Eight ads off one photo shoot. Brand, format, assets and the exact text overlay for each one are below.
Two colours do the work, black and gold, with off white as relief. Values read straight off the live landing page.
One 1080 × 1920 master per ad. Not a 4:5 and a 9:16. The same file runs full height in Reels and Stories with Meta's interface drawn on top of it, and gets centre cropped to 1080 × 1350 in Feed. Everything that has to be read lives where those two overlap.
Thirteen files, one shoot. Native orientation decides what a frame can be: a 9:16 crop keeps 84 percent of the width of a 2:3, 70 percent of a 4:5, and only 37 percent of a 3:2 landscape. That last one is why 019 and 125 cannot be vertical masters.
Two women on yellow mats, warm and unposed. Partial logo on the brick.
Best logo shot in the set, clean and full. Landscape, so it cannot go vertical.
The only group frame. Crop the ceiling vent out of the top.
Large gold monogram. The most premium frame in the set.
Tight on the therapist, gold T on the tank. The best face.
The room, with space to place type. Crop the counter bottles out.
Anatomy charts do the clinical work. Keep one chart whole in the crop.
Cupping, clear enough to caption. Too blunt to lead with.
Cupping marks read as bruises, and a shirtless torso invites a policy review.
The golf bag carries a person's name and a university. Needs written permission.
No brand mark, odd pose, off palette green turf.
The Kinotek tower in the room. Landscape, so carousel only.
Kinotek screen and logo behind. Shift the crop right to reduce the coach.
Photo assignment, why the ad exists, and the exact text overlay. Nothing else goes in the image. Meta renders its own call to action button below the creative, so never draw one.
Reference: a first pass of all eight is already rendered in creative/out/. Treat those as the visual reference for tone and density, not as the target. They put headlines over faces, which is the one thing section 02 says not to do.
Why this ad. The offer is the strongest asset we have and almost nobody in this market has heard of a movement scan. State it plainly and let the $405 anchor carry the value argument.
The gold monogram carries the brand, so no logo lockup. Price at roughly 1.5× the headline, with $405 struck through beside it.
Why this ad. The objection on a first visit is not the price, it is whether it will be worth showing up for. Removing that risk is the entire ad.
The guarantee is the ad. Darken the photo to about 35 percent and let the type carry the frame. One gold rule above and below, nothing else.
Why this ad. $150 sounds like a lot for a first visit until you see the four things inside it. This is the only unit that can show all four.
Card 1 is 019 cropped to 4:5. Cards 2 to 5 are off white with black type and a gold value chip top right, identical in structure so the swipe accumulates. Card 5 goes black.
Why this ad. Nobody believes the brand about the brand. A client saying it in their own words is the cheapest credibility in the account.
Blocked on copy. No client review text exists in any source yet. Build the layout with a visibly fake placeholder so it cannot ship by accident. Oversized gold quote mark at 16 percent behind the type.
Why this ad. Every competitor in this category sells relaxation. The scan is the one claim none of them can copy this quarter.
Set one word in gold. Weak asset. The screen in 144 is blank blue, so this shows the machine and not what it produces. Swap the photo the moment the client sends a scan output.
Why this ad. Physician credibility reaches the person who assumes bodywork is a spa treatment, and it does work a discount cannot.
Statement led with the quote as support, deliberately not a second copy of the B4 review card. Credibility framing only. No line implying referral volume or a formal relationship.
Why this ad. The loudest silent objection is “this place is not for me”. Removing it is what opens the audience past athletes.
Crop toward the front subject so the orange bars sit away from the gold type, and lose the ceiling vent at the top.
Why this ad. For somebody who has never been, the unknown is the objection. Showing the whole visit in order removes it before they have to ask.
All five are photo cards with a bottom scrim and a gold step number. No off white cards here. The numbering is real, it is the order of the visit.
All eight ads run in one ad set, which means the ad name is the only place performance data can be read from. Attributes get encoded in the name so results can be grouped by concept and hook later, not just by ad. The pipe separator matches the existing Easton campaign naming.