History of AV performances
Last year at the lovely VJ Fest Istanbul, I was lucky enough to attend an awesome lecture on the history of audiovisual performances. The lecture was given by Cédric Chabuel, a kind and soft spoken gentleman who performs with his own AV work under the name Ouananiche. It was awesome to get insight in the development of the medium from someone so closely involved with it, all of it well illustrated with striking examples. I was so impressed we asked Cédric to make a written version for the Res blog, so you can now have your mind expanded as well...
Video musical remix is my way of putting together what I know best : part DJ, VJ, director, sound designer and musician. It's an all too simple and too complex mechanic : sample movies and recompose video and music tracks without ever breaking picture and sound synchronization. This is called DVJ, live AV, audiovisual mash-up or video music... Personally, I prefer the term « Video Musical Remix » because it reflects both my intention and the trend it fits in. It's not about remaking the film or video clip, but it's about using picture and sound to create music. Pushing the limits of cinema, video art, concert and digital art, Video Musical Remix is a journey in between codes and languages to define a new genre. As one picture is worth a thousand words, here is one of my first production.
<Un Petit Bonhomme> by Ouananiche
Going back to the source is not an easy task. Researching my first video musical remixes brought me back to 1997, where I can identify two main founding influences.
The first one was on a CD-ROM ( crazy right? ) that came along with the latest Coldcut album « Let Us Play ». On this bonus CD, I found videos that blew my mind. In collaboration with Hextatic, Coldcut used video and sound samples with musical beats. The most famous piece is called « Timber ». The sugar on top was Vjamm, a software that really let us play with their videos on our very computer keyboards. Today, Vjamm was one of the first tools dedicated to video music and audiovisual live.
<Timber> by ColdCut/Hexstatic
Tasman Ridcharson, from the FameFame collective based in toronto, publishes « Jawa Manifesto » the same year to express their vision of video musical remix with a simple expression : «Sex and violence». In a much more hardcore/breakcore tendency, FameFame artists don't add sounds and only use the sound provided by the pictures. « A single frame of Darth Vader instantaneously evokes the whole mythology of Star Wars and that character » says Tasman. That's the stumbling block of remix art : telling a story with combined sensical samples. Jubal Brown, ex-founding member of FameFame, still organizes today one of the most popular event devoted to video mash-up : Videodrome, which attracts a solid crowd every year at Toronto's MOCCA. Here is one of his videos, typical of Toronto style ( Beware : shocking images. )
-Anti-Feelings- by Jubal Brown
Vjing and electronic music are linked since they were born. It was only logical that they ended up together. The same basic techniques : sampling and synthesis. Remix and sampling always go together : cut and pasted elements from an original piece then create new meaning, weather the reference with the original is kept visible or not. For video musical remix it's the same mechanic but you keep the original synchronization of sound and picture. So you can actually see music. It's technically the same process as electronic music using samples, except that it now happens on an editing timeline with more constrains than just sound.
There are many softwares for music and video editing... but very few are really powerful in both sound and video editing. For now, each artist creates his own path through many different tools but it is a clear tendency that in a close future all softwares will be fully audio visual.

But one of the main problem when dealing with remix remains copyright. The twentieth century was the century of copyright. What has originally been a system to protect artists, authors and respect for intellectual property became an arbitrary and absurd limit to creating. Art is copy, and those who want to divert, quote, remix, illustrate from existing creations now have three choices :
- Clear the sample, i.e. get the proper authorization from the copyright holder ( in other words be insanely wealthy )
- Ponder if it's worth the risk over and over to finally accomplish nothing
- Take all risks and try to look cool before the FBI nails you
The copyright situation today is in total contradiction with art and culture history. Brett Gaylor gives a great example in « RIP! A remix manifesto » : Walt Disney creates an empire ripping off popular culture fables (Sleeping Beauty, The Beauty and the Beast, Aladdin... ) but sues anyone getting near Mickey Mouse image.
<RIP - A Remix Manifesto trailer>
Occasionally artists, producers and copyright holders reach an agreement, when hollywood movies are remixed for commercial use by the collective Addictive TV. These products are « official remixes ». In my case, after playing live with pirated material many times, I was offered movies to remix by adventurous producers. « Next Floor » by denis Villeneuve, « Les Manifestes en Série » by Hugo Latulippe and more to come. If intellectual property and copyright stakes are of any interest to you, I suggest you check out this compelling conference by Lawrence Lessig, founder of Creative Commons.
<Next Floor Remix trailer> by Ouananiche
<Les Manifestes en Série extracts> by Ouananiche
Here is a brief and incomplete summary of international video musical remix artists :
– Coldcut
– Addictive TV
– EclecticMethod
– label V-Atak (Rko,VJMeat,Nohista)
– GiovanniSample
– Systaime
– Vidéosampleur
– Kutiman
– Pogo
– label Dropframe (Skeeter,Wnodtlem,etc.)
– JubalBrown
– Tasman Richardson
– Ouananiche
- Amoeba
- Frank Sent Us
And to conclude, as Jim Jarmush says : « Nothing is original, Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don't bother concealing your thievery -celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said "it's not where you take things from -it's where you take them to." »
Be sure to check out Cédric's work at poissonsmorts.com, and of course feel free to add links to your favorite AV artists via the comments!
Translated from french by MattBen

Video musical remix is my way of putting together what I know best : part DJ, VJ, director, sound designer and musician. It's an all too simple and too complex mechanic : sample movies and recompose video and music tracks without ever breaking picture and sound synchronization. This is called DVJ, live AV, audiovisual mash-up or video music... Personally, I prefer the term « Video Musical Remix » because it reflects both my intention and the trend it fits in. It's not about remaking the film or video clip, but it's about using picture and sound to create music. Pushing the limits of cinema, video art, concert and digital art, Video Musical Remix is a journey in between codes and languages to define a new genre. As one picture is worth a thousand words, here is one of my first production.
<Un Petit Bonhomme> by Ouananiche
Going back to the source is not an easy task. Researching my first video musical remixes brought me back to 1997, where I can identify two main founding influences.
The first one was on a CD-ROM ( crazy right? ) that came along with the latest Coldcut album « Let Us Play ». On this bonus CD, I found videos that blew my mind. In collaboration with Hextatic, Coldcut used video and sound samples with musical beats. The most famous piece is called « Timber ». The sugar on top was Vjamm, a software that really let us play with their videos on our very computer keyboards. Today, Vjamm was one of the first tools dedicated to video music and audiovisual live.
<Timber> by ColdCut/Hexstatic
Tasman Ridcharson, from the FameFame collective based in toronto, publishes « Jawa Manifesto » the same year to express their vision of video musical remix with a simple expression : «Sex and violence». In a much more hardcore/breakcore tendency, FameFame artists don't add sounds and only use the sound provided by the pictures. « A single frame of Darth Vader instantaneously evokes the whole mythology of Star Wars and that character » says Tasman. That's the stumbling block of remix art : telling a story with combined sensical samples. Jubal Brown, ex-founding member of FameFame, still organizes today one of the most popular event devoted to video mash-up : Videodrome, which attracts a solid crowd every year at Toronto's MOCCA. Here is one of his videos, typical of Toronto style ( Beware : shocking images. )
-Anti-Feelings- by Jubal Brown
Vjing and electronic music are linked since they were born. It was only logical that they ended up together. The same basic techniques : sampling and synthesis. Remix and sampling always go together : cut and pasted elements from an original piece then create new meaning, weather the reference with the original is kept visible or not. For video musical remix it's the same mechanic but you keep the original synchronization of sound and picture. So you can actually see music. It's technically the same process as electronic music using samples, except that it now happens on an editing timeline with more constrains than just sound.
There are many softwares for music and video editing... but very few are really powerful in both sound and video editing. For now, each artist creates his own path through many different tools but it is a clear tendency that in a close future all softwares will be fully audio visual.

But one of the main problem when dealing with remix remains copyright. The twentieth century was the century of copyright. What has originally been a system to protect artists, authors and respect for intellectual property became an arbitrary and absurd limit to creating. Art is copy, and those who want to divert, quote, remix, illustrate from existing creations now have three choices :
- Clear the sample, i.e. get the proper authorization from the copyright holder ( in other words be insanely wealthy )
- Ponder if it's worth the risk over and over to finally accomplish nothing
- Take all risks and try to look cool before the FBI nails you
The copyright situation today is in total contradiction with art and culture history. Brett Gaylor gives a great example in « RIP! A remix manifesto » : Walt Disney creates an empire ripping off popular culture fables (Sleeping Beauty, The Beauty and the Beast, Aladdin... ) but sues anyone getting near Mickey Mouse image.
<RIP - A Remix Manifesto trailer>
Occasionally artists, producers and copyright holders reach an agreement, when hollywood movies are remixed for commercial use by the collective Addictive TV. These products are « official remixes ». In my case, after playing live with pirated material many times, I was offered movies to remix by adventurous producers. « Next Floor » by denis Villeneuve, « Les Manifestes en Série » by Hugo Latulippe and more to come. If intellectual property and copyright stakes are of any interest to you, I suggest you check out this compelling conference by Lawrence Lessig, founder of Creative Commons.
<Next Floor Remix trailer> by Ouananiche
<Les Manifestes en Série extracts> by Ouananiche
Here is a brief and incomplete summary of international video musical remix artists :
– Coldcut
– Addictive TV
– EclecticMethod
– label V-Atak (Rko,VJMeat,Nohista)
– GiovanniSample
– Systaime
– Vidéosampleur
– Kutiman
– Pogo
– label Dropframe (Skeeter,Wnodtlem,etc.)
– JubalBrown
– Tasman Richardson
– Ouananiche
- Amoeba
- Frank Sent Us
And to conclude, as Jim Jarmush says : « Nothing is original, Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don't bother concealing your thievery -celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said "it's not where you take things from -it's where you take them to." »
Be sure to check out Cédric's work at poissonsmorts.com, and of course feel free to add links to your favorite AV artists via the comments!
Translated from french by MattBen

Resolume Blog
This blog is about Resolume, VJ-ing and the inspiring things the Resolume users make. Do you have something interesting to show the community? Send in your work!
Highlights
Artist profile: amoeba
If you've been keeping up on the AV scene for the past few years, you must have heard about him, and if you ever met amoeba aka haggard celine aka a.av aka acab23 in person, you know he's always good for a funny tale or two. So it's high time we introduced you to the man, the myth, the legend...
What's your background?
When acid house + techno kicked off in the Uk around late 80's early 90's I was finishing graphic design college in Glasgow, and was ideally placed to incorporate and embrace the new emerging design, creative typography, computer, vj and electronic music scenes with a gonzo influenced approach and a creative design based background.
In my graphics I was already influenced by the designers republic, japanese typography, constructivism, sigil magic, psychicTV, video art/visual music and the emerging techno shamanic dance cultures and tribal lo-fi collectives of creatives, and the significances of these new connected cultures as it spread worldwide were something I wanted to be part of, and contribute what I could to it.
Originaly i provided direction and creative content as part of the scottish video arts collective A.'.A.'.A, then i moved on to mixing my content the way i wanted it to be seen. In the beginning when projectors cost more than the club we were using 23 TV's as screens [6 cars to get to a gig back then ; ) ] We performed and mixed at clubs or with artists throughout the 90's for labels, artists and clubs like Rub a dub, the arches, slam, jeff mills, alabama 3, and Soma records.
I set up amoeba.design [http://www.theestateovcreation.co.uk] in 1993, as a creative,thinking, studio.
To use my design and video skills for fun and profit, for forward thinking traditional design and media clients, in order to finance and give me the freedom to produce my own creative audio visual work that I was developing, and that, as we know takes time and freedom to create. Money provides this. Originally based in Glasgow, then london, now based in Brighton, and working for clients in the UK, USA, Europe and Russia.
amoeba has launch styled magazines, re-branded TV channels, banks, labels, clothes lines, art directed tv and press campaigns, directed and produced music videos, and various music and tv, print and cinema campaigns for album/cd/web launches. We also produce a lot of broadcast, title, promo and E.P.K's for MTV, channel4 and ITV. More recently have found myself working for Films, and creating and directing viral and digital campaigns.
In 1997 I stopped vj'ng and concentrated on producing audio-visual content for my own creative projects, and to set up my own AV label and act,
A.AV [amoeba.av] http://www.aavaple.info
I now perform as A.AV at media events, festivals etc. with a full bespoke AV show. I have always specialised in utilising the audio from within the animations and synched motion graphic sequences, creating unique live audiovisual reactive environments from various styles of audio synched creative typographical animations, shot film and AV experimental work.
I have refined the A.AV sound and look over the years with performances at media events, festivals, digital showcases etc, and visualmusic DVD releases on http://www.lightrhythmvisuals.com
You're quite a prolific fellow, working for film, tv and other corporate clients as well as doing more artistic projects. How do you balance it all? Do all these different jobs require a very different approach as well?
I set up amoeba and my website http://www.theestateovcreation.co.uk with deliberate emphasis on thee state ov creation, as that was the brain and psychological state that I was most comfortable with and would be the continual thread that runs through my corporate and creative work since 93. Amoeba was so i can split and divide re-creating different styles and creative techniques and that suits me fine as i never wanted to specialise in one aspect of anything.
Poverty is the mother of all invention, so growing up in business the 90's in the UK, I learned like most of us, to do miracles with nothing, I do almost everything myself, from pitching for the job, meeting the client, doing the visual, creating and designing the content, handling the account and invoicing, so im very very hands on. This helps in business and also with the creative more "artistic" works as I see these new artistic jobs as a treat for me to be enjoyed as the corporate work has paid for my time off in developing new ideas, style and experiments that i can use in these artistic jobs which are then a showcase for my AV work that get clients interested.
Ultimately the end results are I get to play with some great new technologies and styles and unseen techniques and these get to filter into the mainstream culture for my design/tv clients, for example the midi based AV glitch typography i was doing live in 2001-2005 has now found it's way happily into my TV title design, and Promo packages for the likes of muse, the foo fighters and spongebob squarepants, as the clients all saw the more extreme work and asked for a more diluted version for their campaign, which I have no problem doing, as Im a commercial artist who has got to pay the bills, and I see my animations and work as my pick pocketing little children [ charles dickens fagin springs to mind, the street urchins ] and they gotta go and get daddy some money ;)
All jobs are almost generally the same, once you break them down into quantifiable pieces, they just require time, concentration and effort. My approach is usually the same figure out how little work I can do for maximum creative impact, and then timeline the job and head straight for the digital trenches, screaming and punching, only looking up to see if theres a progress meeting or a change in the brief and that working practise relates to print design, viral making, motion graphics or audiovisual reactive environments.
You release work on LightRhythmVisuals. Can you talk a bit about that label?
LRV is fantastic creative AV label, I've full support for ben sheppee, he has kept the quality control over the content tight and groundbreaking. Every release from the first to the last has been special, and his effort and time spent on these projects has helped lift the AV scene to levels of acceptance within the corporate and creative industries. He has been one of the scenes founders and has supported and promoted mine and other artists work from the beginning, that has to be admired and respected. He put out my last project the A.P.L.E DVD thee_microglitchmachinefunk AV.EP
A.P.L.E [arrange.process.loop.edit] a DVD/AV.EP with free bonus HD Loops and remixes form other creative AV artists, available here
[http://lightrhythmvisuals.com/store/product/lrv-dvd-amoeba-aple/]
More examples of A.AV// LRV work can be found here [http://www.theestateovcreation.co.uk/aav_visualmusic.html ]
Can you describe your work process?
hmmm…..far too varied to do that, from a-z and back again on repeat ; ) interspaced with extreme bouts of lethargy followed by a manic creative flourish and moments of lucid clarity as you realise you just understood and solved a new problem. I use all software that gets the job done, still do vectors in freehand x, layer up everything in photoshop, animate everything i can in after effects, edit and cut in FCP, model in c4d, and use every other graphic/creative code environment that is necessary to the job in hand. If I cant do something then I either learn or hire in creatives who can do it to the standard I need.
How does Resolume fit into all that?
For my live Audio-Visual performances and media events and clubs it's my performance software of choice. My live a.av performances are typographical based, dub infused environments, built on delay, hiss and reverb, live cinema elements of motion graphics, av tracks and av tools being mixed in and sequenced via midi or o/c. I heavily utilise the audio from lots of pre-rendered edits/loops/tools and sequences. I like to glitch and effect the audio via osc, plugins, effects and the playhead. I incorporate these live elements over midi synched sequences with 95% of the audio of the performance coming from what you see on the screen. With the added vst plugin support it provided the best platform for my audio-visual performances.
For live cinema or short film festivals it's perfect for creative audio and video mixing from the one laptop with great results, and its a reliable tool live.
I also utilise resolume for creative AV sequence creation, tweaking parameters and effects, setting up palettes of presets and batch rendering av loops glitching type and fragmented motion graphics, screen capturing the results at pro res 4:4:2 I find it very useful for creating new effects for typography and transitions.
I use other software for other live and video purposes but find for AV performance with audio control, resolume is the one. With the new added features in R4 the output mapping, effects etc it can only help improve the quality of AV performance work and the creative scene.
Do you use Resolume for your corporate/non-VJ work as well?
As i said i use it as a motion studio tool as well, it serves me many purposes, I've used it to create quick adjustable opening credits and end credits for TV shows, i used it in many MTV stings and promos for effects and mixing, Ive used it for live branding campaigns with reactive logos etc., and I made a protest DVD for the band Politeca [http://vimeo.com/album/219227] with 10 music videos that heavily used resolume to comp/mix and create sequences for the final music videos.
[vimeo]http://vimeo.com/album/219227/video/8664009[/vimeo]
How do you perform live? Any particularly juicy bits of gear you bring with?
these days for solo "turn up and play at a music festival or club" av performances i'm minimal only about 5-6 a year mostly in the uk, europe, and russia.
I mostly do funded installations, organised media and digital events now with short bespoke av performances/talks and workshops.
However saying that I'm just back from a moscow techno session where i was playing with my old scottish mate edit-select and my set up for that av gig was a laptop/ipad/thats all i need for clubs.
For my club music based av stuff, im not usually the headliner so I don't need a mediserver or 4v or 4 laptops and 2 mixers and a mind controlled midi footpedal board, all i need is my laptop touch osc and resolume.
I usually have a creative opening set to perform that i've spent years planing and i don't need many effects or crazy screen splitting or other technology etc. my av performance is specific, direct and pre-planned with happy accidents helping things along the way.
For other events, performances and installations its a different matter and always event specific, and within whatever budget I'm allocated.
You organized a remix competition a while back, offering your loops up for free and inviting people to remix your work. What was the idea behind that, and how were the reactions?
Reaction was great with 70 subscribers and 4 final mixes. It was an experiment in unselfishing myself from my work, to give something back and hopefully encourage creativity. When ever I do workshops or talks etc. people always ask about my content, it's where i send people to grab loops to experiment with, and as they are very cool hd av loops they can't really complain ; ) on my DVD on lightrhythm the aple.EP theres 23 free HD loops on this for people to mash up.
What are some of the more memorable projects you've done over the years?
Broadcast work i'd say my MTV work especially the promo work for bands. Advertising I'd say the Playstation TV advert that i directed and produced, design and music video wise id say campaigns for product.01 and the elektrons. AV performance VJ and Video related here's a wee list of things im happy about…getting creative and experimental av work accepted and on to terrestrial TV has been one of my main achievements ; ) with one of my animations being shown at 8pm on ITV
Setting up an occulture 8hr 4 screen audiovisual hypnogogic ritual performance with theta waves generators inside a blackout space, directing and producing a soft porn chillout dvd made in ibiza over 3 months in a studio under a swimming pool in a porn millionaires mansion that went all apocalypse now ending up with a truck in a swimming pool, illegally throwing up guerilla typographical terrorist projections over and in london during the reclaim the streets events 96-97, and performing at many criminal justice bill events 1995-2008, AV-IT UK 2000 where I showcased my live AV performance and met jilt van moorst and his av software flowmotion, being initiated orthogonally into the russian VJ scene by vj.eps and subsequently performing and surviving the Kazantip Festivals in the Ukraine from 2007 till now and now performing and doing workshops with creative people in Russia, puking on a policeman from the vj booth in brighton, leaving all the gear in the carpark and driving home, dragging a promoter out of the after party by the neck and frog marching him to the cash machine, getting bunged an extra £200 from Andy Wetherall after 12 hours of machinefunk when he blew the yardi gangster sound system at the club and bolted with the words…you aint seen me right!…i could go on ….
And what can we expect from you in the future?
More of the same as before but more so.
What's your background?
When acid house + techno kicked off in the Uk around late 80's early 90's I was finishing graphic design college in Glasgow, and was ideally placed to incorporate and embrace the new emerging design, creative typography, computer, vj and electronic music scenes with a gonzo influenced approach and a creative design based background.
In my graphics I was already influenced by the designers republic, japanese typography, constructivism, sigil magic, psychicTV, video art/visual music and the emerging techno shamanic dance cultures and tribal lo-fi collectives of creatives, and the significances of these new connected cultures as it spread worldwide were something I wanted to be part of, and contribute what I could to it.
Originaly i provided direction and creative content as part of the scottish video arts collective A.'.A.'.A, then i moved on to mixing my content the way i wanted it to be seen. In the beginning when projectors cost more than the club we were using 23 TV's as screens [6 cars to get to a gig back then ; ) ] We performed and mixed at clubs or with artists throughout the 90's for labels, artists and clubs like Rub a dub, the arches, slam, jeff mills, alabama 3, and Soma records.
I set up amoeba.design [http://www.theestateovcreation.co.uk] in 1993, as a creative,thinking, studio.
To use my design and video skills for fun and profit, for forward thinking traditional design and media clients, in order to finance and give me the freedom to produce my own creative audio visual work that I was developing, and that, as we know takes time and freedom to create. Money provides this. Originally based in Glasgow, then london, now based in Brighton, and working for clients in the UK, USA, Europe and Russia.
amoeba has launch styled magazines, re-branded TV channels, banks, labels, clothes lines, art directed tv and press campaigns, directed and produced music videos, and various music and tv, print and cinema campaigns for album/cd/web launches. We also produce a lot of broadcast, title, promo and E.P.K's for MTV, channel4 and ITV. More recently have found myself working for Films, and creating and directing viral and digital campaigns.
In 1997 I stopped vj'ng and concentrated on producing audio-visual content for my own creative projects, and to set up my own AV label and act,
A.AV [amoeba.av] http://www.aavaple.info
I now perform as A.AV at media events, festivals etc. with a full bespoke AV show. I have always specialised in utilising the audio from within the animations and synched motion graphic sequences, creating unique live audiovisual reactive environments from various styles of audio synched creative typographical animations, shot film and AV experimental work.
I have refined the A.AV sound and look over the years with performances at media events, festivals, digital showcases etc, and visualmusic DVD releases on http://www.lightrhythmvisuals.com
You're quite a prolific fellow, working for film, tv and other corporate clients as well as doing more artistic projects. How do you balance it all? Do all these different jobs require a very different approach as well?
I set up amoeba and my website http://www.theestateovcreation.co.uk with deliberate emphasis on thee state ov creation, as that was the brain and psychological state that I was most comfortable with and would be the continual thread that runs through my corporate and creative work since 93. Amoeba was so i can split and divide re-creating different styles and creative techniques and that suits me fine as i never wanted to specialise in one aspect of anything.
Poverty is the mother of all invention, so growing up in business the 90's in the UK, I learned like most of us, to do miracles with nothing, I do almost everything myself, from pitching for the job, meeting the client, doing the visual, creating and designing the content, handling the account and invoicing, so im very very hands on. This helps in business and also with the creative more "artistic" works as I see these new artistic jobs as a treat for me to be enjoyed as the corporate work has paid for my time off in developing new ideas, style and experiments that i can use in these artistic jobs which are then a showcase for my AV work that get clients interested.
Ultimately the end results are I get to play with some great new technologies and styles and unseen techniques and these get to filter into the mainstream culture for my design/tv clients, for example the midi based AV glitch typography i was doing live in 2001-2005 has now found it's way happily into my TV title design, and Promo packages for the likes of muse, the foo fighters and spongebob squarepants, as the clients all saw the more extreme work and asked for a more diluted version for their campaign, which I have no problem doing, as Im a commercial artist who has got to pay the bills, and I see my animations and work as my pick pocketing little children [ charles dickens fagin springs to mind, the street urchins ] and they gotta go and get daddy some money ;)
All jobs are almost generally the same, once you break them down into quantifiable pieces, they just require time, concentration and effort. My approach is usually the same figure out how little work I can do for maximum creative impact, and then timeline the job and head straight for the digital trenches, screaming and punching, only looking up to see if theres a progress meeting or a change in the brief and that working practise relates to print design, viral making, motion graphics or audiovisual reactive environments.
You release work on LightRhythmVisuals. Can you talk a bit about that label?
LRV is fantastic creative AV label, I've full support for ben sheppee, he has kept the quality control over the content tight and groundbreaking. Every release from the first to the last has been special, and his effort and time spent on these projects has helped lift the AV scene to levels of acceptance within the corporate and creative industries. He has been one of the scenes founders and has supported and promoted mine and other artists work from the beginning, that has to be admired and respected. He put out my last project the A.P.L.E DVD thee_microglitchmachinefunk AV.EP
A.P.L.E [arrange.process.loop.edit] a DVD/AV.EP with free bonus HD Loops and remixes form other creative AV artists, available here
[http://lightrhythmvisuals.com/store/product/lrv-dvd-amoeba-aple/]
More examples of A.AV// LRV work can be found here [http://www.theestateovcreation.co.uk/aav_visualmusic.html ]
Can you describe your work process?
hmmm…..far too varied to do that, from a-z and back again on repeat ; ) interspaced with extreme bouts of lethargy followed by a manic creative flourish and moments of lucid clarity as you realise you just understood and solved a new problem. I use all software that gets the job done, still do vectors in freehand x, layer up everything in photoshop, animate everything i can in after effects, edit and cut in FCP, model in c4d, and use every other graphic/creative code environment that is necessary to the job in hand. If I cant do something then I either learn or hire in creatives who can do it to the standard I need.
How does Resolume fit into all that?
For my live Audio-Visual performances and media events and clubs it's my performance software of choice. My live a.av performances are typographical based, dub infused environments, built on delay, hiss and reverb, live cinema elements of motion graphics, av tracks and av tools being mixed in and sequenced via midi or o/c. I heavily utilise the audio from lots of pre-rendered edits/loops/tools and sequences. I like to glitch and effect the audio via osc, plugins, effects and the playhead. I incorporate these live elements over midi synched sequences with 95% of the audio of the performance coming from what you see on the screen. With the added vst plugin support it provided the best platform for my audio-visual performances.
For live cinema or short film festivals it's perfect for creative audio and video mixing from the one laptop with great results, and its a reliable tool live.
I also utilise resolume for creative AV sequence creation, tweaking parameters and effects, setting up palettes of presets and batch rendering av loops glitching type and fragmented motion graphics, screen capturing the results at pro res 4:4:2 I find it very useful for creating new effects for typography and transitions.
I use other software for other live and video purposes but find for AV performance with audio control, resolume is the one. With the new added features in R4 the output mapping, effects etc it can only help improve the quality of AV performance work and the creative scene.
Do you use Resolume for your corporate/non-VJ work as well?
As i said i use it as a motion studio tool as well, it serves me many purposes, I've used it to create quick adjustable opening credits and end credits for TV shows, i used it in many MTV stings and promos for effects and mixing, Ive used it for live branding campaigns with reactive logos etc., and I made a protest DVD for the band Politeca [http://vimeo.com/album/219227] with 10 music videos that heavily used resolume to comp/mix and create sequences for the final music videos.
[vimeo]http://vimeo.com/album/219227/video/8664009[/vimeo]
How do you perform live? Any particularly juicy bits of gear you bring with?
these days for solo "turn up and play at a music festival or club" av performances i'm minimal only about 5-6 a year mostly in the uk, europe, and russia.
I mostly do funded installations, organised media and digital events now with short bespoke av performances/talks and workshops.
However saying that I'm just back from a moscow techno session where i was playing with my old scottish mate edit-select and my set up for that av gig was a laptop/ipad/thats all i need for clubs.
For my club music based av stuff, im not usually the headliner so I don't need a mediserver or 4v or 4 laptops and 2 mixers and a mind controlled midi footpedal board, all i need is my laptop touch osc and resolume.
I usually have a creative opening set to perform that i've spent years planing and i don't need many effects or crazy screen splitting or other technology etc. my av performance is specific, direct and pre-planned with happy accidents helping things along the way.
For other events, performances and installations its a different matter and always event specific, and within whatever budget I'm allocated.
You organized a remix competition a while back, offering your loops up for free and inviting people to remix your work. What was the idea behind that, and how were the reactions?
Reaction was great with 70 subscribers and 4 final mixes. It was an experiment in unselfishing myself from my work, to give something back and hopefully encourage creativity. When ever I do workshops or talks etc. people always ask about my content, it's where i send people to grab loops to experiment with, and as they are very cool hd av loops they can't really complain ; ) on my DVD on lightrhythm the aple.EP theres 23 free HD loops on this for people to mash up.
What are some of the more memorable projects you've done over the years?
Broadcast work i'd say my MTV work especially the promo work for bands. Advertising I'd say the Playstation TV advert that i directed and produced, design and music video wise id say campaigns for product.01 and the elektrons. AV performance VJ and Video related here's a wee list of things im happy about…getting creative and experimental av work accepted and on to terrestrial TV has been one of my main achievements ; ) with one of my animations being shown at 8pm on ITV
Setting up an occulture 8hr 4 screen audiovisual hypnogogic ritual performance with theta waves generators inside a blackout space, directing and producing a soft porn chillout dvd made in ibiza over 3 months in a studio under a swimming pool in a porn millionaires mansion that went all apocalypse now ending up with a truck in a swimming pool, illegally throwing up guerilla typographical terrorist projections over and in london during the reclaim the streets events 96-97, and performing at many criminal justice bill events 1995-2008, AV-IT UK 2000 where I showcased my live AV performance and met jilt van moorst and his av software flowmotion, being initiated orthogonally into the russian VJ scene by vj.eps and subsequently performing and surviving the Kazantip Festivals in the Ukraine from 2007 till now and now performing and doing workshops with creative people in Russia, puking on a policeman from the vj booth in brighton, leaving all the gear in the carpark and driving home, dragging a promoter out of the after party by the neck and frog marching him to the cash machine, getting bunged an extra £200 from Andy Wetherall after 12 hours of machinefunk when he blew the yardi gangster sound system at the club and bolted with the words…you aint seen me right!…i could go on ….
And what can we expect from you in the future?
More of the same as before but more so.
Fresh VJ Loops for 2012
No time to hybernate this winter, get out and VJ with this fresh footage.
FancyType2 flash text animations by Patrick Jansen
9 out of 10 housewives agree: this Flash pack really makes your type more fancy, even in cold water. Now with new and improved animation technology, FancyType 2 will wash your laundry cleaner than ever!
VHyes by Dan Wise
Warning! Do not attempt to adjust your monitors. An unidentified frequency has taken control of the horizontal and vertical wavelengths of your signal. Try to remain calm while the VJ conducts a troubleshoot test of the system. Big Bother is not watching you.
FancyType2 flash text animations by Patrick Jansen
9 out of 10 housewives agree: this Flash pack really makes your type more fancy, even in cold water. Now with new and improved animation technology, FancyType 2 will wash your laundry cleaner than ever!
VHyes by Dan Wise
Warning! Do not attempt to adjust your monitors. An unidentified frequency has taken control of the horizontal and vertical wavelengths of your signal. Try to remain calm while the VJ conducts a troubleshoot test of the system. Big Bother is not watching you.
Resolume 4 Avenue & Arena Released!
This is it. Just in time for Christmas and of course your New Year's eve gigs, everybody say hello to the big Resolume four point OOH!
After a long beta period in which we fixed many bugs it's high time we release this to the public and remove the beta label. This means that Resolume 4 is no longer the world's best kept secret among Resolume 3 owners, now everybody can download and play around with the new features.
To give all new users a chance to test and purchase, and of course because 'tis the season', we're extending the pre-sale discount until January 1st. So grab your last chance to get Avenue 3 and 4 for €299,-, and of course Avenue 3 and Arena 4 for €499,- After the pre-sale Arena will be €699,-
Of course we couldn't resist adding one (or two) tiny new features, and we hope you have fun spending the Christmas holidays trying to find it. The first person to do so is allowed to officially call him or herself 'Biggest Resolume Fangeek Ever'.
For those who have tried all the betas, check the fixlist below for what's changed since beta 2, and then hit that download link. You know you want to...
[FIXED] App icons look lowrez on Windows 7
[FIXED] DMX Auto Map documentation outdated
[FIXED] Open advanced output window when it's minimized, crash
[FIXED] 3 part OSC position messages to audio/position/values crashes Avenue
[FIXED] Slices have no transparency/alpha in main output...
[FIXED] Parameter animations speed changes when importing version 3 composition
[FIXED] Parameter FFT settings from old composition no worky
[FIXED] wrong black borders in advanced output
[FIXED] Crash when you choose 'reset to default' in presets box.
[FIXED] spontaneous unregister
[FIXED] thumbnails in clip browser slow down
[FIXED] Deadlock when triggering a bpm synked audio clip, after relocation
[FIXED] Output flickers when opening and closing advanced output
[FIXED] Dashboard dials are set to 0 when composition size is changed
[FIXED] Composition mapping is not cleared when new composition is created
[FIXED] Advanced output setup is not loaded on startup
[FIXED] Layer Transport controls are still sometimes showing a disabled state
[FIXED] Masks cause crash and don't update when replaced
[FIXED] Can still load composition effects even when "disable global effects and blend modes" is enabled
[FIXED] Crash when transitioning between two clips and switching decks quick
[FIXED] If I push the left and right loop markers completely together I can't pull them apart again.
And many many more...
Are you still here reading? Go download :-D
After a long beta period in which we fixed many bugs it's high time we release this to the public and remove the beta label. This means that Resolume 4 is no longer the world's best kept secret among Resolume 3 owners, now everybody can download and play around with the new features.
To give all new users a chance to test and purchase, and of course because 'tis the season', we're extending the pre-sale discount until January 1st. So grab your last chance to get Avenue 3 and 4 for €299,-, and of course Avenue 3 and Arena 4 for €499,- After the pre-sale Arena will be €699,-
Of course we couldn't resist adding one (or two) tiny new features, and we hope you have fun spending the Christmas holidays trying to find it. The first person to do so is allowed to officially call him or herself 'Biggest Resolume Fangeek Ever'.
For those who have tried all the betas, check the fixlist below for what's changed since beta 2, and then hit that download link. You know you want to...
[FIXED] App icons look lowrez on Windows 7
[FIXED] DMX Auto Map documentation outdated
[FIXED] Open advanced output window when it's minimized, crash
[FIXED] 3 part OSC position messages to audio/position/values crashes Avenue
[FIXED] Slices have no transparency/alpha in main output...
[FIXED] Parameter animations speed changes when importing version 3 composition
[FIXED] Parameter FFT settings from old composition no worky
[FIXED] wrong black borders in advanced output
[FIXED] Crash when you choose 'reset to default' in presets box.
[FIXED] spontaneous unregister
[FIXED] thumbnails in clip browser slow down
[FIXED] Deadlock when triggering a bpm synked audio clip, after relocation
[FIXED] Output flickers when opening and closing advanced output
[FIXED] Dashboard dials are set to 0 when composition size is changed
[FIXED] Composition mapping is not cleared when new composition is created
[FIXED] Advanced output setup is not loaded on startup
[FIXED] Layer Transport controls are still sometimes showing a disabled state
[FIXED] Masks cause crash and don't update when replaced
[FIXED] Can still load composition effects even when "disable global effects and blend modes" is enabled
[FIXED] Crash when transitioning between two clips and switching decks quick
[FIXED] If I push the left and right loop markers completely together I can't pull them apart again.
And many many more...
Are you still here reading? Go download :-D
Resolume Masterclass at Freemote Festival
It's time for the Freemote Festival in Utrecht, The Netherlands again, and this year it's going to be big! We've seen some of the (huge) floorplans and installations already, and we're very stoked to be a part of it again this year.
Aside from kickass performances, showcases and installations of some of the top names in the visual scene today, there's also Resolume goodness to be had. We're organizing a masterclass, in which Edwin himself will get you up to speed on all the new features and tricks of Resolume 4, and learn how to use this new tool to its full potential. http://freemote.nl/node/85
To participate you need a Passepartout Master (costs: 40 euro). This includes full access to all five days of the festival and your participation in the masterclass. Buy your ticket at freemote.nl
When? Wednesday, December 7 - 19:00 to 22:30 @ FREEMOTE!
The full line up and more info on the festival can be found here: http://freemote.nl/
Aside from kickass performances, showcases and installations of some of the top names in the visual scene today, there's also Resolume goodness to be had. We're organizing a masterclass, in which Edwin himself will get you up to speed on all the new features and tricks of Resolume 4, and learn how to use this new tool to its full potential. http://freemote.nl/node/85
To participate you need a Passepartout Master (costs: 40 euro). This includes full access to all five days of the festival and your participation in the masterclass. Buy your ticket at freemote.nl
When? Wednesday, December 7 - 19:00 to 22:30 @ FREEMOTE!
The full line up and more info on the festival can be found here: http://freemote.nl/
Resolume Quick Tip: Wikka Wikka Scratch
It's been a while since we posted one of these, but they're back with a vengeance. Although they were mostly recorded with good ole Avenue 3, the tips will work in Avenue 4 and Arena 4 as well of course!
Another round of Res workshops at Res HQ
Because of the great success and the great times had by everyone at the last round, we're holding another series of Resolume workshops!
The Basic, Advanced and Mapping sessions are back, of course. This time there's also an all new 'Getting up to Speed with Resolume 4' workshop, which shows you all the new stuff and how best to use it.
Also, we've listened to the feedback from a lot of people traveling from afar. The lessons are now scheduled in a handy one-week block, so you can definitely get your fix of Res knowledge!
More info and sign ups here: http://resolume.com/shop/workshops.php
The Basic, Advanced and Mapping sessions are back, of course. This time there's also an all new 'Getting up to Speed with Resolume 4' workshop, which shows you all the new stuff and how best to use it.
Also, we've listened to the feedback from a lot of people traveling from afar. The lessons are now scheduled in a handy one-week block, so you can definitely get your fix of Res knowledge!
More info and sign ups here: http://resolume.com/shop/workshops.php
Resolume 4 Beta 2 Now Available
Thanks to the feedback from so many of you we have been able to make many improvements and bug fixes in Resolume 4 Avenue and Arena! We're not quite done yet but here is a second beta release so you can enjoy the bug fixes and improvements we have made so far.
Login to your account to download Resolume 4 Avenue and Arena Beta 2.
http://www.resolume.com/shop/account.php
Advanced Screen Setup
The advanced screen setup window now includes a new perspective corrected transform on the slices. With this new transform it's easier to map tiles on a building and the tiles in the video will more easily line up with excising tiles on the wall. The memory usage of the slices is dramatically reduced so you can create a LOT more slices without any problems. Also many small bugs and improvements have been made to the advanced output window.
Drag Clip to Layer
You can now drag a clip to a layer so it's super easy to quickly play a clip from layer 1 in layer 3 for instance. Just pick it up and drop it on any layer to trigger the clip. We love small ergonomic improvements like this!
QuickTime & DXV on Windows
On Windows we're now using FFMPEG to open QuickTime files encoded with our DXV codec. This way QuickTime does not have to be installed but Resolume can still play .mov files encoded with DXV. All the example footage in the installer is now DXV.
Other fixes and improvements
[FIXED] Movie files are not shown in clip reconnect dialog
[FIXED] Big Memory Leak! (OSX)
[FIXED] Composition settings window resolution dropdown does not get dismissed when window is closed
[FIXED] Warning: You have entered a serial for Avenue but this is Arena
[FIXED] Column application menu is not updated after clicking a column
[FIXED] Parameter animations speed changes when importing version 3 composition
[FIXED] Parameter FFT settings from old composition no worky
[FIXED] 4th mode to scale to composition
[FIXED] MIDI CC OUT issues
[FIXED] AutoPilot not working when change the startpoint of a clip
[FIXED] Scaling Quality 'Nearest Neighbor' doesn't seem to work anymore
[FIXED] If you assign a midi control to the Clear Layer button in any layer, you can only push that button ONCE for the entire duration of any session of running Avenue
[FIXED] Crash while adjusting the in-out points
[FIXED] Screen that is not connected anymore is 0x0 in size
[FIXED] Crashes on shutdown
[FIXED] Crash when dragging audio clip from one row to another
[FIXED] Flash text input field needs black (dark) background
[FIXED] CommonDataPath: C:\ProgramData\Resolume Arena 4 logged too often
[FIXED] Clip parameter 'paused' in timeline mode jumps back to the beginning when clip is triggered
[FIXED] Move points of slices in bigger steps when you hold down the 'shift' key
[FIXED] Crash: Open advanced screen setup when it's minimized
[FIXED] Add slice name field to transformation tab
[FIXED] 8000px by 8000px PNG crashes Avenue
[FIXED] BPM only supports whole numbers
[FIXED] Crash when moving layer effects
[FIXED] Sending BPM via OSC is not normalized
[FIXED] midi limit is not remembered
[FIXED] Values higher than 10 beats for the BPM synced parameters...
[FIXED] Clip panel confusing when movie file contains both video and audio
[FIXED] FileList with a lot of files is very slow on Windows (maybe also on OSX)
[FIXED] Limit memory usage of slices
[FIXED] Clip target not saving
[FIXED] Crash when you choose 'reset to default' in presets box
[FIXED] Deadlock when triggering a bpm synked audio clip, after relocation
[FIXED] If I push the left and right loop markers completely together I can't pull them apart again
Login to your account to download Resolume 4 Avenue and Arena Beta 2.
http://www.resolume.com/shop/account.php
Advanced Screen Setup
The advanced screen setup window now includes a new perspective corrected transform on the slices. With this new transform it's easier to map tiles on a building and the tiles in the video will more easily line up with excising tiles on the wall. The memory usage of the slices is dramatically reduced so you can create a LOT more slices without any problems. Also many small bugs and improvements have been made to the advanced output window.
Drag Clip to Layer
You can now drag a clip to a layer so it's super easy to quickly play a clip from layer 1 in layer 3 for instance. Just pick it up and drop it on any layer to trigger the clip. We love small ergonomic improvements like this!
QuickTime & DXV on Windows
On Windows we're now using FFMPEG to open QuickTime files encoded with our DXV codec. This way QuickTime does not have to be installed but Resolume can still play .mov files encoded with DXV. All the example footage in the installer is now DXV.
Other fixes and improvements
[FIXED] Movie files are not shown in clip reconnect dialog
[FIXED] Big Memory Leak! (OSX)
[FIXED] Composition settings window resolution dropdown does not get dismissed when window is closed
[FIXED] Warning: You have entered a serial for Avenue but this is Arena
[FIXED] Column application menu is not updated after clicking a column
[FIXED] Parameter animations speed changes when importing version 3 composition
[FIXED] Parameter FFT settings from old composition no worky
[FIXED] 4th mode to scale to composition
[FIXED] MIDI CC OUT issues
[FIXED] AutoPilot not working when change the startpoint of a clip
[FIXED] Scaling Quality 'Nearest Neighbor' doesn't seem to work anymore
[FIXED] If you assign a midi control to the Clear Layer button in any layer, you can only push that button ONCE for the entire duration of any session of running Avenue
[FIXED] Crash while adjusting the in-out points
[FIXED] Screen that is not connected anymore is 0x0 in size
[FIXED] Crashes on shutdown
[FIXED] Crash when dragging audio clip from one row to another
[FIXED] Flash text input field needs black (dark) background
[FIXED] CommonDataPath: C:\ProgramData\Resolume Arena 4 logged too often
[FIXED] Clip parameter 'paused' in timeline mode jumps back to the beginning when clip is triggered
[FIXED] Move points of slices in bigger steps when you hold down the 'shift' key
[FIXED] Crash: Open advanced screen setup when it's minimized
[FIXED] Add slice name field to transformation tab
[FIXED] 8000px by 8000px PNG crashes Avenue
[FIXED] BPM only supports whole numbers
[FIXED] Crash when moving layer effects
[FIXED] Sending BPM via OSC is not normalized
[FIXED] midi limit is not remembered
[FIXED] Values higher than 10 beats for the BPM synced parameters...
[FIXED] Clip panel confusing when movie file contains both video and audio
[FIXED] FileList with a lot of files is very slow on Windows (maybe also on OSX)
[FIXED] Limit memory usage of slices
[FIXED] Clip target not saving
[FIXED] Crash when you choose 'reset to default' in presets box
[FIXED] Deadlock when triggering a bpm synked audio clip, after relocation
[FIXED] If I push the left and right loop markers completely together I can't pull them apart again
AV Installation with Resolume
Resolume is made with a specific purpose. Instead of cramming as many features into the interface as is humanly possible, we try to make an intuitive and fast live performance tool.
With that in mind, it's always a pleasant surprise to see people use Resolume for a completely different end. Usually installations in exhibitions are the playing field of people with beards and glasses, tinkering away with their self written software. But why re-invent the wheel every time when you don't need to?
This is what Will Copps must have thought when he put together his AV installation 'Digital Synthetic' for the Smithsonian.
Using the power combo of Ableton Live and Resolume Avenue to provide the playback and effect manipulation platform for the installation, he didn't have to worry about writing custom software to do this. That doesn't mean there wasn't any tinkering involved. As Will explains:
For even more AV integration, Ableton is sending midi to Resolume as well.
We couldn't agree more. Will has raised the bar for what you can do with Resolume besides club VJing. Now let's see where you can take it!
For more info on the project and an all too recognizable little setup story http://willcopps.com/?p=692. And for more info on Will himself http://www.kennedy-center.org/explorer/artists/index.cfm?entity_id=79156&source_type=Ap
With that in mind, it's always a pleasant surprise to see people use Resolume for a completely different end. Usually installations in exhibitions are the playing field of people with beards and glasses, tinkering away with their self written software. But why re-invent the wheel every time when you don't need to?
This is what Will Copps must have thought when he put together his AV installation 'Digital Synthetic' for the Smithsonian.
Using the power combo of Ableton Live and Resolume Avenue to provide the playback and effect manipulation platform for the installation, he didn't have to worry about writing custom software to do this. That doesn't mean there wasn't any tinkering involved. As Will explains:
I control it via MIDI. The interactivity is tied to a SONAR sensor that is connected to an Arduino board. I uploaded some unique code into the board through the Arduino coding environment (based on Processing) that tells it to send one value to the computer when someone is close and another value when no one is there. I then use a Serial-to-MIDI converter that translates those values into MIDI signals that I send into a virtual MIDI cable through MIDIOX/MIDI Yoke.
In Resolume, that then controls turning the value on the Trails effect Feedback from a low level (when no one is around) to 100% feedback (when someone is in front of the piece). In Ableton Live, these MIDI signals control an overall reverb level (more reverb when someone is in front of the piece) and also to control clip launching.
Basically I have about twenty different audio tracks running simultaneously. I have several different clips for each track recorded as loops, and I have programmed Ableton to launch most of them randomly. The loops are all different lengths, so the chances of Ableton ever playing the exact same thing twice are incredibly slim. Also, when someone walks in front of the piece, it triggers a couple unique clips on some of the tracks, so the viewer is effectively altering the course of the audio forever.
For even more AV integration, Ableton is sending midi to Resolume as well.
To get the synesthetic effects, I send MIDI out from Ableton clips into Resolume. Most of the audio tracks have what I call "ghost tracks" next to them... they are there to house MIDI clips that don't play any sound. I draw automation in these clips and send the data out through a Midi Yoke cable into Resolume, where the data controls specific parameters on the visuals. So, for example, if one clip plays a long synth chord every 280 bars for 10 bars, the "ghost clip" will send data to increase the opacity of a blur effect for those same 10 bars.
There are some limitations to this method as far as what I can do, but it definitely serves my purpose!
We couldn't agree more. Will has raised the bar for what you can do with Resolume besides club VJing. Now let's see where you can take it!
For more info on the project and an all too recognizable little setup story http://willcopps.com/?p=692. And for more info on Will himself http://www.kennedy-center.org/explorer/artists/index.cfm?entity_id=79156&source_type=Ap
Good Old Resolume Avenue 3 Updated to Version 3.3.3
In software development the seemingly simple things can take a lot of time to program, very rarely can we make a big improvement quickly and easily. But now we have one. If you have tried the Resolume 4 beta on the Mac then you will have noticed the interface is much faster. We're happy to bring this faster interface to good old Avenue 3. It was easy to fix once we found the problem and it does not jeopardy the stability at all.
While working on Resolume 4 we also found a way to make the video playback a bit smoother which could also be incorporated into this update. A lot of factors come into play for smooth video playback. The hard drive needs to be quick enough, the codec needs to be right (DXV obviously) but overall you should see video play a bit smoother, it's never 100% stutter free but this is an improvement for sure.
This update also fixes a registration issue on OS X Lion and a small problem with the DMX mapping not saving the master fader.
Download the latest Resolume update Avenue 3.3.3
http://www.resolume.com/download/
We are now working hard to finalize Resolume version 4 so next week we will release Beta 2 of Avenue and Arena 4. Keep an eye on our facebook page or twitter feed for instant news.
While working on Resolume 4 we also found a way to make the video playback a bit smoother which could also be incorporated into this update. A lot of factors come into play for smooth video playback. The hard drive needs to be quick enough, the codec needs to be right (DXV obviously) but overall you should see video play a bit smoother, it's never 100% stutter free but this is an improvement for sure.
This update also fixes a registration issue on OS X Lion and a small problem with the DMX mapping not saving the master fader.
Download the latest Resolume update Avenue 3.3.3
http://www.resolume.com/download/
We are now working hard to finalize Resolume version 4 so next week we will release Beta 2 of Avenue and Arena 4. Keep an eye on our facebook page or twitter feed for instant news.