The Mill team worked with DDB New York on this creative and unique spot for Glidden paint. The Beast acknowledges the overwhelming task of choosing a paint color, and introduces Glidden paint as the solution because the curated project simplifies the palette for you.
"Working with the Agency was really fun," says one of The Mill's creative directors, Robert Sethi.
Director:
Filip Engstrom
Production Company:
Smuggler
Agency:
DDB NYC
"We had a little fun designing the paintchip beast working with the team from DDB NYC. We did a 2-day shoot with Filip Engstrom which is an incredible experience; he is very collaborative and full of great ideas. He has a great eye for including action, humor and polayfullness into his projects. We had an interesting pipeline where we built the best and animated him in MAYA and then simulated and rendered it in HOUDINI. We were thrilled with the results."
"From a lighting perspective, it was a lot of fun working with the monster," says The Mill lead CG artist, Chris Bayol. "It was a challenge because there were no smooth surfaces on the character, only flat faces at thousands of different angles and because his shape wasn't cohesive, some traditional lighting techniques like how you use rim lights and fill lights had to be thrown out and re-invented in order to achieve the right look and feel for the monster."
"The Campaign illustrates just how overwhelming the stress can be when faced with the daunting task of picking a paint color," says Matt Eastwood, chief creative officer of DDB New York. "The spot shows this angst actually manifest into a beast. The Beast made was up of paint chips which helped to create a memorabe character that encapsulates the frustations people experience while going through the painting process dramatizing the common struggle choosing a paint color in an unexcepected way."
"The print campaign presented an interesting set of challenges for depicting the paint-chip beast. Unlike the television spot, we couldn't rely on motion and multiple camera angles to define the creature's form. This made the placement and color of the specific chips much more consequential. It became like a pointillist painting; using individual paint chips to define a furrowed brow here, a knuckle there.", says The Mill Matte Painter/Concept Artist, Thom Price.
Agency: DDB NYC
Producer: Ed Zazzera
Creative Director: Mark Ledermann
Creatives: Scott Cooney, Carlos Wigle
Account Directors: Lauren Neuman, Cindy Nguyen
Production Company: Smuggler
Director: Filip Engstrom
Executive Producer: Lisa Rich
Producer: Dave Bernstein
Director of Photography: Glynn Speeckaert
Editing Company: General Edit
Editor: Noah Herzog
VFX & Design: The Mill
Executive Producer: Sue Troyan
VFX Producer: Christina Thompson
Shoot Supervisor: Robert Sethi
Creative Director: Robert Sethi
2D Lead Artists: Narbeh Mardirossian (Flame)
3D Lead Artists: Robert Sethi, Josh Hatton, Chris Bayol
2D Artists: Daniel Lang, Daniel Thuresson, Eugene Gauran, Margolit Steiner, Scott Johnson
3D Artists: Steve Beck, Yorie Kumalasari, Juan Zavala, James Ma, Martin Rivera
Matte Painting: Thom Price, Jason Dunn
Concept Artist: Jeff Simpson
Coordinator: Samantha Axelrod