ETB: Nine Households, One Colour Grade, Shot in a Locked-Down City

A connectivity campaign for ETB with Mullen Lowe SSP3, made across nine Bogota homes in May 2020 - gamers, a painter, a father and daughter, two girls under a blanket, all held together by a single blue and amber palette.

May 2020. Bogota was locked down, every brief in the country had become a brief about being at home, and every telecoms company on earth wanted the same campaign: people connected, indoors, happy about it.

ETB and Mullen Lowe SSP3 needed nine of those situations. The problem was not ideas, it was cohesion - nine different homes, nine different sets of windows, and no way to make them look like one campaign unless the light did it.

Pick two colours and never leave them

So the whole campaign is built on a two-colour scheme: a cool blue standing in for daylight and screen light, and a warm amber for anything domestic and practical. Every room, without exception.

The blue comes in through the windows, whatever the actual sky was doing. The amber comes from lamps, kitchen fittings and bounce. Because the pairing is complementary, the two never muddy each other - they separate the space into cool and warm zones and give even a cluttered bedroom a readable structure.

Nine unrelated interiors then read as one series. That is the entire trick, and it is worth more on a campaign like this than any amount of set dressing.

Let the rooms stay real

What we did not do was tidy up. The bed in the fourth frame is unmade. The painter's studio is genuinely covered in work. There is a dog on the sofa in the seventh and model aircraft hanging from the ceiling in the eighth.

During that particular spring, an audience sitting in their own untidy houses would have rejected a spotless one instantly. Colour did the unifying so that the rooms themselves could stay specific and slightly messy.

“Nine unrelated homes become one campaign if the light never changes its mind.”

The best frame is the darkest

The strongest image in the set is the last: two girls under a blanket, the only light source in the frame being the laptop between them. No fill, no practicals, faces lit entirely from below by a screen.

It is the frame that actually says what the product does, and it says it without a single visible device logo. Screen light is the most honest illumination available to a connectivity brand, and it happens to be beautiful.

The same single-source-plus-warm-practical thinking runs through the Poker house-party work and the gel-driven interiors of the Bimbo campaign. Small crews, real rooms, one strong colour idea.