Anthony Chiaravallo

The list includes the brand story, tagline, product features, benefits, testimonials, awards, offer and call to action.

• Assembling them in one asset produces an ad that tries to say everything and communicates nothing.
• The fix is to decide what each piece of creative is for before production: one ad introduces who you are, another showcases the product, another builds trust through social proof, another highlights service and another presents the offer.
• Each is simple on its own; the campaign sequence does the storytelling.
• The reasoning rests on how audiences encounter advertising: people do not see a single ad but a campaign accumulating over time, so the set—not one hero asset—should carry the brand message.

Chiaravallo assigns five roles across a campaign: introduce who you are, showcase the product, build trust through social proof, highlight your service and present the offer. Each has one clear objective while reinforcing the others.

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The pattern they describe is a company hiring one marketing manager and expecting that person to cover content creation, campaign strategy, audience targeting, creative development, reporting, optimisation, attribution, analytics, conversion-rate optimisation and stakeholder communication.

• The argument is not that these people lack talent, but that the discipline has become too complex for one role.
• Chiaravallo lists the functions a high-performing programme draws on: strategic media leadership, ad operations, account direction and project management, paid search, paid social, programmatic, creative strategy, graphic design, conversion-rate optimisation, video editing, copywriting, analytics and user-generated content.
• They conclude that most brands cannot justify hiring the full set, so they spread a few people across every hat and then wonder why growth stalls.
• The principle: paid media is a system rather than a channel, and systems perform when the pieces work together.

The roles Chiaravallo lists are strategic media leader, ad operations manager, account director or project manager, paid search manager, paid social manager, programmatic lead, creative strategist, graphic designers, CRO specialists, video editors, copywriters, analysts and UGC—thirteen functions they say are commonly dumped on one or two people.

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They accept that search, LinkedIn, trade publications, account-based marketing and industry media matter for reaching buyers in work mode, then ask what happens in the other sixteen hours of the day.

• Prospects listen to podcasts and music, watch how-to videos about golf or home improvement on YouTube, stream shows at night, read the news and follow creators on the same platforms everyone else uses.
• The recommendation is for B2B media strategies to increasingly resemble sophisticated consumer strategies: precision targeting combined with broader brand building across video, connected TV, audio, social, content and other upper-funnel channels.
• The aim is familiarity and mindshare, so that when a buyer is ready to purchase, the company is already among the brands they know and trust.

The concrete illustration is the buyer's evening: golf or home-improvement how-to videos on YouTube, streamed shows, podcasts and creators followed on the same platforms as everyone else—the placements Chiaravallo says a work-hours-only plan leaves out.

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Start here to see how Chiaravallo turns the question into a working method.

Chiaravallo identifies a common failure: an ad loaded with the brand story, tagline, product features, benefits, testimonials, awards, the offer, and a call to action.

• The result, in the post's phrasing, is an ad "trying to say everything, yet somehow says nothing at all."
• The fix is to divide the work across the campaign, not cram it into one asset.
• Each ad gets one job — introduce who you are, showcase the product, build trust through social proof, highlight service, or present the offer — while the sequence carries the fuller story.
• The underlying claim: audiences see an accumulating campaign, not just one ad.

For brands planning a campaign

Use this as a campaign-planning template for paid media engagements: give each asset a single objective and map how the set covers introduction, proof, offer, and action. It also gives a concrete reason to push back when clients want to consolidate every message into one hero ad.

Read this to understand the operating model behind the creative advice.

Chiaravallo challenges the idea that brands can manage paid media themselves.

• They list the work one marketing manager is typically expected to absorb — content creation, campaign strategy, audience targeting, creative development, reporting, optimisation, attribution, analytics, conversion-rate optimisation, and stakeholder communications — then outline the roles a full programme actually needs: strategic media leader, ad operations manager, account director or project manager, paid search manager, paid social manager, programmatic lead, creative strategist, graphic designers, CRO specialists, video editors, copywriters, analysts, and UGC.
• Their conclusion: this is an entire team, not one job, and most brands cannot justify hiring the full set.
• The stated principle: "Paid media isn't a channel.
• It's a system."

For brands planning a campaign

Useful when a brand is weighing an in-house hire against an external paid media partner. Turn the role list into a scoping checklist: which functions the brand already covers, which need outside support, and where a single hire would be spread too thin.

Start here to explore where a B2B campaign can spend beyond search and LinkedIn.

Chiaravallo opens with the claim that "B2B buyers are actually human beings" and points out that most B2B media plans treat buyers as if they stop existing once they close their laptops.

• They accept the importance of work-hours channels (search, LinkedIn, trade publications, ABM, industry media), then ask about "the other 16 hours of their day."
• Prospects spend that time listening to podcasts and music, watching how-to videos about golf or home improvement on YouTube, streaming shows, reading news, and following creators.
• Chiaravallo argues that the best B2B media strategies increasingly resemble sophisticated consumer media strategies: precision targeting combined with broader brand building across video, CTV, audio, social, content, and other upper-funnel channels.
• Familiarity and mindshare matter before the buying moment arrives.

For brands planning a campaign

Informs channel-mix decisions in a B2B brief, making the case for upper-funnel spending — streaming video, audio, YouTube, and creator placements — alongside the usual demand-capture channels. The aim is to make the brand familiar at the point of purchase.

The result, they say, is an ad that says everything and communicates nothing.

• Instead, they recommend a sequence of separate creatives: one to introduce the brand, another to showcase the product, build trust through social proof, highlight service or present the offer.
• Together across impressions, those simple pieces tell a richer story than one overloaded asset.
• The practical method is to give each creative one clear objective and judge it against that role, not the whole brand message.

Give each creative one assigned role—introduce, showcase, prove, service or offer—and evaluate the campaign as a collection of those roles, not as one ad.

For brands planning a campaign

A brand can use a creative matrix to give each asset one job and let the sequence carry the campaign-level story. This is useful when a brief has competing messages but no hierarchy: it forces a decision about what each placement is for before production starts.

Examples: Source 1

A typical pattern, they say, is a company hiring one marketing manager and expecting that person to cover content, strategy, targeting, creative, reporting, optimisation, attribution, analytics, conversion-rate optimisation and stakeholder communication.

• The issue is not a lack of talent, but that the discipline has become too complex for one role.
• They list the functions a high-performing programme draws on: strategic media leadership, ad operations, account direction and project management, paid search, paid social, programmatic, creative strategy, graphic design, CRO, video editing, copywriting, analytics and user-generated content.
• Because most brands cannot justify twelve or more specialists, they spread a few people across every hat and then wonder why growth stalls.
• Their principle: paid media is a system, not a channel, and systems work when the pieces work together.

Inventory the paid-media functions required, compare them with the roles the brand has, then decide what to hire, contract or outsource.

For brands planning a campaign

This works as a scope and staffing checklist for an agency engagement.

• A brand can map its internal coverage against the listed functions and brief the gaps explicitly, rather than buying a vague full-service retainer.
• It also sets a realistic expectation: a single in-house hire is unlikely to cover the whole system.

Examples: Source 1

They acknowledge that search, LinkedIn, trade publications, account-based marketing and industry media reach buyers in work mode, then ask about the other sixteen hours: podcasts and music, how-to videos on YouTube, streamed shows, news, and the creators and platforms everyone else uses.

• They recommend B2B media strategies that look more like sophisticated consumer strategies, combining precision targeting with broader brand building across video, connected TV, audio, social and content.
• The goal is familiarity and mindshare, so a company is already among the brands a buyer knows and trusts when they are ready to purchase.

Split the media plan into work-mode channels and the rest of the buyer’s day. Name the upper-funnel video, audio, CTV, social and content placements that reach buyers outside work.

For brands planning a campaign

This supports full-funnel paid media briefs that fund upper-funnel brand building alongside search and ABM, rather than treating them as alternatives. A brand can ask for a plan that says where buyers are reached outside work channels and explains why those placements belong in the paid media system rather than a separate brand-awareness budget.

Examples: Source 1

Each opens with a mistake, a misconception or a deliberately controversial claim, explains why common practice produces a bad result, then gives a short bulleted or numbered prescription and closes with a one-line principle, such as paid media being a system rather than a channel, or the best campaigns not being built around one perfect ad. The arguments are framed as general industry observations.

Read each post as problem, mechanism and prescription; the prescription is the repeatable part to apply in a campaign.

For brands planning a campaign

For a paid media engagement, ask for performance data and named client examples that support these positions. The published posts make the argument but do not show the outcome.

Examples: Source 1 · Source 2 · Source 3

Chiaravallo argues that one marketing manager cannot cover thirteen paid-media functions and that a brand should staff the system deliberately.

• Vacic argues that a brand paying for a local video editor or an agency retainer still gets nothing back if the editor is not built for performance.
• Both write problem-first posts with bulleted diagnostics and judge creative by whether it moves a buyer, not by how polished it looks.

Vacic focuses narrowly on sourcing and hiring performance video editors for DTC and ecommerce brands, with a stated service that places editors in-house.

• The posts cover hooks, pacing, offers, retention and creative testing at the asset level.
• Chiaravallo stays at the level of media plans and campaign architecture: how many roles a paid-media programme needs and where a brand should reach a B2B buyer across the day.
• Their posts do not share Vacic’s hiring-service framing or ecommerce focus.

Read original · Original 2

Chiaravallo says one ad should have one job rather than carry the whole brand message.

• Ganzina says every editing decision should serve a structure: hook, problem, product value, trust, social proof, objection handling and action.
• Both build their arguments around what the viewer needs in the first seconds and write in short, labelled breakdowns.

Ganzina writes about the craft of direct-response editing for DTC brands and is candid about trade-offs inside the edit, such as cutting a beautiful opening shot or putting an ugly customer quote on screen.

• Chiaravallo writes about planning and staffing paid media at the campaign and team level.
• Ganzina addresses the person making the ad; Chiaravallo addresses the person deciding what the programme is and who runs it.

Read original · Original 2

Both write numbered frameworks for readers looking to act on the advice: Chiaravallo’s role lists and campaign roles, and Karvelis’s three-step routes into creative strategy. Both also position AI as changing how much ad volume a team can produce.

Karvelis is aimed at individuals building a career: learn the skills, build a portfolio, get visible, with an offer of a newsletter and DMs.

• Chiaravallo is aimed at brands and agencies deciding how to structure and staff a paid-media programme.
• Karvelis teaches how to become a creative strategist; Chiaravallo argues about what a paid-media system should contain.

Read original · Original 2

The posts make the case for a full-time performance video editor working with AI: editing multiple short-form ad variations a week from UGC, raw footage, product clips, testimonials and voiceovers, then testing new hooks, angles, offers and formats across Meta, TikTok, Instagram and YouTube.

• The argument targets DTC ecommerce brands whose costs are eating into margins: US editors at around $500 a video, or a full-time salary that still fails to produce ads that sell, versus bringing one performance editor in-house at a fraction of the cost.
• If the problem is creative throughput and the unit economics of producing it, this is a closer match than a paid media plan.

The scope stops at creative production and the hiring decision around it.

• There is no channel plan, budget split across search, programmatic and industry media, or recommendation on which functions a paid media programme needs.
• The posts focus on DTC ecommerce on paid social, not B2B buying cycles, so campaigns needing an upper-funnel case, a work-hours-plus-personal-time channel mix or a team coverage model get only the creative half.
• Before hiring, ask for client results, rates and commercial availability.

Examples: Source 1 · Source 2

The posts distinguish editing that makes a video polished from editing that gives an ad a specific job: stop the scroll with a hook, introduce the problem quickly, make the product and its value obvious, establish trust, carry social proof, handle objections and finish with a clear reason to act.

• The advice gets specific: cut a beautiful opening shot that takes four seconds to reach the point, put a plain customer quote on screen because the proof matters more than the aesthetic, and make the edit feel native to the feed.
• A second post warns that cheap AI production and huge ad volume cannot substitute for the story, the first few seconds or the small decisions that make someone care.
• For a DTC brand spending serious money on paid social and unable to explain the gap between production quality and performance, this is the sharper lens.

This is craft-level diagnosis of the ad itself, not a media plan or staffing model.

• Neither post covers channel mix, budget allocation or which roles a paid media programme requires; the focus is DTC ecommerce rather than B2B.
• For a need to rebuild campaign architecture or decide who does what, these posts do not answer the question.
• Before hiring, ask for client names, performance figures and commercial terms.

Examples: Source 1 · Source 2

The posts set out a three-step blueprint: learn the craft by studying advertising and buyer psychology, build a portfolio through audits, self-set ad projects and unpaid work, and get visible on LinkedIn.

• They then adapt it for an AI-powered creative strategist, urging daily reading, AI tools in the process and a profile that makes it easy for brands and agencies to approach.
• The posts can inform a recruitment need, a training plan or a role definition for a first creative strategist inside a small ecommerce team.

The audience is people entering or moving into the role, not a brand buying a paid media engagement.

• The posts offer a career framework rather than a plan for a specific account.
• They do not cover campaign structure across channels, budget split or the functions a paid media system needs—the questions Anthony Chiaravallo’s posts address when the need is to understand how work is organised and funded.
• The two posts date from May and June 2025 and frame AI in the process as a time-limited edge, an earlier point in the same argument.

Examples: Source 1 · Source 2