Agencies buying media for their clients
You hold the account and need creative volume that does not bottleneck the buy. We produce white-label, under your name, from whatever asset library the client actually has.
"Versmos team is super talented and very quick. Easy to work with and gets the vibe effortlessly." - Dilpreet Kaur Founder & CEO at South Asian Today
Video ad production from your existing footage
Give your media buyer creative built around an approved offer and audience. We edit footage, add motion and on-screen copy, and produce agreed hook or message variants for Meta, TikTok, YouTube and other placements.
Built inside the assets that already exist
Almost none of this work starts with a shoot. A client sends a footage library, a script and sometimes a reference edit, and the ad is built inside those limits. Where the library does not cover a beat in the script, motion graphics and text treatment carry it; you do not drop the line because the b-roll is missing. Working inside a fixed asset library is the normal condition of performance creative, and the skill sits in the edit rather than in asking for a reshoot. The second constraint is the feed. Paid social autoplays muted, so every claim needs a visual and a text treatment of its own; the ad has to work with the sound off and gain from the sound on, rather than depend on it. Placements that break that rule get treated differently: a connected-TV spot is watched on a couch with audio on, and feed conventions read as cheap on a television.
Meta, TikTok, YouTube, and paid social
Launch-ready creative for testing and iteration
Every format and placement covered
What we create
Direct-response ads
Problem-first openings for considered purchases, where the viewer is not shopping yet and has to recognise the problem before the product means anything.
Genuine test variants
Cuts that differ in opening, pacing and emphasis rather than in colour grade. Two near-identical ads tell the account nothing.
Unbranded ad masters
Ads produced without a brand mark so an agency or a reseller network can drop its own lockup and contact details into the end card.
Two-brand hierarchy ads
A product brand and the retailer or partner selling it in one spot, sequenced so the viewer learns what the product is before being asked where to buy it.
OTT and connected TV spots
Longer holds, type sized for viewing distance, and everything critical inside a conservative safe area because OTT platforms crop and letterbox differently.
Platform cutdowns
The same ad in the ratios and durations the buy needs, genuinely reframed rather than letterboxed into place.
Burned-in captions
Caption treatment baked into the file, styled to the ad, for the many placements that quietly ignore an uploaded caption track.
Retargeting and offer cuts
Shorter ads for audiences that already saw the first one, skipping the setup and leading with the offer.
How video ad creative comes together
Step 1: Offer, audience and placement
Where the ad runs changes the edit, so it gets fixed first. A muted feed and a living-room screen are not the same brief, and audience temperature decides whether the ad has to build the problem or can lead with the offer.
Step 2: Script against the library
We read the script against the footage you can supply and flag every beat with no coverage. Those get carried by motion graphics, or the line changes. Doing this before the edit is what stops a rebuild halfway through.
Step 3: Reference, or a proposed direction
If you have an ad whose pacing you want matched, send it. Matching a target removes an entire round of stylistic guesswork. Where there is no reference, we propose the direction and confirm it before the full cut, because that first agreement is the whole project.
Step 4: First cut, then the variant split
You review one cut and we settle the message on it. The variants are built from there, differing where a test can actually read the difference rather than in surface treatment.
Step 5: Delivery for the buy
Final files per placement in the required ratios and durations, captions burned in, plus unbranded masters where a reseller or client needs to add their own lockup.
Who we work best with
Performance marketers who need a set, not a hero ad
One ad is a guess. You want variants that isolate the opening, the offer framing and the pacing, so the account can tell you which one deserves the budget.
Brands sitting on footage with nobody to cut it
You already paid for the shoot or the product footage. The missing piece is someone turning it into ads on a repeat schedule instead of once a quarter.
Who we are not the right fit for: campaigns that need us to shoot original footage, briefs where the offer has not been decided, and single ads with nothing to test them against. We can sharpen a script. We cannot decide what you are selling.
What drives scope on a video ad project
Every quote comes down to the same handful of variables:
Variant count
Two genuine variants are two edits, not one edit exported twice. How many messages you want to test is the single biggest driver.
What the footage library covers
Script beats with no matching shot have to be carried by motion graphics, so the gap between script and library sets the animation load.
Whether a reference exists
Matching a reference edit is faster than proposing a direction, missing, and proposing again.
Placement mix
Feed, Shorts and connected TV are not one edit resized. Each channel it runs on is design work, not an export setting.
Branding layers
One brand is simpler than a manufacturer plus a retail partner, and unbranded masters that get relabelled per market are a different build again.
Script readiness
Whether the script is signed off, and whether it still needs shortening to fit the placement it will run in.
We quote from the asset library, script, placements and number of genuine variants.
Frequently Asked Questions
What should a video ad creative brief include?
The offer and the audience, your footage or product library, brand assets, and where the ad will run. The most useful thing you can add is a reference ad you want it to feel like. It removes a whole round of stylistic guesswork and turns the first review into whether this is the right execution rather than whether it is the right direction.
Can you write the ad and build it from footage we already have?
Yes. Where there is no finished script, we shape the hook, beat order, and on-screen copy from the offer and angle you provide. We can build from an existing footage or product library and use motion graphics, type treatment, or reframing where a shot is missing. Full campaign copy, targeting, and the landing page stay with your team or media buyer.
How do variations work, and what actually counts as a test?
A different opening claim is a test. The same ad with a different font is not. We build variants around the things that move performance: the hook, the opening frame, the order of the proof, the length, and the aspect ratio, so your buyer compares decisions rather than cosmetics. The variant set is agreed at briefing against what you plan to run.
Do you run the campaigns or handle media buying?
No. We produce the creative and hand over launch-ready files in the placements and naming convention your buyer works in. Budget, targeting, bidding, and iteration decisions stay on your side, and we build against whatever your campaign data says to try next.
How much does video ad production cost?
The quote reflects the asset library, script work, editing, motion graphics and number of concepts or variants. Send your offer, approved claims, placements and testing plan. Media spend, campaign setup and landing-page work are outside our creative production scope.
How long does it take to produce video ad creative?
We confirm turnaround after checking the footage, script, animation and version list. The first approved edit establishes the direction before further variants are produced. Share the launch date and leave time for your team to review the offer, claims and placement files.
What our clients say
5.0 out of 5
Google rating
Have a footage library and a campaign that needs ads?
