In order to make ballet appealing to a younger, more modern audience, New York–based ad agency the Collective @ LAIR turned to anatomy, sound, dance and color to explore the beauty of visual arts.
The film “Becoming Violet” features six BalletMet dancers against a black backdrop, showcasing their elegant movements with crisp detail, stylized slow motion and colorful bursts of chalk that seemingly originate from the dancers. The colored chalk emphasizes the dancers’ motions and extends their movements through space.
“We needed something that represented otherworldliness. The color became an abstract extension of the dancers, and the use of the dust best visualized two elements coming together and bringing something into existence without overcomplicating it or relying on verbal cues,” says the film’s director Steven Weinzierl.
The film embodies Weinzierl’s signature style: music-driven content saturated in dramatic and beautiful design—content that evokes emotions in the viewer. It was shot using a Phantom Flex High-Speed Digital Camera, capable of shooting 500 frames a second to heighten both movement and light sensitivity.
“The spot is about unity and the fusion of human and abstract elements,” says Weinzierl. “We take the viewer through a journey of emotions: X vs. Y, good vs. bad, love vs. hate. Ultimately, it all concludes with an abstract representation of these opposing elements bonding. It is a celebration of dance and film in its rawest form.”
The film “Becoming Violet” features six BalletMet dancers against a black backdrop, showcasing their elegant movements with crisp detail, stylized slow motion and colorful bursts of chalk that seemingly originate from the dancers. The colored chalk emphasizes the dancers’ motions and extends their movements through space.
“We needed something that represented otherworldliness. The color became an abstract extension of the dancers, and the use of the dust best visualized two elements coming together and bringing something into existence without overcomplicating it or relying on verbal cues,” says the film’s director Steven Weinzierl.
The film embodies Weinzierl’s signature style: music-driven content saturated in dramatic and beautiful design—content that evokes emotions in the viewer. It was shot using a Phantom Flex High-Speed Digital Camera, capable of shooting 500 frames a second to heighten both movement and light sensitivity.
“The spot is about unity and the fusion of human and abstract elements,” says Weinzierl. “We take the viewer through a journey of emotions: X vs. Y, good vs. bad, love vs. hate. Ultimately, it all concludes with an abstract representation of these opposing elements bonding. It is a celebration of dance and film in its rawest form.”
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