker per take, so two people on camera is not a project type here.

There is no timeline underneath. A cut cannot be nudged, and pace or deletion is the repair kit.

Nothing of yours is stamped on the finished file, so a fixed brand element is added elsewhere.

There is no scheduling and no ad account connection. You download the file and upload it yourself.

Those are the facts to plan around. None of them touches the count, which is the next section.

That is the whole decision, and it takes ten seconds to answer honestly.

Nobody will film means buy the roster. Somebody will film and the footage sits unedited means buy the four-minute loop.

Winners run at 5 to 8 percent of creatives, per Motion's analysis of 550,000+ Meta ads.

Six creatives a month draws under one winner. Neither tool changes that percentage. Both change how many draws you get.

Here the lever is 20 credits a minute for a second export from a take already transcribed.

One finished minute from a fresh take is about 120 credits. Seven days and 300 credits with no card covers two.

Make two with your own face and run them against a rented one. Your account will settle it in a week.