"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
You send the asset library, the offer and the script. We cut ads that open on the problem rather than the brand, carry every claim visually because the feed is muted, and ship as variants that differ enough for the account to tell you which message worked.
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: an OTT 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
Problem-first openings for home services and considered purchases, where the viewer is not shopping yet and has to recognise the problem before the product means anything.
Cuts that differ in opening, pacing and emphasis rather than in colour grade. Two near-identical ads tell the account nothing.
Ads produced without a brand mark so an agency or a dealer network can drop its own lockup and phone number into the resolution.
Manufacturer credibility and local installer trust in one spot, sequenced so the viewer learns what the product is before being asked who to call.
Longer holds, type sized for viewing distance, and everything critical inside a conservative safe area because OTT platforms crop and letterbox differently.
The same ad in the ratios and durations the buy needs, genuinely reframed rather than letterboxed into place.
Caption treatment baked into the file, styled to the ad, for the many placements that quietly ignore an uploaded caption track.
Shorter ads for audiences that already saw the first one, skipping the setup and leading with the offer.
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.
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.
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.
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.
Final files per placement in the required ratios and durations, captions burned in, plus unbranded masters where a dealer or client needs to add their own lockup.
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. The Gutter Cap ads came to us exactly that way.
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.
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.
Every quote comes down to the same handful of variables:
Two genuine variants are two edits, not one edit exported twice. How many messages you want to test is the single biggest driver.
Script beats with no matching shot have to be carried by motion graphics, so the gap between script and library sets the animation load.
Matching a reference edit is faster than proposing a direction, missing, and proposing again.
Feed, Shorts and OTT are not one edit resized. Each channel it runs on is design work, not an export setting.
One brand is simpler than a manufacturer plus a local dealer, and unbranded masters that get relabelled per market are a different build again.
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.
Home improvement · paid social
Two paid-social variants for a home improvement contractor, cut from a supplied asset library with motion carrying the beats the footage didn't.
Read the Gutter Cap: direct-response video ads case study
Home services marketing · OTT streaming TV
Motion and titling designed for viewing distance rather than for a phone feed, for a home services marketing agency testing streaming TV.
Read the Salty's Media: an OTT television spot case study
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.
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.
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.
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.
5.0 out of 5
Client feedback across platforms
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