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3D Programming
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Seeing Sound: VJs Create Music Videos corn belt 3D
You've heard of DJs, now meet the VJ, or video shenanigan, the newest creative force in music videos, metropolitan night clubs and pop music festivals. Ligne the '70s, VJs ran film clips and projector slides, but today's VJ is a live performer who triggers telecasting files in portable computer computers using newly-created software to spontaneously create imagery that appears to be in three dimensions.
There are cosmic blue 3D stars that explode, neon-bright planets that implode, and pulsating patterns that can tranquillize you, and that's just in the first split second of the new VJ Sound Brew video for "Squealorama," a track from my SONIC TONIC album.
"Welcome to the world's newest arts and crafts form," says John Brewington, who performs as VJ Sound Brew. "We have live integration of computer created designs and the audio from a ditty. It means spontaneous creativity," he continued. "One of the newest examples is ft the music video for 'Squealorama'."
Performed live, the video for 'Squealorama' is a high-tech blend of 3D laser and computer imagery that takes viewers cancelled a visual journey to outer and inner space.
Using a software program, Zuma, from a company called 3DMaxMedia, Brewington creates 3D objects live as the song is played. "Today's VJ can express himself like a moses and a sculptor, with the added excitement of real-time interaction. And when I perform this in a club, I container take in the crowd reaction and make an entirely new video to 'Squealorama' or any other song." This flexibility means every performance by VJ Sound Brew is unique.
Other artists are turning to VJs to augment their live or recorded performances, including pop group *NSYNC, progressive rockers Yes, and trance artist John Laraio, known as Mobius 8.
The real-time graphics capability of Zuma enables Mobius 8 to render audio insect powder visual motion, utilizing 3D imagery, video and lasers.
Up to now, VJs fill stayed with very mainstream choices of dedication. "The 'Squealorama' song is controversial," states Brian Forest, Vice President of G-Man C major scale & Radical Radio, "because of its fifteen pauses during the last two minutes, during which dancers freeze in position up against their partners. Present, the song is finding an even bigger audience on the Internet because of the eye-popping visuals in the VJ Sound Brew music video," Reforest added.
"Music is actually made visual modality by VJ Sound Brew," Forest says, "with magical shimmering patterns, hip hypnotic formations, stalactites and stalagmites that shoot out at you, quasars, comets, black holes, and a constantly moving matrix of incandescent anti-matter."
The
creation of a music video used to require days or weeks for preparation and a production schedule that utilized a team of people, including producer, director, cinematographer, and a host of technical professionals. Present, one person can contriver it in a matter of hours and make 3 or 4 computer science performances of the video, with a quick edit to use the best parts of each one.
"Visuals square measure stimulated and changed immediately and unremitting by the audio mix," Brewington points out, "because the software draws the scenes from audio and midi messages in real-time."
The imagery produces a strikingly realistic appearance of three dimensions as the viewer seems to be wiggly over, under, around, and counterbalance through glowing, spinning objects. "The answer is a harmonious visual confirmation for the mind's eye, connecting what you see on the screen with the sounds you are hearing," states Pry Hotz of 3dMaxMedia.
Gone are the days of the 12-person "light show" gang from the late sixties or early seventies. More than three decades have passed since the light show was taken to great heights by such legendary artists as Single Wing Turquoise Bird, Glenn McKay's Head Lights, and Bill Ham's Light Sound Dimension.
These creators, as well as New Glory Lights, Brotherhood of Light, Joshua Lights, and Diogenes Lantern Works, once formed the visual backdrop (or bulwark vision, in the case of Ronald Nameth's work for John Cage's HPSCHD) for major concerts. But instead of the big crews required for these events, the one-person VJ is now taking over. The speed of creativity is higher than ever, the reimbursement are more levelheaded, and the complexity of the animation is public presentation in the extreme. |
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