Smoke on the Water - Deep Purple - Music video

Deep Purple - Smoke On the Water | Official Music Video

I contributed as an animator to the music video "Smoke on the Water". Let me share my journey of involvement in crafting this visual experience. I had previously collaborated with Luke, the illustrator/director, on another music video, which gave us a good understanding of each other's strengths. When Luke informed me that we had the opportunity to create this record, we scheduled a production meeting in Milton Keynes.

During the production meeting, we reviewed the proposed storyboard and discussed the animation style—whether to opt for 2D or 3D. We also delved into the storytelling aspect of each shot. As we progressed through numerous shots, we analyzed the feasibility of each approach. For instance, we decided that certain shots, such as the stylus needle in the rock and the water scenes, would be best realized in 3D due to their complexity. Additionally, we considered using 3D for the giant record as it offers more flexibility in camera movements.

Upon returning home, my first task was to model the canyons in 3D, a crucial element appearing in nearly every exterior shot of the video. Using Blender, I employed manual modeling techniques and sculpting tools to imbue the canyons with intricate detail and an organic feel. To help the team visualize the concept, I added a prototype of the 2D van alongside the canyons. This proved pivotal in getting everyone onboard and enthusiastic about the project.

Recognizing the scale of the video, I enlisted the help of another talented animator, Robin Andrews, who specializes in 2D animation but also contributed to some 3D elements. With the team assembled, we proceeded to produce test shots before entering full-scale production.

Working closely with Dan, the producer and editor, we refined the 3D shots by iterating through various stages of rendering. Each shot underwent pre-rendering in clay for movement and camera angles. Once approved, we transitioned to higher resolution renders, ensuring seamless integration of the 2D art within the composition.

Given the tight production schedule of six weeks, the 2D animation workflow involved illustration, cleanup, joint creation, animation in After Effects, followed by editing, feedback, and final FX and grading. I still managed to work a few 2d shots as 2d is my number one passion.

We also integrated AI technology in certain parts of the video, particularly in enhancing archive footage of the band and adding elemental effects like fire and smoke to achieve a cel-animated aesthetic and better align with the overall visual concept.