Quite a few of you raised an eyebrow when we topped our gift guide with the Canon HV20, an affordable (as little as us$700) HDV camcorder. Like the New England Patriots (that’s American football for the rest of the world), the Canon HV20 appears to be largely unbeaten as the best-available visualist-friendly camera. It’s small, it’s light, it’s cheap, it does HDV, ’nuff said. It’s also eminently upgrade-friendly, with indie producers adding 35mm lenses and nifty accessories. And even those of you with larger, more powerful cameras occasionally want something you can toss in a backpack or use as a backup.

But that got me wondering — is the HV20 really One Camera to Rule Them All?

I have a couple of candidates I think could be interesting.

The big rival as far as HDV appears to be Sony. The HDR-HC7, for instance, has more sophisticated manual controls than the HV20, and I like Sony’s night-shot mode for extreme infrared applications. It’s also a little heftier than the Canon, in a good way — it’s a camera I find comfortable to hold. cnet even likes the Sony better than the HV20. (camcorderinfo.com begs to differ; see their link below) Like many things in life, it looks even cooler in Japanese.

Unfortunately, "manual control" on a consumer-level Sony means navigating the horrible touch screen interface, and worse yet the HDR-HC7 introduces a bizarre new manual focus multi-function control. (Translation: some strange add-on bit of plastic that’s utterly useless for controlling anything.) All that said, I do like Sony’s cameras, despite their quirks.

Here’s the problem: the HDR-HC7 is running a street of over $1100, while the HV20 is well below $800. Is the Sony $300 better than the Canon? (Heck, is the Sony better than the Canon, period?) Tough to justify, I think.

Visualists have a wide range of skills to cover. After you’re done figuring out how to create and edit content and turn it into a performance / live installation / whatever, then you have to deal with the technicalities of projectors?

Basic calculations for throw distances are pretty straightforward: a 3:1 throw ratio, for instance, means you need 3′ from the projection surface to get a 1′ image. But that’s before you throw in all the variables: what are the specs of the projector you’re using, what’s the lens, what’s the setting of the lens, what size image and throw will provide an image that’s bright enough for the job, etc. So, while there are various calculators online, by far, my favorite is this fantastic interactive calculator at Projector Central:

Projection Calculator Pro [Projector Central]

Video artist Maya Ciarrocchi turned me on to the site (thanks, Maya)! It’s useful for two reasons, even if you’re decent at arithmetic. First, it’s got an extensive database of obscure projectors attached to it, so you’ll prepared for whatever you run into. Second, it has adjustable sliders so you can try what-if scenarios.

Won’t be long before I put all of this to use. Wednesday, I leave for Pittsburgh and the Hazlett Theater, where I’ll be in residence for a week and a half installing a custom show for choreographer Grisha Coleman, written in Processing and Java. I expect this will be a trial-by-fire for me as far as projector setup and installation, with one computer display and five projectors, all in unusual locations. I’ll be sure to report back on what I learn, including what I learn the hard way.

How about you: got a preferred method for researching projectors and projector setup? Got some killer spreadsheet for your throw distances? Let us know in comments.

I’ve had 2 rented Draper Cinefold screens with me on the tour. These are relatively expensive collapsible screens which we got a good deal on for a 3ish month rental. Unfortunately their former life at dance parties outside in the elements had left them with some pretty serious battle scars. One of the screen frames had a broken hinge, as did one of the legs.

These I “fixed” with gaffer tape and strips of plywood, until we had a couple of days off between tour legs and I time for some maintenance. I realised that while the screens came with drape bars to hang blacks from, they had never been used as the drapes are an extra US$1000ish, and not really required for raves out in the bush.

It was a relatively quick fix to dremel off the rivet heads from the broken and fresh hinges and to bolt the new ones in place. Requires some 6mm bolts, washers, and some nyloc nuts if you want to be extra sure that they’re not going to work their way free as the kit vibrates its way around the country in the back of a truck.

I shot a timelapse of the fix. Not really as a tutorial, as it’s not really something which requires much explanation. More as a celebration of my return to civilization, where I can waste a couple of hours shooting and motion tracking a mundane exercise.

In an informal poll of a variety of people, I’ve been unable to get agreement on a pretty fundamental question in projection:

Is it bad for a projector to hang it vertically?

For instance, to project on the floor, your first temptation would be to hang the projector perpendicular to the ground, with the lens pointed downward. But some projectionists argue this can increase the failure rate of the projector. Why? I’ve heard to explanations: one is that it’s “bad for the electronics” and somehow unnatural and evil. That one I have an extremely tough time with: the lamp, internal electronics, and fan themselves would have to be pretty poorly put together to be unable to withstand something this simple. The most delicate electronics are all solid-state. The second argument I could believe: that airflow in the vertical position is different than airflow in the horizontal position, increasing heat and reducing the life of the projector. The obvious argument otherwise would be that the fan should still operate and convection will continue to move air around. But there’s enough doubt here that I wouldn’t want to experiment on a projector to find out.

So, brave CDMers, what do you think? Is this just a projectionist “old wive’s tale”? Or is there truth to this somewhere? (And is it best to err on the side of caution, swallow my pride, and just use a mirror?)

The answer: a definitive “yes, it is in fact bad.” I’m satisfied now in that we not only have a “just because” answer:

• Manufacturers specifically advise that this is bad.
• Airflow and lamp orientation provide specific technical reasons for why this could reduce lamp life/increase failure rates.


• Some of you have shared specific anecdotal experience.

Thankfully, mirrors easily solve the problem.

Thanks to everyone for writing in!

In my computing life I’m very much into segregation. Until recently I’ve worked exclusively with PCs and have always had 3-4 machines around, each installed with a certain set of tools to do a specific job:

• Workstation with After Effects, Photoshop, Web Development tools, Content stuff…
• Laptop with Mail, IM and other communication/organization stuff.
• Server with bittorrent downloading, media serving and distributed rendering.
• Gig machine with just Resolume and required codecs.

Since this whole tour thing started I’ve had to consolidate everything onto my MacBook. All of the usual amail, browsing and IM duties remain, but are now encroached by editing in iMovie, flyer and poster design in Photoshop/InDesign, web administration and coding in Coda, Tour and Gig organization with NeoOffice, photo organization in Lightroom… My poor MacBook has been flogged half to death, with constant slowdown and frequent freezes and crashes. Quicksilver especially - my Mac raison d’être - has been having huge problems.

I was very close to just palming my trusty lil BlackBook off to the GirlThing and upgrading to a MacBook Pro. I was talking to Peter about which MBP I should buy when he suggested that perhaps a little RAM upgrade may be in order. Best. Advice. Evar.

Local MacStore price to upgrade to 2GB RAM: AU$400. Price of RAM from local PC bits store: AU$106. The installation was a little nerve-wracking, requiring considerably more force than I’m used to applying to RAM installation, but the machine booted first time and everything seems happy now. Less MacBook slowdowns = more time to play with my new HVR-V1P. 200FPS slow motion. Can I get a hell yeah?

I got to run a feature yesterday on Create Digital Music with tips for getting good gigs, written by musician and Chicago electronica scenester Liz “Quantazelle.” That story has in turn generated a lot of discussion on CDM and elsewhere.

This raises an interesting question, though: how much of this advice applies to visualists and, specifically, standard VJ gigs? We face even more challenges: needing projection surfaces and (in some cases) projectors, having to “accompany” music, and having a new medium that most people still don’t quite “get.” My own gigs have often been nontraditional (modern dance) or mixed with music performance. But I’m curious what you think. And what would you want in an advice list if we could get the community here on CDMo to put one together?

Comment here, and feel free to join the chatter on Create Digital Noise; I’ve set up a new thread there:

Getting good music/visual gigs — let’s share advice

The tour with Bobby Flynn is hotting up now. Over the weekend we had two shows: In Brisbane and the Gold Coast, which meant that I spent about 8 hours of my weekend setting up and tearing down my rig, aligning projectors and screens, running cables, and running around. The tour map currently displays 16 gigs down Australia’s east coast, and we will have another 35 or so joining them over the next week or so as dates are finalized. The cardboard box protecting my V4 during transport has already torn, and I’m sick of plugging and unplugging cables. So I need to get this stuff cased up, for the protection of my hardware and my sainity.

The current list (left to right, top to bottom):

• Wii - for pre-show warmups and after hours fun. Need to organize a wireless sensor bar.
• Behringer BCD2000 - Ghetto, but functional.
• Behringer BCR2000 - less ghetto than the BCD2000, and more functional.
• Numark AVM02 - Reviewed here.
• Samsung 940n 19″ LCD Monitor
• Lacie 200GB External Drive - Several years old, so should probably be replaced
• Macbook - Main Laptop. Running VDMX, Max/MSP/Jitter, Ableton Live etc.
• Thinkpad - Backup laptop. Running Ableton Live, Max/MSP/Jitter, Processing etc.
• Korg Kaoss Pad Entrancer - Video/Audio effects unit.
• Edirol V4
• Small Form Factor PC
• Voxson portable DVD player/monitor