The Facebook ads model is finished.
The old logic was a straight line. Someone sees an advert, clicks the advert, buys the thing. Every platform is still priced as though that line holds, which is why putting an advert in front of a thousand people still costs as much as it does.
That is not how anything gets bought now.
A product gets mentioned in a video. Nobody clicks — they keep scrolling. Then it turns up again on a different account, a week later, said differently. Then a friend brings it up. By the time somebody buys, they cannot tell you where they first heard of it, and they very often buy somewhere other than where they saw it. Sellers watch this happen in their own numbers: spend goes into one channel, sales rise in another.
So the thing worth buying is not clicks. It is being known. And the cheapest way to be known is to be on the For You page — in volume, from many accounts, over and over.
That is the only thing we do.
If you make music, or you stream
A click is the most expensive thing you can buy, and it is not the thing you need. What you need is for a million people to hear thirty seconds of your track inside a video they were already watching — natively, in the place they already listen.
Those people do not click through to a checkout. They look you up later. They find the stream, the Spotify page, the next release. You are not paying for a visitor. You are paying for the moment somebody hears your name for the third time and goes looking.
A market of clippers. Your content. Paid by the view.
You send us the raw material — episodes, tracks, sets, streams, footage, whatever you already have.
We write the brief, set the rate, and open the campaign to a market of independent clippers. They cut your content into short-form video and post it to their own accounts. Some are established theme pages with existing audiences; some are accounts built for the campaign.
We review every clip before it is paid, check the views for signs of manipulation, and pay out only on views that hold up.
You pay for the views. Not for the clips, not for the hours, not for a monthly fee.
Four steps.
The brief
We work out what a good clip of your content looks like: which moments, what hook, how it is cut, how it is captioned, how it is tagged, and where it may and may not be posted. Get this wrong and experienced clippers skip the campaign entirely, or produce clips nobody watches.
The rate
We set what clippers earn per thousand views. Too low and nobody clips you; the budget sits untouched and nothing happens. Too high and you overpay for reach you could have had cheaper. Getting this right is the difference between a campaign that runs and one that stalls.
The campaign
It goes live. Clippers make and post clips. Views accumulate across dozens of accounts at once rather than one.
Review and payout
This is where most of the work actually is, and it is the part you do not want to be doing. Every clip is checked against the brief. Views are checked for manipulation. Anything that fails either test is not paid. Clippers are answered, told why something was rejected, and paid on time — because a clipper who feels messed about takes their next fifty clips to somebody else's campaign.
You get a report on spend and on views delivered.
Our fee is 15%. The rest funds the campaign.
You are buying views, and you can see exactly what you are paying for them.
Founding client rate: 15% on your first three campaigns.
All in, most campaigns land between £1 and £2 per thousand views delivered. High-volume work can run as low as 20p. The rate is set per campaign against what your content is worth to clip.
Paid social charges £10 to £16 to put an advert in front of a thousand people. We charge £1 to £2 for a thousand plays of something they chose to watch.
What you are not charged for. Clips keep earning views after a campaign closes, and views below the payout threshold are never billed. A meaningful share of the reach a campaign generates arrives after the budget is spent, and costs nothing.
View figures are estimates, not guarantees. Clipper rates are set in US dollars and agreed per campaign.
The model is not new. It is what the biggest names are already doing.
John Summit — “Lights Go Out”
$1,050 spent, 32.4 million views in eight days, 29 clips from 13 creators.
Variety, January 2026Luc Besson’s Dracula
A mainstream feature film ran a paid clipping campaign on the same infrastructure.
TheWrapMrBeast
Pays clippers roughly $0.50 per thousand views, and has since built the operation in-house.
Bloomberg, October 2025Drake, Lady Gaga, Harry Styles, the Rolling Stones, Mumford & Sons
All have run clipping campaigns, at typical budgets of $1,000 to $5,000.
VarietyCampaigns run by others, reported independently, linked so you can read them yourself. We were not involved in any of them.
The questions you are going to ask.
Where do the clips actually end up?
On the clippers’ own accounts — established theme pages with existing audiences, and accounts built for the campaign. You can restrict this. You can require specific page types, ban others, rule out anything you do not want to sit next to. Be aware that every restriction narrows the pool of clippers who can take the work, which slows the campaign and can leave budget unspent. We will tell you where that line is before you commit.
How do I know the views are real?
You do not, entirely, and anyone who tells you otherwise is selling. Views can be bought, and any model that pays per view is a target for it. What we do about it: every clip is reviewed before payout, view patterns are checked for the signatures of manipulation, and the campaign platform runs its own detection on top of ours. Anything that fails is not paid — the cost of a rejected clip falls on the clipper, not on you.
Why can’t I just run this myself?
You can. The platforms are open. What you would be taking on is writing a brief good enough that experienced clippers choose your content over the other campaigns on the board, setting a rate that clears the market without overpaying, reviewing every submission against the brief, catching manipulation before it is paid, and keeping clippers engaged so the campaign keeps running.
If the brief is vague or the rate is uncompetitive, the usual result is not a disappointing campaign. It is no campaign at all — experienced clippers choose the work worth their time, and yours sits untouched while the budget does nothing.
And once it is running, somebody has to watch every submission against the brief, answer questions, explain rejections and pay on time. That is the unglamorous half of this business, and it is the half we take off you.
If you have long-form content and not enough people know your name.
Clipping is not untargeted — the algorithm puts each clip in front of the people most likely to watch it, and that is much of why it works. But you steer it far less directly than a paid campaign: you choose the content, the brief and the rules, not the audience. If you need every view attributed to a source, or your product only works with tight targeting, this is the wrong tool.
Tell us what you have and we will tell you what it would take.
A call is fifteen minutes. You will leave it knowing what a campaign on your content would cost and roughly what it would deliver, whether or not you run one.