LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

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


Related Articles / Tutorials:
Adobe After Effects
Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-in for Adobe brings all the amazing features of the professional version of the mocha Planar Tracker directly into After Effects and Premiere Pro in the form of a plugin. In this in-depth review, After Effects tutorial guru Tobias Gleissenberger of Surfaced Studio will show you what you can do with this new plug-in, and discuss what he likes and doesn't like about the new update.

Tutorial
Tobias Gleissenberger
Adobe After Effects
After Effects 2015.3 - My Favorite Features

After Effects 2015.3 - My Favorite Features

Learn why you should upgrade to After Effects CC 2015.3 - 13.8.1 - a close and detailed look at the latest release of After Effects (August 2016). Roei Tzoref will be focusing on his favorite features that set this release apart from previous versions: Performance, Queue in AME, Lumetri Color new features, and more.

Tutorial
Roei Tzoref
Adobe After Effects
Advanced Masking in Adobe After Effects

Advanced Masking in Adobe After Effects

Some of the coolest stuff you can do inside of Adobe After Effects is only possible once you unlock the power of masks. Join After Effects whiz Tobias Gleissenberger of Surfaced Studio to learn about mask animation and interpolation, using the variable width feathering tool, managing mask modes and ordering, and more.

Tutorial
Tobias Gleissenberger
Adobe After Effects
Fixing Common After Effects Problems and Mistakes

Fixing Common After Effects Problems and Mistakes

Got problems using Adobe After Effects? Exported files too large, Expressions not working, mixing shapes and makes, modes/switches, selecting previews for layers vs. comps - Surfaced Studio's Tobias Gleissenberger shows you fast fixes for these and more!

Tutorial
Tobias Gleissenberger
Adobe After Effects
mocha AE Planar Tracker for Absolute Beginners

mocha AE Planar Tracker for Absolute Beginners

Want to learn how to create advanced visual effects? Learn how to use mocha AE to track your shot and add advanced visual effects to live action footage inside Adobe After Effects. mocha can help you track shots that would be hard to track using traditional 2D point or feature trackers because it is a PLANAR TRACKER. A planar tracker uses planes and textures to track as opposed to points or groups of pixels. This allows the tracker to stay on track even if your shot contains motion blur or a very shallow depth of field. mocha AE comes included with Adobe After Effects and is available since CS3 and there is no reason for you not to use this awesome tool to make it easier for you to track your shot, replace screens or rotoscope!

Tutorial
Tobias Gleissenberger
Adobe After Effects
How to Make After Effects Faster with Proxies

How to Make After Effects Faster with Proxies

Learn how to make Adobe After Effects faster by using PROXIES! A proxy is a placeholder that stands in place for a very large video file or image sequence in your project. You can easily create proxies for the large source files that you are using and After Effects will automatically link them to the item in your project panel.

Tutorial
Tobias Gleissenberger
Adobe After Effects
Stabilize & Smooth: mocha 5 Plug-in for Adobe & Avid

Stabilize & Smooth: mocha 5 Plug-in for Adobe & Avid

Imagineer Systems and Boris FX product specialist Mary Poplin shows you how to stabilize with the new mocha Pro 5 plug-in inside of Avid Media Composer, Adobe Premiere Pro and After Effects. This tutorial covers artistic stabilization, such as smoothing out camera movements or stabilizing around moving objects, completely locking down shots, and automatically replacing edge fill on planar backgrounds.

Tutorial
Mary Poplin
Adobe After Effects
Adobe After Effects Puppet Tool

Adobe After Effects Puppet Tool

Become a puppet master by learning how to use the Puppet Tool in Adobe After Effects! This intermediate-level tutorial from After Effects guru Tobias will show you how the Puppet Tool allows you to add joints and animations to bring life to any static image!

Tutorial
Tobias Gleissenberger
Adobe After Effects
How to Spawn A Clone in Adobe After Effects

How to Spawn A Clone in Adobe After Effects

Want to learn how to create a cool clone spawn effect in Adobe After Effects? Follow along with After Effects whiz Tobias from Surfaced Studio in this exciting new visual effects tutorial that combines green screen using Keylight, CC Vector Blur, the Liquefy Effect, CC Particle World, and much more, delivered in Tobias' inimitable style!

Tutorial
Tobias Gleissenberger
Adobe After Effects
Creating A Flame on Your Finger with After Effects

Creating A Flame on Your Finger with After Effects

It is easy to do some motion tracking and attach a basic stock footage element of fire onto your hands, but there is a little bit of work involved if you actually want to make it look good. In this intermediate tutorial by After Effects expert Tobias, you'll see how to use a fire stock footage element to set your thumb on fire! There are lots of useful tricks for null objects, expressions, and more in this tutorial that will help you create all sorts of other cool visual effects -- or set even more things on fire!

Tutorial
Tobias Gleissenberger
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]