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Zac King

@zackingproductions

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This is how it all started 🥴 taken in Brisbane, Queensland, Australia by @zackingproductions

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a year ago

Your ads don’t work because you’re not good at ads yet.

Ads aren’t a switch you flick. They’re a skill. Same as reading a serviceability calc or Htag data. Nobody did that well the first time either 🤷🏼‍♂️ by @zackingproductions

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13 days ago

I helped 3 brokers in the last 6 months scale to writing $10M/m with paid ads. This is what they did:

1) Fix the offer before you touch the ads manager. Most brokers run ads for “a free chat about your home loan”. That’s not an offer, that’s a coffee. Hyper fixate on the outcome, pick one lane and be specific with one type of person you’re talking too

2) Your ads can’t look like ads, unless they’re bloody good. Pattern interrupt, burning intrigue, big benefit.

3) Volume of hooks, not volume of budget. Meta ranks each hook separately, so film in different locations, different angles and different props.

Remember, give it 7 days before you touch anything.

Bonus tip: Max out your social proof. More case studies is a cheat code. by @zackingproductions

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20 days ago

“Just imagine we’re not all judging you right now” taken in Melbourne, Victoria, Australia by @zackingproductions

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a month ago

I’ve changed my mind about what a good ad looks like.
For years I thought better production meant better performance. Sharper footage, cleaner graphics, tighter edit.
Then last month I made a static ad that looks like a screenshot off my phone. Took about ten minutes. Looked rough.
$6 a lead.
Meanwhile the polished stuff sat there at three times the cost.
The lesson isn’t “stop caring about quality”. It’s that people scroll past things that look like ads. They stop for things that look like information.
So now we film green screens with news headlines behind us. Notes app screenshots. Sketchbooks. Text message threads.
Ugly and native beats beautiful and obvious. Almost every time. by @zackingproductions

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a month ago

We filmed an ad in a McDonald’s drive thru. On purpose.
Here’s the thinking.
You’ve got about one second before someone’s thumb keeps moving. In that second they’re not reading your headline. They’re deciding whether this looks like content or an advert.
A bloke in a suit in front of a bookshelf looks like an advert.
A bloke ordering a coffee at a drive thru window looks like something a mate sent you.
The location is the hook. Before a single word gets spoken, the setting has already bought you attention.
Anywhere unexpected beats anywhere professional. by @zackingproductions

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1

a month ago

30 organic videos in 90 minutes. Here’s how, because it’s not about filming fast.
Every script was locked and approved days before we arrived. Nobody read anything for the first time on the day.
We ordered the shot list by location, not by script order. So all six videos in the kitchen got filmed back to back, then we moved once.
Wardrobe changes batched. Everything in shirt one, then swap, then everything in shirt two.
No moving a light twice. No walking back to a spot we’d already been.
The filming isn’t the bottleneck. Moving is the bottleneck. Decisions are the bottleneck.
Sort those out before you turn a camera on and 30 videos in 90 minutes isn’t impressive. It’s just organised. by @zackingproductions

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2 months ago

Two characters having a conversation. One actor. No green screen.
How it works.
Lock the camera on a tripod and do not touch it. Not a nudge, not a re-frame.
Film the first character on the left of frame, full performance, talking to nobody.
Then the same person moves to the right of frame, changes shirt, and responds. Same lighting, same camera, same everything.

In the edit you mask down the middle and lay one take over the other. Because the camera never moved, the two halves line up perfectly and it reads as one shot.
The whole trick is discipline, not software. Move that tripod between takes and no amount of editing saves you.

Cheapest way to double your cast. by @zackingproductions

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2 months ago

Two cameras. One script. Here’s why.

A VSL lives or dies on pacing. Every “um”, every stumble, every bit of dead air is a reason for someone to scroll.

So we shoot the whole thing on two cameras at once. Different angles, different focal lengths.

That means in the edit we can cut anywhere we want. Tighten a sentence. Remove a pause. Drop a whole line that isn’t landing.

And because we’re cutting between two angles, none of it looks like a cut.
One camera means you’re stuck with the take you got. Two means you can shape it.
Same shoot day. Same script. Completely different finished product. by @zackingproductions

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2 months ago

Guessed the suburb in under 60 seconds!!

North of the CBD. Within 15km. Strong food markets. Days on market under 30. Stock on market under 0.5%.

Why does my team make me play this game? 😂 by @zackingproductions

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4 months ago

4 reasons why your ads aren't working by @zackingproductions

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4 months ago

How we use video ads to make a money printer by @zackingproductions

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4 months ago