4 vertical ads · one shoot day · the Purelight walk-up reveal
Nobody stands on a roof for this. Every piece of evidence in all four ads — moss in the shingles, a plant in the gutter, exposed fiberglass, granule loss — is visible from the top of a ladder at the eave. It reads identically on a phone screen and it doesn't put anyone on a slope for a joke.
You need a real house. Real moss, a real plant in a real gutter, visible fiberglass. That's an inspection in JAM's pipeline, not a set you can dress. Get written permission to film and publish, and keep the house number out of frame — this ad calls someone's roof a slum.
Oregon requires the CCB number in advertising. CCB #114864 is in every end card in this sheet. Keep it on every cut, including the :06.
Purelight's prop: the electric meter on the side of the house — something the homeowner walks past every day and never looks at.
JAM's prop: the same idea on the roof. Moss in the shingles, a plant in the gutter, exposed fiberglass at the shingle edge.
That parallel is why the joke lands — it's the same "you've been living next to this and never looked" beat.
Each of the four ads swaps the prop and keeps everything else identical. That's the set.
Same hat, same shirt, all four ads. Branded cap in every single frame.
Light: 8–10am or 5:30pm to dark. Midday sun flattens the fiberglass shine and you lose the shot entirely.
Smoke haze is likely in the valley this time of year and kills contrast at distance — if it's bad, shoot tighter and skip the drone wide in Ad 4.
No grade, no stabiliser, no music under the dialogue.
Captions burned in, above the bottom third so Meta's UI doesn't cover them.
Shoot everything vertical. If you want a landing-page cut later, shoot a second pass horizontal — do not crop.
Two phones. One shoots, one plays back between takes. Rear lens only — the front camera is soft and flips text.
Settings: 4K at 30fps, locked exposure and focus before each take. 120fps only for the granule pour in Ad 3.
Wired lav with a windscreen. Wind at the eave will eat every close-up. No lav? Shoot the eave shots silent and record those lines at ground level.
Fiberglass extension ladder + stabiliser. The operator shoots the close-ups from it, so it needs to be solid.
Gloves for the granule pour, and a bright flashlight for the attic in Ad 2.
The JAM truck — backdrop for the last third of all four ads. Clean, and on site.
| # | Ingredient | Where it lands | Status |
|---|---|---|---|
| 1 | Pattern interrupt | Shot 1 — arms overhead, yelling across the yard, camera runs in | In draft |
| 2 | Identify audience | Shot 2 — "if you own a house in the Rogue Valley" | Added |
| 3 | The hook | Shot 3 — "trouble keeping plants alive inside your house?" | In draft |
| 4 | Pain points & desires | Shots 4–5 — the ecosystem gag, then exposed fiberglass | In draft |
| 5 | Result & promise | Shot 7 — "keeping Rogue Valley roofs dry since 1996" | Added |
| 6 | Authority & credibility | Shot 7 — Sean names himself, 1996, GAF Master Elite, CCB # | Added |
| 7 | New opportunity | Shot 6 — fix the roof now vs. paying for roof + ceiling later | Added |
| 8 | Value perception | Shot 6 — "a roof AND drywall AND insulation" | Added |
| 9 | Social proof | Shot 7 — 4.9 stars, 168 Google reviews, said out loud | Added |
| 10 | CTA & urgency | Shot 8 — free 20-minute check, "the rain starts in October" | Added |
| Ad | Placement | Audience | Job |
|---|---|---|---|
| 01 · Landlord | Meta Reels + Feed, :30 and :15 | Cold — homeowners 35+, Jackson & Josephine County | Top of funnel. Funniest one, so it earns the cheapest reach. |
| 02 · Water Feature | Meta Feed, :48 full cut | Cold + retarget 50% viewers of Ad 1 | Raises the stakes for people the joke already landed on. |
| 03 · Retirement | Reels + Stories, :15 | Cold, broad | Highest thumb-stop of the four. Best hook test. |
| 04 · The Neighbour | Meta Feed, radius-targeted | 1–2 mile radius around live JAM jobs | Bottom of funnel. Social proof to the exact street. |
| # | Time | What the camera sees | What Sean does | |
|---|---|---|---|---|
| 1 | 0:00–0:07Operator films | The beckon. Wide. Sean up by the side of the house, ~20 ft off, whole body in frame, roofline above him. Operator holds one beat, then walks in fast — let the footsteps bounce the frame, do not stabilise. |
Both arms overhead, waving the camera in like he's flagging down a truck. Doesn't wait for the camera to arrive — already talking. Big, loud, slightly too much. | |
| 2 | 0:07–0:11Operator films | Who this is for. Camera now at conversational distance, chest-up. |
Walks backward toward the eave, leading the camera along with him. | |
| 3 | 0:11–0:17Operator films | The hook. Shoot from below, tilted up so the roofline sits behind his head. |
At the base of the ladder, one hand on a rung, pointing up with the other. | |
| 4 | 0:17–0:27Operator on ladder | The reveal. Hard cut. Very tight on the gutter line — moss carpeting the shingles, a real plant growing out of the gutter. Sean's face half in frame at the edge, exactly how Purelight frames the meter. Slow drift along the gutter. |
Tugs the plant. It doesn't come out. He looks at the camera. That's the beat. | |
| 5 | 0:27–0:38Operator on ladder | The real damage. Tighter still. Pan along the shingle edge to where the granules are gone and the mat glints. Get light raking across it so the shine reads on a phone. |
Drops out of the bit here — same guy, no longer joking. That contrast sells the rest. | |
| 6 | 0:38–0:46Sean holds phone | What waiting costs. Location change. Selfie at arm's length, walking slowly down the driveway, house behind him. This is the Purelight middle section. |
Keeps moving. Handheld and walking is the point — a locked-off shot here reads as a commercial. | |
| 7 | 0:46–0:56Sean holds phone | Who's talking. Location change. In front of the wrapped JAM truck — logo over his shoulder, legible but not centred. This is how the branding gets in without a logo card. |
Slows down and delivers it straight. No jokes in this one. | |
| 8 | 0:56–1:02Sean holds phone | The ask. Same backdrop, phone noticeably closer to his face. Purelight closes tight — the proximity makes the ask feel direct rather than announced. |
Back into the bit for the last line. Hold still for two full seconds after he stops talking. |
0:00"Hey! HEY — you. Yeah, you. Come here. Come here, I gotta show you something. Come here… closer… closer…"
0:07"If you own a house in the Rogue Valley, you need to see this."
0:11"Having trouble keeping plants alive inside your house?"
0:14beat — points up
0:15"Because apparently your ROOF doesn't have that problem."
0:17"Look at this thing. You've got a whole ecosystem up here. Moss in the shingles, plants in the gutters…"
0:23"At this point you're not a homeowner — you're a LANDLORD."
0:27"But seriously — see that shiny stuff around the edges? That's exposed fiberglass. Your shingles are basically telling you they're ready for retirement."
0:38"Here's the thing. You can wait until it's coming through your ceiling — and then you're not paying for a roof, you're paying for a roof and drywall and insulation and whatever's in the attic."
0:44"Or somebody looks at it while it's still just a roof."
0:46"I'm Sean with JAM Roofing. We've been keeping Rogue Valley roofs dry since 1996, we're GAF Master Elite — that's a certification under two percent of roofers in the country carry — and we're sitting at 4.9 stars across 168 reviews."
0:56"So before your roof decides it wants to become an indoor water feature — have us come take a look. It's free, it takes twenty minutes, and the rain starts in October."
1:00"Tap the link. We'll come count your tenants."
The beat before "because" at 0:14 is the joke. Have Sean hold it a full second longer than feels natural — it'll be right on playback.
Shot 1 is the whole ad's first impression — shoot it eight times and keep the loudest. Start recording before Sean talks so frame one is already mid-shout.
Grab 60 seconds of silent gutter drift on the ladder. You'll want it as B-roll across all four edits.
Don't quote a dollar figure in shot 6 — you'd have to defend it and it dates the ad.
Re-check the review count the day you publish. It moves, and a stale number is what a competitor screenshots.
:30 cut — shots 1, 3, 4, 5, 8. Drop the audience call and the credibility block.
:15 cut — shots 1, 4, 8. Beckon → ecosystem → link.
:06 bumper — the walk-in straight into the landlord line, then the end card. Runs to people who already watched half the long cut.
| # | Time | What the camera sees | What Sean does | |
|---|---|---|---|---|
| 1 | 0:00–0:07Operator films | The beckon, indoors. Sean at the far end of a hallway or living room, waving the camera down toward him. Same energy as Ad 1, boxed in by walls — which makes the shouting funnier. |
Waves them all the way in, then points straight up. Operator ends the walk-in by tilting to the ceiling — the tilt is the cut point. | |
| 2 | 0:07–0:18Locked tilt-up | The water feature. The stain fills the frame — brown ring, darker centre. |
Finger enters frame and traces the outer edge of the ring. | |
| 3 | 0:18–0:29Attic hatch | The attic. Head-and-shoulders through the hatch, flashlight raking across dark damp decking. Handheld, cramped, hard light — the ugliest shot in the set and the most persuasive. |
Head and shoulders through the hatch only. Nobody goes onto the joists — do not put anyone through a ceiling for a video. | |
| 4 | 0:29–0:40Sean holds phone | Authority + proof. In front of the JAM truck, logo over his shoulder. |
Straight delivery, no bit. | |
| 5 | 0:40–0:48Sean holds phone | The ask. Same backdrop, phone closer. |
Hold two seconds on the end card after he stops. |
0:00"Hey — come here. Come here, come here. Look up. Look at your ceiling. Closer."
0:07"Congratulations. You have a water feature."
0:10beat
0:11"Very zen. Very expensive. And it's not coming from in here — it's coming from up there."
0:18"See how the wood's gone dark? That's been wet for a while. This is what a four-hundred-dollar repair looks like six months after it was a four-hundred-dollar repair."
0:29"I'm Sean with JAM Roofing — Medford, since 1996, GAF Master Elite, 4.9 stars from 168 of your neighbours. We find these before they find your drywall."
0:40"If there's a ring on your ceiling, it's already been raining inside your house for a month. Free look, twenty minutes, before October. Tap the link."
If the hero location has no ceiling stain, this one gets shot at a different house. Don't fake it — a painted-on ring reads instantly.
The attic shot carries the ad. If the flashlight blows out the decking, back it off and let the shot stay dark and grim.
Retarget only. Runs to people who watched 50% of Ad 1, where the joke has already done its job.
| # | Time | What the camera sees | What Sean does | |
|---|---|---|---|---|
| 1 | 0:00–0:08Operator films | The beckon. Sean crouched at the bottom of a downspout, waving the camera over with one hand without looking up. Slightly conspiratorial rather than shouted — a different flavour of the same open. |
Doesn't look up until the camera arrives, then holds his hand out toward the lens. | |
| 2 | 0:08–0:19120fps · backlit | The pour. Very tight on his gloved hand tipping the elbow of the downspout. Black granules pour out. Shoot backlit so the grit catches light on the way down. The one slow-motion moment in the whole set. |
Pours slowly. Lets it run out completely before he says "that's your roof." | |
| 3 | 0:19–0:28Operator on ladder | Where it came from. Cut up to the shingle the granules left — patchy, bald, matte where it should be textured. |
Thumb brushes the shingle and more comes off. | |
| 4 | 0:28–0:37Sean holds phone | Authority + proof. JAM truck backdrop. |
Straight delivery. | |
| 5 | 0:37–0:44Sean holds phone | The ask. Closer. |
Points down and off-camera on "go look right now." |
0:00"Hey. Come here. Come here — closer. Closer. Okay. Hold your hand out."
0:08"That's your roof."
0:11beat — let the pour finish
0:12"That's the part that keeps water out of your house, and it's in a pile on the ground. It's been quietly leaving for years and it didn't tell you."
0:19"Here's where it came from. Every one of those is a spot where the sun's now hitting bare asphalt. Once that starts it doesn't slow down — it accelerates."
0:28"Sean, JAM Roofing. Thirty years on Southern Oregon roofs, GAF Master Elite, 4.9 stars from 168 reviews. I can tell you in twenty minutes whether you've got two years left or ten."
0:37"Go look at the bottom of your downspout right now. If there's grit in it, tap the link — free, twenty minutes, and I'd rather look at it before the rain than after."
"Go look right now" is the strongest CTA of the four, because it costs the viewer nothing and half of them will find grit.
Shoot the pour a dozen times. It's ten seconds of work and it's the only shot in the set you can't fix in the edit.
:15 cut — shot 1, shot 2, then straight to the end card. That's the whole ad and it's the best one you'll have.
Save the granules from a real cleanout the day before if the downspout won't produce enough on camera.
| # | Time | What the camera sees | What Sean does | |
|---|---|---|---|---|
| 1 | 0:00–0:08Operator films | The beckon, in the street. Sean out on the sidewalk between two houses. Wide enough that both roofs are already in frame before the viewer knows why. |
Waves them over, plants them on a spot, then points left, then right. Shoot it in one take so the pan is real and not a cut — his arm does the whole edit. | |
| 2 | 0:08–0:17Drone or high wide | The comparison. Elevated wide holding both roofs — one clean, one green and streaked. Slow push. Drone if the airspace is fine, otherwise from the ladder or an upstairs window across the street. |
Out of frame. Voiceover only. | |
| 3 | 0:17–0:27Sean holds phone | Social proof, out loud. Walking, in front of the good roof. |
Keeps walking. If you have a real testimonial clip, drop 5 seconds of it in here instead. | |
| 4 | 0:27–0:35Sean holds phone | Authority. JAM truck backdrop. |
Straight delivery. | |
| 5 | 0:35–0:42Sean holds phone | The ask. Closer. |
"Which one's yours?" — asked like an actual question, not a slogan. |
0:00"Come here. Come here, come here — stand right here. Right here. Okay. Look at your neighbour's roof."
0:06beat
0:07"Now look at yours."
0:08"Same street. Same weather. Same thirty years of Oregon rain. One of these got looked at. One of them didn't."
0:17"We've done a lot of roofs on streets like this one — 4.9 stars, 168 reviews, and most of them came from somebody's neighbour watching the crew work for three days and then calling us."
0:27"JAM Roofing, Medford. We've been doing this since 1996 and we're GAF Master Elite — under two percent of roofers in the country carry that."
0:35"So — which one's yours? Free look, twenty minutes, and we'll tell you straight. Tap the link before the rain does the telling for us."
Keep the bad roof unidentifiable. No house number, no car plate, no distinctive front door. Frame it tight enough that it's "a roof," not "that roof."
A customer's own voice beats Sean quoting a number — if there's a testimonial clip in the library, that's the better shot 3.
Radius-target this one to 1–2 miles around live JAM jobs while the crew is still on the street.
Homeowner release signed, house number never in frame | |
Every beckon shot at least eight times | |
60 seconds of silent gutter B-roll in the can | |
Fiberglass shine actually visible on playback, not just in person | |
Granule pour shot at 120fps, backlit, a dozen takes | |
Two reads of all four CTAs — one warm, one flat | |
Same hat and shirt in every single clip | |
Audio checked on headphones at the eave — wind is the killer |
Re-check the Google review count and rating. It moves, and a stale number on a paid ad is what a competitor screenshots.
CCB #114864 on every cut — including the :06 bumper. Oregon requires the licence number in advertising.
Captions burned in above the bottom third so Meta's UI doesn't cover them.
Confirm GAF Master Elite is current before the "under two percent" line goes live.
Landing page: point every link at the free-inspection form, not the homepage. The form saves to Leads and emails info@ and marketing@.