#resolume — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #resolume, aggregated by home.social.
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Po nějaké době opět malé pracovní okénko. 🎥
Takhle jsme na včerejším ČEZ Festu v Třebíči s gen live production rozjížděli LEDky. ✌️
#muicfestival #LED #Resolume #ResolumeArena #ProAV #bencristovao #hudba #Třebíč #Sony -
Po nějaké době opět malé pracovní okénko. 🎥
Takhle jsme na včerejším ČEZ Festu v Třebíči s gen live production rozjížděli LEDky. ✌️
#muicfestival #LED #Resolume #ResolumeArena #ProAV #bencristovao #hudba #Třebíč #Sony -
Po nějaké době opět malé pracovní okénko. 🎥
Takhle jsme na včerejším ČEZ Festu v Třebíči s gen live production rozjížděli LEDky. ✌️
#muicfestival #LED #Resolume #ResolumeArena #ProAV #bencristovao #hudba #Třebíč #Sony -
Po nějaké době opět malé pracovní okénko. 🎥
Takhle jsme na včerejším ČEZ Festu v Třebíči s gen live production rozjížděli LEDky. ✌️
#muicfestival #LED #Resolume #ResolumeArena #ProAV #bencristovao #hudba #Třebíč #Sony -
Mail from #Resolume today announcing an "agentic AI" interface in Arena and Wire:
"We're now releasing MCP servers for Arena/Avenue & Wire. With these local Resolume MCP servers, AI desktop applications like Claude, OpenAI Codex, Google Antigravity, or any other MCP-compatible AI tool, can assist you with building compositions in Arena & Avenue and help build (complicated) patches in Wire.
We're not the only ones releasing MCP servers now, checkout Anthropic's blog post announcing MCPs from Ableton, Adobe, Canva, Autodesk, SketchUp, Splice and (the 3D tool used by many VJ's) Blender! Expect most of your favorite software to become MCP capable this year, it has quickly become an industry standard for connecting LLM's to software and services."
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Mail from #Resolume today announcing an "agentic AI" interface in Arena and Wire:
"We're now releasing MCP servers for Arena/Avenue & Wire. With these local Resolume MCP servers, AI desktop applications like Claude, OpenAI Codex, Google Antigravity, or any other MCP-compatible AI tool, can assist you with building compositions in Arena & Avenue and help build (complicated) patches in Wire.
We're not the only ones releasing MCP servers now, checkout Anthropic's blog post announcing MCPs from Ableton, Adobe, Canva, Autodesk, SketchUp, Splice and (the 3D tool used by many VJ's) Blender! Expect most of your favorite software to become MCP capable this year, it has quickly become an industry standard for connecting LLM's to software and services."
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Mail from #Resolume today announcing an "agentic AI" interface in Arena and Wire:
"We're now releasing MCP servers for Arena/Avenue & Wire. With these local Resolume MCP servers, AI desktop applications like Claude, OpenAI Codex, Google Antigravity, or any other MCP-compatible AI tool, can assist you with building compositions in Arena & Avenue and help build (complicated) patches in Wire.
We're not the only ones releasing MCP servers now, checkout Anthropic's blog post announcing MCPs from Ableton, Adobe, Canva, Autodesk, SketchUp, Splice and (the 3D tool used by many VJ's) Blender! Expect most of your favorite software to become MCP capable this year, it has quickly become an industry standard for connecting LLM's to software and services."
-
Mail from #Resolume today announcing an "agentic AI" interface in Arena and Wire:
"We're now releasing MCP servers for Arena/Avenue & Wire. With these local Resolume MCP servers, AI desktop applications like Claude, OpenAI Codex, Google Antigravity, or any other MCP-compatible AI tool, can assist you with building compositions in Arena & Avenue and help build (complicated) patches in Wire.
We're not the only ones releasing MCP servers now, checkout Anthropic's blog post announcing MCPs from Ableton, Adobe, Canva, Autodesk, SketchUp, Splice and (the 3D tool used by many VJ's) Blender! Expect most of your favorite software to become MCP capable this year, it has quickly become an industry standard for connecting LLM's to software and services."
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El terror de recibir un pendrive no revisado mientras el público toma asiento. Por qué tu sistema debe aguantar cualquier codec.
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El mayor cuello de botella no es la fibra óptica, es que el Arte y la Técnica no hablan el mismo idioma.
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El productor llega con 3 logos de Sponsors nuevos a 15 minutos de abrir. Uno cuadrado, otro vertical. Cómo la matemática de proporciones salva el show sin deformar.
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Historia anónima de la Media Hora: El problema no era la GPU, era el ruteo. La técnica necesita un segundo par de ojos.
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Un servidor de video no reproduce, procesa. Si tu parche depende de que el cliente mande el archivo perfecto, tienes una bomba de tiempo.
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Behind the scenes with VJ Fongaboo’s Monolume — a lively Resolume demo showing how real-time video collages are made and performed. Perfect inspo for VJs and visual artists! Dive into techniques and creative flow. #VJ #Resolume #LiveVisuals #VideoArt #BehindTheScenes #VJing #PeerTube #English
https://www.wtfayla.com/videos/watch/cdd08901-9caa-4edc-99f3-598751288313 -
Renderizar 50 nombres en After Effects para premiados es una trampa. Los gráficos deben ser sistemas dinámicos.
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Project Caligari
As the days tolled ever onward to All Hallow’s Eve, an opportunity arose to make use of a new creative space on campus – just by our CentR Stage bar and just in time for the Academy’s Halloween party. Despite only receiving full access and equipment on the morning of festivities, a hastily scribbled tribute to the legacy of cinematic horror was set in motion.
Knowing partygoers were there to chill, chat, and indulge appropriately themed cocktails, there was no expectation they would sit down to watch a full film. Instead we planned a minimalist immersive area to relax in, with low-slung sofas encircled by rear-projected screens showing multiple silent movies. A central plinth would hold an object of focus and contrasting colour from the cold scenes on display.
Implementation demanded a different design – not least a lack of haze, incense, and human remains – with a trio of floor-sat units forward-projecting onto a curve of black drapes. The plinth then sat behind the sofas, adorned with a plastic pumpkin pilfered from the bar – ideally replacing it with the winner of the party’s carving competition.
Vintage horror sourced from archive.org provided the (cunningly Public Domain) vibe, with many films planned for each screen through the night. Technical difficulties, however, meant we had to lock each projector down to a single looping movie – controlled by a laptop behind the curtain running Resolume Media Server going into an HDMI splitter.
The chosen films presented a journey through the early years of macabre movies. An era where the steadfast rules of cinema had yet to be written, inspiring a vibrant visual imagination lost in a later generation of sedate talkies.
The vivid expressionism of The Cabinet of Dr. Caligari (1920) was an essential choice. The first feature-length horror committed to celluloid, and one which many have not been aware. Director Robert Wiene’s eye delivers a pioneering dream-like ambience to a tale of grisly murder, with hand painted backdrops accentuating this unreality.
Next, F. W. Murnau’s Nosferatu (1922) – another German Expressionist classic. Despite drawing the ire of the Stoker estate for obvious plagiarism, this film offers its own interpretation. Max Shreck‘s Count Orlak presents an iconic image of vampyric horror as a monstrous being, a presence revisited in subsequent remakes.
Completing the triptych with another tale retold through the generations, James Whale’s Frankenstein (1931) was filmed with spoken dialogue. However, the rich gothic design still offers strong visual storytelling, with Boris Karloff‘s taciturn performance as the monster just as captivating in silence. A cornerstone of Universal Studios’ shared monster cinematic universe.
All crew work is collective, and we could not have done this without the aid of veterans Nick and Max, who helped to set up and put the final pieces together while I was embroiled in all-day lectures. Their efforts ensured the project was finished to schedule.
Freshers had their chance to contribute too, with new student Ruby curating a masterful multi-genre playlist to accompany proceedings. Although I was obliged to throw in a few extra tracks at the end, we all agreed to remove ‘Monster Mash’ after the shuffle spookily reprised it over and over.
Nothing can ever happen without some form of improvisation, and the taming of wild ideas into practical necessity manifests many happy accidents. The surreal imagery of early experimental cinema, especially in Caligari’s twisted set design, was thrown further off-kilter by the warp of the drapes. An abstract unease accentuated by the imperfect focus and inconsistent framing. It is important, at times, to let go of perfection so things can simply find their own form.
Overall, it went down very well. Partygoers drifted in and out to watch and take photos, enjoying my eager explanations. The client and crew working in the main studio also popped in to take a look around in appreciation. The only complaint from some was the installation wasn’t ‘scary’ enough…
… but the True Terror was throwing it together on time!
https://heathenstorm.com/2025/11/01/project-caligari/
#academyoflivetechnology #caligari #cinema #expressionism #frankenstein #halloween #horror #immersive #nosferatu #projections #resolume #samhain #vintage
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Project Caligari
As the days tolled ever onward to All Hallow’s Eve, an opportunity arose to make use of a new creative space on campus – just by our CentR Stage bar and just in time for the Academy’s Halloween party. Despite only receiving full access and equipment on the morning of festivities, a hastily scribbled tribute to the legacy of cinematic horror was set in motion.
Knowing partygoers were there to chill, chat, and indulge appropriately themed cocktails, there was no expectation they would sit down to watch a full film. Instead we planned a minimalist immersive area to relax in, with low-slung sofas encircled by rear-projected screens showing multiple silent movies. A central plinth would hold an object of focus and contrasting colour from the cold scenes on display.
Implementation demanded a different design – not least a lack of haze, incense, and human remains – with a trio of floor-sat units forward-projecting onto a curve of black drapes. The plinth then sat behind the sofas, adorned with a plastic pumpkin pilfered from the bar – ideally replacing it with the winner of the party’s carving competition.
Vintage horror sourced from archive.org provided the (cunningly Public Domain) vibe, with many films planned for each screen through the night. Technical difficulties, however, meant we had to lock each projector down to a single looping movie – controlled by a laptop behind the curtain running Resolume Media Server going into an HDMI splitter.
The chosen films presented a journey through the early years of macabre movies. An era where the steadfast rules of cinema had yet to be written, inspiring a vibrant visual imagination lost in a later generation of sedate talkies.
The vivid expressionism of The Cabinet of Dr. Caligari (1920) was an essential choice. The first feature-length horror committed to celluloid, and one which many have not been aware. Director Robert Wiene’s eye delivers a pioneering dream-like ambience to a tale of grisly murder, with hand painted backdrops accentuating this unreality.
Next, F. W. Murnau’s Nosferatu (1922) – another German Expressionist classic. Despite drawing the ire of the Stoker estate for obvious plagiarism, this film offers its own interpretation. Max Shreck‘s Count Orlak presents an iconic image of vampyric horror as a monstrous being, a presence revisited in subsequent remakes.
Completing the triptych with another tale retold through the generations, James Whale’s Frankenstein (1931) was filmed with spoken dialogue. However, the rich gothic design still offers strong visual storytelling, with Boris Karloff‘s taciturn performance as the monster just as captivating in silence. A cornerstone of Universal Studios’ shared monster cinematic universe.
All crew work is collective, and we could not have done this without the aid of veterans Nick and Max, who helped to set up and put the final pieces together while I was embroiled in all-day lectures. Their efforts ensured the project was finished to schedule.
Freshers had their chance to contribute too, with new student Ruby curating a masterful multi-genre playlist to accompany proceedings. Although I was obliged to throw in a few extra tracks at the end, we all agreed to remove ‘Monster Mash’ after the shuffle spookily reprised it over and over.
Nothing can ever happen without some form of improvisation, and the taming of wild ideas into practical necessity manifests many happy accidents. The surreal imagery of early experimental cinema, especially in Caligari’s twisted set design, was thrown further off-kilter by the warp of the drapes. An abstract unease accentuated by the imperfect focus and inconsistent framing. It is important, at times, to let go of perfection so things can simply find their own form.
Overall, it went down very well. Partygoers drifted in and out to watch and take photos, enjoying my eager explanations. The client and crew working in the main studio also popped in to take a look around in appreciation. The only complaint from some was the installation wasn’t ‘scary’ enough…
… but the True Terror was throwing it together on time!
https://heathenstorm.com/2025/11/01/project-caligari/
#academyoflivetechnology #caligari #cinema #expressionism #frankenstein #halloween #horror #immersive #nosferatu #projections #resolume #samhain #vintage
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Project Caligari
As the days tolled ever onward to All Hallow’s Eve, an opportunity arose to make use of a new creative space on campus – just by our CentR Stage bar and just in time for the Academy’s Halloween party. Despite only receiving full access and equipment on the morning of festivities, a hastily scribbled tribute to the legacy of cinematic horror was set in motion.
Knowing partygoers were there to chill, chat, and indulge appropriately themed cocktails, there was no expectation they would sit down to watch a full film. Instead we planned a minimalist immersive area to relax in, with low-slung sofas encircled by rear-projected screens showing multiple silent movies. A central plinth would hold an object of focus and contrasting colour from the cold scenes on display.
Implementation demanded a different design – not least a lack of haze, incense, and human remains – with a trio of floor-sat units forward-projecting onto a curve of black drapes. The plinth then sat behind the sofas, adorned with a plastic pumpkin pilfered from the bar – ideally replacing it with the winner of the party’s carving competition.
Vintage horror sourced from archive.org provided the (cunningly Public Domain) vibe, with many films planned for each screen through the night. Technical difficulties, however, meant we had to lock each projector down to a single looping movie – controlled by a laptop behind the curtain running Resolume Media Server going into an HDMI splitter.
The chosen films presented a journey through the early years of macabre movies. An era where the steadfast rules of cinema had yet to be written, inspiring a vibrant visual imagination lost in a later generation of sedate talkies.
The vivid expressionism of The Cabinet of Dr. Caligari (1920) was an essential choice. The first feature-length horror committed to celluloid, and one which many have not been aware. Director Robert Wiene’s eye delivers a pioneering dream-like ambience to a tale of grisly murder, with hand painted backdrops accentuating this unreality.
Next, F. W. Murnau’s Nosferatu (1922) – another German Expressionist classic. Despite drawing the ire of the Stoker estate for obvious plagiarism, this film offers its own interpretation. Max Shreck‘s Count Orlak presents an iconic image of vampyric horror as a monstrous being, a presence revisited in subsequent remakes.
Completing the triptych with another tale retold through the generations, James Whale’s Frankenstein (1931) was filmed with spoken dialogue. However, the rich gothic design still offers strong visual storytelling, with Boris Karloff‘s taciturn performance as the monster just as captivating in silence. A cornerstone of Universal Studios’ shared monster cinematic universe.
All crew work is collective, and we could not have done this without the aid of veterans Nick and Max, who helped to set up and put the final pieces together while I was embroiled in all-day lectures. Their efforts ensured the project was finished to schedule.
Freshers had their chance to contribute too, with new student Ruby curating a masterful multi-genre playlist to accompany proceedings. Although I was obliged to throw in a few extra tracks at the end, we all agreed to remove ‘Monster Mash’ after the shuffle spookily reprised it over and over.
Nothing can ever happen without some form of improvisation, and the taming of wild ideas into practical necessity manifests many happy accidents. The surreal imagery of early experimental cinema, especially in Caligari’s twisted set design, was thrown further off-kilter by the warp of the drapes. An abstract unease accentuated by the imperfect focus and inconsistent framing. It is important, at times, to let go of perfection so things can simply find their own form.
Overall, it went down very well. Partygoers drifted in and out to watch and take photos, enjoying my eager explanations. The client and crew working in the main studio also popped in to take a look around in appreciation. The only complaint from some was the installation wasn’t ‘scary’ enough…
… but the True Terror was throwing it together on time!
https://heathenstorm.com/2025/11/01/project-caligari/
#academyoflivetechnology #caligari #cinema #expressionism #frankenstein #halloween #horror #immersive #nosferatu #projections #resolume #samhain #vintage
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Project Caligari
As the days tolled ever onward to All Hallow’s Eve, an opportunity arose to make use of a new creative space on campus – just by our CentR Stage bar and just in time for the Academy’s Halloween party. Despite only receiving full access and equipment on the morning of festivities, a hastily scribbled tribute to the legacy of cinematic horror was set in motion.
Knowing partygoers were there to chill, chat, and indulge appropriately themed cocktails, there was no expectation they would sit down to watch a full film. Instead we planned a minimalist immersive area to relax in, with low-slung sofas encircled by rear-projected screens showing multiple silent movies. A central plinth would hold an object of focus and contrasting colour from the cold scenes on display.
Implementation demanded a different design – not least a lack of haze, incense, and human remains – with a trio of floor-sat units forward-projecting onto a curve of black drapes. The plinth then sat behind the sofas, adorned with a plastic pumpkin pilfered from the bar – ideally replacing it with the winner of the party’s carving competition.
Vintage horror sourced from archive.org provided the (cunningly Public Domain) vibe, with many films planned for each screen through the night. Technical difficulties, however, meant we had to lock each projector down to a single looping movie – controlled by a laptop behind the curtain running Resolume Media Server going into an HDMI splitter.
The chosen films presented a journey through the early years of macabre movies. An era where the steadfast rules of cinema had yet to be written, inspiring a vibrant visual imagination lost in a later generation of sedate talkies.
The vivid expressionism of The Cabinet of Dr. Caligari (1920) was an essential choice. The first feature-length horror committed to celluloid, and one which many have not been aware. Director Robert Wiene’s eye delivers a pioneering dream-like ambience to a tale of grisly murder, with hand painted backdrops accentuating this unreality.
Next, F. W. Murnau’s Nosferatu (1922) – another German Expressionist classic. Despite drawing the ire of the Stoker estate for obvious plagiarism, this film offers its own interpretation. Max Shreck‘s Count Orlak presents an iconic image of vampyric horror as a monstrous being, a presence revisited in subsequent remakes.
Completing the triptych with another tale retold through the generations, James Whale’s Frankenstein (1931) was filmed with spoken dialogue. However, the rich gothic design still offers strong visual storytelling, with Boris Karloff‘s taciturn performance as the monster just as captivating in silence. A cornerstone of Universal Studios’ shared monster cinematic universe.
All crew work is collective, and we could not have done this without the aid of veterans Nick and Max, who helped to set up and put the final pieces together while I was embroiled in all-day lectures. Their efforts ensured the project was finished to schedule.
Freshers had their chance to contribute too, with new student Ruby curating a masterful multi-genre playlist to accompany proceedings. Although I was obliged to throw in a few extra tracks at the end, we all agreed to remove ‘Monster Mash’ after the shuffle spookily reprised it over and over.
Nothing can ever happen without some form of improvisation, and the taming of wild ideas into practical necessity manifests many happy accidents. The surreal imagery of early experimental cinema, especially in Caligari’s twisted set design, was thrown further off-kilter by the warp of the drapes. An abstract unease accentuated by the imperfect focus and inconsistent framing. It is important, at times, to let go of perfection so things can simply find their own form.
Overall, it went down very well. Partygoers drifted in and out to watch and take photos, enjoying my eager explanations. The client and crew working in the main studio also popped in to take a look around in appreciation. The only complaint from some was the installation wasn’t ‘scary’ enough…
… but the True Terror was throwing it together on time!
https://heathenstorm.com/2025/11/01/project-caligari/
#academyoflivetechnology #caligari #cinema #expressionism #frankenstein #halloween #horror #immersive #nosferatu #projections #resolume #samhain #vintage
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RESO00CTS$CHRrrLLl
Oops, sorry!
My finger slipped.
#vj #resolume #touchdesigner #byot
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
RESO00CTS$CHRrrLLl
Oops, sorry!
My finger slipped.
#vj #resolume #touchdesigner #byot
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
RESOCTRL Step Sequencer
A closer look at RESOCTRL's step sequencer
For more, check out my latest blog post!
#vj #resolume #touchdesigner #byot
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
RESOCTRL Step Sequencer
A closer look at RESOCTRL's step sequencer
For more, check out my latest blog post!
#vj #resolume #touchdesigner #byot
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
RESOCTRL
RESOCTRL was supposed to get the spotlight before HYDRACTRL happened.
So here's a bit of a closer look at my Resolume clip selector & step sequencer: RESOCTRL.
For more, check out my latest blog post!
#vj #resolume #touchdesigner #byot
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
RESOCTRL
RESOCTRL was supposed to get the spotlight before HYDRACTRL happened.
So here's a bit of a closer look at my Resolume clip selector & step sequencer: RESOCTRL.
For more, check out my latest blog post!
#vj #resolume #touchdesigner #byot
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
Recording hickups
As you can probably tell, I haven't figured out how to record this stuff smoothly.
Seems like streaming is a lot less taxing on my machine...
Wondering what you're looking at? Go check out my blog, there's a fresh article on all of this and more. Just for you.
#vj #resolume #touchdesigner #midicontroller #resoctrl #hydractrl #hydrasynth
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
Recording hickups
As you can probably tell, I haven't figured out how to record this stuff smoothly.
Seems like streaming is a lot less taxing on my machine...
Wondering what you're looking at? Go check out my blog, there's a fresh article on all of this and more. Just for you.
#vj #resolume #touchdesigner #midicontroller #resoctrl #hydractrl #hydrasynth
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
Everything under control
Don't worry, I know what I'm doing.
If you're wondering what on earth is going on, my latest blog post might shed some light.
#vj #resolume #touchdesigner #midicontroller #resoctrl #hydractrl #hydrasynth
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
Everything under control
Don't worry, I know what I'm doing.
If you're wondering what on earth is going on, my latest blog post might shed some light.
#vj #resolume #touchdesigner #midicontroller #resoctrl #hydractrl #hydrasynth
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
VJ Setup POV
I remembered I had these cheap cameras lying around...
What better way to promote a blog article about my vj setup with a lil vj jam of said vj setup? If you can think of something, I'd love to hear it!
But for now, go read my blog post!
Please 🙏
#vj #resolume #touchdesigner #midicontroller #resoctrl #hydractrl #hydrasynth
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
VJ Setup POV
I remembered I had these cheap cameras lying around...
What better way to promote a blog article about my vj setup with a lil vj jam of said vj setup? If you can think of something, I'd love to hear it!
But for now, go read my blog post!
Please 🙏
#vj #resolume #touchdesigner #midicontroller #resoctrl #hydractrl #hydrasynth
https://www.d17e.dev/blog/how-i-ended-up-building-hydractrl/ -
Why stop there?
...Right?
Oh, and I also forgot RESOCTRL, 2 audio interfaces and an ipad. And 3 midi controllers. Plus the two laptops i hooked up...
I'll be doing a write-up on the whole setup soon. Stay tuned!
Audio from the amazing set by [Dely](https://mixlcould.com/Lyte) (120 > 140bpm). Go check it out!
#vj #av #hydra #resolume #touchdesigner
https://hydractrl.d17e.dev -
Why stop there?
...Right?
Oh, and I also forgot RESOCTRL, 2 audio interfaces and an ipad. And 3 midi controllers. Plus the two laptops i hooked up...
I'll be doing a write-up on the whole setup soon. Stay tuned!
Audio from the amazing set by [Dely](https://mixlcould.com/Lyte) (120 > 140bpm). Go check it out!
#vj #av #hydra #resolume #touchdesigner
https://hydractrl.d17e.dev -
Some more HYDRACTRL jamming
Well... in fact it's more like *HYDRACTRL + Resolume + TouchDesigner* jamming...
Audio from the amazing set by [Dely](https://mixlcould.com/Lyte) (120 > 140bpm). Go check it out!
#vj #av #hydra #resolume #touchdesigner
https://hydractrl.d17e.dev -
Some more HYDRACTRL jamming
Well... in fact it's more like *HYDRACTRL + Resolume + TouchDesigner* jamming...
Audio from the amazing set by [Dely](https://mixlcould.com/Lyte) (120 > 140bpm). Go check it out!
#vj #av #hydra #resolume #touchdesigner
https://hydractrl.d17e.dev -
I just used #resolume to #edit a #promovideo for our #festival. Not adobe #premiere, not #davinci resolve, Resolume!
https://loops.video/v/8vQ11wf54E -
I just used #resolume to #edit a #promovideo for our #festival. Not adobe #premiere, not #davinci resolve, Resolume!
https://loops.video/v/8vQ11wf54E -
FDMN GDWNDS TRYOUT V' 6/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 6 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 6/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 6 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 5/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 5 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 5/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 5 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 4/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 4 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 4/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 4 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 3/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 3 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 3/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 3 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 2/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 2 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 2/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 2 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 1/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 1 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS TRYOUT V' 1/6
audio: Good Winds (New Atlantis, 2019) by @efdemin
video: filmed, produced & performed by @d17e.dev
Cut up and rotated just for you, part 1 of 6.
For the full length & horizontal version visit [dandly.tv/fdmn](https://dandly.tv/fdmn)
#efdemin #sequencer #resolume #vj #av #metro #amsterdam #d&ly
https://dandly.tv/fdmn -
FDMN GDWNDS FRAME #1881
We're doing D&LY teaser teasing frames again.
6/6
For youtube links and more, check out [my blog](https://d17e.dev/blog)
#VJ #resolume #touchdesigner
https://www.youtube.com/watch?v=qYePgSzS7U8&t=675s -
FDMN GDWNDS FRAME #1881
We're doing D&LY teaser teasing frames again.
6/6
For youtube links and more, check out [my blog](https://d17e.dev/blog)
#VJ #resolume #touchdesigner
https://www.youtube.com/watch?v=qYePgSzS7U8&t=675s -
FDMN GDWNDS FRAME #1563
We're doing D&LY teaser teasing frames again.
5/6
For youtube links and more, check out [my blog](https://d17e.dev/blog)
#VJ #resolume #touchdesigner
https://www.youtube.com/watch?v=qYePgSzS7U8&t=675s -
FDMN GDWNDS FRAME #1563
We're doing D&LY teaser teasing frames again.
5/6
For youtube links and more, check out [my blog](https://d17e.dev/blog)
#VJ #resolume #touchdesigner
https://www.youtube.com/watch?v=qYePgSzS7U8&t=675s -
VJ blob n°8643 👽🔴🪱🟡💥🔵
ID : Skee Mask - Pepper Boys 🎵
#vjing #vjloop #anime #animation #illustration #mapping #resolume #vj #electronic
