"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.