British pop/rock band, Glass Animals, kicked off its latest tour in Chicago on August 29. The Grammy-nominated band has a visual design by UK-based lighting designer Cassius Creative and video/content agency FRAY Studio with creative direction from frontman Dave Bayley. The approach has a classic sci-fi feel, 2001: A Space Odyssey, Barbarella, and original Star Trek with specific references to the launch consoles designed by Ken Adam for the James Bond movie Moonraker, and a Pepper’s ghost ‘hologram’ dome inspired by the animated sitcom The Jetsons.
The design includes a floating lift “mini stage” but is flexible enough for the tour to include shows in venues as diverse as Madison Square Garden, US outdoor amphitheaters, London’s O2 and the forecourt of the Sydney Opera house.
Adam Young, co-founder and creative director at FRAY Studio, talked to Live Design about the “Tour of Earth.”
Live Design: What was your scope of work on this project?
FRAY Studio: Our goal was to create a rich world of visual content for 23 unique video surfaces, blending rendered and real-time elements. We were chasing a lo-fi, early computer graphics aesthetic that would appeal to a younger audience - a form of imagined nostalgia. We had a team of 11 artists, each bringing a distinct perspective to the project. This carefully assembled mix of viewpoints, from those with vivid memories of '80s visual aesthetics to younger artists with fresh interpretations, was crucial in crafting a visual language that resonated across generations.
Throughout the process, we maintained a close creative dialogue with Dave [Bayley], engaging in discussions to explore the depths of his aesthetic vision. These conversations were instrumental in translating abstract concepts into tangible visual elements that would come alive on stage.
Our work extended beyond traditional pre-rendered content. We delved into the realm of real-time content, harnessing MIDI signals from the band's instruments and integrating them with sophisticated tools like NVIDIA background removal. This approach allowed us to create a dynamic visual landscape that responded organically to the music, adding layers of depth to a performance played without timecode.
Our ultimate aim was to deliver a cohesive visual experience that not only complemented Glass Animals' music but elevated it, creating a relationship between sound and vision that would linger in the audience's memory.
LD: Have you worked with Glass Animals before?
FS: Our creative relationship with Glass Animals began with their Dreamland.IRL show at Brooklyn Mirage. For this immersive experience, we created real-time visuals that enveloped the audience. This initial collaboration provided invaluable insights into their artistic ethos and visual preferences.
We also share a longstanding relationship with Cassius Creative, having collaborated on projects for artists such as Lewis Capaldi, Foals, and Liam Gallagher. This established relationship allowed for a seamless creative process, where ideas could be exchanged and refined efficiently.
Our understanding of Dave’s artistic direction, combined with our relationship with Cassius Creative, enabled us to navigate the complexities of this project with artistic sensitivity. These established partnerships were instrumental to deliver a visual experience that was both cohesive and creatively ambitious.
LD: What did you use for previz/renderings and how much input did Bayley have on your initial designs?
FS: Our creative process employed a carefully selected suite of tools, each chosen for its unique capabilities. We utilized Cinema4D and Unreal Engine to sculpt 3D environments and objects, while After Effects served as our main point for composing and refining the visual narratives. Illustrator was instrumental in crafting precise 2D elements, and we leveraged Notch and TouchDesigner to develop the real-time, interactive elements that brought our content to life on stage. This approach of utilizing the best of technology to serve the creative, is something we bring to all of our shows. It keeps the work in service of the design rather than the technology being a limitation.
This toolkit allowed us to craft an aesthetic that seamlessly blended rendered animation with real-time content. The real-time capabilities of Notch and TouchDesigner were particularly crucial, enabling us to create visuals that responded dynamically to live inputs, such as MIDI signals from the band's instruments. This approach resulted in a visual experience that pulsed with the energy of the live performance, creating a relationship between the music and visuals.
Dave's involvement was integral throughout the creative process. His active participation allowed us to iteratively refine our designs, ensuring that each visual element not only enhanced the overall performance but also authentically reflected his unique approach to creating a show.
LD: How are you incorporating the MIDI-triggered video content into your design? Is this something where you let the lighting take second place to the images during intense musical moments or did your cues flow together with the visuals?
FS: The integration of MIDI-triggered video content was a cornerstone of our design, allowing us to create visuals intimately intertwined with the band's live performance. By harnessing the MIDI signals from the band's instruments, we were able to generate and manipulate content in real-time, adding layers of interactivity that goes beyond traditional pre-rendered visuals.
This process required an orchestration of technology and creativity, involving close collaboration between our team, the band, and their technicians. Using Ableton and QLab to translate MIDI notes into simple 'on' and 'off' signals, which were then fed into Notch. Within Notch, we crafted a complex array of accumulators, condition modifiers, and custom-built mathematical expressions to interpret these signals and drive various visual elements. This approach allowed us to create intricate visual representations of the beat, accents, and nuances that corresponded directly to the music being played live on stage.
A prime example of this approach can be seen in the song 'Wonderful Nothing', which was built entirely in Notch. Each section of the song features either MIDI or audio-driven elements, creating a visual look that mirrors the musical progression.
The chorus section of 'Wonderful Nothing' showcases a nuanced use of MIDI-triggered content. Here, we created dual oscilloscope-like visuals driven by the MIDI signals from the kick drum and snare. By leveraging Notch's audio reactivity and MIDI interpretation capabilities, we were able to accurately display every drum hit in real-time whilst visually representing the rest of the music, matching the intensity and rhythm of the chorus with precision.
This integration of MIDI-triggered content allowed us to create a relationship between the music and the visual elements. The result was a show that was both technically precise and visually captivating, blending artistry and technology in a way that elevated the entire concert.
LD: What was your favorite part of this design?
FS: The most gratifying aspect of this design was witnessing diverse visual elements become a cohesive show. Despite the involvement of 11 artists, each contributing their unique expertise to different facets of the show, the final product is a unified artistic statement across all departments.
This seamless integration was particularly evident in the NVIDIA background removal effect, which really proves the power of interdisciplinary collaboration to create a beautiful result.
The success of the NVIDIA background removal hinged on close collaboration with the lighting team, providing a lighting setup that provided optimal conditions for the AI to accurately detect and isolate the performers. Simultaneously, we worked in tandem with the camera team to ensure that framing and angles would give the AI the clearest possible view, minimizing potential inconsistencies in the effect.
Our goal was to craft a visual narrative that would leave a lasting impression on the audience long after the final song. We aspired to create a show where the audience would recognize the artistry and creative intent behind all of our work.
LD: What did you find challenging about this project?
FS: One of the most intriguing challenges was the creation of visuals that evoked the essence of '70s and '80s computer graphics while still resonating with a younger audience. We were tasked with referencing a visual era that most of our audience hadn't experienced firsthand, essentially crafting a form of imagined nostalgia.
To navigate this challenge, we leveraged the generational diversity within our team. Our more seasoned team members drew upon their firsthand memories of '80s visual culture, ensuring that our creations captured the authentic spirit of that era. Simultaneously, our younger artists brought a fresh perspective, reinterpreting these retro elements through a contemporary lens and identifying which aspects would resonate most strongly with younger audiences.
This mix of perspectives allowed us to strike a delicate balance between nostalgia and contemporary relevance. We crafted visuals that paid homage to the distinctive lo-fi aesthetics of the '70s and '80s, complete with characteristic grain, quirks, and distorted realities. Yet, we ensured that the overall look and feel remained engaging and relevant to a younger generation.
We were appealing to the audience members seeking alternatives to the polished, highly curated aesthetic that dominates much of today's visual culture. The positive response to our '70s and '80s inspired visuals stands as a testament to the strength of our team's diverse perspectives and our ability to create something both nostalgic and fresh.
This challenge pushed us to think beyond replicating past aesthetics. Instead, we had to create a visual language that bridged generations, offering a fresh interpretation of old elements that felt both familiar and new.
Photo credit: Evan Woodrum