Fatboy Slim (ENG)
A big part of the show utilizes a 3D version of Fatboy Slim’s head built entirely in 3D, which you can see here…
They scanned Norman Cook with the guys at Centroid at Pinewood studios and then added the textures and finishing touches in After Effects. This leads to the boom box video:
Where the four seasons effects were created to run along with the tune. It starts with paint splashes, which were created in Realflow. Joe Plant, who built the boom box footage, went through the process. "The trick to the consistency of paint in Realflow was a subtle blend of viscosity, density and surface tension. The transition of the paint was down to a high output rate, which passed through three separate vortex daemons. The surface of the boom box was then given a high stickiness value to make the paint stick, which in turn, with a modified gravity setting, produced the desired results."
The next stage of the video was fire, which was created in Phoenix FD. Once the required elements of the boom box were separated and incorporated into the simulation, a high fuel temperature combined with a high cooling rate and varying output to create the fire pulses, provided the desired results.
About 60% of the video elements were scripted and were launched within Serato, which has been Fatboy Slim's DJ weapon of choice since it incorporated video about six years ago. The files sat as QuickTime video within Serato and, when a pre-scripted track was selected, the video and audio worked in perfect synchronicity. If the pitch was changed, the video sped up or slowed down accordingly. The other elements, such as the rain and snow effects, were all operated by the VJ, Bob Jaroc. Tim added, "We had a script we had worked on with Norman but a lot of it was triggered manually and not on rails. Norm always likes to throw lots of curveballs into a show so we have evolved with that spirit in mind over the years - always be ready for the unexpected!"
At the heart of the process, though, was the CINEMA 4D and After Effects pipeline. Tim concluded, "Their widespread adoption throughout the creative industries is a reflection of the quality of results that can be achieved. And we find for speed and flexibility, they are the ultimate combination. The forthcoming era of deeper integration between CINEMA 4D and After Effects is really exciting, and we are really looking forward to see how this will enhance our workflow. We find them a joy to play with and encourage all younger artists who are working with us to learn this combination."
By Duncan Evans, a freelance journalist, photographer and author.