Are creator fees included in your price?

No, and this is stated in the proposal so it never becomes an argument. Our fee covers sourcing, vetting, briefing, contracting, quality review, delivery and rights management. What each creator charges is passed through to you at cost, agreed before anyone is booked, and shown as a separate line. Anyone quoting one blended number is either marking up the creators or squeezing them.

Do you look for creators with large followings?

No, and paying for reach here is money thrown away. The video runs from your ad account, not from their profile, so their audience is irrelevant to the result. What matters is whether their voice is clear, whether they read as an ordinary person rather than a presenter, and whether they have handled a product properly on camera before.

What happens if the footage comes back unusable?

It is reviewed against the brief before you ever see it, and a reshoot of the specific failing element is part of the arrangement with the creator, agreed in the contract up front. Complete write-offs are rare when the brief specifies the shooting conditions, which is why the brief includes where to film, what time of day and what is in shot.

How long can we run the videos and where?

Exactly as long and exactly where the licence says, which is agreed before filming rather than after. Term, territory, channels, and whether paid amplification and running the ad from the creator's own handle are included, are all written down. Assuming perpetual worldwide rights because money changed hands is how brands end up with a legal problem two years later.

Can you edit the videos into finished ads as well?

Yes, and it is priced as additional work rather than assumed. Raw creator footage usually needs cutting to length, captioning, a hook variation or two and a format for each placement. Some brands already have an editor and want only the reviewed footage and the rights, which is a smaller engagement.

Which countries can the creators be in?

Wherever your buyers are, and it affects the price — creators in the US, UK and Western Europe cost more than elsewhere, and shipping product to them takes longer and costs more. If your audience is regional, sourcing locally is both cheaper and better, because accent and setting read as authentic to the people you are selling to.

Content, Social & Communications

UGC creator sourcing

A monthly supply of creator-shot video for your ad account — sourced on past work rather than follower count, briefed with the claims fenced, and delivered with usage rights in writing.

From: $400–$3,000/mo
Typical time: ongoing
Usually bought by: DTC brands

What this actually solves

Paid social has moved. The polished studio spot, shot once and run for a year, now underperforms footage of an ordinary person holding the product in their kitchen and explaining why they bought it. That is not a stylistic preference — it is what the ad platforms' own auctions reward, because it is what people stop scrolling for.

Which creates a supply problem the brand cannot solve on its own. Creative fatigues. The same video shown to the same audience stops working after a few weeks, so a brand running meaningful spend needs a new batch every month, not a shoot every year. Producing that means finding creators continuously, negotiating with each, briefing them, shipping product, chasing the ones who go quiet, checking what comes back and paying people across borders. It is a logistics job wearing a creative costume, and it rarely survives being squeezed into a marketing calendar that is already full.

There is a second problem underneath, and it is the one that costs brands real money. Every video a creator makes is a claim about your product, filmed by someone who does not know your regulatory position, and licensed under terms that are usually never written down. Both of those are handled here or they become your problem later.

What we do, and in what order

Write the brief and fence the claims. Product, audience, the objective for the batch, and two explicit lists — what we can truthfully say about this product, and what must never be said in any circumstance. Then the scripts, typically several angles across a batch - problem and solution, comparison, the mistake I made before I found this, unboxing, and ordinary use. Each script carries a hook for the first three seconds specified as both the spoken line and what is on screen, a CTA, and the shooting conditions. Three to five days.
Source and vet. Candidates found through TikTok Creative Center, platform search and the creator marketplaces, then assessed on their existing work only — audio clarity, whether they look natural rather than performed, and whether they have demonstrated a product competently before. Everyone assessed goes into a maintained database with rate, niche, country and past performance, so the second month is faster than the first. One to two weeks for the first cohort, rolling after.
Contract, ship and license. Rate agreed in writing, then the usage licence — term, territory, channels, whether paid amplification is permitted, whether the ad may run from the creator's own handle. Product dispatched with tracking. Nothing is filmed until the licence is signed. A few days per creator, running in parallel.
Review the delivered footage against the brief. Every file checked before it reaches you — audio usable, hook delivered in the first three seconds as scripted, product visible and handled correctly, and every spoken claim checked against the boundary list. Anything that fails goes back for a targeted reshoot rather than being passed on. Two to three days per batch.
Deliver, pay and rotate. Files handed over through Frame.io or Drive with the signed rights attached to each, creators paid promptly through Wise or Payoneer because slow payment is how you lose the good ones, and the roster refreshed so the same faces do not carry every batch. Monthly.

Tools — TikTok Creative Center and native platform search for discovery, Billo, Insense or JoinBrands where a marketplace suits the volume, Airtable or Sheets for the creator database, Frame.io or Drive for delivery, and Wise or Payoneer for payment.

What moves the price

The range is $400–$3,000/mo and the arrangement is ongoing, because creative fatigues and the batch has to keep arriving. Three things decide where in that range a brand sits.

Volume per month. A small batch of videos from a couple of creators sits at the bottom of the range. A continuous programme feeding an ad account that burns through creative weekly sits at the top, because sourcing, contracting, chasing and reviewing all scale linearly with the number of people involved.

Where the creators need to be. Sourcing in the US, UK or Western Europe costs more per creator and adds shipping time and cost for the product itself. Regional sourcing is cheaper and often better matched to the audience, and which you need is decided by where your buyers are, not by budget.

Whether editing is included. Handing over reviewed raw footage with rights attached is one scope. Cutting each into finished ads with captions, hook variants and per-placement formats is another, and it is quoted separately.

What usually goes wrong

Creators get picked by follower count. It is the instinct everybody has and it is wrong here, because the video runs from your ad account and their audience never sees it. Paying a premium for reach you will not use, while overlooking someone with a clear voice and two thousand followers who films beautifully, is the most common way this budget is wasted. The selection criteria are audio, naturalness on camera, and evidence they have handled a product before.

Usage rights are never written down. Money changes hands, files arrive, everyone assumes it is settled. Then eighteen months later the brand is still running the ad, the creator's circumstances have changed, and there is nothing on paper saying for how long, in which countries, or on which platforms it was licensed. When that unravels it lands on whoever sourced the creator, not on you. Term, territory and channels are agreed before filming.

The brief does not fence the claims. A creator improvising in good faith says the product cured something, or calls it the best on the market, and now there is footage that cannot be used, an ad rejected in review, or a regulatory exposure depending on the category. Every brief carries the truthful-claims list and the never-say list, and every returned script and video is checked against both before delivery.

See where the site stands before you brief anyone.

If the site is already live, start from what it scores rather than from a guess. The audit reports what it checked, what it found, and — the part most tools leave out — what it could not check, and why.

See the website audit Talk about this work

Questions people ask before they commit.

Are creator fees included in your price?: No, and this is stated in the proposal so it never becomes an argument. Our fee covers sourcing, vetting, briefing, contracting, quality review, delivery and rights management. What each creator charges is passed through to you at cost, agreed before anyone is booked, and shown as a separate line. Anyone quoting one blended number is either marking up the creators or squeezing them.
Do you look for creators with large followings?: No, and paying for reach here is money thrown away. The video runs from your ad account, not from their profile, so their audience is irrelevant to the result. What matters is whether their voice is clear, whether they read as an ordinary person rather than a presenter, and whether they have handled a product properly on camera before.
What happens if the footage comes back unusable?: It is reviewed against the brief before you ever see it, and a reshoot of the specific failing element is part of the arrangement with the creator, agreed in the contract up front. Complete write-offs are rare when the brief specifies the shooting conditions, which is why the brief includes where to film, what time of day and what is in shot.
How long can we run the videos and where?: Exactly as long and exactly where the licence says, which is agreed before filming rather than after. Term, territory, channels, and whether paid amplification and running the ad from the creator's own handle are included, are all written down. Assuming perpetual worldwide rights because money changed hands is how brands end up with a legal problem two years later.
Can you edit the videos into finished ads as well?: Yes, and it is priced as additional work rather than assumed. Raw creator footage usually needs cutting to length, captioning, a hook variation or two and a format for each placement. Some brands already have an editor and want only the reviewed footage and the rights, which is a smaller engagement.
Which countries can the creators be in?: Wherever your buyers are, and it affects the price — creators in the US, UK and Western Europe cost more than elsewhere, and shipping product to them takes longer and costs more. If your audience is regional, sourcing locally is both cheaper and better, because accent and setting read as authentic to the people you are selling to.

Often taken together.

Start with the brief, not the invoice.

Send what you are trying to achieve. You get a written scope, a price and a date — or an honest “this is not the right service for that”.

Talk about UGC creator sourcing All Content, Social & Communications services