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?

artificialeyes are keeping us updated on the impending release of 3L (current status: Soon), and while I’m still in “getting my studio in order” mode in the lead-up to the “2008 massive VJ geek-out and CDMoFest” and unable to play with new toys, CyberPatrolUnit has posted some great demo videos (and followup), showing us some of the places that 3L may be able to take us.

3L and Lemur at LAX from CyberPatrolUnit on Vimeo.

Exciting? Maybe a little. I still have lots of 3L video to edit from Perth last year, and I’ve promised Michael that I’ll have some videos ready for the official launch. Stay tuned!

Our friend Sean Healy, aka Jean Poole, has a great interview with visualist *spark (Toby Harris of London). We love *spark for many reasons — for founding AVit, for being a wildly-talented artist, for reintroducing the idea of narrative to visualism, for VJing live on a giant touchscreen (see below), and other goodness, not necessarily in that order. Toby talks to Sean about everything from his philosophy of performance to some of the technical possibilities of audiovisual performance today.

I particularly like what *spark has to say about live cinema, and why the tools are “hotting up”:

That term ‘Live Cinema’ is something close to my heart though: I reckon you can specifically and deliberately combine a lot of whats good in established cinema and clubbing to give a completely new way of expressing yourself as a VJ-esque performer while engaging with audiences’s own creative thoughts. The key to it is an improvisational use of narrative, rather than forcing a fixed story down their throats, you could be a cinematic incarnation of the oral storytellers of old, weaving tales on the fly, or providing the scenarios and juxtapositions that people find themselves compulsively mapping their own narratives onto. Stepping back from that, I’m interested in anything that uses media to make people interact or think in unexpected ways, which has taken me from playing with the conventions of one-man theatre to storytelling installations. And the tools are really hotting up at the moment, things are getting interesting.

*sparkin’ it up [Skynoise.net]

Speaking of hotting it up, check out that potent combination of Ableton Live (for music) and VDMX (for visuals) on a MacBook Pro. It’s a coupling we’re seeing more of these days. (And it doesn’t necessarily have to be Live and VDMX per se, or even one laptop — but people exploring real audiovisual soundtrack means Live Cinema can be sonic as well as visual.) Those of you working on similar setups, we’d love to see them. Whether it goes on Create Digital Music or Create Digital Motion — well, I can flip a coin.

Ed.: DVJing sometimes seems more a dream of hardware manufacturers than something in the real world — until you get a talented DVJ going. We’re a bit late on posting this as it got lost in the shuffle of drafts, but well worth checking out, anyway. -PK

Jonny Wilson from Eclectic Method has got his hands on a brand new Pioneer SVM audio/video mixer. Some may poo-poo its SD-only output, but watch what a talented DVJ can do with it in the videos below. Click the button to the right of the fast-forward button to see the playlist.

Update: I disagree with PK — DVJing (or simultaneous audio-visual performance) is a very real thing that just hasn’t yet made it to the United States in a high-profile way.

Addendum: I’d like to point out that Jonny shot this video after experimenting with the mixer for only a day or two. Thus, this video is more of a “let’s see what this thing can do” than a “i love every single effect and wipe this thing has and will use them 4EVUR”. Seems like a pretty intuitive machine once you’ve read the manual a bit and practiced.

Watch it full size

We’ve said it before, but worth mentioning again: Resolume, with its super-clean interface, reliable performance, and support for extras like Flash files and open FreeFrame video effects, is bar-none our favorite Windows-based performance. It runs nicely even on my old Pentium M Toshiba laptop, and powers Jaymis’ globe-trotting tour with rockstar Bobby Flynn. If you’re looking to get into the program, Kat Black from visualist trio VJzoo has some good news:

Thought your readers might find this useful - we’ve released the handbook from our courses last year free for personal use. Covers the basics of PC-based VJing using Resolume, making loops etc. Linked off the forum at http://resolume.com or from our site http://VJzoo.com

Featured: Basic PC-based VJing techniques, VJzoo’s perspective on VJ-ing, Creating your own VJ loops, Formatting content for PC-based VJ-ing and using Resolume v2.3.

Introductory Manual to Resolume [PDF]

Here’s VJzoo setting up their rig and rocking Sevilla, Spain, because churches totally get me hot:

And even if you’re not on Windows, you can reap the benefits of the Resolume peoples’ generosity on free media treasure-trove Archive.org:

We’re in the process of uploading a bunch of clips to Archive.org, although geez it’s exhausting. I’ve been working constantly for three days to upload two new batches of clips. So far, only one works:

http://www.archive.org/details/68_Urban_Vector_VJ_Loops_by_VJzoo

The other ones… Argh.. Maybe in another day or two, will let you know. None of them are as weird as our vintage CVI clips - although thanks for even being nice about those ;)

In case you missed them, you can catch the full set of CVI clips:

Glitch, Synthetic and Real: Free Vintage Fairlight VJ Clips, Glitch in Jitter

Hope Kat will forgive me for posting that whole email, but it brings up a good point — Archive.org is great, but maybe we need a new, faster service for uploading visuals. Would you be willing to pay for such a service, if you could pay a flat fee for uploads and then use bandwidth freely or cheaply?

Australians: If you happen to be in Perth, Australia — and, really, if you’re anybody, I’m sure you are — VJzoo is at the center of the Perth audiovisual scene. (The scene does sound genuinely awesome. How many hours does it take to fly from Melbourne or Brisbane to Perth again? Might have to drop by and see more of the continent.)