Feature
You do the talking. It does the cutting, for 100 credits
UGC works because it reads as somebody's opinion rather than an advert. That survives exactly as long as the words stay yours. So you film one phone take of up to three minutes, fumbles left in, and a finished vertical ad comes back cut, captioned and covered. Here is what to say, how much footage to put over it, and what twenty attempts cost.
- Phone footage it accepts
- 3 min
- Credits per take through it
- 100
- Creators to brief
- 0
You do the talking, it does the editing, and the split is the product
Film one take on your phone, in a normal room, saying a true thing about your product. Do not script it to the word. Do not stop when you fumble. Say it again and keep going.
Under three minutes, which is the upload ceiling and longer than you should need.
Upload it and a finished vertical ad comes back. Cut, captioned, footage placed on the words that needed showing, and a headline drafted for the opening.
Then you tidy the read from the transcript. Trim the throat-clearing, which is nearly always the first ten seconds. Delete the tangent. Change the pace if the delivery drags. Emphasise the one word carrying your claim.
One batch is 100 credits and export is 20 credits per finished minute, so a short ad is about 110. The trial is 7 days and 300 credits with no card.
One messy phone take, and where the work actually splits
The left half is yours and cannot be delegated. The right half is 100 credits and a few minutes.
Say a true thing
Fumbles left in
Upload one take
3 min ceiling
A finished ad comes back
Cut, captioned, covered
Tidy it in the transcript
Trim, delete, re-pace
The tell is not the phone camera. It is the rehearsed cadence
Plenty of heavily produced ads are shot vertically on phones and get classified as advertising inside a second. The frame was never the signal.
What reads as real is specificity and imperfection. A person saying a concrete thing about a concrete situation, in the order it occurred to them, with the pauses left in.
The instant somebody hits a rehearsed cadence, the viewer reclassifies the video. Three matched shots in a row do the same. The borrowed trust disappears either way.
That decides how to use any tool, including this one. Hand the machine the mechanical parts. The cutting, the captions, the finding and placing of footage, the format.
Keep the words, the delivery and the choice of what to talk about. A tool offering to do that second set is offering to remove the mechanism.
The pauses are part of it. A read with no gaps in it is a read somebody rehearsed, and the viewer hears that before they hear the claim.
This is the whole editor
Highlight a phrase and a clip lands on those exact words. No timeline, no keyframes, no layers.
UGC won because it is the only format cheap enough to run at volume
Winning creatives run at roughly 5 to 8 percent, per Motion's analysis of 550,000+ Meta ads. That number is why UGC became the dominant format.
It is the only production method cheap enough to run at the volume those odds demand.
So what you optimise is not the polish of any single take. It is how many honest ones you can put through.
One three minute recording contains five different openings if you said the same claim five ways. Five separate ads, made by deleting lines rather than dragging clips.
That is where a batch at 100 credits earns its place. Basic at $39.99 for 2,500 credits is around twenty finished ads a month. Premium at $79.99 for 5,000 is around forty.
Twenty honest takes, at the published hit rate
One or two carry the account. That is the case for volume, and the case against polishing take three.
Do not over-cover it, because in this format the face is the format
Coverage caps at 40 percent on chill pace, 45 on normal, 52 on fast. For UGC you often want less than the cap allows.
A talking-head ad that keeps cutting to stock footage stops reading as somebody's opinion. It starts reading as a production.
Highlight the phrases where the product is named, where the number lands, and where the result is described. Leave the rest of the read on your face.
Use your own footage wherever you have it. Your product, your premises, your hands. Licensed public footage fills the gaps and is the part most likely to read as generic.
Swapping any clip is free, so the fix for a shot that feels stocky is one action rather than a rebuild.
A rough rule holds up here. If a viewer could not tell your ad from a post by somebody who bought the product, the coverage is right. If it looks made, take a highlight off.
No roster and no script generator, which is where the format survives
There is no creator marketplace here. No roster, no briefing workflow, no rate negotiation. You or somebody you know films the take.
That is deliberate. The half of the job that decides whether a UGC ad works is the half nobody can hand to a generator.
It does not write your script from a product page. What you say has to come from you, because specificity is the mechanism and a generic script is exactly what lacks it.
It does not manufacture credibility either. An ad where nothing true is said is a well-cut ad where nothing true is said, and audiences detect that faster in this format than in any other.
One upload becomes one ad. If the hook and the body were filmed separately, run them as two tests and let the numbers pick between them.
And if nobody at your company will get in front of a camera, the avatar module renders a presenter from one photo at 320 credits a minute, and the same editor finishes it.
Questions people ask
- Do I need a creator to film for me?
- No, and for most founders the honest take beats a hired one. The tool does the editing, the talking is yours, and there is no creator marketplace inside it.
- What should I actually say?
- One concrete, true thing about a real situation your customer recognises. Specificity is what makes the format work and it is the one input no generator can supply.
- How polished should the filming be?
- Barely. A quiet room and a phone on a stand is enough. Audio quality matters more than picture quality, because it drives the transcription everything else is built on.
- How much b-roll should a UGC ad have?
- Less than the cap allows. Coverage tops out between 40 and 52 percent depending on pace, but here the face is the point and footage should mostly show the product.
- Is it right for every brand?
- It is built for one honest take becoming one vertical ad. If you need many faces other than your own with a rights workflow across them, hire a marketplace for the filming and batch their takes here at 100 credits each.
Say something true, once, badly. The machine takes it from there and you keep your afternoon.