Big sleep energy
Leesa “Take The Exhale”
Leesa “Take The Exhale”
Big sleep energy
Leesa “Take The Exhale”
(CLIENT)
(CLIENT)
Leesa
Leesa
(AUDIENCE DEVELOPMENT AGENCY)
DAS
(SERVICES)
(SERVICES)
Campaign Direction, Creative Direction, Video Production and Post-Production
Campaign Direction, Creative Direction, Video Production and Post-Production
The Brief
The Brief
Leesa’s brand team came to our friends at DAS with a simple ask: make a CTV ad for a mattress company with big sleep energy. Bold, funny, inclusive.
Wrapped into the creative ask sat a business need. Leesa needed to look big, like everyone was already sleeping on one. Plus, the work had to carry the mission the brand was built on: better sleep, better world, for everybody and every budget.
Leesa’s brand team came to our friends at DAS with a simple ask: make a CTV ad for a mattress company with big sleep energy. Bold, funny, inclusive.
Wrapped into the creative ask sat a business need. Leesa needed to look big, like everyone was already sleeping on one. Plus, the work had to carry the mission the brand was built on: better sleep, better world, for everybody and every budget.
Watch the Film
The Challenge
The Challenge
Mattress advertising lives and dies by the same sequence. A bedroom. Someone lies down. Closes their eyes, smiles. It’s sleepy, low energy and impersonal.
So, how do we wake up this sleepy category?
And then there was the the problem of scale. Leesa was up against competitors spending far more, and we needed them to them feel like a category leader while staying within budget.
And just one spot wasn’t going to be enough. At the top was a CTV deployment, but the work had to hold up everywhere it landed. From the biggest screen to the feed, with the ability to keep producing new content after the shoot wrapped.
Mattress advertising lives and dies by the same sequence. A bedroom. Someone lies down. Closes their eyes, smiles. It’s sleepy, low energy and impersonal.
So, how do we wake up this sleepy category?
And then there was the the problem of scale. Leesa was up against competitors spending far more, and we needed them to them feel like a category leader while staying within budget.
And just one spot wasn’t going to be enough. At the top was a CTV deployment, but the work had to hold up everywhere it landed. From the biggest screen to the feed, with the ability to keep producing new content after the shoot wrapped.
The Approach
The Approach
Our big idea? Bring the world of social media to CTV and build a world of vignettes around the archetypes and tropes of the medium: the apartment tour, the unboxing, the family pajama dance, the sleep-talker, the marathon runner; all familiar. Each of this scenes spoke to a type of creator and a different walk of life, and together they made a visually diverse landscape of Leesa customers. Leesa’s world became the world of social media, and sleep stopped being the subject and became the punchline.
Three ways to fill a world. We wrote more scenes than we could shoot, then sorted them into three groups:
• Shot by us for creative control.
• Creator partners for recognizable faces.
• UGC through an agency for scale.
About 30 creators were sourced across the creator and UGC groups and about 20 made it to the final edits, alongside talent we cast directly for key roles. Each scene on their own felt small. Cut together, it became a world of Leesa sleepers: couples, families and solo sleepers across ages, identities and budgets.
Our big idea? Bring the world of social media to CTV and build a world of vignettes around the archetypes and tropes of the medium: the apartment tour, the unboxing, the family pajama dance, the sleep-talker, the marathon runner; all familiar. Each of this scenes spoke to a type of creator and a different walk of life, and together they made a visually diverse landscape of Leesa customers. Leesa’s world became the world of social media, and sleep stopped being the subject and became the punchline.
Three ways to fill a world. We wrote more scenes than we could shoot, then sorted them into three groups:
• Shot by us for creative control.
• Creator partners for recognizable faces.
• UGC through an agency for scale.
About 30 creators were sourced across the creator and UGC groups and about 20 made it to the final edits, alongside talent we cast directly for key roles. Each scene on their own felt small. Cut together, it became a world of Leesa sleepers: couples, families and solo sleepers across ages, identities and budgets.
The OUTCOME
The OUTCOME
The result blended the world of social media into an unexpected widescreen CTV context. And the campaign, which started as a CTV ask, was such a success that the client upgraded it to a full broadcast deployment.
Two spots, one idea.
Take the Exhale (:30) runs a driving hip-hop track over more than 30 North American days, cut fast. Every day is different. Every one ends the same way: the whole cast falls into bed at once, and the spot closes on one big exhale.
The Rest Is Social watches like a social feed, a scroll through the world of Leesa, from apartment tours to unboxings, each one making the case for a better bed.
One shoot, a hundred assets.
We built the library to keep going: themed hero cutdowns, single-vignette breakouts and six-second bumpers. Each ad set ran 25 to 100 permutations in testing, and all of it came from one production that became more than 100 new assets.
The campaign outperformed Leesa’s previous hero assets, and the brand team has since called it “the best ad we ever saw for our category.”
The result blended the world of social media into an unexpected widescreen CTV context. And the campaign, which started as a CTV ask, was such a success that the client upgraded it to a full broadcast deployment.
Two spots, one idea.
Take the Exhale (:30) runs a driving hip-hop track over more than 30 North American days, cut fast. Every day is different. Every one ends the same way: the whole cast falls into bed at once, and the spot closes on one big exhale.
The Rest Is Social watches like a social feed, a scroll through the world of Leesa, from apartment tours to unboxings, each one making the case for a better bed.
One shoot, a hundred assets.
We built the library to keep going: themed hero cutdowns, single-vignette breakouts and six-second bumpers. Each ad set ran 25 to 100 permutations in testing, and all of it came from one production that became more than 100 new assets.
The campaign outperformed Leesa’s previous hero assets, and the brand team has since called it “the best ad we ever saw for our category.”
ARE YOU GONNA FINISH THAT?
ARE YOU GONNA FINISH THAT?