It’s a beach.

“Content-aware” image resizing — the ability to stretch images without distortion — is all the rage. vade covered the technology at last summer’s SIGGRAPH, and we’ve since seen publicly-available tools. But the New York Times musters an entire feature story on the topic (now it’s definitely mainstream), complete with a monster round-up of tools.

Thanks to Emmet for the tip!

To distract from their intensely repetitive subject matter, skateboarding videos have used a variety of techniques, from blooper reels showing people hurting themselves, to Spike Jonze post-producing the decks to invisibility.

The latest iteration of this process I will let speak for itself:

Updated: Lakai had the video removed from Youtube. Does anybody understand why a company would do this? The video went seriously viral last week. I encountered it via Dooce (which, if you’re not in to reading about Mormonism and constipation, is one of the most popular blogs on the whole internets), and when I added it to CDMo it had well over 1 million views. The actual video was released in November, so any initial buzz has long faded. Suddenly there is a resurgence of interest in the video, and by association the company, and they respond by removing the video which is causing all of this positive publicity?

It’s not the lumens that count; it’s how you use them. But it’s easy to forget that when your projections just got blown out by lights, which someone used because they can move and your projection can’t. And it’s easy to get frustrated with the limitations of projection when you’re again looking at a static 4:3 rectangle on another flat wall.

Unfortunately, the art of using mirrors and other techniques to make projection more dynamic aren’t nearly as well known as they could be. Alternative projection techniques have also tended not to be productized. One significant exception is VMS or VideoMovingSystem. It’s the rare case of a hardware product made specifically for creative, live, performative projection. VMS is similar to the iCue moving mirror and some other tools, but it takes the kind of tools previously customized for lighting and specially adapts them to projection. You can actually buy a VMS unit with a projector already attached, or buy a unit that will fit a standard projector, making these more effective and easier to mount and use than lighting-specific instruments. It’s not a cheap solution for an independent VJ, but it is cheaper than competing custom lighting solutions. And if you read this site, you should already know that digital, computer-powered projection can do all kinds of things boring motorized lights can’t.

artificialeyes’ Michael Parenti and Todd Thille have taken a unique role in both championing the VMS tool and developing custom applications for it, as well as rocking Istanbul with the results. Michael said repeatedly that it saved the whole act of VJing for him. We got to talk to Michael and Todd about VMS and why it’s important — and, better yet, we got to play with these units, remote-controlled by artificialeyes’ 3L software and Michael’s iPhone. Even if you don’t plan on picking up VMS yourself (or I should say, convincing a club to buy them for you), you can tell from the interview how much of a difference changing a projection technique can make — not lumens, and not content, the two things we often get hung up on.

Jaymis: I have plenty more video from the ae guys waiting to be edited, both long-form looks into Thrill, and quick tips as well. That said, video is a bit of a new step for CDMo. This past year we’ve been talking about being a visualist mostly through the written word, so it would be great to get some feedback. Do you find video reviews and articles useful? Like the editing style? Think Peter should do voiceovers for software training videos? Hit the comments.

2008 is looking like an extraordinary year for visualists: there’s an explosion of new software tools for live visuals. One of the most eagerly-anticipated is 3L (pronounced “Thrill”), a multi-purpose live visual application for Mac, from the massively-talented artificialeyes trio of Pascal Lesport, Michael Parenti and Todd Thille. (Todd, FYI, you may have to change that last name to 3iL.) We’ll be showing and explaining where 3L fits in, but let me jump into my unedited geeky take on it first.

3L is unique in that it takes a lot of the cool generative effects people are doing in individual patches for Max or Processing, loads them into one massively modular interface, and mixes in the prerequisite amount of pixel processing, audio, and MIDI. It’s like the monster Jitter patch you’ll never have time to finish, all on one screen — one very big screen; the software actually requires 1440×900 resolution to operate. If they had just done that, Thrill might fade into the blur of other modular environments created in recent years, but the software has also been packed with features tested by the Artificial Eyes crew in their gigs — meaning a whole lot of what you’d want to be able to do in a club is there already, including countless features you may not have even thought of yet. Pascal also apparently coded his way around limitations in Jitter.

We got an inside peek at the software in Perth. In fact, we peeked at a little too much — so much, we’re still, erm, editing all the footage we shot. And we might have gotten into that editing in Perth were we not out until the wee hours of the morning VJing with Thrill. Jack and Coke, Western Australian nightclub filled with ridiculously young-looking clubgoers, plus a completely unfamiliar interface that looks like the love child of Max/MSP, a 747, and a spaceship? Hell, yeah. With everything wired for MIDI and sound reactivity, Jaymis and I immediately found ourselves zoning into pulsing abstract patterns, even when we weren’t entirely sure what we were doing.

DJs are spoiled for choice when it comes to melding vinyl turntablism skills with digital mixing. But visualists have had no real mature option. Serato’s VIDEO-SL plug-in promises to change that, when coupled with their Scratch LIVE software and the Rane TTM-57SL mixer. To give the results a real shakedown, we turned to dj rndm and Robotkid, an audio-visual duo out of Boston who had already been frustrated with existing alternatives. Is the VIDEO-SL the breakthrough product visualists have waited for? -PK

Scratch LIVE v1.8 and Video-SL 1.0 boast the ability to not only mix video alongside your digital audio tracks but to give it groundbreaking control via Rane’s TTM-57SL mixer (required). After several anxious months of anticipation, we recently got our hands on the fader of Rane’s newest DJ gear to see how well it lived up to the demo shown at last year’s NAMM event. This progression of audio/ video integration seemed too good to be true, especially for those of us wrangling with the likes of Virtual DJ and Ms. Pinky. 

When the Video-SL plugin ran for the first time, we knew there was no going back.

Video demos

dj rndm takes the full VIDEO-SL setup for a spin, mixing:

… and scratching:

Effects, transitions

The Video-SL interface blends seamlessly into the Scratch LIVE window and functions with the same ease and readability known from previous iterations. The plugin includes over two dozen video effects and sixteen different transitions to layer and transform your video content in real-time. Most of the effects and transitions are fairly standard. While Serato has no immediate plans to allow for user-custom transitions and effects, they did tell us that adding new ones is relatively easy, and they say they hope to add new content based on feedback from the Scratch LIVE forums.

Ed.: It made some headlines on the blogs a couple of years ago, but as we revisit wacky ideas for VJ rigs, well worth revisiting — especially as we’ve been flying a lot. Hello, TSA!

Like destroying beats? Looking slick while you do it? Getting strip-searched at the airport? Then you, my friend, need to get your hands on a MIDI Gun.

midiGun design by Christopher Bauder 2004/05

It even comes with a laser in the barrel. My dream for MIDI Gun v.2? Combine it with a Pico Projector and unleash your visual fury in style. Check MIDIgun.com for the full run-down, and GunsNGuitars.com for dangerous music made with MIDI weapons.

Vlad Spears, musician, programmer and maker of the Davel.Plugs audio plugins (previously reviewed on CDM) has a write-up about the forthcoming Max/MSP 5. Andrew Benson of Cycling ‘74 gave a presentation at the Bay Area Computer Music Technology Meetup and Vlad kindly drew up a report. Most of the features he describes will not be new to those who’ve been awaiting Max 5, with the possible exception of:

- Say goodbye to [prepend set] messages! Message boxes have a right inlet specifically for this function.

- Multiple live views on the same patch, at different magnification levels. As someone who often builds patches which spill beyond the bounds of a screen, this is fantastic. Changes update in all views simultaneously.

- Object name auto-completion. To quote Andrew, “Several of our developers bought iPhones during development and fell in love with auto-completion.” Arrow through the drop-down list of auto-complete object choices and the Clue window shows information and arguments for each.

The grapevine says that the public beta of Max 5 will drop within several weeks. /me twiddles thumbs…

Ed.: Word we got from Cycling ‘74 at NAMM was that you’ll have the final version by the end of first quarter. I’m actually wondering if they’ll either forgo public beta — or slim it down in length — but that means you’re still just a few weeks away from the next release of Max.

Daniel Wilcox is “Robot Cowboy”:

“A futuristic expatriate American Space Ranger combines wearable computing, midi guitar, and live energy to wander the digi-range as a robotcowboy playing for dying astronauts. This is a lofi-guitar-compu-show with algorithmic balls from a DEVOspud, laptop-stomping idiot wearing exposed electronics.”

Check out Robot Cowboys YouTube channel, specifically : Video Killed the Radio Star Karaoke. In the “Future”, all VJs must wear helmets as awesome as Robot Cowboys. AND IT SHALL BE.

It does not get any better than this folks. I would attempt to write more, but words fail me. I can only utter “awesome” over and over.

See more at Robot Cowboy, check out his “Wearable Audio Visual Unit” project and Robot Cowboy @ myspace. Well played sir, well played.

I miss ANSI art. In the character-only days of the online world (pre-Web), these text-based graphics had a strangely pop-art quality, with hard edges, digital textures, and bold colors. This is not to be confused with ASCII art, mind you — ANSI art had lots of extra graphical features. Even by the early 1990s, landing on a modem-based BBS with ANSI art felt like leaving the grungy dullness of the country for the Los Vegas strip.

Which brings us to the relevance to this site. I’ve seen lots of cheesy ASCII art filters for video, implemented in environments like Processing, for one. But how about motion graphics with ANSI? Now that’s an interesting challenge. Or, for that matter, given infinite choices, how can you make your own creative constraints to do something essential and artistic? ANSI’s appeal might be purely nostalgic, but it suggests that more power over pixels has sometimes given us less freedom, not more. Something to ponder while you’re coding / editing / visualizing — there’s a chance to make up your own restrictions.

20 goto 10 in San Francisco will feature “ANSI”, curated by Acid Jazz from artists Somms & Lord Jazz.

20 goto 10 gallery page

Rhizome News: Escape Code to the Past

The great Rutt/Etra synthesizer repair party is almost over (hear all about it in a past episode of VJ-U). Daniel Summer threw the party, Matthew Schlanger hosted it, Messrs. Steve Rutt and Bill Etra came to repair and perform with the machines, respectively, many others, including Benton-C and Kyle Lapidus, came to help repair them (you know who you are), and David Last and I stopped by to play with them yesterday. David shot some great pictures (see slideshow below or on Flickr) of the machines and a new composition by Bill. Note: the screenshots were photographed off of a monitor while Benton was capturing the HD footage of Bill’s work, and David played with the hue of the images in Photoshop to give them a little variety. I will upload some HD footage of my own play on the Rutt/Etra sometime soon. If you’re in New York City, you can see some of it when I play my set with DJ Olive at {R}ake next Wednesday the 30th.

Slideshow created with Admarket’s flickrSLiDR.