Senior Creative Performance Manager
Creative strategy for mobile apps and games. Selected work from Liftoff's Creative Studio, 2023 to 2025. I wrote the concepts and briefs and worked with designers on HTML, video, playable and UGC production.
Interactive and native work to fill gaps in Revolut's format mix, localised across Europe.
The user splits a monthly budget across bills, groceries, transport and savings, and sees Revolut's budgeting tools at work. It launched in English as a standalone playable and end card, then was localised for France, Spain and eight more European markets, followed by a savings calculator version.
One hero image with the in-app balance view and an install bar, adapted for each market with local copy, currency and a tagline written for that audience.
A short playable where the user chooses a card design before the install prompt, set up so its copy can be localised dynamically. Alongside it, native static and video units to cover placements Revolut wasn't running in.
A playable and a video running side by side in the same ad space, testing whether more visual stimulation lifts installs per impression. Four variations paired the budget playable and a crypto playable with different card and lifestyle videos.
UGC and Liftoff Exclusive Ads for Royal Match and Royal Kingdom, plus the video completion and interactive reporting behind them.
Creator-led videos that open on a direct-to-camera hook in a social-native style, then cut to gameplay.
Ads built around each game's live events, showing the event screens, the rewards on offer and a one-line description, timed to run while the event is live.
Monthly video completion rate reports, built with the data team, extended to campaign level and video length so the client could plan their creative mix. Alongside them, interactive analytics reports on how players engage with playables, and proposals for interactive-first ads that pair a playable with the best-performing videos.
Interactive-first ads built around TikTok's own features: filters, quizzes and quick reveals, reviewed in quarterly creative sessions with the client.
Users browse and try TikTok filters in the ad before any video plays, reversing the usual video-then-end-card order. It delivered the lowest cost per install of the format tests, and the next round focused on filter-led interactive ads with clearer prompts.
A "which cat are you" personality quiz for TikTok and a discount wheel for TikTok Shop. Both are a few seconds long with one tap to the reveal, and were prioritised to run alongside the best-performing short and long videos.
Interactive ads with custom analytics, so each answer a user gives becomes a data point for the next brief.
The ad asks how the user wants to connect with friends: Stories, Chatting or Lenses. Tracking each answer through to the app store showed Stories and Lenses converting about three times better than Chatting, so the next iterations focused on those two features.
Concepts for Angry Birds Dream Blast and Angry Birds 2, each built on a player motivation from genre research.
A hand prompts the user to tap a gift box, which bursts open and releases a character. Clouds, bubbles and particles keep the scene moving, and the store opens three seconds after the first tap.
Spot the angriest bird in a crowd while it keeps changing places. Catch it and it grows into a win screen; run out of time and a lose screen appears. Both end in the app store.
Choose your Bird shows off the cast to appeal to customisation, a key motivation for Dream Blast players. For Angry Birds 2, Tap 'n' Flap and Lane Driver are one-touch mini-games with a score counter and retries, easy to adapt to other levels and titles.
Creator clips recut into portrait ads, from 23 to 60 seconds, with a short and a long cut of each and captions on screen, prepared for client approval.
A creative deep dive for Match Villains: what was missing from the format mix, how the top videos held attention, and what was working for similar match games.
How far viewers watched each of the five best-performing videos, all creator-led, alongside installs per impression and click-through. The UGC concepts held attention to the end, so the recommendations were more UGC variations such as overlays and live reactions to gameplay, clearer ad-free messaging, and failed attempts with prompts like "Can you do better?".
A check of every format and size Match Villains was running, flagging the gaps: no MREC video and little native video. The recommendations drew on benchmarks across apps: launch MREC video, add more native video, iterate on HTML interstitials and test more 31 to 60 second videos.
Top concepts from peer match games, turned into ideas for the next round: characters in danger calling for help, health bars tracking the challenge, failed attempts that invite a retry, and locked levels that stretch a short video into a long one without a new concept. For banners: success and failure side by side, a timed danger scene and CTAs like "Help!".
The analysis behind the creative: where viewers drop off, which formats are missing, and what new formats are worth testing.
A quarter-by-quarter look at where viewers left TikTok's top video, which ran at 0.65 IPM. The recommendations: a caption teaser in the first seconds, cutting to the CTA at 10 to 13 seconds, and a faster cut that opens on the most extreme filter.
Two format tests run in live campaigns. Interactive first shows the HTML ad before the video. Alternative content swaps in a second HTML page when the user doesn't interact with the first.
A format I proposed to TikTok and other clients, shown with the studio's 3D examples: game pieces and characters as rotating 3D models. On casino titles it averaged a 9% lower cost per install.