A small-batch ice cream counter filmed at the pace its flavours actually change — putting a neighbourhood shop in front of 300–700K people across Meta and TikTok.

Handcrafted ice cream is one of the easiest products in Singapore to photograph and one of the hardest to make memorable. A scoop is a scoop. In a feed, an artisan tub made in small batches that morning and a mass-produced one pulled from a chest freezer read as the same image, and the qualities that actually separate them — the texture, the restraint in the sweetness, the flavours built around things people here grew up eating — are precisely the qualities a still photograph cannot carry. The commercial shape of the business made that harder rather than easier. This is a shop you walk into, in a neighbourhood, with a counter and a queue; the sale happens in person, so social is not closing anything directly. It is doing the earlier and less measurable job of putting the place in someone’s head so that on a warm Saturday afternoon, when a family is deciding where to go, this is the shop they think of. Against that sat the budget reality of an independent operator competing for attention with dessert chains, delivery platforms and franchise brands whose media spend is an order of magnitude larger. And the menu itself moves — a rotating line-up of flavours means anything filmed has a short shelf life, so the content had to be produced continuously rather than shot once and stretched across a quarter.

Buy the brand a share of attention that its size would not normally command, and buy it in a form that survives past the scroll. Reach came first: get the shop in front of a large enough slice of Singapore, repeatedly, that it stops being a local secret and starts being a name people recognise before they have ever visited. Views mattered next, because a view is the evidence that the content held someone rather than simply appearing in front of them. But the measure that carried the most weight was saves and shares. For a destination business, a save is somebody filing the place away for a weekend they have not planned yet, and a share is somebody putting it in front of the friend they would go with — the closest thing a feed offers to the conversation that actually fills a shop. Success was defined as reach and views at a scale usually reserved for far bigger brands, with an engagement profile weighted towards those two actions rather than passive likes.

We took over social media management and ran the channels on a production rhythm rather than a posting schedule, so the feed moved at the speed the counter does. Video, photography and design were produced continuously and on site: the pour and the churn, the scoop being pulled and the moment it lands on a fresh waffle, the steam and the mess and the small human details that a flat product shot removes. Each flavour rotation was treated as its own piece of content with its own reason to exist — where the idea came from, what is in it, how long it is around for — which turned a menu change from an operational fact into a recurring event people could follow. Vertical video carried most of the weight, cut to work with sound off and to make its point in the first second, and the same production run was re-cut into formats that suited each surface instead of one edit being pushed everywhere.

On top of that organic base we ran awareness campaigns across Meta and TikTok, using the creative that had already proved it could hold an audience rather than making separate ads. Spend was directed at broad Singapore audiences with a bias towards the catchment that realistically travels to a neighbourhood shop, and the strongest-performing cuts were promoted further while weaker ones were retired quickly, so budget concentrated behind the content that was already earning attention on its own merits. Alongside the paid work we ran influencer collaborations with local food and lifestyle creators, hosting them in the shops and letting them film the experience in their own voice — a recommendation from someone a person already follows does work that a brand account cannot do for itself, and it consistently produced the saves and shares that a polished brand post rarely does. The whole system fed itself: what performed with creators informed what we filmed, what performed organically became the ad, and the ads pushed the best material out to people who had never encountered the brand.

Over five to six months the work reached 300–700K people and delivered 800K–1.5M views, with saves and shares running above 3.5% — a neighbourhood ice cream shop holding the attention of a substantial share of the market, and doing it through content people chose to keep or pass on rather than simply scroll past.

See the rest of our client work on the case studies page.