Scaling UGC Ads Post-Andromeda: One Winner, Many Formats

[0:00] Sophia Beauvoir: So, hi everyone. I'm Sophia Beauvoir. I'm a senior creative strategist at Ready Set, where I work on a really diverse portfolio of clients to help scale their accounts and find new winning angles, audiences, and creative. I have five plus years of experience as a creative strategist. Um, I started out at Common Thread Collective, had experience at TubeScience, and now I'm at Ready Set. So I have a really solid foundation on iteration strategy and scaling D to C accounts.

[0:31] Sophia Beauvoir: And just to give some context, I work with a really strong team of creative producers, media buyers, editors, designers, client strategy leads to provide a full funnel approach and strategy for our clients that we know can scale.

[0:43] Sophia Beauvoir: > [VISUAL: Slide titled "Scaling Winning Ads Considering Andromeda"] So, I'm going to sort of go over how I think about scaling and iteration strategy considering Andromeda, since it's changed pretty drastically over the last year and it's impacting how creative strategists and Ready Set thinks about iterating and scaling concepts.

[0:58] Sophia Beauvoir: > [VISUAL: Slide titled "Iterations Then". On the left, an image of two tan loafers with the text "Sold out 3x" and "Winner" below it.] So this is sort of what scaling and iterating used to look like. You would find a winning ad and you'd change one to two small elements to find a new winner.

[1:08] Sophia Beauvoir: > [VISUAL: A second image appears next to the first. It shows a woman holding up two pairs of loafers, one black and one tan, with the text "sold out 3x" and "Iteration" below it.] There we go. In this example, we just changed the background visual, but kept the product and messaging the same. So this is a concept we were able to continue scaling on even though these changes were really small.

[1:20] Sophia Beauvoir: > [VISUAL: The first two images are replaced by two new ones. The left image shows a woman holding up tan loafers with the brand name "BIRDIES" and "Winner" below. The right image shows a woman holding white sneakers with the text "BACK IN STOCK" and "Winner" below.] And in this Allbirds example, we found a winning ad. We sort of hypothesized that urgency and social proof messaging would resonate. So all we did was change the headline.

[1:31] Sophia Beauvoir: > [VISUAL: The images now show a sequence of four. The first two are the "BIRDIES" and "Allbirds" ads. The third is the "BACK IN STOCK" ad. The fourth is an iteration of the Allbirds ad with the text "SELLING OUT FAST" and "Iteration" below it.] So you can see here, we updated the headline to selling out fast and we found a new winner without changing any major components of the ad.

[1:39] Sophia Beauvoir: > [VISUAL: Slide titled "Before Andromeda: Small Changes could Scale"] So before Andromeda, we scaled really easily. We were almost guaranteed to find new winners when we iterated on previously proven concepts just by changing really small elements of the ad, like the hook, for instance.

[1:51] Sophia Beauvoir: > [VISUAL: Bullet point appears: "• Hook tests"] So you could find a winning video, test four new hooks and almost know for certain that you were going to get a new winner out of that iteration.

[1:59] Sophia Beauvoir: > [VISUAL: Bullet point appears: "• Opening visuals"] So these are just more examples of other ways we used to be able to change small components of the ads and find new winners.

[2:04] Sophia Beauvoir: > [VISUAL: More bullet points appear: "• Copy treatment", "• Small Copy Changes", "• Small Visual Changes"] So like opening visuals, copy treatment, voiceovers, small copy changes, small visual changes, things like that.

[2:12] Sophia Beauvoir: > [VISUAL: Slide titled "Pre Andromeda" showing a flow chart. The first step is "Winning Ad" with the text "Identify top performing elements".] Um, when you zoom out, pre Andromeda, this is what the repeatable process would look like. You'd identify the winning ad, what you think made it work.

[2:21] Sophia Beauvoir: > [VISUAL: The flow chart extends to the next step: "Iterate" with the text "Low Hanging Fruit".] And then low hanging fruit would be things like hook and visual tests, copy treatment changes, ad copy, ad headline testing with the same visuals, maybe some footage refreshes with existing footage.

[2:34] Sophia Beauvoir: > [VISUAL: The flow chart extends to the final step: "Expand" with the text "Higher Level Tests / Iterations".] And then you would start to invest in higher level or higher lift iterations, like things that would require new footage, new talent, etc. So things that would require more like financial investment from the team.

[2:46] Sophia Beauvoir: > [VISUAL: Slide titled "Shift to Andromeda" with a diagram labeled "Andromeda Retrieval Layer". It shows a flow from "All Eligible Ads" to "Retrieval Layer" to "Matched to Real People".] So Andromeda is Meta's re-engineered AI retrieval system. So it moved from matching audiences to campaigns to matching individuals to specific creative signals. So creative is no longer what you test, it's the targeting itself. Um, and Andromeda clusters similar ads into a single entity. So running 10 versions of the same image with minor text tweaks isn't the efficient test that it used to be. Um, as the system now would treat them as one retrieval ticket. So because Andromeda rewards meaningful diversity over minor variations, your iteration strategy has to shift from small tweaks to meaningful pivots.

[3:27] Sophia Beauvoir: > [VISUAL: Slide titled "Scaling During Andromeda"] So with Andromeda, scaling isn't the same and neither is creative testing altogether. So we used to be able to create four of the same ad, just test four new hooks, see which performed best and go from there, have really clear AB testing results. But now we have to make concepts really visually distinct in order to for the algorithm to consider these ads as different enough to spend against. And the same goes for iterations. You can't just change a hook or opening visual anymore. You have to make larger changes so the algorithm can work for you.

[3:57] Sophia Beauvoir: > [VISUAL: Slide titled "Iterations Now". A video ad for a hair product plays on the left under the label "Winner".] So these are some examples of what iterations look like now. You find a winning ad and you make some larger changes. Um, and when you find a winning ad now, you don't necessarily have the clear reasons why that you used to be able to have because AB testing isn't as clear with Andromeda. So for this winner, it could be the before and after split screen, it could be the aspirational talent, it could be the value prop messaging. Regardless, it performed and it's your job to figure out how to scale it.

[4:25] Sophia Beauvoir: > [VISUAL: A second video ad, labeled "Iteration", appears next to the first. It shows a different person using a similar product.] So what we did was do a complete talent and visual refresh using a similar script, just updating shots to match an older audience. That way we can take the script learnings from the previous ad and apply it to another potential persona. So in this case, it was like older women, women with gray hair that we wanted to start testing into. And what you start to understand is if the iteration didn't perform, then you can see, okay, is it the script that didn't necessarily cause the positive performance? Maybe it was the talent, for instance, or their delivery. And you can start to see if the new persona also has potential has potential to test into when you start to look at engagement metrics, so like thumb stop, hold rate, click through rate, things like that. If you're seeing that engagement, then you can start to say, okay, this older audience is something we want to start testing into.

[5:33] Sophia Beauvoir: > [VISUAL: The previous two ads are replaced by a new set of ads for a different product, also labeled "Winner" and "Iteration".] So in this Earnest example, we did something really similar. We found this messaging work really well and iterated on it with a new persona and new talent. So you start to compound learnings. Um, we understood that the script has potential, but we understood that it worked for a younger recent grad audience that's looking to refinance, but also like a parent audience that's looking to pay off their kids' student loans. Um, and then again, we're iterating with a very similar script, just updating visuals and also using it as an opportunity to test into new personas. Um, you can always just refresh talent or footage if you'd like, but I really like to test into personas as often as I can so I can see what potential audiences are out there that we're not currently targeting and if there's any gaps that we can fill in our creative strategy.

[6:21] Sophia Beauvoir: > [VISUAL: Slide titled "Levers to Scale Meaningfully". Bullet points appear: "• Visual Refreshes - New Footage", "• Talent Refreshes + Single vs Multi-Talent"] So, some levers to scale meaningfully with Andromeda. Definitely visual refreshes where you either use existing or new footage to replace current shots in the ad. Talent refreshes where you swap talent throughout. And then you can also test single talent variations versus multi-talent variations. And once you get learnings from that, you can iterate further. Like if you see that one talent outperforms all the rest, then you can iterate from there. Or if you see that like mashups of a multiple talent perform really well, then that's a good learning to have too.

[6:52] Sophia Beauvoir: > [VISUAL: Slide titled "Examples". A video ad labeled "Winner" plays, followed by an "Iteration" with different actors.] So these are all examples of finding winning messaging in an ad and replicating it with new talent to find a new winner. So in this example, we found a winner and we just got another couple to get the same shot. So we recreated the ad with new talent and just secured a new top performer really easily.

[7:09] Sophia Beauvoir: > [VISUAL: A new set of ads, a "Winner" and an "Iteration", are shown.] And then same goes for this example. We use the exact same script and just got a new talent to refresh the creative. Um, and so once you start to see repeat success with messaging across different talent and different footage, you can start to build a strong footage library that reflects messaging that you know works. So for this example on the left, I can make sure that anytime we work with a couple, we request a shot of them dancing so we can refresh this concept as many times as we can before it fatigues. And you start to build a footage library that allows you to refresh creative on a consistent basis and a library that's based on account learnings.

[7:47] Sophia Beauvoir: > [VISUAL: Slide titled "Levers to Scale Meaningfully". A new bullet point appears: "• Mashups with winning elements from previous top performers". Below, two video ads are shown, one labeled "Low Thumbstop - High CVR" and the other "High Thumbstop".] So you can also use mashups from previous top performers. So say you had one ad with a really strong thumb stop but not a strong conversion rate or a strong CPA. And then you had an ad with terrible thumb stop but decent click through rate and conversion rate. You could combine those winning elements of each ad to see if that iterative sort of super ad performs better. So that's also like another common way to iterate, um, considering Andromeda.

[8:13] Sophia Beauvoir: > [VISUAL: Slide titled "Levers to Scale Meaningfully". New bullet points appear: "• Persona Testing", "• Pain point testing", "• Entire body changes".] And then most people think that with Andromeda, you can only make visual adjustments in order to spend, but there are other meaningful elements of an ad that can help the algorithm differentiate it from other ads in the account. For example, like persona testing, pain point testing. The same goes for larger copy changes, like the entire body of an ad or like an on ramp. Um, so just want to note that you don't only need to make visual changes to an ad in order for the algorithm to distinguish it from the other ads in the account.

[8:45] Sophia Beauvoir: > [VISUAL: A new bullet point appears: "• Visual Format testing (Statics vs Gifs vs Video etc)".] And then one thing I'd keep in mind is visual format testing. So say you have a validated message that you know works, you want to scale that across multiple formats and see what performs best. So that might look like testing more branded imagery versus native imagery or static versus video versus carousel, that kind of thing. Because you want to keep validating that messaging over multiple formats.

[9:07] Sophia Beauvoir: > [VISUAL: Slide titled "Examples". Four ads are shown, two labeled "Winner" and two labeled "Iteration".] So these are examples of finding a winning message and replicating it across new formats to scale. So the first one, we replicated an animated GIF to UGC. And the second one, we replicated a UGC green screen to an animated toggle. I'll give it a second to sort of show all the creative. But this was just a way like we found validated messaging, what's a way that we can adjust it slightly, but in a new creative format to keep scaling and still maintain creative diversity because that's what Andromeda, um, rewards.

[9:37] Sophia Beauvoir: > [VISUAL: Slide titled "'Ad families' based on Top Performers"] So after a while, when you zoom out and look back on account performance, you create entire ad families that are all based on one winning ad. And everything you continue to create is formed is informed by previous performance and winners. So once a base ad finds a responsive pocket in the algorithm, you don't just let it run, you build a family of ads around it to prevent creative fatigue. And ideally, you'd scale by creating multiple ad families, entire branches of content based on winning concepts, personas, desire or awareness level. So again, not just leaning on, you know, talent refreshes, but things like awareness level, personas, pain points, things like that. And then once you create one ad family, you're trying to make new standalone ads that can create their own ad families beyond that.

[10:26] Sophia Beauvoir: > [VISUAL: Slide titled "Post Andromeda" showing the same flow chart as before: "Winning Ad" -> "Iterate" -> "Expand".] So, when you zoom out, this is sort of the repeatable process. It looks very similar to pre-Andromeda, but the elements look a little bit different. So you identify a winning ad, what makes it work, etc. But post-Andromeda, the easy scales look different. So with Andromeda, minor changes like a hook change or an opening visual change may not feed the AI enough variety to find a new user pocket. So instead, you can try things like refreshing visuals with existing footage, testing new formats with the same messaging, testing lengths of videos, testing new orders of messaging, all things that you can do with the existing resources your team has. Um, and then once you've exhausted your options on low hanging fruit, you go into an expansion phase and the process of doing higher lift iterations. So now that looks like getting new footage from new talent, testing new formats that maybe require specific design expertise. The higher lift iterations require meaningful variation. So it should involve like new talent, different backgrounds, or entirely different narrative structures. So you're maintaining what made the original ad work, but making sure you're making meaningful pivots in the iterations. Um, and you can also take your learnings and apply it to something new, like a new persona, new pain point, like I mentioned before. Um, and the goal is to not just keep iterating on the same ad over and over because then you get to a point where all the ads start to look the same, but you actually want to start producing new standalone ads that can produce valuable learnings for your team.

[12:02] Sophia Beauvoir: > [VISUAL: Slide titled "KPIs to Consider during Andromeda Learning Phase". Bullet points: "• Hook Rate", "• Hold Rate", "• Spend".] Um, something else I wanted to touch on was like KPIs to consider during Andromeda learning phase too. So outside of just looking at ROAS and CPA, these metrics can give you early insights into an ad's performance during the learning phase. So hook rate and hold rate are becoming a lot more important now. So if people scroll past, the algorithm actually predicts fatigue before it even happens and limits delivery. So focus a lot of intentional effort on the opening three seconds of an ad, especially in your iterations. And then using spend as like a feedback loop. So if an ad doesn't spend, it's not necessarily a rejection. It's the algorithm telling you it can't find a responsive pocket for that specific creative signal. So you need to potentially change the way you're targeting that audience or move on to another persona that maybe is taking up a large percent of percentage of the market.

[12:52] Sophia Beauvoir: > [VISUAL: Slide titled "Net new concepts start to feel like iterations"] And then, yeah, basically you get to a place in this process where even your net new concepts start to feel like some type of iteration because every concept you make still keeps in mind learnings from past top performers and iterations you've made in the past. So this does not mean every ad looks the same. It just means that you're data driven with your decisions and you're not letting valuable learnings fall through the cracks. Instead, you're you're forming a creative system that allows you to compound learnings and continue to scale. So that's really what we try and create at Ready Set for all of our clients.

[13:23] Sophia Beauvoir: > [VISUAL: Slide titled "Thank you!"] Um, and that is pretty much it. Um, thank you so much everyone and I'm looking forward to answering any questions you may have. Um, and yeah, I'll answer any questions in the chat too.

[13:36] Evan Lee: Sophia, crushed it. Crushed it. I feel like we've been talking about creative so much in this course and then you came through and was like, okay, creative, yes, got to get that right, apply all these techniques that you've shared. Also understand the metrics and algorithm. Like it's equally as important to marry them together. So everybody, show love in the chat, get those questions into the Q and A tab because we're going to bring Sophia up at the end of this and then we're going to be able to get questions going for all three of our speakers today. So with that said, would love to welcome our next speaker to the stage. We have Viti who's joining us from Happy Mammoth. So everybody, another round of applause, please.

[14:18] Viti Videtta: Hello, Evan. Thank you so much for having me here. And it's a pleasure, of course, to to share all these stuff that we are going to see in the next minutes with you. So, let me share my screen and after I do this, I will go on blind with you. I'm not going to see your the chat or your messages, so I will hopefully uh see them later. Let me see. Yes, we are here. Okay. So, uh I'm going to go full screen. And yes. So, uh hello everyone. I'm Viti. I'm uh I've been working in advertising industry for a long time, like eight years in a traditional creative director position, like work for brands, big brands on the branding side, like Coke, uh Unilever, Burger, uh Nokia. And then I've been working as a creative strategist uh for six years. I started at Ready Set as well. Then I moved into Mad and Bow and right now I'm the senior creative lead at Happy Mammoth. And I'm from Argentina. I'm based in Barcelona.

[15:36] Viti Videtta: > [VISUAL: Slide with the words "Explore" and "Exploit" with an arrow pointing from Explore to Exploit. A smaller arrow points to "Exploit" with the text "This is what we're doing this week".] So, uh I will divide my presentation into two moments. Uh I know that we are just um in the part of the exploit where we just uh make as many ads as we can from just uh one winner or two winners or whatever.

[15:54] Viti Videtta: > [VISUAL: The arrow and text now point to "Explore" with the text "But let's dig a bit more into this".] But I would like to to go one step backward because I would like to to talk a little bit about the exploring because I've seen like a lot of creative strategies that are super focused on like uh getting trends, watching competitors, getting data and all the stuff. But at the moment when we need to make an ad from scratch, uh it's not so easy and we tend to copy. I know that we are in a living in an era where everything is a remix, everything is a copy from a copy from a copy.

[16:25] Viti Videtta: > [VISUAL: Slide titled "How to Think Ideas (Not Just Have Them)"] But I would like to show you how to think ideas and not just to have them. Uh this is crucial because I believe that

[16:36] Viti Videtta: > [VISUAL: Slide with a meme of Will Ferrell from the movie Talladega Nights. The text on the meme says, "IF YOU AIN'T FIRST, YOU'RE LAST".] I don't know if you all watch this movie, Talladega Nights and it's a they have this funny phrase that if you're not first, you're last. And in the movie, they were arguing because it's not real at one point, but I think that it has some true in the way that if we are copying an ad from another brand, company or or something that we see and we don't make the ad like uh original or itself, then it will probably won't uh be as good as we have something that we are it's ours and then everyone is trying to copy us.

[17:14] Viti Videtta: > [VISUAL: Slide with two columns. The left column is titled "The Myth" with bullet points: "Creativity is talent", "Ideas come from inspiration", "You have to be born creative", "Creatives are Genius". The right column is titled "The True" with bullet points: "Everyone can be creative", "Creativity is a mechanical process", "You only need PRACTISE".] So, some uh things regarding this, we tend to believe that creativity is talent, that ideas come from inspiration, that you have to be born creative or they are genius or whatever. But the true is that everyone can be creative and creativity in fact is like a mechanical process. You only need to practice on this.

[17:37] Viti Videtta: > [VISUAL: Slide titled "Producing ideas". Bullet points: "AN IDEA IS NOTHING MORE NOR LESS THAN A NEW COMBINATION OF OLD ELEMENTS", "AND THAT CAPACITY, DEPENDS ON THE ABILITY WE HAVE TO SEE RELATIONSHIPS".] Producing ideas in this way, it's uh only no more or less than a combination of old elements, old elements that you have. And that capacity depends on the ability that you have to see those relationships.

[17:53] Viti Videtta: > [VISUAL: Slide titled "Creativity = seeing connections others don't"] And we can say that creativity is seeing connections where others don't see them.

[17:58] Viti Videtta: > [VISUAL: Slide titled "The 4-Step Process". Bullet points: "GATHER - Volume of inputs (specific and general)", "WORK - Ability to connect (make new combinations)", "EUREKA - The idea appears", "DEVELOPMENT - Execution (refine & rework)".] Let's uh move forward into this. Uh there was a guy uh called James Webb Young, they he made a book that it's called a technique for producing ideas that is quite old. Uh it was for traditional advertising and he developed a five-step process. I just I think that for now, uh it can be like a four-step process. And where you can understand what is the process of having an idea. First one is uh the gather. We have inputs, reviews, well, we have all the raw data that we can just pick and and work with that. And we have two kinds, specific and general.

[18:38] Viti Videtta: Then we have the work is the ability to connect these dots and to make the new combinations. Then we have the Eureka, the shower moment where the idea appears. And at the end, we need to to produce the idea, you know, the development or the execution where we refine and rework.

[18:55] Viti Videtta: > [VISUAL: Slide titled "Step 1 Deep Dive (Most Important)". It lists "Raw material" as "1. Specific knowledge: Product/Brand, Customer" and "2. General knowledge: Culture, psychology, life, events, random curiosity". It also lists "Where?" with two columns of sources.] So, on the step one, this is the I would say, I mean, we've seen this through many, many, many people that if the most important thing is to just gather your information, you know, the raw material. It can be specific or general. Specific, we can say that it's product, brand, customer, and then we have the general knowledge that is culture, psychology, life, events, random curiosity, memes, whatever. Uh if you don't explore enough, you know, you're going to land on generic ads. So, just keep in mind, of course, you all already know this, but this is super crucial to have original ideas.

[19:39] Viti Videtta: > [VISUAL: Slide titled "Step 2 Work the material (mental mashup)". It shows two examples of combining specific and general knowledge to create an idea.] Uh this is another step that is also super important that is work the material. That is the mental mashup. How do you start connecting dots? Uh you start connecting like uh to make uh relationships. I put here force because sometimes the relationships are not just uh linear, they're just uh hard to make. But I got a two examples for you to understand this. For example, we have a magnesium product and we can say that the the specific information that we have is that the magnesium reduces anxiety. That is the true. That is something that the product does. And then we have the the general uh information that is, for example, the brain the brain tabs open meme or it's something that probably many of you have in your computers, you know, you have like a lot of tabs open. So, you have an idea here where you combine those two pieces of information, the specific and the general. And you have, for example, your brain has 47 tabs open, magnesium closes them all at once. This is a uh this is not a a generic uh headline. You can have like uh only this product reduces anxiety and that's it. But if you go one step forward, you will have a something that is unique. Then we have example number two, gut health. You have again, specific information, pain point that is the bloating and then you have the information that is the hangover regret, you know, when you uh text your ex or or something like that. So, idea, your stomach the morning after pasta is the same that texting your ex, something like that. I know that maybe you can have better ideas and this gets better and better after you practice and and you go and you move forward into more and more and more and more combinations because this is where most creatives stop too early, you know, you have just one idea and you produce the idea and that's it. And maybe you need to gather one, two, five, 10 and and so on just to find out something that is really, really unique.

[21:48] Viti Videtta: > [VISUAL: Slide titled "Examples". It shows three pairs of ads, each pair demonstrating a different creative technique: "ANALOGY", "OPPOSITE THINKING", and "EMOTIONAL REFRAMING".] Here we can see the examples, you know, we have the generic ad with the magnesium, magnesium helps you relax and sleep better. And then we have the one with the dots connected where it's your brain has 37 tabs open, magnesium closes them all. You can see the difference. And then again, for bloating, this formula reduces bloating. This is the generic level. And then we have the stop planning your outfit around your stomach. So, uh you can train this, you can just uh this is only getting information, connecting things and moving forward.

[22:27] Viti Videtta: > [VISUAL: Slide titled "Categories of questions to generate ideas". It's a chart with five columns: "ANALOGY QUESTIONS", "OPPOSITE THINKING", "EMOTIONAL REFRAMING", "SPECIFICITY QUESTIONS", and "CULTURAL LAYER". Each column has example questions and an example idea.] This is a nice chart. I think that it can be uh larger, but there's some categories of questions that you can give yourself to generate ideas. You have analogy questions, opposite thinking, emotional, specificity, cultural. I'm not going to go deeper on this, but with these questions that you are asking, you can have the the example and you have the idea of where uh of from and where you can go from information and what is your output uh having a new idea. You can screenshot this uh slide or uh later you can watch it on on the on the review.

[23:12] Viti Videtta: > [VISUAL: Slide titled "Examples". It shows three ads, each labeled with a creative technique: "ANALOGY", "OPPOSITE THINKING", and "EMOTIONAL REFRAMING".] Again, we have analogy, opposite thinking and emotional reframing. And you can see here how we developed at Happy Mammoth these for example, the three kind of questions that you ask. One, you are making a metaphor of a balloon, you know, when you are bloated or when you uh have like a beer belly or whatever. So we got that uh on the on the design and as well on some colors. Then we have the the opposite thinking that people uh believe that they're fat, but they're not fat, it's just cortisol. And we got the the idea to perform this ad as well. And then the emotional reframing that again, menopause made me feel like I was disappearing. So we are touching a fiber on what's going on with people and menopause with that product.

[24:09] Viti Videtta: > [VISUAL: Slide titled "Step 4 The idea hits (Eureka!)". It lists bullet points under "How to Know You Have a Good Idea?".] So, uh step number four, sorry, I think that this is number three, but I I missed uh to change the number. The idea hits and it's the Eureka moment. Uh this may happen when you're working, when you're just connecting the dots. This may happen when you're having a a shower. That's why they call it the shower moment as well. And there are some keys for you to know that you have a good idea that somehow it feels true, you know, like uh you feel that that headline or idea or ad that you are just thinking about, it feels super true based on your products and on your information that you have. Uh probably this is the insight, you know, make someone say, okay, yeah, that's me. That's the best thing that you can have because you will keep your audience engaged if you uh find that. Then it's specific, it's not generic, you know, it's not something that everyone can say, it's something that you can only say or at least the way you uh made that idea. And then the angle is fresh, it's not uh not a better claim. So it's something that is new, it's something that feels like a, you know, like a original in some way.

[25:24] Viti Videtta: > [VISUAL: Slide titled "Step 5 Shape & Adapt (Execution Matters)".] Uh last thing, shape and adapt. Uh this is uh about execution because execution can kill a good idea. So, it's time now that we have the idea to turn it into the real world. And we may ask a couple of questions also in this uh step as well. Uh for example, is this the best talent to use? Is this the best format or design to gather that idea? Is this the best script? Is this the best the ad can go? So, another thing that you can do, you can just throw the idea into your team and and see how what happens. Uh if you find that that ad have has like a self-expanding qualities, then you are in the in the good path.

[26:14] Viti Videtta: > [VISUAL: Slide titled "Bad Vs. Good Execution". It shows two ads, A and B, side-by-side.] Uh a quick example of bad versus good execution. Uh you probably find out uh and I'm sorry Barry, I don't have nothing against the the ugly ads, but uh in this case, there were not just about the the design thing, it was just how the elements were uh put inside uh the ad, like uh the colors were too small, uh we didn't get the timeline, what was talking about or it was not clear enough. Uh again, uh the headline maybe it was like a a little bit confusing and that's it. Uh but again, uh execution sometimes kills the idea. Of course, we never know because this is like a, you know, uh testing and see how it goes. But if something didn't work, you can just try it again like uh having a a better output to to see how it goes.

[27:13] Viti Videtta: > [VISUAL: Slide with text: "The difference between a junior and a senior creative isn't talent. It's the size, speed and quality of the combinations they can make."] So, this is a statement. I think that the difference between a junior and a senior creative is not about the talent. It's the size, the speed and the quality of the combinations that they can make. Uh if you can make combinations better, faster and bigger, then you will be a superstar for sure.

[27:33] Viti Videtta: > [VISUAL: Slide with the words "Explore" and "Exploit" with an arrow pointing from Explore to Exploit.] So, uh now going into exploit part.

[27:38] Viti Videtta: > [VISUAL: Slide titled "How to Actually Scale a Winning Ad (Without Killing It)"] Uh this is uh I would like to to show like uh in some slides how we do at Happy Mammoth. We produce like uh mostly between 500 ads uh per week and we are uh we have like a really nice uh machine to produce those ads and I will show you some some tips and tricks uh if you want to do the same and and if you have the ability and capacity to to run that many amount of ads.

[28:13] Viti Videtta: > [VISUAL: Slide titled "What's a winner ad?". A video ad plays on the left, and a list of bullet points is on the right.] Uh okay. So, what's a winner ad? We all know, we need to have a stable CPA, a strong CTR or hook rate. Uh we need to make the ad run across many audiences, uh engagement, healthy ROAS and of course, spend picking up.

[28:32] Viti Videtta: > [VISUAL: Slide titled "Smart tip. Start with statics." It describes a three-step process: "Start with statics" -> "Then short video" -> "Then testimonial/high production".] But this is something that can help you not to uh be lost in the uh when you start having new ideas. Uh I think that uh statics is the way the best way to to to start testing angles because this is the fastest way uh to produce something, you know, you can just put a product picture there and a headline and gather as many angles as you have and you can just uh of course, having different designs or whatever, but just the product with the headline and you can just uh run that. If that works, you can move into a a video, uh maybe short form video, 15 second or something with text overlay or voiceover video where you can uh expand, you know, you can expand that angle and and see if it keeps working. And of course, if you have success on that, you can just jump and make high production, testimonials, uh long formats, uh sales video sales or whatever. And but you know that the angle probably won't fail because it already did on two stages before.

[29:44] Viti Videtta: > [VISUAL: Slide titled "Why is this ad working?". A video ad plays on the left, and a breakdown of its components (Hook, Angle, Format, Emotional driver) is on the right.] So, uh why is this ad working? I'm going to play this ad first, so you we all see it.

[29:55] Viti Videtta: > [VISUAL: A video ad plays. It's a montage of different women talking about a weight loss product.] This is what happens when a middle-aged woman uses this to lose weight before summer. No gym, no diets, just this. No counting macros, no step counting. Just pop these capsules every morning with my coffee and it drained LBs of fat just like that. Like actual belly shrinkage. Double chin is gone. Snatched face. Sculpted arms. Brain fog cleared. Energy off the charts. And I got my hourglass figure back. And I feel confident in clothes. I haven't worn in 10 years. The reason Hormone Harmony works so fast is because it combines the most science-backed adaptogens and herbal extracts that balance your hormones naturally so they stop sabotaging your body. Help flush out stored fat and rev up metabolism. Your body slims down. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee. So you have nothing to lose.

[30:42] Viti Videtta: Okay. So, this ad was like a a massive winner uh last year for us. And I think that you, in some way, you don't scale an ad, you scale the mechanism. So, you need to first break it down into the components. Let's say the hook in this uh ad is this is what happens, so you're getting the persona when a 60-year-old, 40-year-old, uh man with kids, uh so you can try different iterations there as well. Then you have the angle in this case is uh super focused on weight loss with the proof on that with many uh talent. Then we have the format that in this case is a voiceover testimonial and then we have the emotional driver that is the insecurity with the hope and relief, you know, like how uh someone find this product and it worked for for her.

[31:39] Viti Videtta: > [VISUAL: Slide titled "Now multiply your winner ad". A video ad plays on the left, and a list of iteration ideas is on the right.] So, once we have the this uh section of your ad, then it's time for the scaling. This is uh 80% of scaling and you can try as many uh I would say iterations or or things as you want, you know, you can try different hooks, both visual and copy, you can try uh same script, different creator, different script, same creator, same structure, different script, same concept, different format, same structure, different product. You can play with this. I mean, we are just talking about a winner ad, something that, you know, check all the metrics, CTR, CPA, hook, hold rate, whatever. So, if you have that super winner in your hands, you can you should try everything and and as many as you can. Uh it depends a lot on on the budget and the and the company size. I think a nice sweet spot is between three and five batches, you know, with four or five ads or three ads uh inside each batch. But you can tell. So I will show you the the the second iteration that we made from the previous ad.

[32:45] Viti Videtta: > [VISUAL: A new video ad plays, which is an iteration of the previous one with different visuals and talent.] No gym, no diets, just this. This is what happens when a middle-aged busy mom uses this to lose weight in summer. No counting macros, no step counting. Just pop these capsules every morning with my coffee and it drained LBs of fat just like that. Hot water weight, like actual belly shrinkage. Double chin is gone. Snatched face. Sculpted arms. Brain fog cleared. Energy off the charts. And I got my hourglass figure back. And I feel confident in clothes. I haven't worn in 10 years. The reason Hormone Harmony works so fast is because it combines the most science-backed adaptogens and herbal extracts that balance your hormones naturally so they stop sabotaging your body. Help flush out stored fat and rev up metabolism. Your body slims down. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee. So you have nothing to lose.

[33:34] Viti Videtta: So, in this case, as you can see, we changed a lot of things. We changed the product at first, we changed the hook, we changed the talent, we changed a little bit on the structure, we changed the B-rolls. Uh so this is a completely new ad, but it's keeping the same angle, it's keeping the same spirit of the first one. So, uh as Sophia said, iterations look like a completely new ad right now and this is uh you know, uh what happens when you just gather all these together and try to to put them work together. Uh don't stop on slightly changes, you will have the same ad or the same results. Just uh go further and try to to perform something that looks super different, but in the in the backstage is the the same.

[34:29] Viti Videtta: > [VISUAL: Slide titled "Then you test... and scale." It shows three different video ads labeled A, B, and C.] So, then you test and scale. I will show you how we also iterate more and more and more of this winner ad, so you can see the difference uh as we did in the past.

[34:45] Viti Videtta: > [VISUAL: Video A plays.] This is what happens when a 48-year-old woman takes Hormone Harmony to lose the cortisol weight.

[34:49] Evan Lee: Vidi, Vidi.

[34:50] Viti Videtta: I didn't keep track of every calorie. I didn't work out every day. And my life didn't get any less stressed. But I did take Hormone Harmony every morning. And that's when the weight finally started to come off. And not just water weight, like fat actually melting off my body. My waist came back. My arms look sculpted and my face looked snatched. I'm sleeping better, my energy's back, my mood is lighter. And my favorite jeans aren't hiding in the back of the closet anymore. I didn't think I could ever feel this good in my body, especially after two kids. But at 48, I feel and look better than I ever did. And it's all thanks to the powerful adaptogens inside Hormone Harmony, like Ashwagandha and Rhodiola, that lower cortisol levels naturally. So that stress weight stops going right to your midsection and starts melting off your body. Even if you're a busy mom pushing 50 like me. So my advice, give Hormone Harmony a try. You have a 60-day guarantee. Worst case, you get your money back. Best case, you get your old self back.

[36:45] Viti Videtta: > [VISUAL: Video B plays.] I'm 50 and here's what happened when I tried this to lose weight. I didn't count a single step, didn't cut carbs. I just took these capsules every morning with my coffee and now I fit in clothes I haven't worn in 20 years. And this isn't water weight, it's real fat being flushed out of my system. My double chin is shrinking and my face looks snatched. My arms feel more sculpted. My energy is off the charts. And I got my hourglass figure back. The reason Ultimate Weight Loss Support works so fast is because it combines the most recent and cutting-edge fat melting ingredients on the planet that target the real root cause of female weight gain after 40. Block new fat cells from forming, rev up metabolism, so the body shrinks down on its own. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee, so you have nothing to lose.

[37:35] Viti Videtta: > [VISUAL: Video C plays.] And last one. This is what happens when a 47-year-old woman takes prebiotic collagen protein to lose her beer belly. I didn't cut carbs or obsess over macros and I didn't do sit-ups till I passed out either. I just put prebiotic collagen protein in my coffee every morning. It's so tasty. And the weight started to melt off me. My bloat went way down too. Now my jeans fit without a struggle. I can button shirts that used to squeeze the life out of me. And I can't wait to wear a bikini to the beach. I'm 47 and I look better than I had in years. And it's all thanks to the science-backed ingredients inside prebiotic collagen protein that heal the gut and get your digestion back on track so that stubborn belly fat and bloating finally go bye-bye for good. Even for a woman pushing 50 like me. So do yourself a favor, give prebiotic collagen protein a try. It comes with a 60-day guarantee, so there's nothing to lose except the uncomfortable belly bloat that makes you feel six months pregnant.

[38:31] Viti Videtta: So, you can see that uh we have three different products, we have like the structure is mostly the same, but we change everything to adapt the product and we change the B-rolls, we change the talent, but the format is the same. It's a voiceover video. Uh it mostly starts with the same hook, uh copy hook at least. And also the end, you know, uh it's uh if you feel them separately, it's like a unique ad, but if you watch them together, you can tell that, yeah, of course, we found a a concept and these three were winners for us uh on last year. So, this is something that you should keep in mind uh when you find something, just go uh you know, go further and try to to iterate as much as you can because this is your starting point.

[39:21] Viti Videtta: > [VISUAL: Slide titled "Cheat code 👉 add this to your sheets". It shows a list of tasks with green labels.] Uh cheat code. Uh this is something that we add to our sheets and and I'm not able to share uh all the the the complete sheet, but at least uh we made this uh kind of color uh tags where we can just quickly identify if we need a bigger swings or if we need a smaller swings. Uh when we have like a massive winner, we just go on green and we just make things that probably make the bigger swings like uh change the creator, change the product, change the script, uh I mean, not the structure, but the script, uh change the gender or maybe accent or B-rolls. But if we have a a scaled ad that it's doing great, but not as great as the green one, then we can have like a smaller swings to first find out uh if it has the capability to to be green, you know, like a a super massive or breakthrough ad. So, you can add these tags and you can just uh put them side your ads or your tracking list and and easily make the those iterations.

[40:38] Viti Videtta: > [VISUAL: Slide with text: "Most brands don't have a scaling problem. They have a creative iteration problem."] So, this is a kind of statement. I think that most brands don't have like a scaling problem, they have a creative iteration problem. They don't know how to iterate properly uh and how to make these swings uh thinking on the size of the ads.

[40:54] Viti Videtta: > [VISUAL: Slide titled "And finally when your winner ad fatigues...". A video ad plays.] And finally, when your winner ad fatigues and or all your iterations are not working, then you need to refresh it and this is even bigger swings. And to think about it is just like a Terminator or one and two, you know, like thinking on a on a version two of your winner ad. You start again but having a north. Uh you make a new script with new hooks, with new visuals and maybe a new format. But the the the core, the soul itself, it it feels like your previous winner ad. So let me show you this one that is completely AI made.

[41:36] Viti Videtta: > [VISUAL: A video ad with an AI-generated voiceover plays.] This is what happens when a middle-aged woman ignores diets and workouts and optimizes her hormones. First, you're less bloated. Then your cravings calm down. After that, your belly shrinks and your friends ask what you're doing. Here's a simple, natural hormone optimizing protocol that adapts to your body's unique needs. It takes 30 seconds each morning. No dieting, no gym, no food lists. You can do it at home every day. What happens if I start tomorrow? How old are you? I'm 47. By next month, you might not recognize your waistline. But what if nothing has worked for me before? That's exactly who this was built for. This method fixes your unique hormonal imbalances first. Isn't eating less and working out enough? After 40, that disrupts your hormones even more. You need the opposite to burn fat again. Do I need supplements or complicated plans? Hormone Harmony, take it once a day, let its ingredients optimize your unique hormonal imbalances and watch your body change. How do I start? Click the link and start right now.

[42:44] Viti Videtta: So, it doesn't feel like uh the same ad as we see previously, but it has some clues or some, you know, like uh insights from from the first one and we turn it into a completely new ad and well, it start picking up again.

[43:03] Viti Videtta: > [VISUAL: Slide showing a diagram titled "The Creative Scaling Engine". It's a circular flow chart with 7 steps: 1. Winner, 2. Deconstruct, 3. Multiply, 4. Test, 5. Scale, 6. Fatigue, 7. Refresh.] So, uh we have this creative scaling engine. I I tried to put this together in in in this kind of graphic, but I mean, we have like a this kind of seven steps where we find a winner, then we deconstruct with the hook, angle, format, emotion, uh what we talk about. Then we multiply, we create as many as we can. Uh I think that between three, five batches, it's good, depends on on how you run your ads as well. Then you test fast, you scale those ads that the ones that are doing well, uh the others just ditch them. And when it fatigues, we refresh the ad completely and we will probably find a new winner again.

[43:55] Viti Videtta: > [VISUAL: Slide with text: "Your winner ad isn't the finish line. It's the blueprint for your next 20 ads."] So, as as I told you, your winner uh ad isn't the finish line, it's the blueprint for your next 20 ads and hopefully 20 winners.

[44:05] Viti Videtta: > [VISUAL: Slide with a GIF of Tom Hanks waving and the text "T. HANKS".] And that's it.

[44:12] Evan Lee: Round of applause everybody. I am I love that we got the the audio sorted. Everyone's happy about that. But Viti, I love the idea of strategy and execution. So it's like strategy, you could get all of that right, but if you don't execute well, it's almost a waste and like calling that out is super powerful.

[44:35] Viti Videtta: It happens, yeah, it happens more than than you think, you know, we we we saw like a lot of uh ads that were not working and I I was just why this angle was super powerful and it was all on the execution. So, yeah, it's something to Oh my goodness. Okay.

[44:51] Evan Lee: I love it. I love it. Okay, everybody, show some love in the chat for Viti. Get your questions in because we're going to bring him back up at the end of this presentation to get into it. But now, would love to welcome our next speaker to the stage. We have Vidi who's joining us from Happy Mammoth. So everybody, another round of applause, please.

[45:00] Viti Videtta: Hello, Evan. Thank you so much for having me here. And it's a pleasure, of course, to to share all these stuff that we are going to see in the next minutes with you. So, let me share my screen and after I do this, I will go on blind with you. I'm not going to see your the chat or your messages, so I will hopefully uh see them later. Let me see. Yes, we are here. Okay. So, uh I'm going to go full screen. And yes. So, uh hello everyone. I'm Viti. I'm uh I've been working in advertising industry for a long time, like eight years in a traditional creative director position, like work for brands, big brands on the branding side, like Coke, uh Unilever, Burger, uh Nokia. And then I've been working as a creative strategist uh for six years. I started at Ready Set as well. Then I moved into Mad and Bow and right now I'm the senior creative lead at Happy Mammoth. And I'm from Argentina. I'm based in Barcelona.

[45:36] Viti Videtta: > [VISUAL: Slide with the words "Explore" and "Exploit" with an arrow pointing from Explore to Exploit. A smaller arrow points to "Exploit" with the text "This is what we're doing this week".] So, uh I will divide my presentation into two moments. Uh I know that we are just um in the part of the exploit where we just uh make as many ads as we can from just uh one winner or two winners or whatever.

[45:54] Viti Videtta: > [VISUAL: The arrow and text now point to "Explore" with the text "But let's dig a bit more into this".] But I would like to to go one step backward because I would like to to talk a little bit about the exploring because I've seen like a lot of creative strategies that are super focused on like uh getting trends, watching competitors, getting data and all the stuff. But at the moment when we need to make an ad from scratch, uh it's not so easy and we tend to copy. I know that we are in a living in an era where everything is a remix, everything is a copy from a copy from a copy.

[46:25] Viti Videtta: > [VISUAL: Slide titled "How to Think Ideas (Not Just Have Them)"] But I would like to show you how to think ideas and not just to have them. Uh this is crucial because I believe that

[46:36] Viti Videtta: > [VISUAL: Slide with a meme of Will Ferrell from the movie Talladega Nights. The text on the meme says, "IF YOU AIN'T FIRST, YOU'RE LAST".] I don't know if you all watch this movie, Talladega Nights and it's a they have this funny phrase that if you're not first, you're last. And in the movie, they were arguing because it's not real at one point, but I think that it has some true in the way that if we are copying an ad from another brand, company or or something that we see and we don't make the ad like uh original or itself, then it will probably won't uh be as good as we have something that we are it's ours and then everyone is trying to copy us.

[47:14] Viti Videtta: > [VISUAL: Slide with two columns. The left column is titled "The Myth" with bullet points: "Creativity is talent", "Ideas come from inspiration", "You have to be born creative", "Creatives are Genius". The right column is titled "The True" with bullet points: "Everyone can be creative", "Creativity is a mechanical process", "You only need PRACTISE".] So, some uh things regarding this, we tend to believe that creativity is talent, that ideas come from inspiration, that you have to be born creative or they are genius or whatever. But the true is that everyone can be creative and creativity in fact is like a mechanical process. You only need to practice on this.

[47:37] Viti Videtta: > [VISUAL: Slide titled "Producing ideas". Bullet points: "AN IDEA IS NOTHING MORE NOR LESS THAN A NEW COMBINATION OF OLD ELEMENTS", "AND THAT CAPACITY, DEPENDS ON THE ABILITY WE HAVE TO SEE RELATIONSHIPS".] Producing ideas in this way, it's uh only no more or less than a combination of old elements, old elements that you have. And that capacity depends on the ability that you have to see those relationships.

[47:53] Viti Videtta: > [VISUAL: Slide titled "Creativity = seeing connections others don't"] And we can say that creativity is seeing connections where others don't see them.

[47:58] Viti Videtta: > [VISUAL: Slide titled "The 4-Step Process". Bullet points: "GATHER - Volume of inputs (specific and general)", "WORK - Ability to connect (make new combinations)", "EUREKA - The idea appears", "DEVELOPMENT - Execution (refine & rework)".] Let's uh move forward into this. Uh there was a guy uh called James Webb Young, they he made a book that it's called a technique for producing ideas that is quite old. Uh it was for traditional advertising and he developed a five-step process. I just I think that for now, uh it can be like a four-step process. And where you can understand what is the process of having an idea. First one is uh the gather. We have inputs, reviews, well, we have all the raw data that we can just pick and and work with that. And we have two kinds, specific and general.

[48:38] Viti Videtta: Then we have the work is the ability to connect these dots and to make the new combinations. Then we have the Eureka, the shower moment where the idea appears. And at the end, we need to to produce the idea, you know, the development or the execution where we refine and rework.

[48:55] Viti Videtta: > [VISUAL: Slide titled "Step 1 Deep Dive (Most Important)". It lists "Raw material" as "1. Specific knowledge: Product/Brand, Customer" and "2. General knowledge: Culture, psychology, life, events, random curiosity". It also lists "Where?" with two columns of sources.] So, on the step one, this is the I would say, I mean, we've seen this through many, many, many people that if the most important thing is to just gather your information, you know, the raw material. It can be specific or general. Specific, we can say that it's product, brand, customer, and then we have the general knowledge that is culture, psychology, life, events, random curiosity, memes, whatever. Uh if you don't explore enough, you know, you're going to land on generic ads. So, just keep in mind, of course, you all already know this, but this is super crucial to have original ideas.

[49:39] Viti Videtta: > [VISUAL: Slide titled "Step 2 Work the material (mental mashup)". It shows two examples of combining specific and general knowledge to create an idea.] Uh this is another step that is also super important that is work the material. That is the mental mashup. How do you start connecting dots? Uh you start connecting like uh to make uh relationships. I put here force because sometimes the relationships are not just uh linear, they're just uh hard to make. But I got a two examples for you to understand this. For example, we have a magnesium product and we can say that the the specific information that we have is that the magnesium reduces anxiety. That is the true. That is something that the product does. And then we have the the general uh information that is, for example, the brain the brain tabs open meme or it's something that probably many of you have in your computers, you know, you have like a lot of tabs open. So, you have an idea here where you combine those two pieces of information, the specific and the general. And you have, for example, your brain has 47 tabs open, magnesium closes them all at once. This is a uh this is not a a generic uh headline. You can have like uh only this product reduces anxiety and that's it. But if you go one step forward, you will have a something that is unique. Then we have example number two, gut health. You have again, specific information, pain point that is the bloating and then you have the information that is the hangover regret, you know, when you uh text your ex or or something like that. So, idea, your stomach the morning after pasta is the same that texting your ex, something like that. I know that maybe you can have better ideas and this gets better and better after you practice and and you go and you move forward into more and more and more and more combinations because this is where most creatives stop too early, you know, you have just one idea and you produce the idea and that's it. And maybe you need to gather one, two, five, 10 and and so on just to find out something that is really, really unique.

[51:48] Viti Videtta: > [VISUAL: Slide titled "Examples". It shows three pairs of ads, each pair demonstrating a different creative technique: "ANALOGY", "OPPOSITE THINKING", and "EMOTIONAL REFRAMING".] Here we can see the examples, you know, we have the generic ad with the magnesium, magnesium helps you relax and sleep better. And then we have the one with the dots connected where it's your brain has 37 tabs open, magnesium closes them all. You can see the difference. And then again, for bloating, this formula reduces bloating. This is the generic level. And then we have the stop planning your outfit around your stomach. So, uh you can train this, you can just uh this is only getting information, connecting things and moving forward.

[52:27] Viti Videtta: > [VISUAL: Slide titled "Categories of questions to generate ideas". It's a chart with five columns: "ANALOGY QUESTIONS", "OPPOSITE THINKING", "EMOTIONAL REFRAMING", "SPECIFICITY QUESTIONS", and "CULTURAL LAYER". Each column has example questions and an example idea.] This is a nice chart. I think that it can be uh larger, but there's some categories of questions that you can give yourself to generate ideas. You have analogy questions, opposite thinking, emotional, specificity, cultural. I'm not going to go deeper on this, but with these questions that you are asking, you can have the the example and you have the idea of where uh of from and where you can go from information and what is your output uh having a new idea. You can screenshot this uh slide or uh later you can watch it on on the on the review.

[53:12] Viti Videtta: > [VISUAL: Slide titled "Examples". It shows three ads, each labeled with a creative technique: "ANALOGY", "OPPOSITE THINKING", and "EMOTIONAL REFRAMING".] Again, we have analogy, opposite thinking and emotional reframing. And you can see here how we developed at Happy Mammoth these for example, the three kind of questions that you ask. One, you are making a metaphor of a balloon, you know, when you are bloated or when you uh have like a beer belly or whatever. So we got that uh on the on the design and as well on some colors. Then we have the the opposite thinking that people uh believe that they're fat, but they're not fat, it's just cortisol. And we got the the idea to perform this ad as well. And then the emotional reframing that again, menopause made me feel like I was disappearing. So we are touching a fiber on what's going on with people and menopause with that product.

[54:09] Viti Videtta: > [VISUAL: Slide titled "Step 4 The idea hits (Eureka!)". It lists bullet points under "How to Know You Have a Good Idea?".] So, uh step number four, sorry, I think that this is number three, but I I missed uh to change the number. The idea hits and it's the Eureka moment. Uh this may happen when you're working, when you're just connecting the dots. This may happen when you're having a a shower. That's why they call it the shower moment as well. And there are some keys for you to know that you have a good idea that somehow it feels true, you know, like uh you feel that that headline or idea or ad that you are just thinking about, it feels super true based on your products and on your information that you have. Uh probably this is the insight, you know, make someone say, okay, yeah, that's me. That's the best thing that you can have because you will keep your audience engaged if you uh find that. Then it's specific, it's not generic, you know, it's not something that everyone can say, it's something that you can only say or at least the way you uh made that idea. And then the angle is fresh, it's not uh not a better claim. So it's something that is new, it's something that feels like a, you know, like a original in some way.

[55:24] Viti Videtta: > [VISUAL: Slide titled "Step 5 Shape & Adapt (Execution Matters)".] Uh last thing, shape and adapt. Uh this is uh about execution because execution can kill a good idea. So, it's time now that we have the idea to turn it into the real world. And we may ask a couple of questions also in this uh step as well. Uh for example, is this the best talent to use? Is this the best format or design to gather that idea? Is this the best script? Is this the best the ad can go? So, another thing that you can do, you can just throw the idea into your team and and see how what happens. Uh if you find that that ad have has like a self-expanding qualities, then you are in the in the good path.

[56:14] Viti Videtta: > [VISUAL: Slide titled "Bad Vs. Good Execution". It shows two ads, A and B, side-by-side.] Uh a quick example of bad versus good execution. Uh you probably find out uh and I'm sorry Barry, I don't have nothing against the the ugly ads, but uh in this case, there were not just about the the design thing, it was just how the elements were uh put inside uh the ad, like uh the colors were too small, uh we didn't get the timeline, what was talking about or it was not clear enough. Uh again, uh the headline maybe it was like a a little bit confusing and that's it. Uh but again, uh execution sometimes kills the idea. Of course, we never know because this is like a, you know, uh testing and see how it goes. But if something didn't work, you can just try it again like uh having a a better output to to see how it goes.

[57:12] Viti Videtta: > [VISUAL: Slide with text: "The difference between a junior and a senior creative isn't talent. It's the size, speed and quality of the combinations they can make."] So, this is a statement. I think that the difference between a junior and a senior creative is not about the talent. It's the size, the speed and the quality of the combinations that they can make. Uh if you can make combinations better, faster and bigger, then you will be a superstar for sure.

[57:33] Viti Videtta: > [VISUAL: Slide with the words "Explore" and "Exploit" with an arrow pointing from Explore to Exploit.] So, uh now going into exploit part.

[57:38] Viti Videtta: > [VISUAL: Slide titled "How to Actually Scale a Winning Ad (Without Killing It)"] Uh this is uh I would like to to show like uh in some slides how we do at Happy Mammoth. We produce like uh mostly between 500 ads uh per week and we are uh we have like a really nice uh machine to produce those ads and I will show you some some tips and tricks uh if you want to do the same and and if you have the ability and capacity to to run that many amount of ads.

[58:13] Viti Videtta: > [VISUAL: Slide titled "What's a winner ad?". A video ad plays on the left, and a list of bullet points is on the right.] Uh okay. So, what's a winner ad? We all know, we need to have a stable CPA, a strong CTR or hook rate. Uh we need to make the ad run across many audiences, uh engagement, healthy ROAS and of course, spend picking up.

[58:32] Viti Videtta: > [VISUAL: Slide titled "Smart tip. Start with statics." It describes a three-step process: "Start with statics" -> "Then short video" -> "Then testimonial/high production".] But this is something that can help you not to uh be lost in the uh when you start having new ideas. Uh I think that uh statics is the way the best way to to to start testing angles because this is the fastest way uh to produce something, you know, you can just put a product picture there and a headline and gather as many angles as you have and you can just uh of course, having different designs or whatever, but just the product with the headline and you can just uh run that. If that works, you can move into a a video, uh maybe short form video, 15 second or something with text overlay or voiceover video where you can uh expand, you know, you can expand that angle and and see if it keeps working. And of course, if you have success on that, you can just jump and make high production, testimonials, uh long formats, uh sales video sales or whatever. And but you know that the angle probably won't fail because it already did on two stages before.

[59:44] Viti Videtta: > [VISUAL: Slide titled "Why is this ad working?". A video ad plays on the left, and a breakdown of its components (Hook, Angle, Format, Emotional driver) is on the right.] So, uh why is this ad working? I'm going to play this ad first, so you we all see it.

[59:55] Viti Videtta: > [VISUAL: A video ad plays. It's a montage of different women talking about a weight loss product.] This is what happens when a middle-aged woman uses this to lose weight before summer. No gym, no diets, just this. No counting macros, no step counting. Just pop these capsules every morning with my coffee and it drained LBs of fat just like that. Like actual belly shrinkage. Double chin is gone. Snatched face. Sculpted arms. Brain fog cleared. Energy off the charts. And I got my hourglass figure back. And I feel confident in clothes. I haven't worn in 10 years. The reason Hormone Harmony works so fast is because it combines the most science-backed adaptogens and herbal extracts that balance your hormones naturally so they stop sabotaging your body. Help flush out stored fat and rev up metabolism. Your body slims down. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee. So you have nothing to lose.

[1:00:42] Viti Videtta: Okay. So, this ad was like a a massive winner uh last year for us. And I think that you, in some way, you don't scale an ad, you scale the mechanism. So, you need to first break it down into the components. Let's say the hook in this uh ad is this is what happens, so you're getting the persona when a 60-year-old, 40-year-old, uh man with kids, uh so you can try different iterations there as well. Then you have the angle in this case is uh super focused on weight loss with the proof on that with many uh talent. Then we have the format that in this case is a voiceover testimonial and then we have the emotional driver that is the insecurity with the hope and relief, you know, like how uh someone find this product and it worked for for her.

[1:01:39] Viti Videtta: > [VISUAL: Slide titled "Now multiply your winner ad". A video ad plays on the left, and a list of iteration ideas is on the right.] So, once we have the this uh section of your ad, then it's time for the scaling. This is uh 80% of scaling and you can try as many uh I would say iterations or or things as you want, you know, you can try different hooks, both visual and copy, you can try uh same script, different creator, different script, same creator, same structure, different script, same concept, different format, same structure, different product. You can play with this. I mean, we are just talking about a winner ad, something that, you know, check all the metrics, CTR, CPA, hook, hold rate, whatever. So, if you have that super winner in your hands, you can you should try everything and and as many as you can. Uh it depends a lot on on the budget and the and the company size. I think a nice sweet spot is between three and five batches, you know, with four or five ads or three ads uh inside each batch. But you can tell. So I will show you the the the second iteration that we made from the previous ad.

[1:02:45] Viti Videtta: > [VISUAL: A new video ad plays, which is an iteration of the previous one with different visuals and talent.] No gym, no diets, just this. This is what happens when a middle-aged busy mom uses this to lose weight in summer. No counting macros, no step counting. Just pop these capsules every morning with my coffee and it drained LBs of fat just like that. Hot water weight, like actual belly shrinkage. Double chin is gone. Snatched face. Sculpted arms. Brain fog cleared. Energy off the charts. And I got my hourglass figure back. And I feel confident in clothes. I haven't worn in 10 years. The reason Hormone Harmony works so fast is because it combines the most science-backed adaptogens and herbal extracts that balance your hormones naturally so they stop sabotaging your body. Help flush out stored fat and rev up metabolism. Your body slims down. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee. So you have nothing to lose.

[1:03:34] Viti Videtta: So, in this case, as you can see, we changed a lot of things. We changed the product at first, we changed the hook, we changed the talent, we changed a little bit on the structure, we changed the B-rolls. Uh so this is a completely new ad, but it's keeping the same angle, it's keeping the same spirit of the first one. So, uh as Sophia said, iterations look like a completely new ad right now and this is uh you know, uh what happens when you just gather all these together and try to to put them work together. Uh don't stop on slightly changes, you will have the same ad or the same results. Just uh go further and try to to perform something that looks super different, but in the in the backstage is the the same.

[1:04:29] Viti Videtta: > [VISUAL: Slide titled "Then you test... and scale." It shows three different video ads labeled A, B, and C.] So, then you test and scale. I will show you how we also iterate more and more and more of this winner ad, so you can see the difference uh as we did in the past.

[1:04:45] Viti Videtta: > [VISUAL: Video A plays.] This is what happens when a 48-year-old woman takes Hormone Harmony to lose the cortisol weight.

[1:04:49] Evan Lee: Vidi, Vidi.

[1:04:50] Viti Videtta: I didn't keep track of every calorie. I didn't work out every day. And my life didn't get any less stressed. But I did take Hormone Harmony every morning. And that's when the weight finally started to come off. And not just water weight, like fat actually melting off my body. My waist came back. My arms look sculpted and my face looked snatched. I'm sleeping better, my energy's back, my mood is lighter. And my favorite jeans aren't hiding in the back of the closet anymore. I didn't think I could ever feel this good in my body, especially after two kids. But at 48, I feel and look better than I ever did. And it's all thanks to the powerful adaptogens inside Hormone Harmony, like Ashwagandha and Rhodiola, that lower cortisol levels naturally. So that stress weight stops going right to your midsection and starts melting off your body. Even if you're a busy mom pushing 50 like me. So my advice, give Hormone Harmony a try. You have a 60-day guarantee. Worst case, you get your money back. Best case, you get your old self back.

[1:06:45] Viti Videtta: > [VISUAL: Video B plays.] Second one. I'm 50 and here's what happened when I tried this to lose weight. I didn't count a single step, didn't cut carbs. I just took these capsules every morning with my coffee and now I fit in clothes I haven't worn in 20 years. And this isn't water weight, it's real fat being flushed out of my system. My double chin is shrinking and my face looks snatched. My arms feel more sculpted. My energy is off the charts. And I got my hourglass figure back. The reason Ultimate Weight Loss Support works so fast is because it combines the most recent and cutting-edge fat melting ingredients on the planet that target the real root cause of female weight gain after 40. Block new fat cells from forming, rev up metabolism, so the body shrinks down on its own. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee, so you have nothing to lose.

[1:07:35] Viti Videtta: > [VISUAL: Video C plays.] And last one. This is what happens when a 47-year-old woman takes prebiotic collagen protein to lose her beer belly. I didn't cut carbs or obsess over macros and I didn't do sit-ups till I passed out either. I just put prebiotic collagen protein in my coffee every morning. It's so tasty. And the weight started to melt off me. My bloat went way down too. Now my jeans fit without a struggle. I can button shirts that used to squeeze the life out of me. And I can't wait to wear a bikini to the beach. I'm 47 and I look better than I had in years. And it's all thanks to the science-backed ingredients inside prebiotic collagen protein that heal the gut and get your digestion back on track so that stubborn belly fat and bloating finally go bye-bye for good. Even for a woman pushing 50 like me. So do yourself a favor, give prebiotic collagen protein a try. It comes with a 60-day guarantee, so there's nothing to lose except the uncomfortable belly bloat that makes you feel six months pregnant.

[1:08:31] Viti Videtta: So, you can see that uh we have three different products, we have like the structure is mostly the same, but we change everything to adapt the product and we change the B-rolls, we change the talent, but the format is the same. It's a voiceover video. Uh it mostly starts with the same hook, uh copy hook at least. And also the end, you know, uh it's uh if you feel them separately, it's like a unique ad, but if you watch them together, you can tell that, yeah, of course, we found a a concept and these three were winners for us uh on last year. So, this is something that you should keep in mind uh when you find something, just go uh you know, go further and try to to iterate as much as you can because this is your starting point.

[1:09:21] Viti Videtta: > [VISUAL: Slide titled "Cheat code 👉 add this to your sheets". It shows a list of tasks with green labels.] Uh cheat code. Uh this is something that we add to our sheets and and I'm not able to share uh all the the the complete sheet, but at least uh we made this uh kind of color uh tags where we can just quickly identify if we need a bigger swings or if we need a smaller swings. Uh when we have like a massive winner, we just go on green and we just make things that probably make the bigger swings like uh change the creator, change the product, change the script, uh I mean, not the structure, but the script, uh change the gender or maybe accent or B-rolls. But if we have a a scaled ad that it's doing great, but not as great as the green one, then we can have like a smaller swings to first find out uh if it has the capability to to be green, you know, like a a super massive or breakthrough ad. So, you can add these tags and you can just uh put them side your ads or your tracking list and and easily make the those iterations.

[1:10:38] Viti Videtta: > [VISUAL: Slide with text: "Most brands don't have a scaling problem. They have a creative iteration problem."] So, this is a kind of statement. I think that most brands don't have like a scaling problem, they have a creative iteration problem. They don't know how to iterate properly uh and how to make these swings uh thinking on the size of the ads.

[1:10:54] Viti Videtta: > [VISUAL: Slide titled "And finally when your winner ad fatigues...". A video ad plays.] And finally, when your winner ad fatigues and or all your iterations are not working, then you need to refresh it and this is even bigger swings. And to think about it is just like a Terminator or one and two, you know, like thinking on a on a version two of your winner ad. You start again but having a north. Uh you make a new script with new hooks, with new visuals and maybe a new format. But the the the core, the soul itself, it it feels like your previous winner ad. So let me show you this one that is completely AI made.

[1:11:36] Viti Videtta: > [VISUAL: A video ad with an AI-generated voiceover plays.] This is what happens when a middle-aged woman ignores diets and workouts and optimizes her hormones. First, you're less bloated. Then your cravings calm down. After that, your belly shrinks and your friends ask what you're doing. Here's a simple, natural hormone optimizing protocol that adapts to your body's unique needs. It takes 30 seconds each morning. No dieting, no gym, no food lists. You can do it at home every day. What happens if I start tomorrow? How old are you? I'm 47. By next month, you might not recognize your waistline. But what if nothing has worked for me before? That's exactly who this was built for. This method fixes your unique hormonal imbalances first. Isn't eating less and working out enough? After 40, that disrupts your hormones even more. You need the opposite to burn fat again. Do I need supplements or complicated plans? Hormone Harmony, take it once a day, let its ingredients optimize your unique hormonal imbalances and watch your body change. How do I start? Click the link and start right now.

[1:12:44] Viti Videtta: So, it doesn't feel like uh the same ad as we see previously, but it has some clues or some, you know, like uh insights from from the first one and we turn it into a completely new ad and well, it start picking up again.

[1:13:03] Viti Videtta: > [VISUAL: Slide showing a diagram titled "The Creative Scaling Engine". It's a circular flow chart with 7 steps: 1. Winner, 2. Deconstruct, 3. Multiply, 4. Test, 5. Scale, 6. Fatigue, 7. Refresh.] So, uh we have this creative scaling engine. I I tried to put this together in in in this kind of graphic, but I mean, we have like a this kind of seven steps where we find a winner, then we deconstruct with the hook, angle, format, emotion, uh what we talk about. Then we multiply, we create as many as we can. Uh I think that between three, five batches, it's good, depends on on how you run your ads as well. Then you test fast, you scale those ads that the ones that are doing well, uh the others just ditch them. And when it fatigues, we refresh the ad completely and we will probably find a new winner again.

[1:13:55] Viti Videtta: > [VISUAL: Slide with text: "Your winner ad isn't the finish line. It's the blueprint for your next 20 ads."] So, as as I told you, your winner uh ad isn't the finish line, it's the blueprint for your next 20 ads and hopefully 20 winners.

[1:14:05] Viti Videtta: > [VISUAL: Slide with a GIF of Tom Hanks waving and the text "T. HANKS".] And that's it.

[1:14:12] Evan Lee: Round of applause everybody. I am I love that we got the the audio sorted. Everyone's happy about that. But Viti, I love the idea of strategy and execution. So it's like strategy, you could get all of that right, but if you don't execute well, it's almost a waste and like calling that out is super powerful.

[1:14:35] Viti Videtta: It happens, yeah, it happens more than than you think, you know, we we we saw like a lot of uh ads that were not working and I I was just why this angle was super powerful and it was all on the execution. So, yeah, it's something to Oh my goodness. Okay.

[1:14:51] Evan Lee: I love it. I love it. Okay, everybody, show some love in the chat for Viti. Get your questions in because we're going to bring him back up at the end of this presentation to get into it. But now, would love to welcome our next speaker to the stage. We have Vidi who's joining us from Happy Mammoth. So everybody, another round of applause, please.

[1:15:18] Viti Videtta: Hello, Evan. Thank you so much for having me here. And it's a pleasure, of course, to to share all these stuff that we are going to see in the next minutes with you. So, let me share my screen and after I do this, I will go on blind with you. I'm not going to see your the chat or your messages, so I will hopefully uh see them later. Let me see. Yes, we are here. Okay. So, uh I'm going to go full screen. And yes. So, uh hello everyone. I'm Viti. I'm uh I've been working in advertising industry for a long time, like eight years in a traditional creative director position, like work for brands, big brands on the branding side, like Coke, uh Unilever, Burger, uh Nokia. And then I've been working as a creative strategist uh for six years. I started at Ready Set as well. Then I moved into Mad and Bow and right now I'm the senior creative lead at Happy Mammoth. And I'm from Argentina. I'm based in Barcelona.

[1:16:36] Viti Videtta: > [VISUAL: Slide with the words "Explore" and "Exploit" with an arrow pointing from Explore to Exploit. A smaller arrow points to "Exploit" with the text "This is what we're doing this week".] So, uh I will divide my presentation into two moments. Uh I know that we are just um in the part of the exploit where we just uh make as many ads as we can from just uh one winner or two winners or whatever.

[1:16:54] Viti Videtta: > [VISUAL: The arrow and text now point to "Explore" with the text "But let's dig a bit more into this".] But I would like to to go one step backward because I would like to to talk a little bit about the exploring because I've seen like a lot of creative strategies that are super focused on like uh getting trends, watching competitors, getting data and all the stuff. But at the moment when we need to make an ad from scratch, uh it's not so easy and we tend to copy. I know that we are in a living in an era where everything is a remix, everything is a copy from a copy from a copy.

[1:17:25] Viti Videtta: > [VISUAL: Slide titled "How to Think Ideas (Not Just Have Them)"] But I would like to show you how to think ideas and not just to have them. Uh this is crucial because I believe that

[1:17:36] Viti Videtta: > [VISUAL: Slide with a meme of Will Ferrell from the movie Talladega Nights. The text on the meme says, "IF YOU AIN'T FIRST, YOU'RE LAST".] I don't know if you all watch this movie, Talladega Nights and it's a they have this funny phrase that if you're not first, you're last. And in the movie, they were arguing because it's not real at one point, but I think that it has some true in the way that if we are copying an ad from another brand, company or or something that we see and we don't make the ad like uh original or itself, then it will probably won't uh be as good as we have something that we are it's ours and then everyone is trying to copy us.

[1:18:14] Viti Videtta: > [VISUAL: Slide with two columns. The left column is titled "The Myth" with bullet points: "Creativity is talent", "Ideas come from inspiration", "You have to be born creative", "Creatives are Genius". The right column is titled "The True" with bullet points: "Everyone can be creative", "Creativity is a mechanical process", "You only need PRACTISE".] So, some uh things regarding this, we tend to believe that creativity is talent, that ideas come from inspiration, that you have to be born creative or they are genius or whatever. But the true is that everyone can be creative and creativity in fact is like a mechanical process. You only need to practice on this.

[1:18:37] Viti Videtta: > [VISUAL: Slide titled "Producing ideas". Bullet points: "AN IDEA IS NOTHING MORE NOR LESS THAN A NEW COMBINATION OF OLD ELEMENTS", "AND THAT CAPACITY, DEPENDS ON THE ABILITY WE HAVE TO SEE RELATIONSHIPS".] Producing ideas in this way, it's uh only no more or less than a combination of old elements, old elements that you have. And that capacity depends on the ability that you have to see those relationships.

[1:18:53] Viti Videtta: > [VISUAL: Slide titled "Creativity = seeing connections others don't"] And we can say that creativity is seeing connections where others don't see them.

[1:18:58] Viti Videtta: > [VISUAL: Slide titled "The 4-Step Process". Bullet points: "GATHER - Volume of inputs (specific and general)", "WORK - Ability to connect (make new combinations)", "EUREKA - The idea appears", "DEVELOPMENT - Execution (refine & rework)".] Let's uh move forward into this. Uh there was a guy uh called James Webb Young, they he made a book that it's called a technique for producing ideas that is quite old. Uh it was for traditional advertising and he developed a five-step process. I just I think that for now, uh it can be like a four-step process. And where you can understand what is the process of having an idea. First one is uh the gather. We have inputs, reviews, well, we have all the raw data that we can just pick and and work with that. And we have two kinds, specific and general.

[1:19:38] Viti Videtta: Then we have the work is the ability to connect these dots and to make the new combinations. Then we have the Eureka, the shower moment where the idea appears. And at the end, we need to to produce the idea, you know, the development or the execution where we refine and rework.

[1:19:55] Viti Videtta: > [VISUAL: Slide titled "Step 1 Deep Dive (Most Important)". It lists "Raw material" as "1. Specific knowledge: Product/Brand, Customer" and "2. General knowledge: Culture, psychology, life, events, random curiosity". It also lists "Where?" with two columns of sources.] So, on the step one, this is the I would say, I mean, we've seen this through many, many, many people that if the most important thing is to just gather your information, you know, the raw material. It can be specific or general. Specific, we can say that it's product, brand, customer, and then we have the general knowledge that is culture, psychology, life, events, random curiosity, memes, whatever. Uh if you don't explore enough, you know, you're going to land on generic ads. So, just keep in mind, of course, you all already know this, but this is super crucial to have original ideas.

[1:20:39] Viti Videtta: > [VISUAL: Slide titled "Step 2 Work the material (mental mashup)". It shows two examples of combining specific and general knowledge to create an idea.] Uh this is another step that is also super important that is work the material. That is the mental mashup. How do you start connecting dots? Uh you start connecting like uh to make uh relationships. I put here force because sometimes the relationships are not just uh linear, they're just uh hard to make. But I got a two examples for you to understand this. For example, we have a magnesium product and we can say that the the specific information that we have is that the magnesium reduces anxiety. That is the true. That is something that the product does. And then we have the the general uh information that is, for example, the brain the brain tabs open meme or it's something that probably many of you have in your computers, you know, you have like a lot of tabs open. So, you have an idea here where you combine those two pieces of information, the specific and the general. And you have, for example, your brain has 47 tabs open, magnesium closes them all at once. This is a uh this is not a a generic uh headline. You can have like uh only this product reduces anxiety and that's it. But if you go one step forward, you will have a something that is unique. Then we have example number two, gut health. You have again, specific information, pain point that is the bloating and then you have the information that is the hangover regret, you know, when you uh text your ex or or something like that. So, idea, your stomach the morning after pasta is the same that texting your ex, something like that. I know that maybe you can have better ideas and this gets better and better after you practice and and you go and you move forward into more and more and more and more combinations because this is where most creatives stop too early, you know, you have just one idea and you produce the idea and that's it. And maybe you need to gather one, two, five, 10 and and so on just to find out something that is really, really unique.

[1:22:48] Viti Videtta: > [VISUAL: Slide titled "Examples". It shows three pairs of ads, each pair demonstrating a different creative technique: "ANALOGY", "OPPOSITE THINKING", and "EMOTIONAL REFRAMING".] Here we can see the examples, you know, we have the generic ad with the magnesium, magnesium helps you relax and sleep better. And then we have the one with the dots connected where it's your brain has 37 tabs open, magnesium closes them all. You can see the difference. And then again, for bloating, this formula reduces bloating. This is the generic level. And then we have the stop planning your outfit around your stomach. So, uh you can train this, you can just uh this is only getting information, connecting things and moving forward.

[1:23:27] Viti Videtta: > [VISUAL: Slide titled "Categories of questions to generate ideas". It's a chart with five columns: "ANALOGY QUESTIONS", "OPPOSITE THINKING", "EMOTIONAL REFRAMING", "SPECIFICITY QUESTIONS", and "CULTURAL LAYER". Each column has example questions and an example idea.] This is a nice chart. I think that it can be uh larger, but there's some categories of questions that you can give yourself to generate ideas. You have analogy questions, opposite thinking, emotional, specificity, cultural. I'm not going to go deeper on this, but with these questions that you are asking, you can have the the example and you have the idea of where uh of from and where you can go from information and what is your output uh having a new idea. You can screenshot this uh slide or uh later you can watch it on on the on the review.

[1:24:12] Viti Videtta: > [VISUAL: Slide titled "Examples". It shows three ads, each labeled with a creative technique: "ANALOGY", "OPPOSITE THINKING", and "EMOTIONAL REFRAMING".] Again, we have analogy, opposite thinking and emotional reframing. And you can see here how we developed at Happy Mammoth these for example, the three kind of questions that you ask. One, you are making a metaphor of a balloon, you know, when you are bloated or when you uh have like a beer belly or whatever. So we got that uh on the on the design and as well on some colors. Then we have the the opposite thinking that people uh believe that they're fat, but they're not fat, it's just cortisol. And we got the the idea to perform this ad as well. And then the emotional reframing that again, menopause made me feel like I was disappearing. So we are touching a fiber on what's going on with people and menopause with that product.

[1:25:09] Viti Videtta: > [VISUAL: Slide titled "Step 4 The idea hits (Eureka!)". It lists bullet points under "How to Know You Have a Good Idea?".] So, uh step number four, sorry, I think that this is number three, but I I missed uh to change the number. The idea hits and it's the Eureka moment. Uh this may happen when you're working, when you're just connecting the dots. This may happen when you're having a a shower. That's why they call it the shower moment as well. And there are some keys for you to know that you have a good idea that somehow it feels true, you know, like uh you feel that that headline or idea or ad that you are just thinking about, it feels super true based on your products and on your information that you have. Uh probably this is the insight, you know, make someone say, okay, yeah, that's me. That's the best thing that you can have because you will keep your audience engaged if you uh find that. Then it's specific, it's not generic, you know, it's not something that everyone can say, it's something that you can only say or at least the way you uh made that idea. And then the angle is fresh, it's not uh not a better claim. So it's something that is new, it's something that feels like a, you know, like a original in some way.

[1:26:24] Viti Videtta: > [VISUAL: Slide titled "Step 5 Shape & Adapt (Execution Matters)".] Uh last thing, shape and adapt. Uh this is uh about execution because execution can kill a good idea. So, it's time now that we have the idea to turn it into the real world. And we may ask a couple of questions also in this uh step as well. Uh for example, is this the best talent to use? Is this the best format or design to gather that idea? Is this the best script? Is this the best the ad can go? So, another thing that you can do, you can just throw the idea into your team and and see how what happens. Uh if you find that that ad have has like a self-expanding qualities, then you are in the in the good path.

[1:27:14] Viti Videtta: > [VISUAL: Slide titled "Bad Vs. Good Execution". It shows two ads, A and B, side-by-side.] Uh a quick example of bad versus good execution. Uh you probably find out uh and I'm sorry Barry, I don't have nothing against the the ugly ads, but uh in this case, there were not just about the the design thing, it was just how the elements were uh put inside uh the ad, like uh the colors were too small, uh we didn't get the timeline, what was talking about or it was not clear enough. Uh again, uh the headline maybe it was like a a little bit confusing and that's it. Uh but again, uh execution sometimes kills the idea. Of course, we never know because this is like a, you know, uh testing and see how it goes. But if something didn't work, you can just try it again like uh having a a better output to to see how it goes.

[1:28:12] Viti Videtta: > [VISUAL: Slide with text: "The difference between a junior and a senior creative isn't talent. It's the size, speed and quality of the combinations they can make."] So, this is a statement. I think that the difference between a junior and a senior creative is not about the talent. It's the size, the speed and the quality of the combinations that they can make. Uh if you can make combinations better, faster and bigger, then you will be a superstar for sure.

[1:28:33] Viti Videtta: > [VISUAL: Slide with the words "Explore" and "Exploit" with an arrow pointing from Explore to Exploit.] So, uh now going into exploit part.

[1:28:38] Viti Videtta: > [VISUAL: Slide titled "How to Actually Scale a Winning Ad (Without Killing It)"] Uh this is uh I would like to to show like uh in some slides how we do at Happy Mammoth. We produce like uh mostly between 500 ads uh per week and we are uh we have like a really nice uh machine to produce those ads and I will show you some some tips and tricks uh if you want to do the same and and if you have the ability and capacity to to run that many amount of ads.

[1:29:13] Viti Videtta: > [VISUAL: Slide titled "What's a winner ad?". A video ad plays on the left, and a list of bullet points is on the right.] Uh okay. So, what's a winner ad? We all know, we need to have a stable CPA, a strong CTR or hook rate. Uh we need to make the ad run across many audiences, uh engagement, healthy ROAS and of course, spend picking up.

[1:29:32] Viti Videtta: > [VISUAL: Slide titled "Smart tip. Start with statics." It describes a three-step process: "Start with statics" -> "Then short video" -> "Then testimonial/high production".] But this is something that can help you not to uh be lost in the uh when you start having new ideas. Uh I think that uh statics is the way the best way to to to start testing angles because this is the fastest way uh to produce something, you know, you can just put a product picture there and a headline and gather as many angles as you have and you can just uh of course, having different designs or whatever, but just the product with the headline and you can just uh run that. If that works, you can move into a a video, uh maybe short form video, 15 second or something with text overlay or voiceover video where you can uh expand, you know, you can expand that angle and and see if it keeps working. And of course, if you have success on that, you can just jump and make high production, testimonials, uh long formats, uh sales video sales or whatever. And but you know that the angle probably won't fail because it already did on two stages before.

[1:30:44] Viti Videtta: > [VISUAL: Slide titled "Why is this ad working?". A video ad plays on the left, and a breakdown of its components (Hook, Angle, Format, Emotional driver) is on the right.] So, uh why is this ad working? I'm going to play this ad first, so you we all see it.

[1:30:55] Viti Videtta: > [VISUAL: A video ad plays. It's a montage of different women talking about a weight loss product.] This is what happens when a middle-aged woman uses this to lose weight before summer. No gym, no diets, just this. No counting macros, no step counting. Just pop these capsules every morning with my coffee and it drained LBs of fat just like that. Like actual belly shrinkage. Double chin is gone. Snatched face. Sculpted arms. Brain fog cleared. Energy off the charts. And I got my hourglass figure back. And I feel confident in clothes. I haven't worn in 10 years. The reason Hormone Harmony works so fast is because it combines the most science-backed adaptogens and herbal extracts that balance your hormones naturally so they stop sabotaging your body. Help flush out stored fat and rev up metabolism. Your body slims down. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee. So you have nothing to lose.

[1:31:42] Viti Videtta: Okay. So, this ad was like a a massive winner uh last year for us. And I think that you, in some way, you don't scale an ad, you scale the mechanism. So, you need to first break it down into the components. Let's say the hook in this uh ad is this is what happens, so you're getting the persona when a 60-year-old, 40-year-old, uh man with kids, uh so you can try different iterations there as well. Then you have the angle in this case is uh super focused on weight loss with the proof on that with many uh talent. Then we have the format that in this case is a voiceover testimonial and then we have the emotional driver that is the insecurity with the hope and relief, you know, like how uh someone find this product and it worked for for her.

[1:32:39] Viti Videtta: > [VISUAL: Slide titled "Now multiply your winner ad". A video ad plays on the left, and a list of iteration ideas is on the right.] So, once we have the this uh section of your ad, then it's time for the scaling. This is uh 80% of scaling and you can try as many uh I would say iterations or or things as you want, you know, you can try different hooks, both visual and copy, you can try uh same script, different creator, different script, same creator, same structure, different script, same concept, different format, same structure, different product. You can play with this. I mean, we are just talking about a winner ad, something that, you know, check all the metrics, CTR, CPA, hook, hold rate, whatever. So, if you have that super winner in your hands, you can you should try everything and and as many as you can. Uh it depends a lot on on the budget and the and the company size. I think a nice sweet spot is between three and five batches, you know, with four or five ads or three ads uh inside each batch. But you can tell. So I will show you the the the second iteration that we made from the previous ad.

[1:33:45] Viti Videtta: > [VISUAL: A new video ad plays, which is an iteration of the previous one with different visuals and talent.] No gym, no diets, just this. This is what happens when a middle-aged busy mom uses this to lose weight in summer. No counting macros, no step counting. Just pop these capsules every morning with my coffee and it drained LBs of fat just like that. Hot water weight, like actual belly shrinkage. Double chin is gone. Snatched face. Sculpted arms. Brain fog cleared. Energy off the charts. And I got my hourglass figure back. And I feel confident in clothes. I haven't worn in 10 years. The reason Hormone Harmony works so fast is because it combines the most science-backed adaptogens and herbal extracts that balance your hormones naturally so they stop sabotaging your body. Help flush out stored fat and rev up metabolism. Your body slims down. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee. So you have nothing to lose.

[1:34:34] Viti Videtta: So, in this case, as you can see, we changed a lot of things. We changed the product at first, we changed the hook, we changed the talent, we changed a little bit on the structure, we changed the B-rolls. Uh so this is a completely new ad, but it's keeping the same angle, it's keeping the same spirit of the first one. So, uh as Sophia said, iterations look like a completely new ad right now and this is uh you know, uh what happens when you just gather all these together and try to to put them work together. Uh don't stop on slightly changes, you will have the same ad or the same results. Just uh go further and try to to perform something that looks super different, but in the in the backstage is the the same.

[1:35:29] Viti Videtta: > [VISUAL: Slide titled "Then you test... and scale." It shows three different video ads labeled A, B, and C.] So, then you test and scale. I will show you how we also iterate more and more and more of this winner ad, so you can see the difference uh as we did in the past.

[1:35:45] Viti Videtta: > [VISUAL: Video A plays.] This is what happens when a 48-year-old woman takes Hormone Harmony to lose the cortisol weight.

[1:35:49] Evan Lee: Vidi, Vidi.

[1:35:50] Viti Videtta: I didn't keep track of every calorie. I didn't work out every day. And my life didn't get any less stressed. But I did take Hormone Harmony every morning. And that's when the weight finally started to come off. And not just water weight, like fat actually melting off my body. My waist came back. My arms look sculpted and my face looked snatched. I'm sleeping better, my energy's back, my mood is lighter. And my favorite jeans aren't hiding in the back of the closet anymore. I didn't think I could ever feel this good in my body, especially after two kids. But at 48, I feel and look better than I ever did. And it's all thanks to the powerful adaptogens inside Hormone Harmony, like Ashwagandha and Rhodiola, that lower cortisol levels naturally. So that stress weight stops going right to your midsection and starts melting off your body. Even if you're a busy mom pushing 50 like me. So my advice, give Hormone Harmony a try. You have a 60-day guarantee. Worst case, you get your money back. Best case, you get your old self back.

[1:37:45] Viti Videtta: > [VISUAL: Video B plays.] Second one. I'm 50 and here's what happened when I tried this to lose weight. I didn't count a single step, didn't cut carbs. I just took these capsules every morning with my coffee and now I fit in clothes I haven't worn in 20 years. And this isn't water weight, it's real fat being flushed out of my system. My double chin is shrinking and my face looks snatched. My arms feel more sculpted. My energy is off the charts. And I got my hourglass figure back. The reason Ultimate Weight Loss Support works so fast is because it combines the most recent and cutting-edge fat melting ingredients on the planet that target the real root cause of female weight gain after 40. Block new fat cells from forming, rev up metabolism, so the body shrinks down on its own. Even if you're a 52-year-old mother of three like me. So my advice, try it for yourself. It even comes with a 60-day money-back guarantee, so you have nothing to lose.

[1:38:35] Viti Videtta: > [VISUAL: Video C plays.] And last one. This is what happens when a 47-year-old woman takes prebiotic collagen protein to lose her beer belly. I didn't cut carbs or obsess over macros and I didn't do sit-ups till I passed out either. I just put prebiotic collagen protein in my coffee every morning. It's so tasty. And the weight started to melt off me. My bloat went way down too. Now my jeans fit without a struggle. I can button shirts that used to squeeze the life out of me. And I can't wait to wear a bikini to the beach. I'm 47 and I look better than I had in years. And it's all thanks to the science-backed ingredients inside prebiotic collagen protein that heal the gut and get your digestion back on track so that stubborn belly fat and bloating finally go bye-bye for good. Even for a woman pushing 50 like me. So do yourself a favor, give prebiotic collagen protein a try. It comes with a 60-day guarantee, so there's nothing to lose except the uncomfortable belly bloat that makes you feel six months pregnant.

[1:39:31] Viti Videtta: So, you can see that uh we have three different products, we have like the structure is mostly the same, but we change everything to adapt the product and we change the B-rolls, we change the talent, but the format is the same. It's a voiceover video. Uh it mostly starts with the same hook, uh copy hook at least. And also the end, you know, uh it's uh if you feel them separately, it's like a unique ad, but if you watch them together, you can tell that, yeah, of course, we found a a concept and these three were winners for us uh on last year. So, this is something that you should keep in mind uh when you find something, just go uh you know, go further and try to to iterate as much as you can because this is your starting point.

[1:40:21] Viti Videtta: > [VISUAL: Slide titled "Cheat code 👉 add this to your sheets". It shows a list of tasks with green labels.] Uh cheat code. Uh this is something that we add to our sheets and and I'm not able to share uh all the the the complete sheet, but at least uh we made this uh kind of color uh tags where we can just quickly identify if we need a bigger swings or if we need a smaller swings. Uh when we have like a massive winner, we just go on green and we just make things that probably make the bigger swings like uh change the creator, change the product, change the script, uh I mean, not the structure, but the script, uh change the gender or maybe accent or B-rolls. But if we have a a scaled ad that it's doing great, but not as great as the green one, then we can have like a smaller swings to first find out uh if it has the capability to to be green, you know, like a a super massive or breakthrough ad. So, you can add these tags and you can just uh put them side your ads or your tracking list and and easily make the those iterations.

[1:41:38] Viti Videtta: > [VISUAL: Slide with text: "Most brands don't have a scaling problem. They have a creative iteration problem."] So, this is a kind of statement. I think that most brands don't have like a scaling problem, they have a creative iteration problem. They don't know how to iterate properly uh and how to make these swings uh thinking on the size of the ads.

[1:41:54] Viti Videtta: > [VISUAL: Slide titled "And finally when your winner ad fatigues...". A video ad plays.] And finally, when your winner ad fatigues and or all your iterations are not working, then you need to refresh it and this is even bigger swings. And to think about it is just like a Terminator or one and two, you know, like thinking on a on a version two of your winner ad. You start again but having a north. Uh you make a new script with new hooks, with new visuals and maybe a new format. But the the the core, the soul itself, it it feels like your previous winner ad. So let me show you this one that is completely AI made.

[1:42:36] Viti Videtta: > [VISUAL: A video ad with an AI-generated voiceover plays.] This is what happens when a middle-aged woman ignores diets and workouts and optimizes her hormones. First, you're less bloated. Then your cravings calm down. After that, your belly shrinks and your friends ask what you're doing. Here's a simple, natural hormone optimizing protocol that adapts to your body's unique needs. It takes 30 seconds each morning. No dieting, no gym, no food lists. You can do it at home every day. What happens if I start tomorrow? How old are you? I'm 47. By next month, you might not recognize your waistline. But what if nothing has worked for me before? That's exactly who this was built for. This method fixes your unique hormonal imbalances first. Isn't eating less and working out enough? After 40, that disrupts your hormones even more. You need the opposite to burn fat again. Do I need supplements or complicated plans? Hormone Harmony, take it once a day, let its ingredients optimize your unique hormonal imbalances and watch your body change. How do I start? Click the link and start right now.

[1:43:44] Viti Videtta: So, it doesn't feel like uh the same ad as we see previously, but it has some clues or some, you know, like uh insights from from the first one and we turn it into a completely new ad and well, it start picking up again.

[1:44:03] Viti Videtta: > [VISUAL: Slide showing a diagram titled "The Creative Scaling Engine". It's a circular flow chart with 7 steps: 1. Winner, 2. Deconstruct, 3. Multiply, 4. Test, 5. Scale, 6. Fatigue, 7. Refresh.] So, uh we have this creative scaling engine. I I tried to put this together in in in this kind of graphic, but I mean, we have like a this kind of seven steps where we find a winner, then we deconstruct with the hook, angle, format, emotion, uh what we talk about. Then we multiply, we create as many as we can. Uh I think that between three, five batches, it's good, depends on on how you run your ads as well. Then you test fast, you scale those ads that the ones that are doing well, uh the others just ditch them. And when it fatigues, we refresh the ad completely and we will probably find a new winner again.

[1:44:55] Viti Videtta: > [VISUAL: Slide with text: "Your winner ad isn't the finish line. It's the blueprint for your next 20 ads."] So, as as I told you, your winner uh ad isn't the finish line, it's the blueprint for your next 20 ads and hopefully 20 winners.

[1:45:05] Viti Videtta: > [VISUAL: Slide with a GIF of Tom Hanks waving and the text "T. HANKS".] And that's it.

[45:09] Janae LeVander: Hi everyone. [45:12] Evan Lee: Amazing, Janae. [45:13] Janae LeVander: That was so good. I loved learning about Post-Andromeda and I loved learning about how to be creative in this um age of AI. > [VISUAL: The view changes to show only Janae LeVander.] [45:21] Janae LeVander: So I'm super excited to talk to everyone today about um, how Caraway works on the UGC creator program. > [VISUAL: The screen goes black, then a new slide appears.] [45:33] Janae LeVander: So, um just to give you guys a little bit about me, > [VISUAL: Slide titled "How Caraway Scales Winning Ideas with UGC Creator Program". Below the title is the presenter's name: "Janae LeVander, Senior Manager of Performance Creative @ Caraway". A green box says "MOTION CREATIVE STRATEGY BOOT CAMP". To the right is a picture of a kitchen with organized pink cookware.] [45:35] Janae LeVander: I'm Janae LeVander. Thumbs up if you can see this. Cool, cool. I'm Janae LeVander. I'm the senior manager of performance creative at Caraway. I've been in D2C marketing for 11 years working at big brands, um D2C brands like Caraway, Sonos and Toms and I'm super excited to be here today to talk to you about our really massive robust UGC program. So, let's go ahead and get into it. [46:02] Janae LeVander: So, first just going to ground you in like how this program is and how we're able to scale it. > [VISUAL: Slide titled "UGC at Scale: The Caraway Program". On the left, there are stats: "358 Live UGC Ads in 2026", "~115 Live UGC Ads per month (200+ BFCM)", "2.14 Avg UGC ROAS in 2026", "~40 New UGC Ads launch per month (60+ BFCM)". Below is a box for "UGC Content Engine". On the right are multiple small video thumbnails.] [46:09] Janae LeVander: So we have over 300, almost 360 ads that went live in 2026 alone year to date, UGC only. This is on average a over a 2.14X ROAS. So if we're looking on a monthly scale, we have around 115 UGC ads per month, 200 over 200 a month during Black Friday. And the amount of ads that we launch per month is probably around 40 new UGC ads per month and in BFCM, 60 new UGC ads per month. So that's per creator, per video, per persona. Um it's just like a massive engine that really needs a lot of infrastructure and systems in order to make that work. So I'm hoping today to give you with some really concrete examples on how you can implement maybe some of these ideas to build a UGC program yourselves. [47:03] Janae LeVander: So, first off, team structure. > [VISUAL: Slide titled "The Cross-Functional UGC Engine". It lists three teams: Performance Creative, Influencer Team, and Media Buying Growth. A yellow box at the bottom says "Sourcing, strategy, and execution are each specialized skills. When each team owns their lane and collaborates closely, you get speed and quality simultaneously."] [47:07] Janae LeVander: So at Caraway, we as a creative strategist, you really have to be working very closely with um multiple different teams, but for UGC program specifically, you really need um have to rely on these specialized skills from your other teammates. So performance creative is everyone here, right? That's we're going to be briefing the strategy, we're going to be concepting, we're going to do all the things that we've learned in this boot camp, but you're not going to be able to do a lot of these things without some um experts in the field. So at Caraway, we rely heavily on our influencer team. So this team is able to source and vet creators and kind of manage that early part of the program before it hits my before it hits me. So before anything else, they make the pool of creators and then I go to them and kind of say, this is what I'm looking for or here's my brief, etc. So, um we also need to link very closely with the media buying team. So the growth team, a little backstory about me, I was on the growth side of things before I became a creative strategist. So making sure that you know how to get those real-time performance data metrics and partner on the priorities and make sure that your priorities are not just coming from instinct or what you see in the wild, but really how the channels performing and what the channel needs. Once everyone's kind of has this symbiosis, Kumbaya, working together, then you're able to get speed and quality at the same time. [48:34] Janae LeVander: Next up, I wanted to talk about creator selection. > [VISUAL: Slide titled "How We Choose Creators". It has two sections: "Majority: Core Persona + Retainers" and "Expansion: Testing New Personas".] [48:39] Janae LeVander: So, how do we choose creators? And no matter what, the right creators are always going to be better than more creators. So at Caraway, what we do is majority of our creator pool is kind of our core persona and retainers. So these are creators who kind of match our um highest converting existing personas. They maybe have a content style that already resonates with our audience. And it's kind of this reliability baseline that we can invest in the most um we can have the most investment here and know that our return is going to be pretty good. However, there's always important even more so post-Andromeda to have this expansion of new personas. So maybe they're slightly outside of our core persona. They have fresh perspectives. They're going to open up new audiences or maybe and even more so what I'm doing currently is like doubling down on niches. So taking it one step further. It's not just a gym person or someone that's healthy and works out. It's a person that is a biohacker and that focuses on macros. Even more the more specific you can get, um we find is kind of going to be the new day and age of today. So sourcing is a very um important skill. And so you want to make sure that you get the best content possible so you're not stuck with unusable content. [50:05] Janae LeVander: Okay, and then I wanted to go into the briefing strategy. > [VISUAL: Slide titled "Briefing Blueprint: How we decide what to brief". It shows "Content Buckets" (Evergreen/BAU, Product Launches, Seasonal Pushes) and "Research Steps" (1: What worked last year?, 2: What's working in the wild?, 3: What's our hypothesis?).] [50:09] Janae LeVander: So, how we decide what to brief. So, initially, I like to think of it in like content buckets. So I'm looking at and this is obviously tailored for your specific brand. So, first up, we have our evergreen BAU core themes that are refreshed often. So this is kind of what we've been talking about a lot. Like what are some ideas we want to put in? What's maybe some um BAU ideas that are just tried and true. Then we want to look at product launches. So depending on your brand, you may or may not have um seasonal product launches. And then lastly would be seasonal pushes or brand specific. Maybe you have Mother's Day campaigns coming up, Father's Day campaigns. So I like to think of my briefing in those three areas. And the evergreen and BAU is where you can get very crafty and like kind of get scrappy and have these creative new ideas. And then I like to ask myself maybe some research steps. So, what worked last year? What data can I pull from last year? What's working in the wild? Um what are some organic trends, customer signals, using tools like Motion, Foreplay, Atria. These are all tools for competitive tracking to see what's really out there and what I want to test. And then what's our hypothesis? So, why do we think this work? Do we have a big conviction on this and how does this all fit into our entire system? [51:36] Janae LeVander: From there, we can go into concepting. > [VISUAL: Slide titled "How We Build Concepts, Our Template". It lists 5 steps: 1. Concept Title, 2. Angle/WHY this works, 3. Creative Ideas, 4. Objection Handling, 5. Hook Starters (3-5).] [51:39] Janae LeVander: So this is before we get to the brief template, kind of similar to the homework this week, we like to first discover our concept and really ground ourselves if this is something we want to invest in. So for the example I'm going to um do a negative hook and this is the exact concept formula that we use for all of our concepts. So starting with the concept title, then going into the angle of why this works. So here is where you put like, is this social proof? Is this problem solution? What is why do we think this is going to work and what is it actually saying to people? Number three is the creative guard rails. So maybe you're thinking, I want this to be deadpan delivery. I want kind of comedic. I want sarcastic drawbacks that are framed as benefits or other way around. And making sure that it's kind of planned out in advance a little bit. And then most importantly is probably going to be objection handling. So I want to know um what would make them object? What is something that would maybe they think it's too expensive? Well, then we're going to reframe that in the brief automatically and say, it's too expensive because it's not cheap and that's why I wanted to invest in something that I knew would last. So kind of immediately thinking about what are the objections of this brief or maybe having playing devil's advocate with yourself a bit so that you can make the brief stronger from the jump. And then I also like to include hooks at the very beginning of the concept because automatically, like this the hook as everyone knows is the most important part of all ads. So I need to be thinking about them in the concept phase before going into the brief template to even give myself an idea of is this worth a shot. [53:25] Janae LeVander: Okay, and then this is the juiciest slide. > [VISUAL: Slide titled "Our UGC Brief Template". It's a table with columns for "#", "Section", "What's Included", and "Why It Matters".] [53:29] Janae LeVander: So definitely feel free to screenshot this one. This is our actual brief template that we use and broken down of what's included and why it matters. So a great brief does half of the creative work. So I am in the in the team of very, very detailed briefs. At Caraway, in order for us to have all these different briefs come through, working with hundreds and hundreds of different creators, I prefer to have a brief that's extremely detailed. And so these are all the things that I like to include and why I think they're so crucial and important. From the top, we're going to include an overview. So this is theme, brand guidelines, product, length, and kind of just like basic questions from the top like, here you guys go. Here's what you need to know. Number two is filming guidelines. So this is really important. Maybe if you're just getting started working with newer creators, we need to give them camera settings. We need to give them framing, lighting, pacing, maybe with some visual examples to really make sure that that content is at the quality that you guys want. Next up is um deliverables or upload list, making it really easy for them to upload into the place that you want. This saves you a ton of time and your editors tons of time to make sure that we get the content that we need and make sure it's all organized from the jump. Next up is going to be UGC examples. So make sure that these are very high-performing reference ads and give them um extra details if needed. So, let's say you just put in a link, don't just drop the link in there. Maybe you go and put like, I love the way she started this, or I love how she put the pan. Give them a little bit extra details because I'm telling you, the creators are most likely looking at the examples. Like they're going to look at those examples and they're going to take their they're pretty visual. And so you're going to want to give them a little bit extra there so you don't miss out on getting something that you really want and need. And so we can't assume that they know off the bat that they're what you're looking for. So just go ahead and make that super explicit. Next up is the hooks and CTAs. Always want to include a couple variations and make sure that those are sent over. And then the voiceover script. So, um, some strategists like to kind of give a little bit more creative freedom to their um, creators, but I like to include a reference script with every single brief just to give them an idea of vibe and still allow that creative freedom. So I like to tailor it specifically to them, but at the same time, like I need to give them a jumping off point. And you'll as you start to um have relationships with creators, you'll and maybe some of them turn into retainers, you'll start to know, oh, this person takes my scripts word for word, so maybe I need to put in a little extra variation here or this person, I know that they're going to kind of take this and make it their own. Next up is going to be brand talking points. So this is just kind of rounding out, like maybe this is the bonus or extra section, but this would be theme, product, brand call outs. So let's make sure that we don't rely on a creator going to our website to look at different um value props that we just put it in the brief already so that they have this one stop shop to find everything that they need in one place. And then lastly is shot list. So this is pretty self-explanatory. This is going to be um everything that we want and in a checklist format. And then I like to include like mandatory and optional notes just to again, make it very black and white, very clear. Like mandatory shot, I need you to hold the product in hand in the hook or optional shot if you have a family member or um a friend that you want to throw in the video, that would be cool too. [57:20] Janae LeVander: Awesome. After that, I go into customization, which I'm kind of alluding to here a little bit. > [VISUAL: Slide titled "Why Generic Briefs Fail (And How to Customize Them)". It has three main points: "Study The Creator's Style", "Adapt the Concept", and "Refresh Often".] [57:26] Janae LeVander: So why generic briefs fail and how to customize them. Again, I have to hit home on this one. You really have to study the creator's style. So you have to look at, are they educational? Are they aesthetic? Are they comedic? Don't force creators into your brief. Your top performing template is not right for every creator. So really just like set that in and match the brief to their natural tone. So what how are you going to do that? You're going to adapt the concept. And it can be the same concept with a different execution. So maybe the comedic creator gets something deadpan, sarcastic, maybe the aesthetic creator gets more of a minimalist, ASMR, lifestyle. And then lastly would be refresh often. Let's say you found it, this is like your your star brief and it's working well and you're adapting it. But let's make sure that you're constantly updating those hooks, swapping out new examples, putting in maybe some current winners because stale briefs no matter what are going to produce stale content even from great producers. So this brief right here that I'm going to be giving to this creator is going to be a bit different than maybe the brief that I give to this creator. It's just a little bit more aesthetic, minimalism. And so small edits can make a really big difference for a parent versus someone that's more of a lifestyle creator. [58:51] Janae LeVander: Okay, next up, I'm just going to go into a case study. > [VISUAL: Slide titled "How We Scaled 1 Concept to 10+ Variations". It shows a video player on the left and text on the right.] [58:55] Janae LeVander: So this is a video and let's um go ahead and watch it. [59:00] Janae LeVander: [silence] > [VISUAL: A video ad plays. A woman holds up several food storage containers.] [59:00] Speaker 1: Here are four reasons why not to buy Caraway food storage. Number one, if you enjoy fridge chaos, do not buy these. Everything stacks perfectly. The lids actually match and suddenly your fridge looks calm. It is very unsettling. Number two, if you like wondering whether your leftovers are absorbing plastic, just skip these all together. They're ceramic coated and non-toxic, so it takes all the excitement out of meal prep. Number three, if soggy leftovers are your thing, these will disappoint you. The air release lids keep my food fresh. Yes, even the fish. I hate when things work. And number four, if you prefer hiding your containers in a messy drawer, absolutely do not buy these. They're way too pretty and the colors actually match my kitchen. So yeah, if you're into messy kitchens and fridge chaos, then Caraway's not for you. [59:40] Janae LeVander: So I wanted to include this one because this was um one of our, it's a tried and true format. Everyone's kind of heard of negative hook, but we made it our own through this reverse psychology and it ended up being one of our top ads in 2026. Um, this one concept we were able to iterate and it was scroll stopping. I did include the TikTok version for you guys. So this has this is clean. There's no caption, no text overlay because that's how we run most things on TikTok. So I wanted to get the baseline here and really just show like what is the content. Like this is what the creator can send back to us. And so having um these kind of very detailed briefs, we're able to to get us these results. [1:00:25] Janae LeVander: And then so what do we do from there? > [VISUAL: Slide titled "One Concept, Multiple Iterations". It lists "Product Focus", "Personas", "Hooks", and "Editing Styles" as ways to iterate. On the right are six different video thumbnails showing variations.] [1:00:26] Janae LeVander: After you get that winning ad and winning idea, we turn that one concept into multiple iterations. And that's what a lot of the people have been talking about here today. So winning scripts deserve multiple lives and how do we do that? We're going to look at products. So in the bottom left one, they're look they have um different product focus, working on different hooks, editing styles, personas, and really just finding new ways to have Andromeda and meta view this as a completely different ad so it doesn't get lumped together. So not only was that ad like our number one ad, but also the iterations of it are also um working really well. Negative hook is also just something that's like very Andromeda positive. Like kind of giving that um friction at the top is is a just a solid concept. So I'm going to be leaning into that style a bit more as well. [1:01:21] Janae LeVander: And then these are eight briefing mistakes that will kill your UGC programs. > [VISUAL: Slide titled "Briefing Mistakes That Kill UGC Programs". It lists eight mistakes with solutions: Siloing from Media Buyers, Say Yes to Every Idea, Not Reading Scripts Out Loud, Using Marketing Jargon, Vague Editor Briefs, Weak Contracts.] [1:01:26] Janae LeVander: So I'm just going to rapid fire some of these mistakes that I've learned over the 11 years of being in the business that you can um take away now. Number one, um siloing from media buyers. So media buyers really, really know the channel and so you have to have regular syncs with your media buyers, with your CX team to get in the know about what's working on the channel. But at the same time, mistake number two, you don't want to say yes to every single idea that comes through. Leadership, other people can have these suggestions without the strategic rationale of what you're hired for, what you're learning right now. So really trust your instincts and evaluate every request against your calendar, against data and against priorities and don't be afraid to say no and revisit later. Number three, not reading scripts out loud. So voiceover can read really clunky if you're just throwing it in from AI. You have to read it out loud every single time and um I will not send a brief without sending without saying it out loud. Number four is using marketing jargon within the UGC brief. This is not going to an agency. This isn't going to your internal team. This is going to a creator and maybe the um creator influencer team. So you need to write like you're talking to a friend. Instead of saying demonstrate product value props above, you need to keep it simple with show how easy it is to clean the pan. Like just really keep it simple and stay away from that jargon. Number five, vague editor briefs. We've already kind of honed in on that one a lot. So using references, examples, style specs, like getting really in the nitty gritty there. Um number six is weak contracts. So this isn't my team, this is usually the influencer team, but a lot of people here are kind of solo entrepreneurs. So with your contracts, make sure you're paying attention to reshoot clauses. You don't want to be stuck with missing deliverables. You want to make sure that you specify mandatory elements upfront so if you are missing something, it will require them to reshoot and you're not um left empty-handed. Especially with hooks. [1:03:42] Janae LeVander: Okay, and so this is for maybe some of the people that are just getting started. > [VISUAL: Slide titled "If you're building UGC Program Start Here". It lists a 4-week plan.] [1:03:48] Janae LeVander: Um if you're building your UGC program or maybe you're just starting out, what where do we go from here? So, I would say number week one, audit your marketing calendar, kind of identify some priority buckets, what are some priority initiatives that are within your brand, your company. Number two, ask your media buyer, in many cases yourselves, what's fatiguing? What do we need more of? Grab some motion reports, see what the gaps are. Week three, build your concept and UGC brief and test it with unique creator personas. Kind of like what Sophia was saying, like make sure that they're all unique people. Week four, analyze performance on motion, find your first winner and then iterate off of there. And then choose from anything. Maybe you want to iterate a product, maybe you want to iterate a persona or a hook. Get that low-hanging fruit and you'll be off to the races. [1:04:40] Janae LeVander: And that is it. Thank you. > [VISUAL: Slide titled "Thank You. Questions? Let's connect." with contact information.] [1:04:43] Janae LeVander: If anyone wants to connect, um feel free. [1:04:49] Evan Lee: Everybody, give it up for Janae. Connect. See her on LinkedIn there. See her on the Slack. All the places to connect. > [VISUAL: The view changes to a split screen with Janae LeVander and Evan Lee.] [1:04:58] Evan Lee: But throw her a round of applause into the chat. That was absolutely incredible. And if we can, let's bring, let's bring all our speakers back up to the stage and then we can get to some of the Q&A that's popped in. > [VISUAL: The view changes to a four-person split screen with Janae LeVander, Evan Lee, Viti Videtta, and Sophia Beauvoir.] [1:05:13] Evan Lee: Welcome back, everybody. [1:05:16] Viti Vidette: Hello. [1:05:18] Evan Lee: I think it's only right that we kick off with a UGC style question since that's where we ended. So, one of the questions that came up earlier was related to iterations from Rachel. > [VISUAL: A question from the chat is displayed on screen: "how do you find UGC creators to make these iterations?"] [1:05:29] Evan Lee: So, we can, um, Rachel asks, how do you find UGC creators to make these iterations? So iteration is one thing, but I think in general, there's been a lot of questions about how are you finding the UGC creators you're working with. So Janae, maybe you can kick us off. [1:05:41] Janae LeVander: Yeah, so this is where um for Caraway, the big team structure comes into play. So where are finding them through our seating program, our ambassador program that's all run through a different leg, different um muscle of the company from the influencer team. There are um other ways that you can reach out to creators though. So finding them out in the wild, finding them out on your your feeds. Um there's I know there's specific programs that kind of um and companies that even house them, but we're kind of doing it all piecemeal, like one by one and just working directly with the creators and not a creator agency. That gives you a little bit more um agency over your content yourself because you're kind of um working on a one-on-one presentation rather than working with um a larger influencer agency. [1:06:35] Evan Lee: Amazing. And then Viti, on your end at Happy Mammoth, how are things going down? [1:06:39] Viti Vidette: Same. Uh, we use backstage, uh, but we also have like a, we have one producer that it's uh, always looking on different platforms, different, uh, influencers. So we are, lately working a lot with uh, partnership ads and we are just trying to find out people that resonated with our audiences and and and from then, we can not also make some content for both uh channels, but maybe later we can just make some ads with with them from from us. [1:07:16] Evan Lee: Amazing. And then Sophia, on your end, agency-wise, how does it shake out? [1:07:20] Sophia Beauvoir: Yeah, so we have a talent and production team. So the talent team will like source creators, influencers, and then I will write like a footage request or a footage sort of brief that goes through like a shot list of the things I want to get. Um and I work with like a creative producer to do that though. And then yeah, the talent team sort of handles the talent sourcing, the briefing stage for them, and then like any contract things, they sort of handle that. [1:07:50] Evan Lee: Cool. And a quick follow-up for all of you. For a lot of brands who are getting started out, smaller teams and capacity there, the creator work or um activating your customer base, do you think that should fall to the creative strategist? Does it fall to CX? Who do you guys think that should fall to? Um, Janae, I'll throw it to you first and then if anyone wants to jump in after, you can go from there. [1:08:14] Janae LeVander: Um, I'm not sure. I'd actually want to hear what Sophia says because she like, you work with so many different brands. So like from the agency POV. [1:08:24] Sophia Beauvoir: Yeah, and I've I've been on both sides. So I've been on like a smaller agency where I've had to be the person to like source creators and then also write all the briefs and like do everything on that side. And then I've been on the ready set side where we have like a full team that is dedicated to sourcing talent and negotiating with them. Um, just from a creative strategist perspective, I prefer the second option where we have like a team where that's their expertise and they know like best practices and what creators expect, um, and negotiations and stuff. So I prefer that. Um, but I've definitely been on both sides where on like a much smaller team, I've had to like work directly with talent. So, yeah. [1:09:08] Evan Lee: Cool. Viti, any any additional thoughts there or similar similar story? [1:09:13] Viti Vidette: I didn't get the, I was just uh looking at the chat, sorry, I didn't get the question. [1:09:18] Evan Lee: If you're a, so all of you are at larger companies who have the resources to basically allocate and say like, hey, go activate our customers, go activate creators and there's a process around it. I'm thinking about the brands who are smaller and then there's this creative strategist role. Should it fall to them to be the ones who are ultimately like performing the creator management on top of determining what to make? [1:09:40] Viti Vidette: I think that it's uh, right now, uh, for example, we are just uh working on a persona kind of uh development with a sheet and we are trying to reach out as many personas as we can for our ads. And maybe, yeah, uh, in the short future, it's something that will uh be more and more in in in brands, uh, because if you find a, or at least what's happening for us, if you find a talent or someone who is like a moving your needle, maybe you will try like more things with with them. So, yeah, a lot of that it's a a common or future direction. [1:07:45] Evan Lee: Cool. [1:07:46] Janae LeVander: I feel like another thing too is like faster creative refreshes, like in terms of volume. So it's getting better at matching creative. So like the fatigue just shows up faster too. So in terms of what to prioritize, I'm not sure how it is at Sophia and Viti, but just because you have like a brand video editor or a brand designer, doesn't mean that that person necessarily like knows the performance creative or growth creative editing style. So that's something that, you know, leadership may or may not have buy-in off the bat. And so it it really depends on like what's their overall vision of the company and like what are your resources and finding ways to, I saw some people in the chat that said like, I'm the UGC creator, I'm writing the briefs, like some people are, you know, doing everything from all different facets and wearing many different hats. So just be scrappy and like don't get discouraged because there's lots and lots of resources out there that you can use to your advantage. [1:08:17] Evan Lee: Huge. Viti, on your end? [1:08:21] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [1:08:06] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [1:08:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [1:09:20] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [1:09:28] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [1:10:20] Evan Lee: Huge. Viti, on your end? [1:10:25] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [1:12:18] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [1:12:59] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [1:14:32] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [1:14:40] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I have like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say talent refresh is like most of the time an easy win, but it does require like a larger investment and time because, you know, you're having to get a creator or a talent, um, to shoot that. So it is going to take more time and in an ideal world, iterations are like very quick and you you want them to be in the account while they're still relevant. Um, so yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [1:16:34] Evan Lee: Huge. Janae, any any tips on your end here? Is it a retweet of what Sophia had mentioned? [1:16:44] Janae LeVander: I feel like simpler ad account structures kind of where we're at. So instead of splitting campaigns into a lot of more narrow ad sets, I think that's kind of working against us and like broader setups, letting the algo do its thing, consolidating budgets is really giving meta room to find the most efficient conversions. So we've gone pretty, pretty broad now. [1:17:08] Viti Vidette: Yeah. Uh, I will say that uh, same similar as Sophia. I'm not so into uh campaign setting. I know that we are making like a lot of changes right now and that we are trying different setups. Uh, but I don't know, I don't know which kind of, so, uh, we are keep trying on creative diversity as well and we are we are keep trying on on not only angles, so also on the format, you know, we are trying to find out which is the uh hot format right now and and from there. [1:17:44] Evan Lee: Cool. I feel like another thing too is like faster creative refreshes, like in terms of volume. So it's getting better at matching creative. So like the fatigue just shows up faster too. So in terms of what to prioritize, I'm not sure how it is at Sophia and Viti, but just because you have like a brand video editor or a brand designer, doesn't mean that that person necessarily like knows the performance creative or growth creative editing style. So that's something that, you know, leadership may or may not have buy-in off the bat. And so it it really depends on like what's their overall vision of the company and like what are your resources and finding ways to, I saw some people in the chat that said like, I'm the UGC creator, I'm writing the briefs, like some people are, you know, doing everything from all different facets and wearing many different hats. So just be scrappy and like don't get discouraged because there's lots and lots of resources out there that you can use to your advantage. [1:18:17] Evan Lee: Huge. Viti, on your end, any any additional thoughts there or similar similar story? [1:18:21] Viti Vidette: I didn't get the, I was just uh looking at the chat, sorry, I didn't get the question. [1:18:26] Evan Lee: If you're a, so all of you are at larger companies who have the resources to basically allocate and say like, hey, go activate our customers, go activate creators and there's a process around it. I'm thinking about the brands who are smaller and then there's this creative strategist role. Should it fall to them to be the ones who are ultimately like performing the creator management on top of determining what to make? [1:18:48] Viti Vidette: I think that it's uh, right now, uh, for example, we are just uh working on a persona kind of uh development with a sheet and we are trying to reach out as many personas as we can for our ads. And maybe, yeah, uh, in the short future, it's something that will uh be more and more in in in brands, uh, because if you find a, or at least what's happening for us, if you find a talent or someone who is like a moving your needle, maybe you will try like more things with with them. So, yeah, a lot of that it's a a common or future direction. [1:19:45] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [1:20:07] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [1:21:40] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [1:21:47] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [1:22:37] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [1:22:45] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [1:23:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [1:23:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [1:26:00] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [1:26:12] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [1:28:00] Evan Lee: Huge. Janae, any any additional pieces to add? [1:28:04] Janae LeVander: Um, I would say don't be afraid to um expand your team to where you're at. So maybe you go like the VA route and have some VA support. Maybe you go the agency route. Maybe you finally have the budget to hire an in-house team. So like each brand and each person is unique. And so it's not like one size fits all. So I've worked on both teams that done that. So we're trying to build out currently our internal team that's probably most most unique about Caraway is that we're doing all this in-house. And we just got yay, our newest in-house growth editor. And so making sure too like as I'm not sure how it is at Sophia and Viti, but just because you have like a brand video editor or a brand designer, doesn't mean that that person necessarily like knows the performance creative or growth creative editing style. So that's something that, you know, leadership may or may not have buy-in off the bat. And so it it really depends on like what's their overall vision of the company and like what are your resources and finding ways to, I saw some people in the chat that said like, I'm the UGC creator, I'm writing the briefs, like some people are, you know, doing everything from all different facets and wearing many different hats. So just be scrappy and like don't get discouraged because there's lots and lots of resources out there that you can use to your advantage. [1:29:32] Evan Lee: Love it. Yeah, everybody, I think one of the the things that's also helpful is just like operating within your constraints. Like we know we need volume, but also what is possible to be able to make it happen. And you've heard three different versions of volume here of working with like what the client needs as well as what your team needs. So I think everyone can adopt this to whatever their setup might be. And then like Janae just said, build out the team slowly with freelancers or offshore work, whoever it might be to be able to help with this process. Another question that I want to pull up here, this one came up during Sophia's session. So, Kristal asks, what have you found is the most effective, consistent scaling strategy under Andromeda? So if there's like a a quick win to visual refresh, talent refresh, etc. So Sophia, since this one's targeted to you, maybe you can pick it up first. [1:30:27] Sophia Beauvoir: Yeah, and this is where I say like low-hanging fruit first and then going into more of an expansion phase later. So low-hanging fruit being like footage refreshes, like if you already have some footage library that you're starting to build, just even replacing like some product shots, just replacing some B-roll shots, getting new footage in there to refresh. Those are a lot of times are really easy wins if you know the original script already works. Um, I would say talent refresh is like most of the time an easy win, but it does require a larger investment and time because, you know, you're having to get a creator or a talent, um, to shoot that. So it is going to take more time and in an ideal world, iterations are like very quick and you you want them to be in the account while they're still relevant. Um, so yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [1:32:00] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [1:32:09] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [1:34:08] Evan Lee: Huge. Viti, on your end? [1:34:12] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [1:36:06] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [1:36:47] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [1:38:28] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [1:38:35] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [1:39:15] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [1:39:23] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [1:40:28] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [1:40:37] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [1:42:48] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [1:42:57] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [1:44:56] Evan Lee: Huge. Viti, on your end? [1:45:00] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [1:46:54] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [1:47:37] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [1:49:16] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [1:49:23] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [1:50:15] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [1:50:23] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [1:51:26] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [1:51:35] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [1:53:48] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [1:53:57] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [1:55:44] Evan Lee: Huge. Viti, on your end? [1:55:48] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [1:57:42] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [1:58:25] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:00:06] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [2:00:13] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [2:00:55] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [2:01:03] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:02:04] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [2:02:13] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [2:04:26] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [2:04:35] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [2:06:34] Evan Lee: Huge. Viti, on your end? [2:06:38] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [2:08:32] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [2:09:15] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:11:04] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [2:11:11] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [2:11:53] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [2:12:01] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:13:02] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [2:13:11] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [2:15:24] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [2:15:33] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [2:17:22] Evan Lee: Huge. Viti, on your end? [2:17:26] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [2:19:22] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [2:20:03] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:21:42] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [2:21:49] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [2:22:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [2:22:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:23:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [2:23:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [2:26:06] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [2:26:15] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [2:28:12] Evan Lee: Huge. Viti, on your end? [2:28:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [2:30:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [2:30:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:32:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [2:32:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [2:33:33] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [2:33:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:34:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [2:34:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [2:37:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [2:37:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [2:39:12] Evan Lee: Huge. Viti, on your end? [2:39:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [2:41:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [2:41:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:43:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [2:43:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [2:44:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [2:44:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:45:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [2:45:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [2:48:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [2:48:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [2:50:12] Evan Lee: Huge. Viti, on your end? [2:50:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [2:52:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [2:52:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:54:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [2:54:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [2:55:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [2:55:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [2:56:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [2:56:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [2:59:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [2:59:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [3:01:12] Evan Lee: Huge. Viti, on your end? [3:01:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [3:03:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [3:03:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:05:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [3:05:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [3:06:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [3:06:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:07:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [3:07:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [3:10:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [3:10:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [3:12:12] Evan Lee: Huge. Viti, on your end? [3:12:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [3:14:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [3:14:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:16:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [3:16:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [3:17:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [3:17:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:18:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [3:18:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [3:21:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [3:21:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [3:23:12] Evan Lee: Huge. Viti, on your end? [3:23:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [3:25:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [3:25:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:27:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [3:27:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [3:28:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [3:28:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:29:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [3:29:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [3:32:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [3:32:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [3:34:12] Evan Lee: Huge. Viti, on your end? [3:34:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [3:36:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [3:36:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:38:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [3:38:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [3:39:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [3:39:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:40:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [3:40:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [3:43:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [3:43:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [3:45:12] Evan Lee: Huge. Viti, on your end? [3:45:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [3:47:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [3:47:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:49:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [3:49:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [3:50:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [3:50:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [3:51:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [3:51:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [3:54:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [3:54:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [3:56:12] Evan Lee: Huge. Viti, on your end? [3:56:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [3:58:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [3:58:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:00:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [4:00:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [4:01:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [4:01:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:02:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [4:02:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [4:05:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [4:05:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [4:07:12] Evan Lee: Huge. Viti, on your end? [4:07:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [4:09:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [4:09:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:11:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [4:11:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [4:12:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [4:12:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:13:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [4:13:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [4:16:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [4:16:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [4:18:12] Evan Lee: Huge. Viti, on your end? [4:18:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [4:20:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [4:20:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:22:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [4:22:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [4:23:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [4:23:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:24:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [4:24:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [4:27:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [4:27:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [4:29:12] Evan Lee: Huge. Viti, on your end? [4:29:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [4:31:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [4:31:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:33:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [4:33:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [4:34:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [4:34:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:35:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [4:35:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [4:38:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [4:38:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [4:40:12] Evan Lee: Huge. Viti, on your end? [4:40:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [4:42:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [4:42:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:44:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [4:44:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [4:45:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [4:45:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:46:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [4:46:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [4:49:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [4:49:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [4:51:12] Evan Lee: Huge. Viti, on your end? [4:51:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [4:53:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [4:53:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:55:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [4:55:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [4:56:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [4:56:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [4:57:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [4:57:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [5:00:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [5:00:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [5:02:12] Evan Lee: Huge. Viti, on your end? [5:02:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [5:04:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [5:04:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [5:06:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [5:06:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [5:07:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [5:07:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [5:08:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [5:08:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that we got. Um, so then I work with like a slightly bigger team, I would say. So I work with like a creative producer on each of my clients who like would submit footage requests, who would also write their own briefs, and then we have like lead editors, more junior editors, and then we have like graphic designers. So we have like a pretty big team that can actually execute on the concepts. Um, but we just align up front on like expectations, like, okay, is it realistic to have 20 concepts, 20 unique concepts go live by the end of the week? And if it isn't, then we just like reset expectations from there. Um, but yeah, I would say like footage refreshes and then the other thing I brought up was like things as simple as like changing the length of an ad. So testing like short form versus long form or testing like the order of the value props. Just you want to make the ad like different enough for Andromeda to think of it as a different ad, but not having to do like a ton of huge changes. So, yeah, there's just like a couple options, but I wouldn't say there's like one thing that I go to every single time. Like it used before pre-Andromeda, it used to be like, okay, I'm just going to change the hook into like five new hooks and I'm going to get a new winner. Now, it's definitely like, okay, I think first thing I do is like footage refresh just with our existing footage library. And I'm like, okay, get the same script out with new footage. Um, and that's one of the like first steps I go to. [5:11:04] Evan Lee: Huge. Janae, any any tips on your end here or is it a retweet of what Sophia had mentioned? [5:11:13] Janae LeVander: I feel like this is such a huge topic. Like we could be talking about this an entire session because it's really completely changed how we do all of our creative. So, for me, I'm going to use some like jargon here, but it's kind of going from like softer brand style ads and kind of just making everything look beautiful and polished. And now it's going to a bit more edgy in your face, like immediate problem solution, immediate hooks across all ads. So before that might have just translated to like UGC, but now this is even in statics. This is in gifts. We're kind of doing more explicit editing style, explicit statics to cut through the noise here and be a little less 2019 and beautiful and on Instagram. I also think what Viti said about personas and like what I was alluding to, how are we the way we're talking to a new parent and it's her it's her first child versus someone that already has a kid and is expecting again, that's a completely different brief. They already have kids versus if it's their first one, I need to be speaking to them completely differently. And I feel like if Andromeda is serving the visual was so great because before it was like 15 different ads, now that's getting shrunk down to five. And so because it's getting shrunk down, each one needs to be completely unique and specific and have like this ultra niche in order to hit the right audience. Otherwise, you're just wasting your time like creating these ads that all look the same. So for me, it's really narrowed down the quality over quantity and just make the least amount of ads as possible and the most difference as possible. So my testing is going down to like maybe five in a batch and it's going like each one is super unique and speaking to a very different, whether that's like a stat right at the top or like still feeling blank right at the top or a person's face or maybe the product's not in it or maybe it's e-com or maybe it's a lifestyle. Like everything has to be totally, totally different now. [5:13:12] Evan Lee: Huge. Viti, on your end? [5:13:16] Viti Vidette: Yeah. I totally agree with Janae. Uh, I think that uh, in fact, I was thinking that we used to uh, do more ads, you know, like we were like uh 120, 130 unique concepts a week and now we are lowering to 80, 90 probably. And that's because we are trying to focus a little bit more on quality. And regarding this, I think that the something that Sophia mentioned before and it's super important. I think that in some way, all your ads needs to look unique, you know, they don't need to look like iterations anymore. They need to be like unique ads and they are all competing through themselves. So if you find that way, you probably uh find more winners than the the old way. And yeah, we are trying to to, you know, not to make small swings at all. Like uh the small swings that we do, it's only when there's something almost there and we need just a little bit of push or something. But if we need to to find out a new concept or something uh completely new, uh it also depends on the stage you are, you know. Uh we used to when when the when the company is healthy, we used to do more iterations than new concepts because we don't need to to to find out what's going to work. Uh right now, we are just uh trying to develop a little bit more of new concepts and keep the iterations on the angles that are keep working, but we are struggling a little bit with uh with with finding new winners. So we are just pulling more more on new concepts. And yeah, and and from there. [5:15:16] Evan Lee: Cool. Next thing I want to talk about is volume, y'all. So, the question that I picked up here is from Jose. It's specifically for Viti, but I think we can like literally extrapolate to volume in general. So, this one says, for Viti, what are you doing to create 2,000 ads a month? I know you mentioned a machine, but assuming that's a team. So, the parts of this question are twofold to me. The first, which is going to be for everybody, is like, how are you thinking about volume goals? Like, how do you all ultimately set those? And then second one being the execution here. So Viti, you can kick us off since this one is pushed to you. [5:15:57] Viti Vidette: Yes. Uh, I would like to know as well how we do to make so many ads a month. Uh, honestly, we have like a many products, you know, like it's not just for one product. We have many products. We have products for for for bloating, for hormonal support, we have for for cellulite, uh, well, uh, and we need them because we need to push some of them. Uh, I mean, we from those 2,000 a month, I would say that there are 500 a week. So there are like 100 unique concepts per week. We I think that the the yeah, the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [5:17:36] Evan Lee: How many, how many people are on your team across like designers, creative strategists? [5:17:43] Viti Vidette: We are, we are four creative strategists uh right now. Uh we are looking for a fifth. So maybe I will post uh for a job search uh soon. Uh then we are like uh we have two internal graphic designers, uh I would say that three, four uh freelancers and then we have like uh same for video editors, two video editors and three, four like freelancers. So we are 15 people more or less. [5:18:31] Evan Lee: Still nuts. Across the four creative strategists, if it's 500 ads a week, it's like each person is responsible for 125. It's crazy. [5:18:41] Viti Vidette: Yeah, I think that the the the best thing we have is that we don't get too much inside the details, you know, we just got everything like in general. And when you are just uh moving forward that uh brief, uh the details will add in in a different stage, you know, the the editor will add the details, the copywriter is adding the details and then the ad it will be good. Uh, sometimes it doesn't happen, but yes, uh, that's the way we if you think it, we are four creative strategies, we are between 20 and 30 ads, unique ads per week each and it's like uh having like seven, eight per day. I don't know. I don't see like a big deal right now, but maybe it's just me that I'm used to do this for a while. [5:19:40] Evan Lee: Nice. Sophia, on your end, how are you typically thinking about volume? Uh, well, again, setting the target and then meeting the target. [5:19:49] Sophia Beauvoir: Yeah, so most of the time, especially if we're like onboarding a new client and are deciding like, okay, what how many ads do we want to make in a first or second batch for them. Most of the time we meet with like our media and insights team to help form a recommendation. So, especially with Andromeda, like the volume has to be higher. So most of the time we're like, okay, let's make like 20 to 30 assets that we can test in a first batch, get some initial signals, and then base following batches after like initial learnings that

[1:28:22] Evan Lee: I love it. Yeah, I think anyone who is here on the media buying side, like you'll have the strongest opinions, but there's always talk about like duplicating ad sets or running multiple campaigns and structuring it that way. Specifically on the creative strategy side, I know when we're talking to our creative strategy team internally, it's being super clear on like what we want to learn because then the media buyer can specifically go help get that answer. So it might just be what's going to get the most spend, which allows for the broadest setup possible, or it might be even more specific to like, I want to learn this specific thing. I have so much confidence in this ad, like my conviction is through the roof. So making sure that you get that learning is so important. So I think it just depends, um, on on your team structure for everybody.

[1:29:05] Evan Lee: But last question for you all. I think the the route that I want to go here > [VISUAL: Question from Kachi Eloka 6:03 PM: "Hey Janae, do you follow this same process for organic creative?"] [1:29:11] Evan Lee: is more like what can people expect from their jobs of creative strategist. So, uh, is that the right question that I pulled up? It's not. I'm sorry everybody. It's from Jessica. > [VISUAL: Question from Jessica Martens 6:03 PM: "how do you make briefs at scale?"] [1:29:20] Evan Lee: Jessica asks, how do you make briefs at scale? So we've talked a lot about the creative demand that's required and then the briefs that accompany that. So what what I'm actually curious about is like when we think about the creative strategy process, it breaks down into like four or five buckets in my opinion. There's like research, there's like the concepting, there's the briefing, the QA, and then the analysis after the fact. And I've seen a lot of questions about briefing, but I'm curious with you three, where do you actually spend most of your time in those buckets of research, concepting, briefing, QA, and analysis? Um, if someone wants to kick us off, I know I've been picking on people, but if someone wants to kick us off, uh, with their opinion of where they're spending the most time, that'd be great.

[1:30:05] Sophia Beauvoir: I can jump in. I think it's pretty, it depends on what stage I'm at with a client. So if I'm onboarding a new client, I'm spending like a majority of my time in the research phase, like making myself super familiar with like who we're going to be targeting, what are their hero products, what are people saying about this type of product or like pain points, things like that. So onboarding phase, I'm like really heavy into research and then probably briefing comes after that where I'm like, okay, say, like I've had some recent clients where they have like no ads in the account, so we have no historical data to work with. So then it's like, okay, if I know that I need to produce 30 assets just to give them a library to work with and to like start getting signals, then yeah, most of my time is going to be spent briefing and just like getting ads into the account ASAP. Um, but it definitely just depends like where I'm at with a client. If it's really early on, then I'm like making sure I'm super familiar with everything I need to know about the client and their audience. If it's like a client that I've been working on for years and, you know, we have a ton of historical learnings, then it's more so probably the analysis phase that I'm spending a lot of time where I'm like, okay, I'm spending a lot of time in motion for instance, just looking every day at like, okay, what performed the last seven days, um, to see if there are any quick iterations we can make. But yeah, earlier in the process when we're like onboarding a client, it's definitely, uh, the more onboarding or the more, uh, research and briefing focused for sure.

[1:31:38] Evan Lee: Makes so much sense.

[1:31:42] Janae LeVander: Um, I can go, I guess since I'm the the brand rep here. I would it depends on the day of the week, it depends on the season, like BFCM, I'm going to be heavy on QA. Like I'm just going to be heads down on approvals and just like, okay, approve, approve, fix this, do that. Like I need to get everything out the door. So I'm a bit more in like that execution phase. But then let's say we're in September and I'm planning for Q4 or even even earlier than that, like August, I think is when I'm doing my planning now for BFCM, don't remind me. Um, so that is going to be a lot of ideation, a lot of research, um, a lot of planning. So I think it depends on the year and like your own brand's um seasonality and ultimately it's always going to come down to like BFCM. Like that's going to be like a huge part of my year. And then we like at Care/of, we have significant like times of the year when we big brand push. So March is a big one for us. So that's going to be another big one. If we have a hero product launching, like we just launched our trash can, um, so that was a huge one where I had to like really hone in on that particular launch.

[1:32:52] Viti Videtta: Oh, this is a a cute one. I was thinking that I I'm always doing research like 24/7, you know, I if you see my my social media channels, they are all about brands. They are it's nothing about me. It's like fake. And uh, I was recently testing like uh, this is a a tip. I don't know if it's going to work or not, but I just make a I don't know if I can say that, but I made a couple of a fake uh accounts with uh personas that will, you know, like like my mother. I I grabbed the my mother image and I just made some uh, profiles and I just started to like like a lot of of brands and and trying to receive, you know, all the feed and uh, from from from brands and and like trying to mess with algorithm. So I think that I'm 24/7, you know, like uh receiving inputs and and and and references and and and things from from other brands and and and again, it depends for us on the product. If we are uh, launching a new product, it will be more on the Q&A or or research or, you know, because we don't know what's what's happening there. But for products that are like four or five years uh live, we have like a tons and huge of things. Um, I personally like to to speed up the process on on on the briefing. Uh, like uh, we have like a setup of a kind of form where we just feel like uh, you know, like uh, I don't know, uh, feeling uh papers and papers and it's just like uh making some clues. We have there what reference you need, uh, something that is easy also for the people for the editor or the graphic designer when it grabs, it's just the same format, you know, and and you don't need to think much or decode what's happening there. So, that speeds up things a lot, but um, yeah, I think that if you are working as a creative strategist, you you are always, you know, uh seeing connections again and and gathering information from from from everywhere, friends, family, uh, mother, whatever.

[1:35:17] Evan Lee: These are the real answers, everybody. Could have These three could have answered with like, yep, spend all my time briefing. Yep, spend all my time doing research. But you see how it's real and it's rooted in working with clients, working at the brand, and the time of the year, and the product, and everything in between. This has been incredible. You three, you see our community. They're so engaged. They love this. You guys got to check out the questions after because we've definitely didn't get to them. But I'm wondering, uh, if each of you have any final last words to leave with our audience. Sophia, maybe you started the presentation. You can uh, you can bring us home first here.

[1:35:48] Sophia Beauvoir: Oh, interesting. Final words. Pressure. Um, yeah, I mean, I think as just saw a thing, uh, somebody in the chat saying like, yeah, foundations are important, but no one size fits all for this position. And I totally agree. I think like my job looked different at CTC, it looked different at two signs, and it looked different at ready set. And we've found success in all of those situations. So I definitely don't think like you need our exact setup to find success as a creative strategist. Um, definitely just like being willing to work from the ground up. Like I started as a junior creative strategist, learned a lot from other like senior level people and then sort of worked my way up. So just being willing to do that and then learn and just be like as adaptable as you can because algorithms are always changing. Everything's always changing how like we perceive data and and performance. So being open to change is super important in this role and yeah, that's pretty much it.

[1:36:48] Evan Lee: Love it. Viti, on your end, any final last words to leave with the audience?

[1:36:53] Viti Videtta: Uh, well, I hope that you enjoy this session. I really like like it as well, uh, to be here with you and for the opportunity. Thank you so much. Um, regarding me, I think that, uh, yeah, it's all on again, uh, if you go on on the presentation, I think that it is really on how fast, uh, big and many connections that you can do and you know, you are always getting inputs from everywhere and you never know which kind of combinations you're going to make. Uh, so just trust your guts, move forward, make some ads and let's test them. You never know what's going to work there.

[1:37:38] Evan Lee: Janae, bring us home.

[1:37:41] Janae LeVander: The pressure. Okay. Um, I would say just always, it doesn't matter like where you started, I guess. Like if you're I I get so fired up in these chats and kind of just being in this community, hearing from people that are in all stages of creative strategy. So I guess my note would be to the people that were just starting out, like keep keep feeding that fire. Like motion is such a great source. It was really like crucial to me when I first started out. And I think the more that you learn and invest in yourself and learning all of these new things are actually very tangible. So you're not wasting your time kind of learning and figuring out what's out there. Um, I love what Sophia said about being adaptable. I think that's huge. Um, and big swings, like definitely go out and for some of the make things that are a bit more out there. Always continue to connect with people and see maybe where they can help you further out in your career. And like just on to wrap it up, like creative is definitely always going to be the new targeting. So remember that like your hooks are always going to be your signals to meta and that you really have to have those like clear value props, like simplify as much as possible. That copy both in the creative itself and on the ads itself is really working together and just be intentional with everything that you do. Try not to be so repetitive and be really intentional and I think that's how you'll find success. And this has been such a cool opportunity. Thanks everyone.

[1:39:13] Evan Lee: Show some love in the chat, everybody. Blow up the chat. Blow up the chat for these three.