Raffle House
5X
Creative Output
£300K+
Ad Spend per Cycle
£40K+
Spend on a Single Concept
Background
Raffle House is a UK prize competition platform. Players win dream properties, luxury cars, and tax-free cash, with a portion of every entry going to charity.
They run on 2-month competition cycles. A new property, a new competition, a new audience to reach - every 8 weeks, with no evergreen ad library to lean on.
They came to us to handle their creative end to end. This means powering a brand that resets every cycle, with enough volume and variety to keep their ad spend climbing.
Raffle House
The Challenges
When Raffle House came to us, they had strong creative coming through but not enough of it.
Their model demands more creative than most agencies can produce.
Fresh creative every cycle, mapped to every phase, in the formats Meta actually rewards.
The first cycle launched with 10 net new creatives.
The library was high-production-heavy, which left Meta short on the variety it now favours.
Casting was happening script-first - writers built the piece, then someone tried to find talent that could deliver it.
And entire format categories were missing... UGC, LoFi, ASMR, Podcast - none of it was in the mix.
The real challenge was how do you build that volume, variety, and phase-aligned output every 8 weeks without quality dropping?
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The Strategy
We came in as Raffle House's in-house creative team, strategising, casting, shooting, and delivering across every phase of every cycle.
Creative System - Built Around the Cycle
Every cycle starts with 1-2 weeks of pre-production
Concepts, scripts, shoot scheduling, talent sourcing and shortlisting, and creative direction signed off with Raffle House.
Then a 3 to 5 day shoot designed to get every format we need from one trip.
Every asset that comes out has a phase-specific job.
The 2-4-1 ads handle remarketing as one cycle closes out.
House Launch hero pieces drop on the 1st.
Then urgency layers run throughout to extend the life of whatever's working.
Persona Refinement - Casting Built Around the Talent
We mapped Raffle House's core audience personas and rebuilt the casting process around them.
Talent gets cast for personality fit first, looks second.
Scripts then get built around the talent's natural energy and the way they actually speak.
Meta gets richer signals to find lookalike buyers, and every audience segment sees a face and a voice they recognise.
Three Content Pillars - Three Reasons to Convert
Every cycle's creative output splits across three pillars so each campaign hits more than one reason to buy a ticket.
The Product pillar leads with the home itself - the dream property as the hero of the ad.
Lifestyle creative shows what the win actually unlocks: freedom, upgrade, a different day-to-day.
The Charity pillar makes the donation the headline - every ticket funds a real charitable cause.
Three pillars gives the algorithm more angles to test, and the audience more reasons to convert.
Format Diversification - Variety the Algorithm Rewards
We rebuilt the library to expand high production into a much wider format mix.
Every cycle now blends UGC, Yapper-style talking heads, LoFi house tours, behind-the-scenes content, off-site shoots, podcast-style content, ASMR concepts, and high-production hero pieces.
Meta's newer optimisation models reward creative variety, and a 50+ assets per cycle gives the algorithm a lot more signals to work from.
Tranquil Home - The ASMR Concept That Broke the Playbook
One concept this cycle did the opposite of everything else in the library.
We called it Tranquil Home.
The whole ad was ASMR. Slow visuals, soft audio, no pitch.
The feel of a homemade TikTok dropped into a feed of polished property ads - which made it stop people mid-scroll.
Tranquil Home became the cycle's standout spender at £37,000 of media spend on a single concept.
Proof that the simplest, most counterintuitive creative can outspend the most polished hero piece.
Continuous Refinement - Every Cycle Informs the Next
After every cycle, we break down what worked at format, hook, pillar, and persona level.
That diagnosis feeds the next cycle's brief, which means the playbook on month 12 looks nothing like the playbook on month 1.
Urgency ads and iteration drops get built mid-cycle too - extending the run of winners and getting more out of the phase peaks.
The Bottom Line
The job was bigger than producing prettier ads.
We built a process that maps to how Raffle House actually runs their business - and them the variety they need to keep scaling spend profitably.
10 ads per cycle became 50+
The library opened up across seven new formats including UGC, LoFi, ASMR, and podcast.
Raffle House now had a full creative team embedded into their system.
Results Achieved (12 Months):
5x Creative Output - From 10 to 50+= unique ads per cycle
£300,000+ Spend Powered - In 8 weeks of the current cycle (vs £134,271 across the full 2 months of cycle one)
£37,000 Single Concept Spend - On Tranquil Home, our ASMR signature ad
New Launch milestone - The first 5 days of the current Dorset house cycle matched what Raffle House would usually pull in across multiple weeks.
Spending More on Production Than Ever and Still Hitting Fatigue?
Most ecom brands trying to scale on Meta hit the same wall.
More spend going behind the same shape of ad, production budgets climbing while CTR keeps dropping, new angles tested every week without any of them sticking for long.
The problem is usually variety.
Meta's optimisation models reward a wide mix of formats, hooks, and concepts.
A high-production-only library doesn't give the algorithm enough to work with, and the wrong casting approach kills relevance with every audience you try to reach.
We'll go through your current creative library, your format mix, and your full creative process to show you where the gaps sit and what would close them.
Then you've got the plan - simple as that.