This may come as a surprise to you. Usually it takes us 3 or 4 years to release a new major version. Now it's only been a little under 2 years since we announced Resolume 6. The reason for this change of pace is we have big changes and even bigger plans. We think you'll like them so read on for all the juicy deets.

UNDO



When someone asked us why there is no undo in Resolume we usually said something like “Resolume is a live instrument! There is no undo on a piano either!?” or we joked “Resolume is about doing, not undoing”. We do not have to hide behind these jokes anymore. We did it, Resolume now has undo & redo.

When an application is not built from scratch with an undo system then implementing it at a later stage, when it has hundreds of thousands of lines of code is a lot of tedious, error prone and boring work. This is why we delayed implementing undo for a long time. We just focussed on fun and exciting features. Meanwhile, our problem only became bigger and bigger, with every new line of code we wrote.

We realised that we had to rip of this band-aid hard and quickly or it would haunt us for ever. The longer we waited, the bigger our problem would become. So we sat down, put on our headphones, enabled crunch mode and did it. We modified thousands of lines of code, broke the whole system to add two very unsexy but very important keyboard shortcuts: CTRL + Z & CTRL + SHIFT + Z. UNDO & REDO.

So now you have a little guardian angel watching over your shoulder. Made a mistake? Just hit undo and you're back to where you were. Removed a deck instead of renamed it? CTRL + Z and all your clips are back.

Undo is also a great design tool. Feel free to experiment with the look of your clips, apply effects, change the colors and if you do not like what you see you can always just go back with undo.

Resolume is still very much about doing, but now your doing does not have to be disastrous anymore. You can undo your way back to safety. If we were to redo this (pun intended) from scratch we would have done it a lot earlier. So if we’re ever going to release a new app, we’ll make sure it has undo from the very beginning. Promised.

A New License Model

We never want to do major releases any more, they’re painful. We want to innovate faster. Days before the release of version 5 we felt bad it “only” had improvements to the Advanced Output. The release of version 6 was production hell because it contained too many new features. When we’re releasing a new major version we always feel uncertain if it’s good enough. Does it contain enough new features that would get you all excited? Does all of that new stuff actually work? Did we test everything enough? A lot of things need to come together for a major release. It’s a lot of work and we’re a small team so we always drop the ball one way or the other.

With a major version we need to save up on new features. Which means we build something and then we can not immediately release it because we have to wait for all the other features to be done, to make sure the major release is worth the upgrade price. This means we often have exciting new stuff that will improve your VJ-ing, but it has to sit on our virtual shelves for months, over a year sometimes. We want to work in smaller, more manageable iterations. Bring you updates and respond to the changing live visuals market quicker.

We’re changing our license model so we can innovate faster and release new or improved features more often. We will no longer charge an upgrade fee to a major version anymore. Instead, now when you buy Resolume 7, you’ll get a full year of updates, bug fixes, new features, improvements, everything and all of it. When your 12 months of free updates are over you can simply renew your license if you want to continue using the latest & greatest versions. Or you can wait, your latest eligible version will always work.

This is not a subscription

You do not have to continue paying just to use Resolume, you can use it forever. You do not have to renew your license every year, the last update before your license expires will be yours forever.
So from now on we’ll be working in smaller iterations so we can make sure a new feature is fully tested, documented, translated & ready for release. This way you’ll get to see less bugs & more new features.

USB License Dongle Option



With the Resolume USB Dongle you have a very flexible way to manage your Resolume Avenue 7 and Arena 7 license. Register your dongle once and then insert it into any computer you like, start Resolume and it's registered. A dongle does not require online verification after registration, so it's perfect for use on computers that are kept offline. Available in the shop for 79 Euro.

Of course, the dongle is optional. You can still use the online registration system if you prefer.

Color Eye Dropper



Pick a color from anywhere on your screen and apply it in your composition.

Multiple MIDI Devices



What's better than an APC40? Two APC40's!

Connecting multiple MIDI devices was always possible but their MIDI signals would get mixed. Resolume can now distinguish MIDI coming from different devices making them work nicely together almost magically.

Improved Random Playback



Random playback was always a bit too ... well ... random. But you now have a lot more control over random playback. You determine how often it will jump to a new random position and how far it is allowed to jump.

Color Palette Animation



Pink Green Pink Green Pink Green Pink Green

Animate your favorite colors in a color palette.

Autopilot Loops



You can now determine how often a clip should loop before advancing to the next.

MetaBalls, Sine Wave, Spiral



They say it's more sustainable to buy local produce. So we worked together with The Hague based artist Darien Brito to create a few versatile generators so you can create even more visuals right within Resolume.

Improved Media Manager

Clip reconnecting in the Media Manager is simplified to make it faster and more robust.

FFGL 2.0 Plugins

The FFGL plugin standard is updated to version 2.0. Plugins can now receive Audio FFT input to create audio visualizers. Parameters can be spinners or drop-downs. Parameter ranges can be customised and are not limited to always 0.0 - 1.0 anymore. The documentation & examples are also improved on the GitHub repository.

FFGL 2.0 now requires OpenGL 4.1 so plugins that work in version 6 will not work in version 7, those plugins will need to be updated by the developer who created them.

Native ProRes Playback

Resolume can now play ProRes video on both macOS & Windows. Alley 2.1.0 can convert ProRes to DXV.

Upgrade Pricing

Upgrade Arena for 1 computer to version 7 is 219 Euro. (upgrade to version 6 was 319 Euro)
Upgrade Avenue for 1 computer to version 7 is 79 Euro. (upgrade to version 6 was 119)

Log in to your account to purchase your appropriate upgrade.

Version 7 is the last major version upgrade you'll ever be able to buy from us, from version 7 on you can (optionally) renew your license every year.

Renewal Pricing

Arena 12 Months License Renewal is 219 Euro.
Avenue 12 Months License Renewal is 79 Euro.

Grace Period

If you have purchased a Resolume 6 license in the past 30 days we’ll be happy to upgrade you for free. Please contact us: mail@resolume.com

Download

Hit the downloads page to download Avenue and Arena 7 now. Take it for a spin and kick its tires. Let us know your feedback on the forum.

Choose your loops like you would choose an avocado.
Touch them, smell them, imagine them being yours.
Do not settle for anything less than what you deserve.
Do not go gentle into that night.

Get CyberSpace by Kev Zhu


Get FloatingPolygons by Data Ghost


Get EastMandala by Kongfoo Motion

No show, these days, is about just the artist or the music or the visuals or the lights. What defines a great show is how all these different facets tie up together. It’s about skillfully intertwining the audio with the visuals, the lights with the sounds, the music with the mood. I like to imagine it as blurring the lines. In the most subtle and tasteful way. Presenting a full and complete piece to the audience. And what better way to do this, than with sync?



Ah sync. An artist’s sweetest dream & worst nightmare. Get it right and the lines are skillfully indistinct. Get it wrong and the lines are all you see.
[fold][/fold]


Now, you must know that not a day goes by when the elves at the Resolume HQ don’t think about sync. You see, Resolume is not just an enabler for VJs to perform cool tricks. The bigger picture is constantly at the back of everyone’s mind. And then somewhere along the road, good people like Leggy come along. And make it all worth it. When you use MIDI & SMPTE & ArtNet Merge at the same time, in the same show, its gotta be real juicy. We're thinking, “Dinner is served” :)



Kyle Roberts (aka Leggy aka mushpongo ) has been working hard at creating content, making edits & running all the video related stuff for Koan Sound and their latest project “Polychrome”. Apart from having the coolest nick name ever, we really like him coz he introduced Jim & Will (Koan Sound) to Resolume. And, before we knew it, their whole new show depended on it.



We caught up with Leggy & Jim + Will to talk to us about their new show.



First things first, tell us how you got into this world of visuals, Leggy.

My dad is an avid photographer/videographer so I was lucky enough to have access to a camcorder when I was young. I ended up making short films with whatever I could find round the house and then editing them on a single VHS deck.

After that I focused on music studying Music Technology at University; that’s where I was first introduced to After Effects which reignited my interest in visuals. During that time period both ‘WarpVision’ and ‘The Work of Director Chris Cunningham’ DVD’s were watched in heavy rotation so videos like Gantz Graf and Monkey Drummer influenced me. Regularly visiting Bristol also had a major impact as it’s where I first witnessed projection mapping within the context of club via the ANTIVJ collective.

I knew mapping/lighting was something I wanted to focus on and over the years I’ve thankfully landed work at various festivals including Glastonbury and Boomtown where I could explore this.



Working with KOAN Sound was a pleasure as I’ve been a fan of theirs for some time. As soon as I heard Polychrome it was clear they had put a massive amount of effort in to all aspects of the album including artwork so I was ecstatic to be asked to help out with content dedicated for the Live show.

Awesome. Tell us about Polychrome and how is it different from what you have done in the past.

KOAN:
In the past we’d displayed visuals whilst we were performing, but they were never linked to the music in any meaningful way. This show was all about showcasing visuals that were very closely tied to the music.



We’d been exploring macro photography to create all of the artwork for the album, and we wanted to take that one step further and experiment with creating visuals using the same technique.



From there we assembled a small team of visual artists and animators, and began to create a video for each of the audio tracks. It was a very hands-on process, and really fun to be involved so heavily with both the creative and technical side of the show.

It’s interesting how you’re from a music production background & so find many similarities between Ableton & Resolume. What are the similarities do you see & what makes Resolume so easy to use by producers?

LEGGY:
Anyone who’s looked at the Session view within Ableton will recognize the layout of Resolume. Coupled with the drag and drop nature of both bits of software I think the learning curve compared to other visual software is rather gentle. In more ‘traditional’ DAW’s you would go through sub menus on each channel to allocate effects etc, within Ableton and Resolume you just drag them wherever you need them which encourages experimentation straight away. Also, the envelopes you can allocate to parameters introduced in Resolume 6 are visually similar to LFOs/Envelopes within popular workstation synths such as Massive and Serum, anyone familiar with them will quickly work out how they can be used.





KOAN:
We very quickly found parallels between Ableton and Resolume, in their ease of use, flexibility and workflow. Using Ableton’s MIDI envelopes to control Resolume was a revelation to us, and being able to program everything in real-time felt a lot like making music. Having the ability to tweak any number of visual parameters using automation inside Ableton is very powerful, and is similar to our process when working with just audio.



Let’s talk about Koan Sound’s new setup- from design to reality.

LEGGY:
The setup used for the live performance was conceived and designed by Tim Smith. When the team first met up to discuss plans it became apparent that KOAN wanted to be ‘surrounded’ by the visuals so Tim drew up some ideas for curved/angled LED screens that sat behind the performers and we all agreed it was the right direction to go in.

Using Grandma2 OnPC, Ma3d and a simple video to CITP converter, we were able to pre vis the designs and collaborate on the final piece.



Lighting wise we wanted to be able to have an either-or situation, video only or lights only so the entire show wasn’t solely content focused.

Tim picked GLP X4 Bar 20s that sat above and below the video wall, Robe Pointes placed in between the gaps of the LED screen and stage right and left in order to highlight KOAN and finally SGM RGB strobes placed on and behind the structure to add some depth.



Regarding touring the plan is to have three tiers of stage design all based on Tims original setup that we can alter depending on the venue but FOH and routing will stay the same.

Tell us about the routing & the hardware for the show.



You have a FOH (Resolume) Laptop, a stage laptop and a playback laptop?

KOAN:
The stage laptop is sending MIDI note and CC data to the FOH laptop over network, in addition to MIDI from the instruments on stage.



LEGGY:
The stage laptop is responsible for MIDI both in terms of VST playback in Ableton and sending data to alter parameters/trigger layers in the dedicated Resolume laptop at FOH. As KOAN could ‘play’ the visuals alongside their instruments it made sense to have a separate playback laptop to ensure a smooth show in case anything went awry, something Jon Savage, our experienced production and tour manager made sure of.



In terms of the hardware:

Stage: Macbook
Playback: Macbook
Resolume: GTX1080 MaxQ equipped W10 laptop

All of these laptops (alongside the GrandMA2) where connected via a network switch sending MIDI over LAN with the playback sending a separate LTC track over a stage box to the GrandMA2.

I hear that you are big on masks. I, personally, love the endless potential they provide. Tell us how you use them in your show.



KOAN:
When we were putting together the Arena composition it seemed like the easiest way to lay everything out was to use one deck per song, so that each track in the set had its own specific overlay and effect clips that could be independently adjusted.

In addition to selecting the deck with a note message at the start of each song, MIDI data is used to trigger masks and effects, as well as control a variety of parameters such as opacity, clip speed and start point.
The masks were also a way for us to showcase animations we’d made ourselves. Jim used Max/MSP/Jitter and Processing to create the overlays, rendering out lots of longer generative clips in high contrast. To make the show different every time, our generative masks run in the background, and by using a video router clip on a layer above, we found a way to trigger an opacity envelope on the mask without re-triggering the clip itself.



You also work with Artnet merge? It is such a great tool. It’s great to see more people use it to achieve sync between lighting & video.

LEGGY:
We actually tested the Artnet merge last but it proved one of the easiest things to get going!
I created the X4’s within the fixture editor:



And, placed them along the top and bottom of the main output (around 20 pix in height) matching their position on stage.

The merge was done at the Artnet node using a HTP setup and a trigger channel on the MA to activate/deactivate the merge. This meant Tim could control brightness, pan, tilt and zoom of the X4’s whilst Resolume dealt with the mapping. We essentially extended the screen upwards and it added so much depth to the content.

We did hit some rather large delay when activating the merge but we put that down to the Artnet Node used.

Good to know that ArtNet Merge is not that complex.
Let’s talk about all that juicy content now. Obviously, you had multiple visual artists working on the show?




KOAN:
Yes we did. The team at KōLAB Studios (Sarah Koury, Alastair Brookes and Khali Ackford) used watercolor paints with various other fluids and materials to create abstract forms and movement. We used a Sony a7R III with a 90mm 2.8 macro lens to film everything at 120fps, and experimented with different lighting setups. Our friend Loz Blackwell then used this footage to map displacement of the album artwork. After Effects was used to synchronously time remap and transform a host of macro shots, using this as a displacement map to then apply to the artwork stills. Working with such high resolution photographs enabled the cropping and selection of different sections to match the motion of the underlying visuals.



In addition, the team at BEAMA Visuals (Ben Leonard, Leigh Powless and Logan Anderson) played a big role in the content generation. They come from a range of arts backgrounds (animation, painting, graphic design respectively) and each brought their unique take to the project.

Ben wanted to recreate the complexities of natural systems in a digital space, using Cinema 4D and X-Particles in order to achieve organic growth and fluid dynamics.



For Leigh the project offered the perfect opportunity to merge digital with analog, and she crafted much of her content by hand, mixing different pigments and additives to create organic patterns of color which were then brought into After Effects to be digitally manipulated and finished. "I was trying to create visuals that were sort of living, breathing paintings, playing with symmetry and rorschach style imagery to invoke a dreamy, surreal response in the audience."



LEGGY:
My main duty content wise were visuals for the non-Polychrome songs that showcased KOANs back catalog so I wanted to create visuals that sat apart from the albums dedicated content but didn’t appear jarring.



Some of KOANs earlier work is more dancefloor focused so it gave me a chance to use some bold colours and quick edits.



The whole team shared a spreadsheet where we divided up the workload and decided what colour schemes each track should adhere to, this workflow meant we could maintain fluidity throughout the whole show.Visuals were mainly created within After Effects using the sound to keyframe tool to trigger effect parameters and layer opacities. KOAN rendered out separate stems (Bass Drum, Snare and Bass) to allocate different parameter changes to each resulting in tight visuals.



I also used C4D and Octane to create loops which were then manipulated in After Effects to create this bright warped shapes which KOAN liked the look of and I used this technique on a few songs.



So cool. We love it. The content is beautiful.
Tell us your favorite bits of the show. What do you love, what didn’t really work out?

KOAN:
We’d been relying on master tempo automation as a way of keeping everything on the grid in our onstage Ableton project, and using the Link protocol to sync the clocks of the two laptops. It had proven stable in the lead-up to the shows, but during one of the final rehearsals we discovered that these changes in tempo were causing the playback and LTC audio tracks to glitch.

We weren’t fully sure about the technical reasons for this, but thought it might have been because of the playback cursor on the synced laptop not moving smoothly through the changes in tempo, therefore causing the LTC being read by the media server and lighting desk to jump around. We had to completely scrap the tempo automation and manually move everything off of the grid in Ableton, which took ages!

LEGGY:
The crowd at the show were so energetic, definitely a pleasure to watch people react to all the hard work the team put in.

[video]https://www.youtube.com/watch?v=UTbu2QfjUvE&feature=youtu.be[/video]

The main issue for me was the dreaded ‘Optimus’ that cropped up on our Resolume laptop due to the inability to turn it off via BIOS. I had to use the workaround of creating the external display (in this case our LED wall) as the main display and everything ran smoothly after that.

Finally, we love how you’ve used all the different features Resolume has to offer to make your show. Talk to us about your favorite features. Is there anything you would like to see developed/worked upon?

KOAN:
The envelopes inside Resolume are amazing. It’s great being able to finely control any number of parameters, plus all of the different easing functions are really cool. Also how easy it is to repurpose content, by adding effects and quickly mirroring and inverting clips, as well as changing things like speed and scale.

LEGGY:
The updates in 6 have been a pleasure to explore, mainly the envelopes and modular re-design to be able to alter your workspace. I’ve also used the DMX output intensely over the years running full lighting and visual shows from a single laptop; using simple animations you can come up with bpm synced chases that would take an age to program! In terms of future updates I would love to see the inclusion of basic 3D modeling and lighting.

Thank you for doing this interview, you guys.



Polychrome looks beautiful and we can’t wait to catch it live.

Meanwhile, give the album a listen here.

CREDITS:

All photo credits: "Sarah Koury / KōLAB Studios"
BEAMA
KōLAB Studios
Loz Visuals
Mushpongo

Ghosteam is teaching us a lesson with every new pack he's making.
Get Grid by Ghosteam


With LuRays, the light within will guide your vj-ing sets.
Get LuRays by Luminator


Hand is a minimal pack of loops that will rightly compliment your set.
Get Hand by Laak

The 6.1.3 update has enchantment galore. We worked on stability and ease of use, but above all, we used our magic powers to make Resolume more beautiful, more elegant and more enchanting. She now feels like the princess she deserves to be, and we're sure you will too.



Cinderella Decklink

Blackmagic devices are the princesses of video. So much so, that after dancing at the ball for more than 24 hours, the output would freeze and need to be reset. We now make sure that Cinderella doesn't turn into a pumpkin and is home in time to do her chores.

Out of the Dark (Into the Light)

Alley would start up with a completely black interface on laptops with both an integrated and dedicated GPU, unless you explicitly told it to use the dedicated GPU. Not a showstopper, but definitely annoying, so we now set the GPU for you.

Radial and Linear Cloner effects

These were two very popular plugins by Hive8 back in the Resolume 5 days and a lot of you were requesting 64 bit updates for Resolume 6. So we took their basic premise, very literally added our own twist and made them native Resolume effects. Thanks very much to Anton Hive8 for letting us use his idea and to STV in Motion for the moral support and preset making.

今日のVJブース

Just like the manual, the Resolume GUI and Help are now also available in Japanese. すごい!

Now go fit your glass slipper on that download or check the full fix list below.

10508 Possible crash crash resizing GUI
11066 Load capture sources with a sensible resolution
11334 Launching selected clips with Enter works only once
11970 Alley UI is black on some laptops
12021 WMV files rendered semi transparent in Alley
12054 Text animator Rotation is displayed as radians
12059 NDI output is black when composition is bypassed
12068 Crash when opening Avermedia cn311-h capture source
12083 Update to NDI 3.8
12109 28.77 FPS DXV2 file shows and plays as 6000FPS
12111 Avi with RAW UYVY codec plays in Alley with a wrong duration
12127 Text animator doesn't show whitespace at start of a line
12139 Fit/Fill/Stretch is not part of preset in Alley
12147 Shift RGB no worky when animated in Zoom mode
12153 Alley crashes when Startup Screen is visible and nudge shortcuts are used
12168 Radial and Linear Cloner effects
12186 Crash selecting audio input device, when the previous device had more channels
12251 Japanese GUI & Help Translation
12331 Transform Position Y Start Stop range doesn't follow composition size
12374 Decklink outputs freeze after 24 hours
12376 Crash in Advanced Screen setup doing undo-redo

Fresh faces, fresh footage, fresh life!

Michah Buzan has been making waves with his unique style of animation and we're very proud to welcome him as an artist on the Resolume footage label!

Get Morphoholgy by Micah Buzan


Kev Zhu is another new face and his first pack Luquiform takes particle systems to a whole other level.
Get Luquiform by Kev Zhu


And Julius Horsthuis is a familiar face by now. That doesn't mean his work is not jaw droppingly amazing as always.
Get BlueSpace by Julius Horsthuis

This time we welcome a new artist on the footage label. Data Ghost is a Motion Graphic Designer and VJ based in Milan. His first pack HyperLines is juicy and meaty. After a long period of silence, we also welcome back Daniel Knight. His pack Structures was well worth the wait. And Ghosteam is always welcome. His pack Unter is jaw droppingly beautiful as always.

Get Unter by Ghosteam
More real than real


Get Structures by Daniel Knight
A modern twist on the classic style of black and white visuals


Get HyperLines by Data Ghost
Juicy and meaty colorful pack of loops

Today, we release Resolume 6.1.2 into the wild. It wasn't easy. There were tears. There was blood. Most of all, there was love. Take care of her. She's special.

GIF Playback Hotfix rev 62522
Two steps forward, one step back. GIF playback was boken in the innitial 6.1.2 release. If you need this then please update once more.

"How many times do I have to kill you before you die?"
When you remove an unwanted layer in one deck, Resolume will no longer bring it back from the dead when you switch to a different deck. Unless you had content in it of course.

Apparently, this type of file also exists
When you have a hammer, everything is a nail. And when we released Alley, of course you tried to convert every possible file format under the sun. We tackled a lot of edge cases with some of the more exotic codecs and containers.

I am Denon Prime, leader of the Autobots
Resolume is now compatible with the Denon Prime 4 series, the slick new mobile mixer/player combo recently announced. While we were at it, we made clip triggering of Denon linked clips even more robust. Also, I snuck in yet another Transformers reference in the release notes.

Le singe est sur la branche
Thanks to Emeric Delavaud, Resolume now speaks French as well.


Check out the full fix list below or double tap that download.
[fold][/fold]

11048 Text block launches on restart-reopen, with parameter values uninitialized
11148 ND4 HAP files playing distorted
11232 Aja U-tap HDMI doesn't list all available formats
11245 Can't remove empty layers (anymore), deck switch always recreates them
11322 Possible appcrash duplicating groups
11504 Transitioning to a clip with overridden blend mode worky weirdy
11550 duplicating AV file/clip can make clip beat count change
11606 ASS BMD output sometimes not initializing with saved settings on Resolume restart
11660 Denon clip doesn't launch again if clip was ejected before, and the offset of the clip is smaller than the deck position
11715 Magewell XI100DUSB-HDMI only lists 60HZ progressive formats
11741 Multiple clips are not launched when receiving note on for them at the same time with Free Layer target
11770 Composition dashboard fold state not saved correctly
11777 Relocating a single file takes very long in large compositions
11906 "Column" is not translated any more if you set a color for the column
11944 here show it djhpow
11947 Possible memory leak playing avi file with ADPCM audio
11953 Audio cracks in AAC files converted with Alley
11961 Alley can't load tiff image sequences containing uint16 data
11965 Layers and columns can get messed up after Collect with update current composition.
11966 MM relocating single file to a file with a different name doesn't work
11968 MIDI velocity output no worky for selected layer clip triggers
11978 Alley is not code signed properly?
11981 Scroll layers and clips into view not working for groups
11983 Midi clock start/stop not effective
11990 AudioFormatReaderFFMPEG fails at AAC
11995 Converting image sequences can fail when folder contains metadata files
12008 Deck select shortcuts move with the decks
12011 Tempo controls repeat action when mapped to DMX and channel value changes to !=0
12042 Thumbnail loaded from file is not keeping aspect ratio.
12044 Crash trying to convert mp4 with lots of metadata
12071 DXV playback is jumpy in AE CC2019
12073 PNG with 'Gray' colorspace and Alpha channel shows white when played and yellow X as thumbnail
12078 Some shortcut types for dropdowns no worky
12107 Denon Prime 4 compatibility
12130 Possible crash with Denon switching from a linked to an unlinked song
12134 French Interface Translation (by Emeric Delavaud)
12140 Possible crash when changing envelope preset

The secret to a good show is all about the communication between the light technician and the VJ. Who are we kidding? You are the artist. Take these packs and forget about the lighting guy 😉

Get Alien by Dumb Robot
The pyramids, aliens! Crop circles, aliens!


Get LiquidLightning by Chromosoom
The lightning that enlightens!


Get FloodLight by Artificially Awake
It's all about the light. And shadows.


PS We love you, lighting guy. And lighting girl. We're all artists here.

2018 is coming to an end. And the end of a year is usually a time where we look back at what happened and think about the things we would like to do next year.

2018 was an excellent year for us. We focussed mainly on version 6 and getting her in the best shape she can be. So we released many updates that included a lot of bug fixes and improvements.

We’re really quite happy with where version 6 is at the moment. Next year we’re obviously going to continue working on keeping it that way. But at the same time, we're going to shift the focus a bit to new features again. We have a lot of what we think are great ideas. In the end, you're the ones out there every weekend using Resolume, so we’d like to know exactly what you're still struggling with, what we should build next and what we can improve upon.

We have created a survey so you can contemplate how the past year's been for you, and let us know where you want Resolume to take you next year.

[s]Enter Resolume User Survey[/s] The survey is closed and we'll contact the lucky APC winner via mail.

As a reward for taking the time to enter the Resolume survey, we’re going to raffle one Akai APC40 MK2 among the entries, kindly donated by Akai. We think the APC40 is the best controller for Resolume. So if you do not win one, you should go out and buy yourself one as a Christmas gift. We're including a decksaver to make that bad boy backpack travel proof.

That’s it from us for this year, have a very Merry Christmas, enjoy your new year's gig and we’ll see you next year!