VJ'ing involves real-time manipulation of video sources synchronized with music. Early VJs used video synthesizers and mixers to blend and transition between pre-rendered video tapes. Modern VJs use software like Resolume and Ableton on PCs to generate and mix live visuals. VJing emphasizes live interaction and integration with music compared to traditional filmmaking. Achieving strong audiovisual synchronization remains an ongoing challenge for VJs.

1. VJ'ing
M.W.Kauw-A-Tjoe
15 december 2004, CWI, Amsterdam
i

2. video art
• Pioneers (1950s)
• Sir Whitney Sr.
• Early video manipulation gear
• Video Synthesizers: analog devices from the
early '70s driven by oscillators, similar to
analog audio synthesizers. Create and modify
video in realtime.
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3. FairLight Computer Video Instrument (1984)
Rutt-etra Video
Synthesizer
(1972);
black & white,
with a 4 bit
framebuffer.
iii

4. DJ/VJ
Pop culture
Mainstream Dance Scene
DJ'ing DJ'ing
• Radio Chat • mixing records
VJ'ing VJ'ing
• TV Presentor • motion graphics
iv

5. v

6. old vj approach
Mixer
VCR-A VCR-B
originated in the early nineties;
• pre-rendered video sources (tapes)
• manipulation through
• change channel opacities (blending of A and B)
• apply blending effects
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7. disadvantages
• limited degrees of freedom (compared to PC)
• pre-rendering takes high preparation cost
• hardly any audio-visual synchronisation
possible
vii

8. nowadays
No more VCR's, PC or Mac is main source of
visuals!
• video editing software (after fx, premiere)
• 3d graphics software (maya, blender)
• standard VJ software (resolume, midivid)
• modular software (pd, jitter)
• self-programmed stuff (kombinat, 'openvid')
• synchronisation signal protocol
viii

9. ix

10. VJ vs. filmmaker
What are the main conceptual differences
between expression through traditional film
and through VJ'ing?
• live-interaction (instument-like
manipulation)
• strong emphasis on integration with music
x

11. audiovisual sync
Synchronisation enhances integration as well
as interaction!
MIDI is often used as a signal communication
protocol
• originally for audio signals
• much MIDI hardware available (keyboards,
drumpads, button controllers)
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12. xii

13. xiii

14. Screen 1 Screen 2
Turntable
Video
Mixer
Video
Audio
Mixer
PC-1 PC-2
Kombinat Midivid
MIDI
Turntable
(widescreen) (stereo)
PC-3 Logic
(sequencer)
Audio
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15. Screen 1 Screen 2 Screen 3
3x3
Matrix
'Openvid' Video
Keys
(dual screen)
Mixer
PC-2
Drum
Pads
Ableton
(sequencer)
VCR
PC-1 PC-3
MIDI MIDI Resolume
xv

16. technical analysis
many ideas involved:
1 filmed footage versus animation
2 realtime playback (hardware limitations)
3 hardware & software interaction
4 realtime manipulation and generation
5 narrative and composition
6 synaesthetics
7 multiple screen display
many overlapping areas!
xvi

17. art
Pro:
• video played like an instrument (dynamic
manipulation)
• complex abstractions possible through
software generation
Con:
• merging the music and visuals conceptually
can prove to be very hard! (sometimes they
even interfere with eachother)
• sometimes too decorative effect, superficial
(moving wallpaper)
xvii

18. worlds collide theory
• (generative) video/film art
• traditional VJ'ing
• computer graphics (vector, 3d, games)
• (electronic) music
What is called VJ'ing nowadays floats
somewhere in between these domains
xviii

19. conclusion
VJ'ing mainly encompasses
• realtime visuals
• interactive visuals
• integration of sound and vision
There are many new technological and
creative challenges in this domain ^_^
xix