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Behind the Scenes from Behind Oasis

COW Library : Adobe After Effects : Nel Johnson : Behind the Scenes from Behind Oasis
CreativeCOW presents Behind the Scenes from Behind Oasis -- Adobe After Effects Feature


Studio Skylab
Manchester England United Kingdom
CreativeCOW.net. All rights reserved.


Oasis indicated to us that they were very interested in pop art. This was ideal as one of my favourite artists is Robert Indiana -a famous American pop artist. His style utilises lots of flat primary colours, stars, squares, circles, bold, brash stencil letters and numbers and I thought it perfectly suited 'rock n roll star.'

In order to add another facet to it I proposed that we do a pop art treatment on the faces of famous rock n roll stars that were an influence on Oasis the band eg John Lennon, Ian Brown, Jimmi Hendrix and add them to the mix. Sadly this particular aspect of the design never saw the light of day. The band's legal team were concerned about copyright issues, so in the end the treatment became full-length animation in the style of Robert Indiana, taking literal phrases from the song and treating them in a bold brash style.

The band approved the concept and with just five days to go until the event itself the pressure was on. We locked ourselves away, cranked up the music and went nuts.

I started off with a content gathering exercise and thought it would be an idea to collect textures and imagery that would help carry the concept in a style that would be appropriate for the music industry. So we went out and shot abstracts of gig posters focusing on torn edges, and the multiple overlaid graphics formed by the succession of posters left stuck to the wall underneath.

Textures used in After Effects

More textures for AE comp

Compositing textures

 

These formed a visual collage that would act as a backdrop for the scenes we were about to create. That was the starting point.

Next these were all scanned, imported into after effects and turned into 3d objects and dropped right back in z-depth away from the camera to form a distant backdrop.

This is the image. Click it to take a look at the comp.

3D z-space composite in After Effects

 

Others we positioned at intervals between the camera and the far backdrop and to these we applied various modes of transparency so the whole effect was an interplay of light and texture from the camera view to the far distance.

Click to see a closer look at the layers in a comp like this.

After Effects text

Random movement was applied to the camera's point of interest using 'SoundKeys' which was patched to an audio file from an earlier rehearshal session. This gave us a lovely paralax effect when all the layers were moving within the comps in time to the music.

That was the basis of various scenes that made up the visuals for the song. The animation wouldn't run in one long composition from start to end because no one quite knew what speed the band would play at. Granted, we had the rehearsal audio but this could only ever be a guide, basically, if the band played too fast or too slow none of the visual elements would work. We would create chorus pieces, bridge pieces, verse pieces each with a 3 seconds tail. These would be all be triggered individually at the right cue points by the lighting director on the night.

Here's the "verse" section animation created for the song's first verse.

After Effects animation for Oasis

 

The more difficult part of the project was the tail out for the song which lasts almost as long as the actual track itself so there was a huge composition to make for the end where the band go into guitar solo overdrive with lots of feedback and vocal effects. In order to interpret this we made a composition featuring all the best bits from the piece. Then to create that eye-popping finale we applied the 'random edit' plug-in from the Sapphire Suite which basically chopped a changed 2 or 3 frame edits increasing in speed and ferocity as the tail out progressed.

Take a look at the finished video, playing behind Oasis as they play "Rock 'n' Roll Star" at the 2007 Brit Awards. You'll DEFINITELY see the ferocious finale -- no "MAYBE" about it.

 

Live performance of Nel Johnson's After Effects animation for Oasis

 

As you'll read in the full article from the Creative COW Magazine, Nel first worked with Oasis on the creation of a DVD special edition of their debut album, Definitely Maybe. Read the comments here.

Oasis Definitely Maybe DVD

You can also read more about the DVD at Definitely Maybe's Wikipedia entry, which also puts the band's achievements in a context that American readers might find particularly helpful.




Creative Cow Magazine: Oasis and After Effects

Click here to download the PDF article from
Creative COW Magazine


Comments

Behind the Scenes from Behind Oasis
by Tim Wilson
Showing a few frames of faces toward the end is different than building the entire project around them, or showing them performing. Going down that road brings in a web of rights management that showing their faces just doesn't.

I really love this story. Great insight into compositing done right. And how cool is it that the animation is featured so prominently in the broadcast?!

True confession: I asked Nel to write this story after I saw the performance. Remarkable stuff, by both Nel and Oasis.
Behind the Scenes from Behind Oasis
by avguy570
The article says: "In order to add another facet to it I proposed that we do a pop art treatment on the faces of famous rock n roll stars that were an influence on Oasis the band eg John Lennon, Ian Brown, Jimmi Hendrix and add them to the mix. Sadly this particular aspect of the design never saw the light of day."

Then I look at the video and there it is (I'm overlooking the fact that he spelled Jimi Hendrix' name wrong, which is a huge sin). Why the discrepancy in an article written by the one of the creators of the video? Just curious.

bob


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