Beyonce 4 Around the World
Beyonce’s new album, “4”, released by record label Columbia and Parkwood Entertainment, is being promoted in a commercial, “Around the World”. The spot opens as a few drops of paint bleed into the hand of the Statue of Liberty, and then quickly morphs into a shot of the Christ the Redeemer statue in Rio de Janeiro. A painting of the Arc de Triomphe artfully turns into the Taj Mahal. Elements around the Taj Mahal fall out of frame and jump to a shot of Egypt’s famed pyramids that transform into the Sydney Opera House. The shot moves on to the Great Wall of China that grows upward into the Eiffel Tower. A hand-painted version of the album’s “4” logo with splotches of paint and watercolor drips is used as a transitional element from scene to scene. The spot ends with painted renditions of a highly stylized Beyonce, and closes with her current album’s cover art.
Click on the image below to play the 4 video in YouTube (HD)
The 4 Around the World spot was developed at Parkwood Entertainment by director/creative director Jenke-Ahmed Tailly, with Lee A Callahan, Melissa Vargas, Jennifer Turner and Jim Sabey. Sony Music staff were Naima Cochrane, Jordan Wolosky and Natalya David.
Post production was done at Brickyard VFX by lead VFX artist Jimi Simmons, VFX artist Sean McLean, watercolor artist Geoff McAuliffe, editor Henrique Ghersi, executive producer Kirsten Andersen, production coordinator Ellen Schmitt.
To create the piece, Brickyard VFX started by purchasing stock photos of the global landmarks featured in the commercial. Artist and Brickyard VFX co-founder Geoff McAulliffe then created two water color paintings based on each of the photos, one lighter and a second with a more pronounced color palette. He also created several paintings of the album’s “4” logo, and of transitional elements including paint drips, brush strokes and splotches. All of the artwork was scanned and digitally enhanced and manipulated by the Brickyard VFX team guided by lead VFX artist, Jimi Simmons. Ink layers and camera moves were added digitally into the sequence, and the morphs were creatively constructed blending elements from one scene into the next, with cutaways inserted in the tighter shots.