Eyesupply and Resolume have always made a tight team. The boys from Eindhoven have been using Resolume since version 1.1 (and since they were still the boys from Rotterdam ;)). Over the years they only became bigger and better at what they do, and now they're putting together some of the biggest and awesomest shows you've ever seen, not least of which the Armin Only world tour, which has them flying all over the five continents. If you want to know all about what makes these fellas tick, read on:



Can you give us the low down on Eyesupply? What do you do supply to the eyes? Or are you actually a front company for black market organ smugglers?
What's in a name? Haha. Our goal is to supply all eyes with mind-blowing visuals. In the past few years we've done visuals for over 1000 major events. We are currently touring with the Armin Only worldtour, A state of Trance worldtour and we are the main VJ's of Armin van Buuren during his gigs. For 5 years now we are responsible for all visuals during the Extrema Closing show and all Masters of Hardcore shows.

Left to Right: Syndicate - Westfallenhalle Dortmund (DE), Kane - Amsterdam (NL), A State of Trance 450 - Wroclaw (P ), Masters of Hardcore - Den Bosch (NL), Lowlands - Biddinghuize (NL), Best of Both Worlds - Amsterdam (NL)

What do you reckon makes Eyesupply one of the major players in the visual scene? Is it all hard work and good content, or is there a secret to your success?
There's no magic secret. Like every successful company or artist: it all comes down to hard work and indeed a lot of high-quality content. Also we differentiate ourselves by our own distinctive style what is best defined as abstract, animated, rhythmic and vivid. All our content is made by our team and it's growing everyday.

Can you tell us a bit more about the history of Eyesupply? How did you get started and what are some of the highlights thus far?
Eyesupply was founded in May 2003 by 5 people with each a complete different backgrounds, ranging from industrial design to motion graphics design. Our first gigs where small gigs for friends and were paid with beer and food :D But after a while it got more serious and we really got into it after a gig at the Roskilde festival! We wanted more! Our network grew and the projects started to become more serious. It wasn't a hobby thing anymore. Till the point we are now, still doing the thing we love the most, creating visual shows!  We are now with 9 people at the office and a good network of freelance content designers and video operators.

When you guys play, one thing that always stands out is how you work together with the lighting guys. Is that a conscious decision? Do you use DMX control at all?
We always keep an eye on the complete show. That included lights but also motion, laser, performance and pyro. When all elements work together the show is at its best. Therefore we work closely together with 250K (http://www.250k.nl): a company that creates show concepts and stage designs and combines all these elements in the best possible and innovative ways. We don't tell our story, we tell the story the artist / promotor wants to tell to their audience.


Masters of Hardcore 2010 - The Voice of Mayhem Aftermovie

Right now, you're doing the main visual setup for the monster Armin Only tour.  Can you give us some more details about that? What sort of screens are you using, what sort of content are you playing on them? Any wonderfully ingenious rigging setups? How does the stuff get from one place to the other? 
Yeah the whole Armin tour was a big step forward for us. Creating over 460 minutes of custom content, figuring out a complete new way to sync video to audio with a custom made Video Server configuration and some special adaptation to Resolume Avenue! We are using  5 seperate 18mm LED screens with a total width of 44 meters and 8 meters heigh. 2 of them on a trolley system so that they can slide open and they can turn 360 degrees.The output that we are using is a Full HD signal from straight out of the Avenue Video Server and pixelmapped by the Advanced output options in Avenue!  There are 5 controllable dome camera's and 2 small finger/spy camera mounted on the drum kit and the guitar. All those signals are collected in a Edirol V8 and thanks to the guys from Roland we where the first one to use the Roland MVS-12 multi-viewer for our previews. 

Armin van Buuren - Mirage Worldtour 2010/2011


Backstage report Armin van Buuren - Mirage Worldtour 2010/2011

A lot of people are interested in the custom Avenue machine you're bringing on the road. What are the specs on that little fella, and how do you generally use it?
When the Armin project started we were searching for a new way to play video in the best quality and in the most easy way possible for us. We've looked at other servers and mixers but weren't completely satisfied, most of them are too complex and needed too much pre programming before you start your show and also way too expensive. We wanted our own little fella with the software we grew up with! After a chat with Bart from Resolume we've decided to build the best possible configuration around Avenue! With some minor modifications we had ourselves a beast! 3x Full HD Input, 3x SD Inputs, Up to 3 Full HD Outputs still running 60fps with 8 layers of Full HD mixed together!

What other gear are you bringing with? What's the signal flow like?
Each project is different and needs a different approach, sometimes a single SD signal is enough to do the trick. Two Resolume or Avenue PC's with a Edirol V8 would be the configuration. But the pixelmappings are starting to get bigger and more complex, multiple screens, different LED pitches, stitched projectors, videomapping, etc, is getting more common nowadays. So we bring our server to control all video as an end control. We now can decide where to place bits of video on what and change this during the show.
Since a few days we're the proud owners of a Roland V440 HD Mixer. We haven't had the change to use it during a show but i think this machine will also be a change in our workflow.

There's also some custom time code stuff happening at the Armin Only shows. How does that work?
That's our little secret :D Unfortunately we can't give you those details. It's like us asking you to give the open programming file of the avenue software. ;)
But the main thing Armin wanted the visuals to be completely sync in HD without him doing video stuff even when he pitches his tracks, and he wanted us to keep full control over the video.

How come you're still using R2.41 on some machines? Get with the times man!
We started using Resolume on version 1.1. We grew up with the interface and still love the quickness and the fast controls. Especially when you really want to VJ fast and live in time to the music with your visuals, R2.41 is still the best interface there is! Also all our content was created based on the workflow of R2.41. Since our projects grew we are using Avenue more because we needed a stable and reliable piece of software to do Full HD or more and still stay digital. But sometimes when it's possible we just want to VJ the oldskool way. It feels natural! You know what would be the best innovation ever? An R2.41 interface with the power of Avenue, sort of Avenue Light version!

What about the pyros, dude, do you get to play with fire?
LOL, that isn't an Eyesupply thing. But it's nice to see some fireworks once in a while! Specially during the summer season and if you want to see great fireworks go and see the Closing Show of Extrema Outdoor!

Where are things heading? What's the next step after this?
We are constantly trying to renew and challenge ourselves. Trying to find new solutions to give people a great show. Now we are working on several new shows that will be touring the world this summer. And of course a new Extrema Closing Show this summer! Trying to professionalize and keep evolving our vj'ing.

We are always looking for experienced people (Motion Graphics, VJ'ing, Operating, etc) if you're interested please send us an email!!

Contact:
Mail: comeonboard@eyesupply.tv
Website: http://www.eyesupply.tv
Twitter: http://www.twitter.com/eyesupply
Facebook: http://www.facebook.com/pages/Eyesupply/126703474058989


Eyesupply showreel spring 2010

One of the great things about developing creative visual tools, is that sometimes you see things done with them that surpass your wildest expectations. One of those revelations was seeing that AV phenomenon Nick Bertke, better known as Pogo, uses Resolume Avenue as his live VJ tool. After listening and dreaming away to his tracks on many a long journey, it was about time to ask the man some questions!



-So, even after choosing a well known term as your artist name, you're the fourth hit on Google. How does it feel being more popular than both the stick and the dance?

Dunno, it just feels like a lot of people listen to my music. I invest emotions into my work, and people receive them as though opening a parcel. It's great being able to emotionally communicate with so many people, but sometimes, the hype and recognition tends to go to my head. I think it's a balance between taking pride in your work and not leaning on it to validate your existence and worth as a human being.


Your style of music is very unique. Have you been always been doing this cut-up, vocal syllable style, or did the pennies fall into place later on?

When I was around twelve, I'd punch sequences into a Playstation game called Music 2000. I had always longed for the freedom to make music on my own. The music I made in those days was very much Happy House, kind of like Todd Edwards and DJ Tonka. When I hit thirteen/fourteen, I became fascinated with piecing sounds together like a jigsaw puzzle. I've always heard small sounds, chords and vocal slithers in movies that stand out to me, so I thought "Hey, if I love all of these sounds individually, why not put them together?" I guess it's where any sample artist begins. Where my work differs is that I concentrate largely on finding notes in the spoken voice and piecing them together without any intention of forming sentences or making sense.


At the moment you get millions of views online, do projects for 'big business', but also show your work at the Guggenheim, and you're about to go on a USA tour. How did your career take off like this? Is one good clip on youtube and a heap of talent all it takes, or did you have to do lots of promotion and social networking?

'Alice' took off entirely on its own. All I did was upload it to my YouTube channel, and it received a good 2 million views within 6 months. I then hooked up with Bryant Randall, a DJ at the time who expressed an interest in my work and wanted to help me make some business out of it. I've never been good with business, money or the law, so I figured it was worth a try. Now, Bryant has helped me find work with Disney, Pixar and Showtime, and I'm at a point now where my music is selling online well enough for me to continue supporting my passion.




There's a cool video on your blog, showing how you work in FLStudio (link). Can you explain a bit about your process for creating the video part of your work? Any particular hardware or software tricks involved?

No hardware. No software tricks. I simply capture the clips from the film I'm remixing, and edit them over the track I've made. This means going back to the vocals and chords in the film to capture the corresponding video - a process that sometimes requires word searches in the script of the film online. I have always edited my videos in Sony Vegas, but I'm choosing to migrate over to Final Cut Pro because I prefer the features and performance.


Is a Pogo live show a DJ mix of all your hits, or do you also 'remix the remixes'? What are the crowd's reactions like?

I have every layer of every track on a Jazzmutant Lemur in front of me, and it's my goal of the evening to mix and splice them together to form a megamix of my tracks. The crowd, at least in the USA, can never seem to get enough of it.




Can you explain a bit about your live setup? What gear do you bring on stage? How are you connected?

On my MacBook Pro, I’m running Ableton Live and Resolume. Processing my audio is a Native Instruments Audio Kontrol 1. I’m using a Jazzmutant Lemur to control my Ableton set, which is kind of like an iPad, just bigger and better suited for live performance. In place of my Roland PCR-300, I’m trialing an iPad Wi-Fi, which displays the same Ableton set but through the touchAble iPad app. This is so I can adjust a mixer with my left hand, and trigger clips with my right on the Lemur. I’m also busy experimenting with Korg iElectribe, an amazing iPad app that lets you build drum loops and percussion sequences live for immediate mixing. I simply connect the iPad headphone jack to an input on the Audio Kontrol, route that through a channel in Ableton, and I’m ready to roll.


How did you decide on using Resolume for the video part of your shows?

VJZoo in Perth WA first introduced me to Resolume. At the time, I wanted to essentially edit videos live. It was great fun and Resolume proved to be ideal for the job.


Which features of Resolume do you use the most? How do you use Resolume in general?

I have since focused more on my music than my videos in my live shows. As I developed my system for triggering sections and layers of my tracks in real time, I needed an application that would automatically take care of the video side of things. Splicing my videos and triggering them in Resolume via MIDI in Ableton is so far the best solution I've come up with.


Do you have any tips and tricks for people developing their own live av-sets? Any gotchas or things that took you ages to get right?

I think 800x600 Photo-JPEG .MOV is the fastest, most accessible format to use in Resolume. It's quite large in file size, but it performs like a dream and the quality is great.


Any upcoming projects, shows, collaborations or world travel plans that you are particularly excited about?

In the same way I remixed my mother in her garden, I'm heading to Tibet this year to remix the sights and sounds of its culture. It's going to be tremendous fun and I'm very grateful to everyone who has helped us fund the project on Kickstarter.



Check out more of Pogo's work at http://www.pogomix.net/ or at his Youtube Channel.

We have some fresh blood on board to strengthen our footage catalog. Meet Video2000 and his first 2 releases: CubicReflex & FluidReflex.

Video2000 is a professional animator from Amsterdam with a background in 3D and motion graphics. He likes playing around with reflections, refractions and render-engines and some of these experiments turn out to be excellent VJ material.


CubicReflex is a set of animated geometric objects set in a colorful stylistic environment.


FluidReflex is the same basic setup as used for the CubicReflex animations but now with more organic shapes.

Many of you may know Frank Sent Us, a team of energetic Italians that rock the crowd with powerful AV remixes of some of your favourite movies, video games and cartoon shows. They've been playing shows all over Europe, all the while running their faithful Resolume Avenue setup. And if you didn't know them, it's long overdue that we dig a little deeper in the audio visual phenomenon that is Frank Sent Us.



Frank Sent Us consists of four people, Mastro (guitar player), Frenetik Beat (live electronics), Mr Orange (Bass player) and Frank Sandrello (audiovisual player) and they have their visual roots way back in 2001. Starting in the underground clubs of Rome, specifically the Brancaleone, rocking VHS tapes and analog mixers, they soon made the jump to lightspeed AV mixing.

These days they take a more technological approach, but still keep it surprisingly down to earth. Using good old QuicktimePro to select AV loops, a collection of cool sounding and cool looking clips is created. The clips are loaded into Resolume Avenue, which is also sporting a Focusrite sound card. These samples are then played pretty much like a drummer would play the drums, triggering the clips with an Akai MPD24.

You might be surprised to hear that instead of tightly laying out the sync with a combo of Ableton and Resolume, all the AV stuff is done freestyle in Resolume. No beat snap, no BPM sync, all the clips set to timeline one-shots, allowing them to really follow the flow of the music and the crowd.



This intensity is what makes Frank Sent Us shows so powerful, and anyone that has seen em live will agree! They're literally an explosion of energy, visuals and music, and I dare anyone to keep their hands in their pockets and feet on the ground when these guys hit the stage!



Currently working on a DVD collection of their material, as well as making the move to commissioned Hollywood remixes, you're bound to see more of em in 2011. Keep your eyes and ears peeled, and in the meantime check out their site at http://www.franksentus.com/

Welcome to VJ'ing the year 2011. Composite outputs are disappearing, computers are becoming faster and faster, HD projectors are becoming more common. Some of these developments can be considered good, others less so, but whatever your thoughts are on it, your trusty old V4 is just not cutting it anymore.

These days everyone is looking for that holy grail: affordable HD mixing. The V8, boasting two VGA inputs, but no mixing between them, and no VGA out, is not really a contender. Sure, if you got the €9200 to dish out on an Edirol 440HD -interestingly advertised as 'affordable HD mixing'- that's just peachy for you.

The rest of us would like something cheaper. Luckily the worldwide VJ community is not afraid of a little DIY, and it has come up with a few alternatives.


It's all about this little gizmo, the TV One 1T-C2-750 Dual DVI mixer. It's quite a handy little device, that straight out of the box allows you to switch or fade between two DVI sources, and can output up to 2048x2048 in resolution. With some tweaking/tinkering it can also be pushed to TripleHead2Go rez. Aside from that, it also supports luma/chroma keying, and picture in picture. And all this for a list price of around $900.

Now of course we don't want to just cut or autofade between our sources, we want full crossfader control like on our V4s. Enter VJ community!

First off the bat was Toby Harris, who first started mentioning an out of the box, all hardware mixing solution based on the device. Unfortunately, at the time of writing this, the product is still in the prototype stage. The glimpse some of us were fortunate enough to catch at the Visual Berlin Festival in 2010 was great, and we can only hope it goes into production soon.

Image by Andreas Apelqvist

So then, just when you thought it was time to drag out your Korg KrossFour again, VJ Leo and VJ Fader appear on the horizon. Running a simple but effective Midi to RS232 conversion with the help of a Processing sketch, all you need for full on crossfading mayhem is a simple USB-RS232 cable and your midi controller of choice. More info at neuromixer.com/imixhd/ and direct download here. The code is left open source, so other artists can add their own functionality if desired.



Although an all hardware solution has plenty of appeal, a lot can be said for running the conversion in software as well. Since the overhead of the conversion is pretty low, and a computer very likely to be present anyway, a few other people have gone in this direction as well.

Tom Bassford, aka SleepyTom has made working versions of the conversion for Quartz Composer and VVVV. Also Anton Marini, aka Vade has gone the QC route, with source code available here.

With all the accessible coding platforms covered, there's no reason we shouldn't see the venue screens covered in glorious HD pixels this year! If you have any experience with the device and/or the software to control it, please feel free to share via the comments!

Anyone that has been VJ'ing for more than 5 minutes will have at some point or other asked themselves: how do I make this visual fit the music? Regardless of whether you're making full-on AV sets, or banging out the lumens in a club to somebody else's tune, matching the visuals to the music is what stands a VJ apart from a WinAmp visualizer.

Enter Gilbert Sinnott, the man behind Idiron AV. Gilbert spent a lot of time thinking about how to match audio to visuals, and vice versa. In fact he graduated on the subject in his final year of studying Multimedia Design + Tech BSc at Brunel University in 2010. After finishing his studies, he developed this concept into a complete set of tools for creating, syncing and performing with audio and visuals as a unified whole. He called this project Idiron AV, and you can see it in action below.



Gilbert's research took him further than just techniques as audio FFT and midi sync, although of course they feature heavily as well. He also developed concepts regarding what sort of content should be used, and how to best control it.

Best of all, he's not afraid to share with the other kids in the visual playground.

He developed a comprehensive set of Max4Live patches, that allow you to send FFT data from Ableton straight to Resolume via OSC. With these you get some really cool ways of linking FFT and midi data from Ableton to the timeline in Resolume. By an ingenious way of using the dashboard as an intermediary you have plenty of options to configure the sync to your own specific needs as well. To help get you started Gilbert even provides a little tutorial video.



Aside from the Max4Live patches, he's using some custom TouchOSC patches to control the whole performance, which you can also download from his site. So head on over to http://idiron.kaen.org/av for more info, and of course to download these handy tools. Don't forget to check out Gilbert's other music, and to leave a thank you and/or donation while you're there!

Every once in a while you get hit by something out of leftfield, and 78 minutes you're left with your jaw on the floor, drooling saliva, and your mind in a different place altogether. Watching Procrastrinat.us is one of those experiences. Performed at the New Media Meeting 2009 in Sweden, by the trio of Emil, Olof and Emmanuel, it's a beautiful example of how style, sound and sights can come together perfectly.

We set our sights to the north and found out that the AV possibilities of Resolume were actually a large inspiration for the lads, and so we figured we might as well pick their brains a bit more. You can read the whole interview below, but not before watching the epic two parter that is Procrastinat.us





-What are your backgrounds as artists? What medium and tools do you prefer to work with?
We all started seriously listening to electronic music in the mid 90s, Olof and Manne met at a techno party and soon started to make music together. Emil and Olof met in junior high school around the same time and we ended up beeing a part of the same Demo group because we were both interested in computers and the Demo/Tracker Scene. Emil works as a freelancing motion graphics artist so he uses Adobe After Effects on a daily basis and he and Olof used it for creating the videoloops in procrastinat.us. As for audio tools we can't make up our minds if we like Reason or Ableton more.. we use them both and we love them but Impulse Tracker will always be in our hearts.

-How did you get into the live side of performing?
Olof did his first VJ gig when an other VJ canceled his gig at a event where he was dj'ing. He VJ'd with 5 VLC windows and just alt-tabbed between them, it was quite fun, just to have a movie in VLC and start to jump in time to the music. Emil played around with a VJ app called Monster back in the days but nowadays he's making AV/VJ loops, both professionally for groups like Swedish House Mafia and for fun for procrastinatus. So he's not really been focusing on live performances but that will hopefully change in the near future. The brothers Emmanuel and Jonte have been focusing on Djing for a long time, it has grown into more of a lifestyle for Emmanuel, he truly lives for the music.

-So, what is Procrastinat.us, aside from an epic 78 minute visual and musical journey?
It's just an experiment, on how to use AV-loops, this production was actually started as a test just because Resolume 3 came out and we were like 'O.M.G!! We can use audio now, and all the new kick ass features!' So we created the basic video loops and preformed live and then we were like 'Let's make a "movie" but we make it in full HD so it's future proof too!' We asumed that we would make it in a week, but it took more like 1.5 years of production/procrastinating.

Because of the high data rate of uncompressed HD, the workflow for the HD movie ended up to be this: we used sequenced full HD Quicktime loops "live" in Ableton Live and then rendered it as video and then edited that, adding transitions in Adobe Premiere and finally some postproduction as a cherry on top. You could say its an " edit of " AV performance using Resolume.  Regarding the loops, they're just one sound accompanied by a video synced to, or generated by the audio.

-Can you explain a bit about the concept behind Procrastinat.us?
It's an experiment! And a really exciting learning experience, we decided really early in the process that we should use a limited amount of colours because its gives consistency. We really hate seeing VJ material that is just like a pixel porridge of colours and styles.
Emil and Olof created the AVloops quite quick, focusing on making both manually synced and generative ones. We used soundloops that Olof and Manne had created during the years, there's so many of them and some are more than 4 years old! Our future productions will be more concistent in so many ways but we are procrastinating with these projects at the moment.

-Can you explain a bit about your live setup? What gear do you bring on stage? How are you connected?
Two laptops - connected via MIDI to sync - master runs Ableton and Resolume3. Slave runs Ableton for extra soundloops and effects we might use.

-Do you use generative material, or prerecorded loops?
Prerendred! We aren't geeky enough to code generative video yet, but prerecorded material does on the other hand gives it a bit more soul because its manually synced and polished so it doesn't have that winamp visualisation feeeling.

-Do you have any tips and tricks for people developing their own av-sets? Any gotchas or things that took you ages to get right?
If you want to make perfect audio sync, make sure you save all your audio as separate audio files, it's so much easier to sync and it looks much better when you generate AVloops from it. And if you want to mix it like you mix audio. having the same BPM on all the files is also a good idea.

-Which features of Resolume do you use the most? How do you use Resolume in general?
Opacity, Multiply/Screen blending and beat sync thingy. We don't really use the effects that much since we carefully produce each clip for one single purpose. We really love the new alpha channel feature in the DXV codec, this is so awesome! But something we realy miss is a little feature that makes it possible to change between different types of animation when routing bpm to for example scale. Now it's just linear but it would be so much awesommer to have exponential, smooth and maybe your own defined bezier controlled curve. And maybe that the values build additively. You already have the feature of routing the BPM so why not add some more options to it to make us happy ? :D 

-Who are the up and coming visual artists out there that we should be  looking out for?
We are having a huge boycrush on the guys at Transfett (http://www.henrikjose.com/transfett/ ) And we love the work of Sougwen Chung http://sougwen.com/ There might be some collabs going on if there is not going to be an excessive amount of procrastination in the future :D

-Multiply or screen?
Haha, ehm as we said earlier we use them both pretty much. But multiply maybe. Emil only likes content with alpha channels and is not so keen on blending.

And last we just want to say 'Data and die !'

Check out the individual sites of the Procrastinat.us gang:
Emil Bardh http://www.emilbardh.com
Olof Schröder http://www.osch.se
Emmanuel Moreno http://www.soundcloud.com/maginfluensa

and of course http://procrastinat.us/

This video has already been making the rounds on the Interwebs, but we couldn't resist showing it here again:



The helmet, made by Terrence Scoville consists of a classic Macintosh Plus bought on eBay, stripped of its innards, and an iPad slid in the front to replace the screen. Add some electroluminescent material, and you've got one kick ass helmet.

The interesting part for fans of all things Resolume is that the projections in the background are being run on Resolume Avenue, controlled by a midi keyboard and a WiiMote.

It's actually heart warming to read that in this time of AV sets and super tight midi syncing, the visuals on the iPad and on the background screens were actually started by pressing the two play buttons simultaneously :D Old-school!

Read more at http://afterglowvp.com/2011/01/kid-chameleons-helmet/

It's been a while since we had some news from the FFGL kitchen, but we're pleased to say there's been some good cooking going on!

First off, we would like to introduce you to Marc Wren. Marc is a developer who's apparently been having openFrameworks sandwiches with some FFGL on top for lunch, and we were very excited when he wrote us about his latest project called sfFreeFrame:

It's a collection of FreeFrame plugins and I'm hoping these plugins will be useful both to people looking for additional elements to use in their performances and for people trying to get into visual programing (the project is open source).

So aside from getting to play with your food, you can also get the ingredients to do some creative coding yourself. This is the kind of thing that warms our geeky hearts and there's nothing more we could add to that, except check out the demo videos and then head over to the sourceforge page to download, where you can also find installation instructions. After installation, these tasty new toys will be available from the sources tab.



My current favourite is sfSpiderPoints. Which one is yours?

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And then to top it all off, gpvillamil points us to a new source of FFGL goodness. The folks from 1210 Visuals pop up out of nowhere, and drop four FFGL bombs on your plate. For starters, there's two full fledged effects, including a very *very* handy separate clip properties plugin. And if you really can't get enough there's already two effects in beta, including a very tasty RGB delay plugin.



Head on over to the 1210Visuals website, download, follow the install instructions and be amazed. Of course don't forget to donate. Also be sure to use the handy feature to be notified by email when new plugs come out.

Bon apetit! Now taking votes for your favourite dish!

This Saturday 15.1, Amsterdam is the place to be. Forget about Ajax, the Red Light District, coffeeshops and other tourist traps, this weekend it's time for Fiber Festival!



Fiber Festival is an audio visual festival being held at the Verdieping in TrouwAmsterdam, showcasing some of the finest new talents in the audio and visual scene today. Aside from many an eye and ear pleasing performance, there will also be plenty of knowledge being shared in workshops and lectures, beverages being consumed, old friends being greeted, and new friends being made.

Of course Resolume will be representing as well, and during the afternoon we'll be showcasing some of the possibilities Resolume opens up for AV performances. Come on down, say hi and hang out!

For more info and the full program check out http://www.fiberfestival.nl

Oh yeah, and maybe don't forget about the coffeeshops.

See you Saturday!