Flash Player 10 beta is here, and it sports some impressive new visual tricks — further illustrations of what I mean when I say the "rich" part of rich media is so important, whatever the JavaScript coders may tell you:

• 3D "effects" and API: this isn’t true 3D, as you can get with direct OpenGL access in Java (and thus Processing), but it does allow some basic 3D effects and greatly-simplified movement on the Z plane
• Pixel effects: custom filters and effects via the Pixel Bender technology scripted in After Effects — rejoice, AE fans!
• Advanced text: This is what I really miss in Processing, and the gap just got bigger. (Hmm… anyone want to code a ligature library?)
• Newer drawing API: Badly-needed improvements for drawing shapes
• Better performance: More GPU acceleration, all automatic, for drawing and video alike

I still think there are plenty of reasons to go with Processing as a visualist, and I’m excited to see how JavaFX, the new Java-based multimedia scripting language and platform from Sun, progresses. But Flash 10 should be very good news for people who like the things that make Flash Flash (video support, for instance, and things like tweening classes), and it means we should be seeing great new things in the awesome open source, Flash-based visual tool Onyx VJ in the near future.

Thanks to Glenn for the reminder!

You can check out some demos or even download the preview of the player itself:

Flash Player 10 @ Adobe Labs

What about Flash and open source? Well, the picture is a little clouded.

Beatesthesia Custom Visulizer from olly gore on Vimeo.

Beatesthesia is a new open-source, cross-platform VJing/music visualizer application programmed in Processing. It sports some interesting design decisions, including an audio-reactive user interface. Its an interesting idea, and is certainly pretty and definitely novel. At first glance, I didn’t like the blinking UI; it struck me as being far too distracting, but, after second thought, it’s a pretty decent way of conveying content and disambiguating a UI elements purpose. Well done. Check out the Vimeo video and home page to get a feel for its capabilities.

Beatesthesia strikes me as being more of a music visualizer than a fully featured VJ application, but it’s open source, which means it will grow as it pulls in a dedicated user base. Beatesthesia’s website also hosts shared projects, so you can explore other users visualizations. [Ed. For what it's worth, it looks like more than just a visualizer to me -- especially as you start to edit the ways in which it works and make more elements "performable" -- and if you don't like this specific implementation, you could certainly code your own in Processing! Anyone performing with this or building something similar, let us know. -PK]

This illustrates why people are jumping for Processing.js, even if it cripples many of the things that make Processing cool. Paul Downey inadvertently hits the nail on the head:

… somehow hadn’t got around to actually doing anything with it. You see it’s the whole Java thing that puts me off; when it comes to playtime life’s far too short to wrangle a CLASSPATH or compile an applet.

Ah-hah — there’s the reason: developer laziness, and fear of Java. And rightfully so. Configuring a full-blown IDE for Java can in fact be some effort — I think it’s well worth it when you’re doing lots of work over time, but what if you just want to sketch?

Here’s the good news: Processing’s "founding fathers" Ben Fry and Casy Reas agree with you.

The thing is, these JavaScript developers I think haven’t bothered actually trying Processing — the real Processing in Java. The creators of Processing understood that traditional Java development could be a pain. So the whole point of the Processing IDE that you get when you download — a simplified text editor that understands the Processing language — is saving you exactly that trouble. You almost never, ever have to deal with "wrangling a classpath." It just doesn’t happen, certainly not with the included libraries (which do a lot more than Processing.js can). In fact, there’s even a download for Windows that takes care of installing Java for you. Nor do you have to worry about the effort involved in "compiling an applet." Again, Processing does the work for you.

In case you’re interested, what Paul did is reasonably cool — he set up Processing.js inside TiddlyWiki, the personal notebook tool.

But, Paul, in the time it took you to do that, you could have been off and running in the Processing editor. Give it a shot, really. As I said, I think the hack for JavaScript is very much in the spirit of Processing as an open platform. But if you don’t experience it in Java, you’re missing out on a lot of what it can do.

I think ports, hacks, and tech projects are fantastic. I’m a believer in experiments and proof of concept. So when I saw the port of Processing to JavaScript, I was impressed. I think this stuff is valuable, even if it’s imperfect.

Processing.js could indeed be useful in some cases, and it’s a testament to developer John Resig’s prowess as a JavaScript guru. But it’s limited by the restrictions of JavaScript. That isn’t a deal-breaker — it just means you need to adjust expectations and use this tool as what it is.

Unfortunately, the word "JavaScript" is magical to a lot of the Web development community in a way that seems to make them lose sight of reality.

Processing.js Aftermath [John Resig blog]

That’s sad. Because if "Java" remains a four-letter word (erm … well, you know what I mean), it really will be a massive blow to the open future of rich client media.

The Reality

Processing in Java is …

• Extensible (you can easily add Java libraries to add features)
• Massively compatible (you need only Java 1.3 or later, which believe it or not is already on the majority of machines — on CDM, we see roughly the same penetration as we do for Flash)
• Fast (significantly faster than JavaScript for processor-intensive operations)
• 3D
• Functional in the browser and as desktop software on every platform
• Compatible with desktop features (hardware support, MIDI, synthesis, audio, video … see the extensible bit)

Processing in JavaScript is …

• Limited to JavaScript’s capabilities — and thus not nearly as extensible
• Massively incompatible (IE7 doesn’t work at all. Firefox 3 is recommended, even though it’s not out yet.)
• Slow, often unstable, and CPU-hungry
• Browser-only
• Loses all desktop functionality (hardware support is significantly less than what you get with Flash)

This is not to say it’s not a good idea, or that it’s not fun to play with. In fact, none of the above restrictions take away from the coolness of John’s project — I’m really glad he did this, and I think it has a lot of potential. But let’s see how the JavaScript-happy blogosphere takes the news…

This retro-inspired color-on-black loopset is a great starter pack. 282 Megabytes worth of 640×480 PhotoJPEG Quicktimes.

Preview of the loops in action in a live set to Fabric 38 M.A.N.D.Y.

Created by VJ Fader using the 3D-Stroke After Effects Plugin.

Download Page || Direct Download

We covered a source for cheap visualist miscellany last week. It included cheap NTSC CMOS cameras, but unfortunately DealExtreme doesn’t seem to stock much PAL gear.

I had gone looking and placed an order with another site, but didn’t want to recommend it until that order had arrived intact.

That order has arrived intact.

The source for these cameras is DHGate, which is a “marketplace” rather than a direct merchant. DHGate provide a database of products and act as an escrow for payment, it feels a little like eBay. Terms are set by the individual seller, so it’s not a free-shipping wonderland like DealExtreme, but the prices are still finger-tinglingly low. I ordered 16 of these little cameras, which seem to be the PAL version of the NTSC ones at DealExtreme. 16 cameras cost me US$219 including shipping ($13.70 each) and they arrived in about a week. I’ve unpacked and tested them, and they’re all working perfectly.

In January I had a chance to catch up with Deborah Johnson, who was touring Australia at the time with Sufjan Stevens. The morning after their show in Brisbane, Australia we recorded an hour-long discussion of the show, and seeming to cover the whole gamut of visual creativity and performance. I’ve finally managed to transcribe this epic from audio to text.

Deborah: I would really like to see our show from the audience’ perspective.

Jaymis: I would have loved to have shot some video. There are some really beautiful moments. Did you notice that there was quite a bit of the crowd cheering visuals?

Jaymis: No?

Jaymis: I noticed that there was a couple times when you did something, nothing else was happening, and people around me were “yeaah!”, and not just the people I’ve conditioned to do that, either.

Deborah: ~laughs~

Jaymis: You’ve obviously got a good aesthetic happening. I’ve seen on your website as well you have that kind of drawn aesthetic. Do you do the illustration yourself?

Deborah: On the website?

Jaymis: In the set, you have images that come up: Stars, growing vine objects…

Deborah: Those are all based on drawings, they’re all drawing programs that are written in Director. I work with a programmer, and we’ll be like “this is what I want to have happen”, and he writes an algorithm to make that happen.

Jaymis: That was my next question: How do you do your particle effects with the stars which are drawn on, stay and then fall. So that’s Director?

Deborah: Yep.

Jaymis: Peter would be very excited that someone’s still using Director… So that’s then rendered out to video clips?

Deborah: I mean, the dream is to be able to make them instruments that I can play live, but…

Jaymis: Director’s getting a bit old for that kind of thing. You might have to go with Processing or Quartz Composer or one of those fun things.

Deborah: I really would like to learn Processing. Recently I feel like I’ve become more of a curator, art director.

Jaymis: As video gets bigger that’s what you have to become; you can’t do it all anymore.

Deborah: For this, I knew what I wanted to happen, but I knew that I would need some help. So I started working with a programmer named Siebren Versteeg, who’s an awesome artist in New York. It was great because in Sufjan’s music there’s just so many layers of stuff that happens. My skills were limited to be able to create something that’s just totally generative and so massive, there’s no way that I could author that stuff. So how do you just get a source concept and send it out over an animation.

One thing that I worry about is that it becomes too… Say with Processing or that kind of work, people associate it with screensavers?

Jaymis: Very true. Well I guess that growing vines is one of those things which is quite ubiquitous with that sort of thing. Obviously you’ve got a particularly cool little spin on it and it works really well in the context of what’s happening on stage, but “something growing” is a very standard…

Majesty Snowbird, Live Visual from CandyStations on Vimeo.

Deborah: Exactly.

Jaymis: I think the other thing is that if you become too focussed on one particular tool, then that influences your output as well.

UK touring visualist Deepvisual (who is currently kicking around the UK with The Orb) has posted a 3-minute overview into his touring rig.

There’s a lot of great tips packed in to 3 minutes of video, so pay attention. I wish someone had told me “take some chocks along to help angle your projectors” before I wasted countless hours over the last year searching around various venues for scraps of wood.

I swear by baluns, which allow me to use readily-replacable CAT5 cable for video runs. Also an inexpensive power inverter is a great addition, to keep your laptop, mp3 player, and phone charged on those long drives between cities. I’d love to hear from other gigging visualists though: What’s your secret touring sauce?