Resolume for VJing – Basic Introduction
https://www.youtube.com/watch?v=sciL7Qglh0w

I know a lot of you saw my last video that was basically an introduction to what VJing is. With this video, I decided to dive a little bit deeper into Resolume showing my project file set up for performing the visuals live in a concert setting.

This is a walkthough of how I started using analog video hardware mixers, VJ software, video synths, and circuit bent devices as an artistic medium. In 2018 I discovered how fun it can be to film on degraded Hi8 Video Cassettes with an old Sony Handycam, and more importantly I learned how awesome camera feedback is. Through a series of fateful circumstances I ended up building a setup where I could project visuals on top of bands and manipulate them live to the music. Learning how to perform with these tools was also foundational for me in learning how to create music videos.

Though my experience might not be exactly the same as yours, I figure my story will get some gears turning. This is probably the best way for me to “tell you what to do and what to try” without holding your hand and telling you exactly how. I also provide a lot of explanation of basic concepts that seem to confuse people. I know it’s hard being an absolute beginner, so I hope this helps you.

00:00 Intro
00:58 Discovering Tape Glitches
03:17 Discovering Camera Feedback
07:42 Using a Video Switcher
09:06 Using Clean Video Mixer
11:33 Using a Dirty Video Mixer
13:38 Using Resolume VJ Software
15:00 Hardware Video Synths?
15:37 Circuit Bent Devices, Enhancers, & Color Correctors
17:19 Routing
18:12 Final Thoughts

Until now, there’s never been a video that covers the many artists and engineers producing analog video hardware in the present day. This is intended for viewers both new and familiar with the analog video art scene, and will be especially helpful for those looking for custom analog video hardware for the first time.

I’ve divided tools into two categories: glitch processors (usually circuit bent) and video synthesizers (usually original circuits). Take with a grain of salt; there is definitely some overlap.

Don’t overlook DIY Kits! It is always possible to build glitch gear and video synths yourself. Many of those mentioned even sell kits for you to solder together. I’d say before you rush into buying some expensive hardware, explore with what’s possible with a kit, or mix and match video / audio signals yourself using basic, cheap, electronic components and some wires. You can achieve super cool effects just with an experimental attitude. Remember, there are no right answers, only creative ones!

Adding some mods to Karl Klomp’s original Dirty Video Mixer design for a lot more glitches and visual effects.

It’s very difficult because all the different video signals need to be syncronised together – professional equipment is designed to do this, and includes sync inputs. Historically TV studios had everything synced by a seperate sync generator, I don’t know if it’s still so?.

Doing video mixing on domestic equipment is far more complicated, I suggest you buy a ready made unit!.

Nigel is right. I used to design video synchronizers and time base correctors for a living. They are no doubt smaller now, due to integration, but they are still complex and must contain a megabyte or more of memory (which isn’t much, but controlling it isn’t simple). They also reqiure at least two phaselocked loops, an A/D, a D/A, filters, video amps, etc.

PIP still requires that the inputs be synchronized. This is generally not the case unless you happen to be in a broadcast studio or a production facility.

If anything PIP is probably harder to do, as you have no choice but to digitise the small picture in order to resize it, plus the sync problems are still there.

Food for thought ???

Some of my video cameras (cheap CCTV stuff) have synch inputs – in theory you can strip the synch pulses from an existing video signal and use them to drive the CCTV camera(s) – a cross-fade could then be achieved with a simple fader circuit ? (OK assuming synch pulses continued to maintain amplitude!).