In this tutorial we will be creating a simple ‘flip’ FX in TouchDesigner to use inside of VDMX6 Plus with a basic set of sliders and buttons to control the composition.
The workflow described here can be used to adapt existing TouchDesigner compositions for use as sources and FX including custom published input parameters.
Read MoreUse the new Remove Background FX in VDMX6 to automatically key any video stream without having to use a blue / green screen.
Read MoreSo, you've got a projector? Now, let's take your visual installations to the next level! While there's no shortage of inexpensive projector mounts online, some fall short for custom setups and quick turnarounds. Enter GRIP hardware – a tried-and-true solution from the film world that's been revolutionized with 3D printing.
Mount Anywhere! Don’t forget the safety cable!
Image from ‘supercell by slowdanger’ taken at the Flea theather in New York City. January 2024.
Lots of options!
Avenger F810 Baby Plate with 5/8" Swivel Spigot + a Grip Head + 6” Baby Pin Wall Plate
In the film/video realm, GRIP hardware is the unsung hero of lighting and rigging, trusted on film sets, TV shows, and in theaters. This gear, designed to support hefty lighting rigs for extended periods, can be the perfect match for your projector mounting needs.
Lots of metal bits for any type of installation. It only gets strange when explaining to TSA!
3” Baby Pin Wall plate attached with a custom made 3D printed mount for Optoma Projectors that works with Impact and Manfrotto plates.
At the core of this hardware is the ⅝" Baby Pin connector – a versatile link that works wonders for small to medium-sized projectors. If you're dealing with a large event projector, chances are it comes with its own secure cage or mounting structure for a safer installation.
The black coupler is a “Double Female Adapter” made by Kupo. The rest is a mix of Manfrotto Avenger and Impact GRIP hardware.
This type of connection opens the door to hundreds, if not thousands, of mounting possibilities. Trusted manufacturers include Impact Lighting (budget-friendly), Manfrotto Avenger Series, Matthews Lighting, and Kupo Lighting.
Left: Projector + wood mount with super clamp on a swivel head. Right: Projector with magic arm + wood mount and receiver plate.
The Cardellini Clamp, affectionately known as a Mathelini in theatrical circles (or alternatively as a Jaw Vice Clamp online), offers an impressive 6"+ range, making it an indispensable tool for securing projectors in diverse scenarios. When paired with an Impact Baby Pin Swivel Head Mount, complete with a sleek black Kupo connector, and anchored by a Manfrotto Avenger ⅝" baby pin receiver, this setup guarantees both stability and flexibility.
While different brands may come with varying price tags, their performance is generally comparable. However, it's worth noting that complications can arise when mixing brands, as they may have slightly different pin "lock" heights (the indentation at the top of the baby pin). Although it's possible to mix and match, optimal connectivity is often achieved when sticking to the same brand for all components in your hardware ensemble. (Link to 2” vice clamp)
Cardellini Clamp! (or Mathelini) Assuming you bought from Matthews Studio Equipment.
Mounting projectors where ever you want!
This hardware is strong!
Seriously, this Manfrotto Super Clamp survived years outside and even made it through a hurricane! (video) (It was only holding a camera, but still).
Once tightened in place, these components stand firm, even under the weight of heavy projectors. However, for added security, never forget the importance of a safety cable – a 1/16" aircraft cable that ensures your setup stays put, and it is relatively inexpensive to make your own safety cables after purchasing steel cable cutters and a swaging tool.
Beyond the essentials, assembling a well-rounded toolkit is paramount for a flawless installation. Consider expanding your arsenal with beam clamps, spring clamps, additional IEC cables, HDMI over Ethernet adapters, and HDMI cables under 50'. It's crucial to remain mindful of HDMI cable limitations – once you exceed 50 feet, exploring signal boosters or HDMI over Ethernet solutions becomes imperative.
Here's a pro-tip: I highly recommend using an IEC cable tap for added convenience. This allows you to power a media player ( this one offers seemless loop with .mkv files, must used a hidden file cleaner like BlueHarvest to remove hidden “.trash” files from USB drive or SD card before looping a folder of files). , Raspberry Pi, or HDMI over RJ45 adapter with a single cord, streamlining your setup.
Speaking of HDMI over RJ45 adapters (not HDMI over Ethernet!), I found mine for less than $20 USD, featuring both HDMI input and output on the transmitter (TX). While it seems they're currently sold out, there's no need to break the bank; spending $50 or more on this type of adapter is unnecessary. Instead, consider investing in a quality shielded CAT6 cable or making one yourself. A shielded cable helps minimize noise, making it especially beneficial for longer runs, particularly when running cables alongside power cables. This cost-effective approach ensures optimal performance without compromising your budget. (Note: HDMI over Ethernet means you could send the signal over a network, switch, router, etc. HDMI over RJ45 or HDMI over Cat5e requires a “homerun” cable that runs direct from the transmitter (TX) to receiver (RX). The protocol that is used by the manufacturers may be different then others, so you can’t mix and match these RX and TX receivers with different brands.)
Beam Clamps, pipe clamp, super clamps, baby pin adapters, yoke mount, grip head, adjustable magic arms, and a swivel head mount baby pin plate enhance adaptability, offering creative solutions for various mounting scenarios.
Handy for attaching things to “I Beams.” Especially helpful for securing safety cables in place.
Inexpensive, and versatile, and good to have in your bag!
Good for when you’re working in a lighting grid environment.
These are commonly found on C-Stands, and can hold a bunch of things at various angles.
Can position it almost any which way. These tend to sag over time with heavier projectors and in long installations, but great for quick configurations!
Great to have in your kit. A good quality Gaffers tape goes a long way and avoids tape residue after removed.
As you embark on your projector rigging journey, the right accessories make all the difference. This comprehensive guide ensures you're well-equipped for any installation, whether it's for escape rooms, VJing, projection mapping, or visual effects. Elevate your visual installations with the perfect blend of industry-proven hardware and cutting-edge solutions – because your projector deserves nothing less!
This article was written by ProjectileObjects. You can learn more about them at http://projectileobjects.com/ or follow them on Instagram @ProjectileObjects Templates are a great way to get started with VDMX and with this template you can take an out of the box APC40 MKII and jump right in!
A few things to note about the APC40 MK II before we get started.
The APC40 MK II has three internal MIDI mapping modes.
Generic Mode (Default)
Ableton Live Mode
Alternate Ableton Live Mode
To use this template correctly, you’ll need your APC40 MK II to be set to the default “stock” Generic Mode. More information about these modes can be found here (PDF) Bottom of Page 10.
When you first turn on the controller, it will default to the correct button mapping. To reset the template to all defaults, it is recommended that you hit this button when you start the template to eject all clips and set everything to its default.
This button ejects all media, clears all the FX and syncs the LFO view to the LFO slider. (Warning: You’ll lose FX in Layer A and B if you don’t save them as a new FX chain).
Not all buttons are RGB. When clips are ready to be triggered in your media bin, the 40 RGB button grid will light up blue, then yellow when the clip is selected. You can customize these colors yourself in the media bin options:
Image found on page 10, Akai communication protocol manual.
There are two versions of this template. A blank version without FX and a starter version with one layer of FX presets.
This template is structured to be a 2-channel video mixer. Both video layer A and B flow to a Master output (Projector, TV, etc.) The cross fader blends between both layers and each layer has its own FX chain presets.
The Master output FX are turned on and off by the top 8 rotary knobs. The first vertical slider on the right side of the controller labeled “MASTER” controls the master opacity. If it is all the way down, your screen output will be black. You can change this later to preference or disable it entirely.
Selecting clips for both layers A and B:
Both layers use the same 40 RGB button grid to trigger clips. To switch between Layer A and B, when selecting clips — use the first two buttons on the top right side of the grid under the label “SCENE LAUNCH” They will light up when they are selected. Top goes sets destination for Layer A, bottom for Layer B. The two buttons beneath that (Green) are page up / page down buttons for moving through your media bin. They are also linked to your Audio Analysis Filter 3 and will flicker based on your computers mic peaking. Beneath that (Yellow) is a random clip trigger.
To trigger to the next clip in the media or move up and down the media bin, redirect your eyes to the “BANK SELECT” 4 button arrow keys.
The rest of the buttons should be self explanatory based on the image above, or you can read through the “User Notes” built into the template which explains all of this and more.
If you’re adding new FX to your A and B layer FX chains, make sure to save them as a preset by clicking the + in the top of the FX window. This will save your FX chain and you can assign it to a new FX preset button. You can always disable the FX layers MIDI triggers in your project until you build out the template more to your liking!
Here’s a brief overview video of this template:
Project in Apple Motion using ISF generators and effects from VDMX
For VJs and other visual performers, one of the biggest parts of the job is creating your own original materials for your shows. If you like the workflow of compositing layers, applying effects, and automating values found in VDMX, the interface of Apple Motion offers a similar approach for creating visuals with the intention of exporting as movie files, at an affordable price.
Last month we introduced ISF for Motion, a new plug-in that makes it possible to use the same GLSL shaders supported in VDMX as generators and effects inside of Motion and FCP X. This includes our 200+ standard set of assets, as well as all of the creations shared on https://www.interactiveshaderformat.com/
In this tutorial we will take a look at using these ISF generators and effects in Motion to create short video loops to use in VDMX or other VJ software.
Before beginning, make sure to install both Apple Motion and ISF for Motion from the Mac App Store.
Read MoreCompleted project file for mixing between RGB->XYZ displacement images for the v002 Rutt Etra generator
Download the completed project file and media files for this tutorial.
One of the most fun visual effects used in live visuals and VJing dates back to the analog Rutt Etra video synthesizer which had many capabilities that have over the years been translated into digital form. Most notable among the digital versions is the v002 Rutt Etra Quartz Composer plugin which was developed by vade along with Bill Etra, one of the original creators of the Rutt Etra system. We’ve included this plugin as an FX, along with several other v002 creations with VDMX for a while now and, over the years we’ve seen a lot of projects that have made use of them… and in this video tutorial we’re hoping to teach you a few new tricks…
Before beginning this tutorial, make sure to use the v002 installer on the VDMX disk image in the Extra folder.
For this demonstration, instead of using the Rutt Etra as an FX, we have a Quartz Composer composition that generates video based on two input video streams. In this case we will create sets of hidden layers that will be used for these inputs: the Video Input will provide the colors for each particle and the Displacement Mask will provide RGB color gradients.
The main technique used here will be using an RGB to XYZ displacement map instead of a luma based displacement map. This means that we both have more flexibility for changing the positions of individual pixels, but we are now also responsible for creating the basic gradients that are needed to draw the basic image in a non-distorted way.
To accomplish this, we included special ISF compositions that are RGB color gradient generators. Each of these sketches includes three different gradients that are combined into a single output. One special feature of the gradient generators is the ability to pass in another video feed as a ‘look up table’ for one of the curves, making it possible to use waveforms and FFTs from audio analysis plugins, or any other image, as data that can modulate the output.
Once the basic setup is complete we can group the layers and add a Two Channel Mixer plugin to mix between different gradient outputs to fade the Rutt Etra generator between shapes and apply FX to the gradient images can create all kinds of different variations in the output. Here we use the VVMotionBlur effect to apply temporal smoothing to images and the Bad TV FX to create ripples.
Audio analysis, camera inputs and other images can also be used as lookup tables for the gradients.
The Video Input will provide the colors for each particle and the Displacement Mask will provide RGB color gradients.
Use basic gradients to create outputs without distortion.
In our introduction tutorial for working with Processing and VDMX we examined how to manually configure sending OSC messages from VDMX interface items to control properties of a Processing sketch running in the background. For this follow up lesson we will look at how the OSCQuery Helper tool can be used to publish the OSC address space for a sketch so that they can be remotely accessed by other software like VDMX or the OSCQuery Browser tool.
Read MoreMinimalist design setup in VDMX
In this technique tutorial we’ll be looking at minimalism, one of the most popular styles used by live visual performers and VJs. Like the minimalist movement in painting and photography that was developed in the 1960s, this form is marked by its usage of geometric abstractions, negative space and mostly monochromatic color spaces. For live visuals, particularly when accompanying music, these ideas are often further extended into the dimension of time.
Read MoreOne of the most powerful tools for working with MIDI and OSC control data is Max, which is widely known for its easy to use interface for “patching” and working with data streams. While Max does not yet support OSCQuery natively, it is a great example of how the free OSCQuery Helper and MIDI OSCQuery Helper tools can be used to publish OSC and MIDI parameters from Max patches so that they can be remotely accessed by other software like VDMX and the OSCQuery Browser.
In this set of tutorials we’ll look at the process for adding basic MIDI and OSC inputs in a simple Max patch and then creating a JSON file that describes the routings. Once those are prepared we can see how to access these parameters using other software in the OSCQuery ecosystem.
Read MoreThe OSCQuery protocol makes it easy for software that supports OSC to access each others parameters for remote control, without a lengthy setup process. Within VDMX there are a few ways to take advantage of this and in this tutorial we will focus on using the OSCQuery Client plugin which can be used to browse the address space of a server and add UI controls that are automatically configured to send to it.
Read MoreThe Control Surface is one of the most widely versatile plugins in VDMX, making it possible to create sets of custom interface elements that can be used to control nearly any aspect of your workspace or send MIDI / OSC / DMX to other systems. The Control Surface plugin also has the ability to publish its list of parameters over a local area network using the OSCQuery protocol so that other software can remotely browse and control almost any aspect of your VDMX project.
In this video tutorial we'll be looking at the basics of using OSCQuery protocol from within the Control Surface, and three ways that those parameters can be accessed from software running on other devices: using our free OSCQuery Browser utility, another copy of VDMX and a web browser running on an iPhone.
Read MoreIn this quick video tutorial we'll be demonstrating how to create a hacker visual style that can be used to create still images or short video loops as source material for animated gifs to use for profile pics online in situations where you want to apply some digital processing on your face for privacy or for fun.
Read MoreUsing VDMX to generate images that are published to Twitter by Processing.
Expanding on our previous look into using Processing along with VDMX, in this tutorial we will look at how to use Processing to post images received from VDMX to Twitter. This technique can be used at live events, as part of video installations, or to create simple bots.
Read More
Using "Random Walk" to change the color of the output.
Though VDMX provides many plugins and built-in datasources to automate control of sliders, buttons and other interface controls, many people like to use their own algorithms to generate control information to use as part of their performance or installations.
In this tutorial we will look at using Quartz Composer to create a “Random Walk” value generator for VDMX. This composition can be downloaded and installed to be used as is, or as a starting point for your own more complex creations.
Read MoreWhen writing GLSL shaders that run as generators or are used as image filters, one of the most fun parts of the process is playing with different control functions to animate all of the various variables that you've created in the composition. Using the ISF specification, GLSL shaders can publish their uniform variables so that host applications can provide user interface controls that can be connected to MIDI, OSC, DMX or other data-sources for automation.
In this tutorial we will look at adapting an existing GLSL shader into ISF, publishing some of its variables as uniforms, and loading the composition into VDMX where we will animate its properties using a variety of different plugins and MIDI input.
Read More
The classic zooming feedback effect
One of the classic analog techniques for creating amazing visuals was to create video feedback loops. In previous tutorials we have covered the basic idea of how to reproduce this idea within VDMX by using groups and layer taps. In this lesson we'll look at how to take this idea to the next level by introducing composition with alpha channels and masking.
Read MoreFor anyone currently working in the field of live visuals, one of the most exciting areas of bleeding edge technologies is on the side of displays – the place where people look at to see the amazing imagery coming out of our computers. There are a lot of new – and ancient – techniques to learn about and along with that a lot of new information to take in – all of which our good friend Blair Neal covers in his recently updated blog post “Survey of Alternative Displays”
Read MoreJust as the many array of cosmological possibilities open up when pondering the vastness of the universe, so equally are the nearly infinite outputs when working with FX in VDMX. In this tutorial, Colin Evoy Sebestyen will explore creating a “Stargate” style effect. From Jupiter to beyond, get ready to traverse time and space!
Read MoreWhile the primary focus of VJ software like VDMX is live visual performance, often times parts of a show rely on tightly arranged events that happen at specific times. The Cue List plugin bridges the gap between these two worlds by allowing you to create pre-planned data-source events and clip triggers that can run in sync with timecode or musical temp.
Read MoreThe heart of almost every VJ / Visualist performance is the loop. There are lots of techniques and training for the production of loops, but there are some common approaches and methodology of creating a “pack” that are explored in this guest tutorial by Colin Evoy Sebestyen. To demonstrate these ideas Colin breaks down a project he created with musician Nonagon for a performance series at The Tech Museum of Innovation in San Jose.
Read More
