Close-Up: Bringing a touch of colour to the world

The people behind Euro RSCG's 'Let's colour' campaign for Dulux explain how it was done.

Euro RSCG's first major brand campaign for Dulux since winning the account last year saw the agency visit four countries, film 100 hours of footage, recruit 500 volunteers and use 6,500 litres of paint. Six months later, the "Let's colour" campaign has launched, complete with a 120-second TV spot, ambient work, a social media campaign and four documentaries shot by the director Andrew Lang. Here, some of those involved take Campaign behind the shoot.

Jodie Sibson Potts, TV producer

We shot for two days in each of our four countries, so around 100 hours for the TV commercial. And our documentary-maker spent around four days in each country shooting, so around 120 hours in total, plus around 100 hours editing.

The people you see in the film are a mix of local residents and decorators. We shot using 35mm cameras on motion control rigs and digital stills cameras. To be true to the reality that underpinned this concept, we had to develop a unique way of capturing everything on camera.

Motion control is expensive and complex. It wasn't available in all the countries and this created some logistical issues. Everything was set a couple of weeks before the shoot, but then we got a call to say the rig we were shipping in for India had been damaged beyond repair. The Winter Olympics were on at the time, so shipping other cameras became very difficult. The problem was ultimately solved, but we had to rework our whole schedule.

We had the camera moving at around 0.5mm per second, with some shots taking around 90 minutes. When the camera stops moving mid-shot, this is a disaster. We could not do retakes, the paint was going on once, for real, and that was it. Quick action from our crew and some clever sewing together of shots by our post house saved us.

Braulio Kuwabara, art director

Reality and subtlety were key to the post-production process. We had done all of this for real, so the post-production focused on gentle enhancement rather than any cheats or trickery. It took around four weeks, with two Flame artists full time. Each scene had to be treated differently due to the varying weather and light conditions, and this was very time-consuming.

We had to shoot every location as planned. We were generally fortunate with the weather but in Paris woke to dark skies and rain. It was the day we were scheduled to shoot the staircase in Aulney. We set up and waited but even in the lightest rain, our motion control crew understandably refused to uncover their delicate equipment. A tense morning but the rain stopped before lunch and we had just enough time to get what is now one of the most memorable shots of the film.

Rebecca Campbell, blog editor

The whole project was documented through pictures, interviews, documentaries and posts. A Flip cam, Canon IXUS and two iPhones always in hand, I Tweeted, took photos, filmed interviews, uploaded documentaries and wrote posts. I Tweeted live pictures and videos with our GPS location from every event, and many were used instantly by online blogs and publications.

Jessica Tarpey, senior account manager

The concept is adaptable to local market needs and cultural sensitivities. China, for example, has created a "Wishing Wall", which moves from one city to another and allows people to post their colour wishes directly on to it. Your wish could be anything from requesting that your granny's nursing home be brightened up, to a father-to-be wanting to give the house a lick of paint in time for the arrival of the new baby. The suggestions are then posted online for a national vote for the best and most worthy story. By encouraging consumers to continue their involvement, it means the campaign is only just the beginning.

- For more photos from the shoot, visit