New Footage Releases - Boss Fight Incoming

Resolume Visuals is committed to releasing high quality content. This month we've got no less than three new artists, each with a pack that raises the bar for quality and visual production. You worked your way through the first level, now it's time to defeat the Boss.

First off is Matthias Müller who you may know from the amazing Entering the Stronghold video from a while back. Check out as he blasts new life into the tunnel genre.

FantasticVoyage by Matthias Müller

Then we've got Strangeloop, whose work you may have seen on Flying Lotus recent "Layer 3" tour. We've got nothing but love for the man himself and the content he makes.

HyperFields by Strangeloop

Last but certainly not least is Luminator, a master of kinetic animation and composition. We could look at this for hours.

Lumotion by Luminator

Game on, y'all.

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"Create Visuals with Resolume" And The Winner is:

We knew Resolume could be used for creating content. We filled a few hours in the early morning just playing around with lines and solids ourselves.

But we had no idea about how far it could be taken. You took us on trips to strange and awesome places of geometric meditation. Others went to dark and scary lands of broken glitch and thunderstorms. Some of you actually brought back postcards of landscapes filled with wonderful creatures.

It was amazing. Best of all, because the .avc file had to be shared, it was a great learning experience as well. If you want to know how a particular look was achieved, you can just download the comp and see for yourself.

Next time somebody says Resolume does not have enough effects, we can just point him or her to this thread.

But of course you all want to know who won, so here are the winners:

First place:
"Comp Entry" 1 by Liam_Blend

We would play this on any screen, at any party, at any time. It's got everything a clip needs: detail, color, contrast, depth, rhythm and lots of black. We wonder if it makes coffee too.

Second place:
"Sad cosmic" owl by VJ Biolume

Because sad cosmic owl is sad. And cosmic.

Of course there was so much good material to pick from, so here are the honorable mentions:

"2colortech" by dirtyjohnlv

This was our favourite for a big part of the competition. Bold, energetic and full of contrast.

"Cosmic interference" by digital:snot

The first one that made us open the composition and check how it was done. Always a good sign.

"AKIBA NE-ON" by nkgw-a

It's interesting that glitch was considered cutting edge and avantgarde not too long ago, but now it's almost old-school. We like old-school.

"TEST 04" by VJ Granda

VJ ammo that will kill on any screen. Boom! Headshot!

"Mhlzhn21" by mahlzahn

Mahlzahn deserves an honorable mention if only for the fact that about half of the entries in the comp are his.

"Generative visuals" by aleksey notkin

This one made us doubt if it was actually made in Resolume. Even after the comp was uploaded we're still not exactly sure how some of it is done.

"8-bit avatar generator" by cosmowe

If you're over 30, you have a soft spot for anything 8 bit.

"Resolume contest" by Rebeloverlay

Spencer is disqualified because he already is the best selling artist on our label and he gets his arena serials for free anyway.

"Silent Light, Wholly Light" by J Benj

Bart swears that this video is filled with big morphing Darth Vader faces. We don't see it.

"Contest2" by SHQ

We had a few landscape entries, but the paper boat made this one complete.

Congrats to the winners, and a huge "thank you" to everyone who participated. You're amazing people, that's what you are.

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Stylus, Putting Style Back in Projection Mapping

Urban Projections are run by multimedia artist & facilitator Bec Smith. As well as facilitating commercial clients and projects, they also spend a large chunk of their time developing creative projects which encourage participation in the arts and promote social change. For a number of years Bec has been working alongside talented graffiti and modern mural painter Peter Barber of Urban Canvas (no ‘urban’ relation intended), developing interesting methods for combining their art-forms.

“Initially this began with incorporating elements of Pete’s drawn work into Resolume, via pre-produced content from After Effects, which were then triggered live. This was great, especially for more complex projection mapped pieces, such as Bloom, but missed the point of why we love to collaborate - we both get a buzz from not knowing how a piece will turn out, from creating something live which lets us both bounce of each other, right there and then in a moment”.

They had been making digital murals with the early, DIY versions of Tagtool and Node kit, dragging it out onto the streets and surprising local folk with dancing characters and shapes on the side of buildings. “It was a little cumbersome though, especially with the amount of hardware needed to run it. In early Autumn of 2012, we heard that Omai were developing an ipad version of the drawing system, so contacted Maki from Tagtool, who was only too happy to supply us with a pre-release Beta version of the app. Amazingly, it lets multiple ipads connect wirelessly and all collaborate into one drawing session. We quickly realised that combined with Airserver and Resolume’s syphon compatibility, we could now pipe Tagtool into Arena, allowing us to mask, crop, map and add pre-produced content with real precision....and all in a really compact package”.

That was the start of a beautiful thing. Without further ado, they set to work combining physically painted artwork with projection and digital drawing, breathing life and movement into still image.

“We tend to approach this technique by having a really simplified guide which Pete uses as his template to paint from, onto the wall. We flash up a basic line drawing and Pete takes it from there. I can then build a multitude of mapped masks and footage with the transparency preserved, to stack image elements on top of each other. I really love the versatility of resolume and tend to use the plug-ins and generators as much as possible to achieve the look, rather than pre-producing footage. This gives us more freedom for collaborating during the performance.

The first in the series of the ‘Stylus’ videos shows the early stages of their adventure with this technique.

“We are so excited by the possibilities that are being presented through the combination of traditional painting techniques with AV manipulation. We are flat out at the moment experimenting with new ideas and working towards some really exciting projects including loads more street artwork with mobile projection bikes, and an event at the Saatchi Gallery, London ”.

For more information, check out &

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Create Visuals with Resolume and Win an Arena License!

Update: Thanks everybody for making this the best thread ever on our forum! Competition is now closed and the winner is announced here.

We love generative visuals. Besides the endless options during live performance, the creative process is different as well. There's something very satisfying about tweaking a parameter and immediately seeing the results. You can get into a creative flow that is not possible when you're stuck waiting for ram previews or play blasts.

We love it so much, we made the CalculatingInfinity loop pack from scratch using nothing but the built-in effects and sources of Resolume. To spread the love we thought we put together a little contest to go with it.

To participate, all you have to do is fire up Resolume and go crazy with the sources, effects and blend modes. Make combinations that you didn't think were possible. Stack effects as high as wedding cake to make something totally new out of that Solid Color. Flip the order of the blend modes and see what comes out. Above all, have fun with it!

Don't think it's possible? Don't know where to start? Here's a tutorial on how to make some tasty content from scratch:

The only rule is simple: you can only use the built-in effects and sources of Resolume. No still images, videos or webcam footage.

Record your output, upload it to Vimeo or YouTube and post it as a reply on this thread. Don't forget to Include your .avc as a zipped attachment.

Amaze us. First Runner Up walks away with a brand spanking license of Avenue. The Winner walks away with Arena and gets to release his or her work on the label.

Now go and make us proud!

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New Footage Releases - Get Your Kicks with This Fix of Clips

This month's three releases each have a very different look, but they all have one thing in common. They stretch the boundaries of what is considered normal when it comes to content creation.

Netsliders uses forgotten analog equipment. Hybrid Visuals pushes the limits of generative content by building everything from scratch in Resolume. And Diffuse just makes your eyeballs go all screwy.

We like this.

CalculatingInfinity by Hybrid Visuals

Bart and Joris teamed up to take you on a recursive trip into the depths of Resolume itself. Using nothing but the built-in effects and sources, this loop pack shows the versatility of Resolume to create visuals. Original composition is included so you can tweak and learn how to do this yourself.

Entasis by Diffuse

Take a trip of illusions and paradoxes of visual perception.

Fermion by NetSliders

Fermion is an essential weapon, pure ammunition taken directly from an electron gun to fill your creative arsenal.

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Cubezoid - Projection Mapped Stage Design at Goa

This particularly tasty morsel of stage design comes from the chefs at Darkroom, and throws projection mapping in to the mix with a rotating LED object. Fingerlicking good.

The accompanying technical description also shows a good workflow for 'traditional' VJ'ing in a world where HD mixers are few and far between:

We used three machines running Resolume Arena. Two machines were used to trigger clips to specific areas of the stage using a HD-resolution custom-made UV map. Clips for specific stage elements were dropped to respective layers that would automatically reposition them to fit the UV map using Resolume's layer properties. VJs were able to trigger selected stage elements or the full stage as one clip. Both machines were running an identical setup with two MIDI controllers for easy switching between VJs.

The third machine, master machine, was used for (a) crossfading between the VJ feeds incoming via 2 DVI inputs on a capture card and for (b) mapping onto the set. The machine had 5 active outputs: Resolume GUI, three projectors (left, right and centre) and the mirrored cube output resized accordingly and sent to a LED pixel mapper.

The side-boxes and side-strips were simply mirrored in Advanced Output. To map the stage side-boxes, which were rendered using an isometric camera, we used a system of rotated and repositioned null-opacity Layers, Layer Routers and Keystone Crop effects to cut the set into smaller easily-mappable slices without affecting the final UV map preview. Using a similar method we also achieved dynamic mapping of selected elements of the stage on other elements (i.e. mapping the content of the mirror cube onto the side-boxes) - essentially switching between different mapping presets via MIDI. This was particularly useful when we had to display logos and text on mirrored parts of the set.

Each of the VJ machines acted as a backup for the other. In the case of both machines crashing, we could trigger full stage UV maps on the master machine. In the case of the master machine crashing, two laptops and a switcher were used to provide a blackout feed to all the projectors (to prevent them from displaying system information) and a pre-recorded LED feed to the mirror cube.

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People, Meet Beeple!

To those 'in the know', Beeple has been a source of high quality motion graphics for the past few years. And if you weren't aware of his work, today we're happy to introduce him to you.

Starting in 2007, Mr Mike Winkelmann started making a drawing every day for a year, as he puts it:

to help me get better at different things.
Get better indeed. At the end of each day, he posted these drawings online. As you can expect, not every piece was a masterpiece, but it's amazing to flip through the months and see the changes in style and improvements in techniques.


After that first year, he moved on to the style that made him famous, Cinema 4D, this time focussing on modeling and making a render every day (!). How's that for dedication?

Since then he has moved back and forth between styles, including photography, vector art and of course more C4D.


Of course it was only a matter of time until this hard work would see the light of day as full motion renders as well. A seemingly never-ending source of jaw dropping abstract goodness, all of his work is downloadable via his Vimeo page, often including the C4D source files as well.

Some of his work is now released on the awesome Brainfeeder label, and if you were lucky enough to catch the Flying Lotus/Strangeloop/Timeboy extravaganza 'layer 3', you saw some if his work there as well.

In short, this guy is cool as beans...

In the spirit of sharing is caring, we're giving away a previously unreleased set of Beeple clips. Yup, we're not cutting prices in half, we're completely cutting prices altogether. Free as in birds, everyone can download these clips, even if you intend to use 'em in GrandVJ.

Grab the pack in 480p DXV!

Grab the pack in 720p DXV!

(For those of you who wouldn't recognize a good codec if it hit you in the face, here they are in PhotoJpeg 480p and 720p)

And if that wasn't enough, you can even nab the Cinema 4D source files, and see how the master made the fine art that is this content.

C4D project files

Everyone, meet Beeple. Beeple, meet everyone!

Keep your eye out for more Beeple on our very own footage label in the future!

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