The Shock Of The Lightning (Video Info)

This was taken from the page who have a detail info from the music videos and give a technical review of the music videos.

Oasis’s The Shock Of The Lightning by Julian House and Julian Gibbs
by David Knight

The Oasis boys are back and making a good choice to help them explore their Beatles obsession by working with Julian House and Julian Gibbs at INTRO: House designed the new album cover and the two Julians directed the clip for The Shock Of The Lightning.

It’s the visual bombardment we’ve come to expect from INTRO since their excellent Doves videos – with added White Album-era solarisation – and the canvas really has no limits.

As Julian House mentions below the influences are English surrealism, and the collision of apocalyptic imagery with fairy tale
s, “pre-pop art” – although he forgets to mention the inclusion of the cosmic kitchen sink.
Oasis The Shock of the Lightning (Big Brother Recordings)
Prod co: INTRO
Director: Julian House and Julian Gibbs
Executive producer: Katy Richardson
Producer: Nikki Hildesley

DoP: Tony May

INTRO post-production team: Sam Williams, Nicol Scott, Jesse Richards

Commissioner: Emma Greengrass

Watch: Quicktime movie

Director/designer Julian House about creating the new Oasis album cover design, and the video for Shock Of The Lightning

“Noel had in mind a psychedelic, apocalypti
c design for the album. He gave me the a copy of the album which I listened to for a week and came up with a load of punk psychedelic collages which he thought were great.

“Both the album and the video were in
spired by Terry Gilliam. The insane stop motion cut and paste collages were from Czech Jan Lenica and the American animator, Stan Vanderbeek. The influences are English surrealism, apocalyptic imagery meets fairy tales, pre-pop art. It’s a tsunami of psychedelic English pop art.

“The video for Shock of the Lightning relates to the album artwork, but we wanted it to have a specific feeling of its own. We wanted it to feel filmic. By using stop motion animation it was possible to bring life to an After Effects project, so it could have come out of the experimental 60s.

“Working with Julian Gibbs is great because we both respect each other’s opinions and ability. We start with the idea and rough styling, JG will put together an edit and we bring in a trusted team of animators and compositors. We rotoscoped found footage and found an effective way of getting a solarised look that worked well for the band footage.

“Our challenge was to find new ways of using the collage technique. By using the analogue process in a digital setting it gets brought to life. Julian is great at being able to visualise what I’m trying to achieve and finding a way to execute it.”