Ed.: Our guest superstar VJ Momo the Monster returns. Coachella isn’t necessarily a VJ convergence: VJs are aliens in a kingdom ruled by musicians. But with this crew, the gig rigs and artistry were flowing freely. Here’s just a glimpse of part of who and what was assembled. -PK

It’s now a week to the day since the start of the 2009 Coachella Festival, and I’m finally getting down to sorting notes, transferring pictures and video, trying to wrap the whole thing up in my head so I can file it away.

Doing visuals at Coachella was fun as hell, and also the craziest and most seat-of-my-pants show I’ve ever done. I was contacted by Brett Spivey of Xochi Media on March 31st (a little over two weeks before the event) and invited to join their crew. I joined them in Encinitas a week later for rehearsal and mind-melding, which is when I started my Coachella VJ Blog.

The Mission

Our job was to be the House VJs - we would do visuals for anyone who didn’t already have something prepared. Spivey emailed all the performers to find out what they wanted, and the big guessing game began. Some groups got back to us right away, others didn’t respond until we were already setting up at the festival, and some never did. Of the groups that responded, some told us they wanted no visuals, some had a logo or an album cover, and others, like Groove Armada, provided us with Gigabytes of beautiful content we were to work from.

For many groups, we had to guess - Shepard Fairey was easy since he’s also a visual artist and has plenty of prints we can animate, but for someone like Christopher Lawrence, we just listened to the music and organized groups of clips to work from.

The Gear

Oh, so much gear. From memory:

NAB, the “broadcasting” industry show, remains the event of the year for visual gear lust fantasies. We kicked off this week with new gear from Edirol, but that was just the beginning. Contributor Anton Marini (”vade”) weeds through the rest of the announcements for us, and finds some very tasty-looking equipment if you’re interested in getting HD video into your computer in real-time, or recording HD-resolution computer performances. The combination of this hardware with our faster-than-ever computers means that HD VJing and visualism is now more accessible than ever. -Ed.

NAB ‘09 is winding down, and there have been a slew of announcements of new products and upgrades that run the gamut of super high-end real-time 4K playback systems to.. well, not so high-end. I’ve tried to pick through the details and find the announcements that may help change the game for visualists in 2009/2010, for both high-end professional VJs and hobbyists alike.

The key word this year is HDMI.

AJA Ki-Pro

The Aja Ki-Pro is a field recorder. That’s a fancy way of saying it’s a stand-alone device that records audio and video to a hard drive. While Ki Pro is aimed more at higher-end production and post-production markets, it does allow visualists with the budget to do one thing we’ve all been wanting: Record your performances in HD, without compromise.

New VJ hardware tends to be few and far between, so we’ve been closely watching the P-10, now officially the “P-10 Visual Sampler.” (The “P” stands for “presenter,” but Edirol has changed from “visual presenter” to “visual sampler” to emphasize the P-10’s sampling features — smart move.) First spotted earlier this spring, the P-10 boasts a built-in display and pads, the ability to play straight from memory cards, and sampling from a live analog video/audio source.

Specs:

• MJPEG movie and still JPEG support
• Slide show capabilities
• Playback and recording from SD(HC) memory cards
• Capture from live video input (onboard composite, S-Video, and even audio in and out)
• Internal color display, 12 trigger pads, dedicated effects dials

About those effects — we now know what they are, and they should look pretty familiar to Edirol owners:

• Movie: Repeat A<>B
• Reverse
• Strobe
• Speed
• Color
• Output Fade
• Still Image: Slide Show, Strobe, Color, Output Fade

There’s also V-LINK support for integration with other Edirol products, though I would imagine you’d mostly want to use the onboard controls.

I think Edirol might be going a bit far when they say this is “a faster, more elegant and reliable alternative to using a laptop on stage.” I’m not sure what they mean by “faster,” and the main problem is that this really isn’t a laptop alternative — laptops just do more. But that said, if I had the cash I’d love to have one of these units alongside a laptop and mixer, and imagine gigging VJs will find the quick SD card capture to be just invaluable, especially if they pick up a camera that saves MJPEGs.

The deal killer for many is likely to be price, but to put this in perspective, this is a lot more compact and flexible than the Korg Kaptivator, which cost about twice as much.
I hope to get a look at the P-10 when it arrives stateside. Speaking of which…

As code literacy improves and coding tools like Processing and Flash make it easier to produce stunning visual results, the line between the coder/hacker and digital artist, and more conventional artists, is blurring fast. The next trend: networks and blogs on which people share not just their work, but the code behind it. The idea is old, but there’s no question the breadth of content and number of participants is expanding - and beginners are welcome, too.

The Flash Virtuoso, and Galleries vs. Code Repositories

Keith Peters, aka BIT-101, has been instrumental in the Flash community in advocating digital art and animation. His books are clearly written and intuitive to non-programmers — despite their Flash basis, I’ve found them useful for my Processing experiments, too. And Keith has been busy of late. He’s got a second installment coming for his wonderful Making Things Move book, inspiring his isometric experiments pictured here, and he’s also launched a new site called “Art from Code.” (Various permutations of this theme come up regularly.)

I owe a huge debt to Keith, as I got into generative coding entirely through his books, before later going on to discover Processing.

Interestingly, the relationship between code and art is an imperfect one. Just open sourcing the code isn’t always practical. In a way, though, that makes the code even more beautiful — and sometimes sharing visual results can be just as interesting as sharing code. (It forces us to go back and try to reproduce the results, then get it all wrong, and wind up producing something original, often as a result of mistakes!)

Keith writes on his blog:

After posting about their upcoming live performance on ORF TV, I got in touch with AddictiveTV to learn a bit more about their performances this weekend.

What kind of rig will you be taking to Vienna? Computers? Hardware? Software?

A mixture of all three! It took us days to figure out exactly what was required, to be able to do exactly what we need to be doing, as it’s quite an unusual task we’re undertaking, especially the audiovisual sampling of live streams that you’ve actually no idea what exactly they’ll be until they happen!

This just isn’t a normal gig set up and no equipment exists to do exactly what’s needed. Ideally, we’d like some huge Grass Valley multi-channel mixer that takes everything from SDI to Y/C and their Turbo recorder or similar, but the audio side of this kind of kit simply doesn’t work in the same way as DJ kit and certainly doesn’t have audio effects, or appropriate video effects for that matter.

Live in Kuwait. Image by WatchLookSee

So central to our set-up will be one of Pioneer’s new SVM-1000 audio/visual mixers. We worked with Pioneer on the development of the SVM, from conceptual ideas to the testing of the early prototype - so it’s good to be pushing it’s capabilities outside of the club environment. We’ll also be using our own customised Edirol V4 video mixer that’s been modified to take audio, and we’ll use it to shrink the picture and do further overlays; allowing us to have two live images side-by-side, using our laptop running VJammPro - which is essentially an AV sequencer and clip triggering software (which can also shrink the picture live too); we’ll also capture footage on this laptop from any of the live feeds and place the clips in VJammPro. And to complete the set-up we’ll have three DVJ-1000’s - Pioneer’s DVD turntables, and a DJM-1000, which is a six channel audio mixer plus it’s effects unit, the EFX-1000. Oh and ten tonnes of cables, connectors and video monitors!

Addictive TV’s Modified Edirol V4. Image by artificialeyes

How many concurrent feeds will you have access to?

We’ll be getting six live feeds, and I think it’ll be a mixture of live cameras from the same event and at other times different events coming down at the same time.