#14

Love good visuals, hate bad visuals. Just like music.

Here is a gig with my band again:
https://youtu.be/IOW2chQRJSY

On this one I am also using a usb-dmx inface to control the lights at 3.00

Nanotak is a long time favorite! And also Ryoji Ikeda:

Oh and I am really loving this!

7 Likes
#15

Pretty much everyone has said a version of this, and I totally agree with that. There’s been several shows where the organizer, meaning well, has booked a vj-type artist to do visuals over people’s sets, and I’ve never been into it. I, too, hate seeing random shit projected on top of unrelated music.

I also echo @Angela’s call for deep/integrated collaboration, which can often mean carving your own language/approach. She mentioned many specific things we’ve done together (or have tried together), but it can be anything.

The Nonotak stuff looks cool, but comes off as too slick for me. Not to mention they have their “thing” where they are standing there with their gear and stuff. Like it’s really ‘branded’ or something.

Reminds me of Martin Messier as well, where there are some beautiful visuals (with borderline genius visual ideas) that suffer from brutal one-note-ness.

7 Likes
#16

Wow. Looks great, but I agree the music is kind of lame, and I’m not really into the overacting.

I really like Robert Henke’s Lumiere work, both from a technical and aesthetic perspective:

Apparently he’s going to be performing it in San Francisco next year, I think it would be worth the trip for me.

1 Like
#17

yooooo is that desertdaze app released anywhere? tried to search around the internets and couldn’t find any meaningful results. totally gorgeous!!! @jondashkyle

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#18

i really liked this video of randy jones from madrona labs:

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#19

@zebra posted this : from the experimental music notation resources
it’s an interesting attempt to get visual as art and music notation for a performance.

#20

very cool examples. could a setup for this kind of thing be as simple as a usb-dmx device and a few of these? https://www.aliexpress.com/item/Amusement-lighting-meteor-vertical-dmx-led-tube-light/32647575800.html?spm=2114.40010308.4.2.lUjKU5 I would love to try DIY lighting but really no idea of the materials to start

1 Like
#21

always loved that and for some reason the motion really adds a sense of temporal depth

@mr_sibs not sure either but he mentioned some of his hardware was custom (http://blinkinlabs.com) other times he just used imp-dmx in max along with enttec dmx usb to control traditional dmx gear

1 Like
#22

nah

I found the old thread but it was never publically shared, only documented…I mailed him about it but I think he didn’t keep the files. It was a really great looking system (and apparently expanded beyond the original video to include more patterns and tweaks)

in some ways I agree with their presentation being over the top

Not a big turn off tho and I’d jump at the chance to experience something like that in person

#23

on my new show, next thursday and saturday here in Barcelona, at Mira Festival
i’m proud to be playing in a Dome with 360 visuals by Eyesberg Studio :smiley:
all designed for the show and transforming feelings of my new album
a lot of stuff painted in 3d and vvvv all together thru resolume and reactive to my monome and audio signals
everything i’ve seen right now is pretty awesome
monome and modules! if you are around say hello!
will try to update the post with videos next week

5 Likes
#24

love that!
@randy did you make those yourself?

#25

when i use visuals for live shows they are often as a guide for me so that i don’t go off and play for an hour and over stay my welcome. since my sets are improvised losing track of time is an actual fear of mine.
i try and relate my visuals to the instrumentation or the ideas that i am trying to convey in the performance.
like this one from last week. underwater waterfall footage mated with hydrophone capturing the effervesce of some tablets seemed to be pretty effective.

pardon the low-res capture

5 Likes
#26

Thanks Marcus, yes they are made in real time from the audio of the different parts.

3 Likes
#27

wow, it’s beautiful!

1 Like
#28

Thanks again. This was opening up for Pole in Seattle early this year. There’s another video where you can see the a/v integration better at my blog post: http://scribble.farm/live-av-at-kremwerk-june-4-2015/

I think the backing film as you did so nicely the other night Marcus can be a strong proposition. I was trying for a while to figure out if you were making the video live from the tank, which speaks to its good integration with your performance. I guess you have probably seen Hovercraft and their movie? A favorite.

I like to integrate things very tightly and the palette of visual elements pretty minimal. Seeing Dumb Type / Ryoji Ikeda around ten years ago is one of my touchstones for what a good a/v show can be.

Some of my other favorites:
Granular Synthesis: http://www.granularsynthesis.info/
Bob Ostertag + Pierre Hebert collab
Robert Henke / Tarik Barri collab
Subotnick / Lillevan collab
OPN

all have in common a lack of narrative, an emphasis on formal structure, avoiding the pretentious dryness that seems really common with live a/v work.

I’ve seen VJs add something vital to a live show or DJ set of which they were not an integral part. But more often they don’t. Better one red light bulb.

3 Likes
#29

Thanks Randy!
Funny you mention it… I was the video guy/projectionist for Hovercraft for a while in the late 1990’s. It was a huge learning experience for me going from a more punk rock world to doing shows in huge clubs and seeing the business side of things that went along with touring like that. I got to tour along side the Boredoms for a few weeks which was super inspiring.

3 Likes
#30

whaaaaaat, that’s crazy. I guess you saw the movie a lot then. Were they doing it on 16mm at one point or am I remembering wrong?

#31

All the source footage was 16mm science films but I’m not sure if they ever used actual film live. Pearl Jam had got a full on Avid system to edit a tour movie with and it lived at the Hovercraft practice space on Aurora so Ryan (Hovercraft guitar player) would use it to assemble the live videos. The drummer would have a convex mirror on his drum kit so he could see where they were in the video in order to keep some of the more dramatic moments in perfect sync. like that lightbulb falling in slow motion and crashing on the ground.

4 Likes
#32

image.jpeg3024×3024 841 KB

#33

Check out modv for creating/looping visuals

http://wray.pro/modV/
On github

1 Like