Ghosteam is teaching us a lesson with every new pack he's making.
Get Grid by Ghosteam


With LuRays, the light within will guide your vj-ing sets.
Get LuRays by Luminator


Hand is a minimal pack of loops that will rightly compliment your set.
Get Hand by Laak

The 6.1.3 update has enchantment galore. We worked on stability and ease of use, but above all, we used our magic powers to make Resolume more beautiful, more elegant and more enchanting. She now feels like the princess she deserves to be, and we're sure you will too.



Cinderella Decklink

Blackmagic devices are the princesses of video. So much so, that after dancing at the ball for more than 24 hours, the output would freeze and need to be reset. We now make sure that Cinderella doesn't turn into a pumpkin and is home in time to do her chores.

Out of the Dark (Into the Light)

Alley would start up with a completely black interface on laptops with both an integrated and dedicated GPU, unless you explicitly told it to use the dedicated GPU. Not a showstopper, but definitely annoying, so we now set the GPU for you.

Radial and Linear Cloner effects

These were two very popular plugins by Hive8 back in the Resolume 5 days and a lot of you were requesting 64 bit updates for Resolume 6. So we took their basic premise, very literally added our own twist and made them native Resolume effects. Thanks very much to Anton Hive8 for letting us use his idea and to STV in Motion for the moral support and preset making.

今日のVJブース

Just like the manual, the Resolume GUI and Help are now also available in Japanese. すごい!

Now go fit your glass slipper on that download or check the full fix list below.

10508 Possible crash crash resizing GUI
11066 Load capture sources with a sensible resolution
11334 Launching selected clips with Enter works only once
11970 Alley UI is black on some laptops
12021 WMV files rendered semi transparent in Alley
12054 Text animator Rotation is displayed as radians
12059 NDI output is black when composition is bypassed
12068 Crash when opening Avermedia cn311-h capture source
12083 Update to NDI 3.8
12109 28.77 FPS DXV2 file shows and plays as 6000FPS
12111 Avi with RAW UYVY codec plays in Alley with a wrong duration
12127 Text animator doesn't show whitespace at start of a line
12139 Fit/Fill/Stretch is not part of preset in Alley
12147 Shift RGB no worky when animated in Zoom mode
12153 Alley crashes when Startup Screen is visible and nudge shortcuts are used
12168 Radial and Linear Cloner effects
12186 Crash selecting audio input device, when the previous device had more channels
12251 Japanese GUI & Help Translation
12331 Transform Position Y Start Stop range doesn't follow composition size
12374 Decklink outputs freeze after 24 hours
12376 Crash in Advanced Screen setup doing undo-redo

Fresh faces, fresh footage, fresh life!

Michah Buzan has been making waves with his unique style of animation and we're very proud to welcome him as an artist on the Resolume footage label!

Get Morphoholgy by Micah Buzan


Kev Zhu is another new face and his first pack Luquiform takes particle systems to a whole other level.
Get Luquiform by Kev Zhu


And Julius Horsthuis is a familiar face by now. That doesn't mean his work is not jaw droppingly amazing as always.
Get BlueSpace by Julius Horsthuis

This time we welcome a new artist on the footage label. Data Ghost is a Motion Graphic Designer and VJ based in Milan. His first pack HyperLines is juicy and meaty. After a long period of silence, we also welcome back Daniel Knight. His pack Structures was well worth the wait. And Ghosteam is always welcome. His pack Unter is jaw droppingly beautiful as always.

Get Unter by Ghosteam
More real than real


Get Structures by Daniel Knight
A modern twist on the classic style of black and white visuals


Get HyperLines by Data Ghost
Juicy and meaty colorful pack of loops

Today, we release Resolume 6.1.2 into the wild. It wasn't easy. There were tears. There was blood. Most of all, there was love. Take care of her. She's special.

GIF Playback Hotfix rev 62522
Two steps forward, one step back. GIF playback was boken in the innitial 6.1.2 release. If you need this then please update once more.

"How many times do I have to kill you before you die?"
When you remove an unwanted layer in one deck, Resolume will no longer bring it back from the dead when you switch to a different deck. Unless you had content in it of course.

Apparently, this type of file also exists
When you have a hammer, everything is a nail. And when we released Alley, of course you tried to convert every possible file format under the sun. We tackled a lot of edge cases with some of the more exotic codecs and containers.

I am Denon Prime, leader of the Autobots
Resolume is now compatible with the Denon Prime 4 series, the slick new mobile mixer/player combo recently announced. While we were at it, we made clip triggering of Denon linked clips even more robust. Also, I snuck in yet another Transformers reference in the release notes.

Le singe est sur la branche
Thanks to Emeric Delavaud, Resolume now speaks French as well.


Check out the full fix list below or double tap that download.
[fold][/fold]

11048 Text block launches on restart-reopen, with parameter values uninitialized
11148 ND4 HAP files playing distorted
11232 Aja U-tap HDMI doesn't list all available formats
11245 Can't remove empty layers (anymore), deck switch always recreates them
11322 Possible appcrash duplicating groups
11504 Transitioning to a clip with overridden blend mode worky weirdy
11550 duplicating AV file/clip can make clip beat count change
11606 ASS BMD output sometimes not initializing with saved settings on Resolume restart
11660 Denon clip doesn't launch again if clip was ejected before, and the offset of the clip is smaller than the deck position
11715 Magewell XI100DUSB-HDMI only lists 60HZ progressive formats
11741 Multiple clips are not launched when receiving note on for them at the same time with Free Layer target
11770 Composition dashboard fold state not saved correctly
11777 Relocating a single file takes very long in large compositions
11906 "Column" is not translated any more if you set a color for the column
11944 here show it djhpow
11947 Possible memory leak playing avi file with ADPCM audio
11953 Audio cracks in AAC files converted with Alley
11961 Alley can't load tiff image sequences containing uint16 data
11965 Layers and columns can get messed up after Collect with update current composition.
11966 MM relocating single file to a file with a different name doesn't work
11968 MIDI velocity output no worky for selected layer clip triggers
11978 Alley is not code signed properly?
11981 Scroll layers and clips into view not working for groups
11983 Midi clock start/stop not effective
11990 AudioFormatReaderFFMPEG fails at AAC
11995 Converting image sequences can fail when folder contains metadata files
12008 Deck select shortcuts move with the decks
12011 Tempo controls repeat action when mapped to DMX and channel value changes to !=0
12042 Thumbnail loaded from file is not keeping aspect ratio.
12044 Crash trying to convert mp4 with lots of metadata
12071 DXV playback is jumpy in AE CC2019
12073 PNG with 'Gray' colorspace and Alpha channel shows white when played and yellow X as thumbnail
12078 Some shortcut types for dropdowns no worky
12107 Denon Prime 4 compatibility
12130 Possible crash with Denon switching from a linked to an unlinked song
12134 French Interface Translation (by Emeric Delavaud)
12140 Possible crash when changing envelope preset

The secret to a good show is all about the communication between the light technician and the VJ. Who are we kidding? You are the artist. Take these packs and forget about the lighting guy 😉

Get Alien by Dumb Robot
The pyramids, aliens! Crop circles, aliens!


Get LiquidLightning by Chromosoom
The lightning that enlightens!


Get FloodLight by Artificially Awake
It's all about the light. And shadows.


PS We love you, lighting guy. And lighting girl. We're all artists here.

2018 is coming to an end. And the end of a year is usually a time where we look back at what happened and think about the things we would like to do next year.

2018 was an excellent year for us. We focussed mainly on version 6 and getting her in the best shape she can be. So we released many updates that included a lot of bug fixes and improvements.

We’re really quite happy with where version 6 is at the moment. Next year we’re obviously going to continue working on keeping it that way. But at the same time, we're going to shift the focus a bit to new features again. We have a lot of what we think are great ideas. In the end, you're the ones out there every weekend using Resolume, so we’d like to know exactly what you're still struggling with, what we should build next and what we can improve upon.

We have created a survey so you can contemplate how the past year's been for you, and let us know where you want Resolume to take you next year.

[s]Enter Resolume User Survey[/s] The survey is closed and we'll contact the lucky APC winner via mail.

As a reward for taking the time to enter the Resolume survey, we’re going to raffle one Akai APC40 MK2 among the entries, kindly donated by Akai. We think the APC40 is the best controller for Resolume. So if you do not win one, you should go out and buy yourself one as a Christmas gift. We're including a decksaver to make that bad boy backpack travel proof.

That’s it from us for this year, have a very Merry Christmas, enjoy your new year's gig and we’ll see you next year!

Over the past decade, the Comix crew has been making such great content, it is almost comical. A multimedia company specializing in live events, interactive design, motion graphics & film, they have worked with almost everyone in the dance music industry.


From Avicii to Alesso to Kygo to DJ Snake to Axwell Ingrosso to Swedish House Mafia, the list is a bit endless. [fold][/fold]

I especially love all the different visual styles & looks they play with. It’s amazing how much variety there is. So, of course, we caught up with Comix to talk about their art, journey and other cool things.


Tell us how this journey began.

Harry Bird (Founder/Director):
Growing up my father owned a nightclub in the South of England, the way he used lighting and projectors always interested me. He got a lot of influence from the Velvet Underground, one of the first groups to use projectors at their shows, and I guess his interest rubbed off on me.


I did a foundation course in arts and design then followed on to do a Degree in Interactive Media at The Arts Institute at Bournemouth. While here I DJ’d for club nights and begun promoting my own nights. VJing caught my eye as it begun to slowly take off during these years and I decided to investigate this further and find out more.


I was on the same course with Sam Hodgkiss (Co-founder of Comix) and fortunate enough to meet the foundation of our talented team at University while studying Interactive Media, this combination and utilization of skill sets I believe was key to our success.


After University, and many VJ nights later, Sam and myself managed to get a gig going on a UK bus tour with Radio 1 DJ Kissy Sell Out. In 2010, We supported an act at Brixton Academy called “Swedish House Mafia” - after the show SHM contacted us and asked us to come along to VJ their headline EDC LA show, obviously we said yes!


And the rest is history, eh?
When I look at your work, what I love the most is how dark it is. You do a great job mixing that in with the EDM flavor. Would you say this is your style? Or are you just working at what feels right for the artist?

Tom Brightman (Comix Creative Director):
I would say that it’s a mix of the two. Our main goal when working with a client on new show content is to deliver them the show that they want, inevitably during the creative process some of our individual creative styles come out in the finished work.


A lot of people come to us as they’ve seen another show that we’ve produced and want something with a similar tone, which is great as it’s obviously a visual area we enjoy working in.


However, others approach us as they’ve heard we are good to work with, or trust in our professionalism given the number of high-end clients we have worked with, and they may want something totally different to our usual style, which is also great as it can present a bigger challenge and may result in us having to learn new techniques, software or hardware.


It’s the reason that we use specific designers for specific jobs, if we want to produce the best work it’s a good idea to utilize designer’s particular strengths.


Alongside a lot of our more well-known shows like Alesso and Avicii we have also produced more upbeat visuals, such as the love story we created for the recent Kygo’s Live ‘Kids in Love Tour’ or hand drawn animations we’ve previously made for The Chainsmokers.


It’s always great to work in these alternative styles as it keeps us on our toes!

With so many artists you cater to, how do you ensure something fresh for each one of them?

Tom:
From the start of each project we aim to establish a unique visual language for each client independently from one another. Most of us in the studio know the main bulk of our content, which allows us to alter any ideas that may appear similar to another clients. It’s very important to us to not imitate work from another artist, or any other shows, especially as we have a large group of clients in a similar genre.


The creative process itself tends to do away with much need for that as we are creating unique projects for individual clients, based on their specific tastes, music styles, ideas and requirements.


On top of this process generally every client has their own visuals operator, usually provided by us, who will lend their own style to the show, especially as the show organically evolves on the road after rehearsals.

Tell us about your content creation process- from scratch to final render. What all software do you work with?

We are often as open-minded as possible when approaching a new project, never really having the final outcome or process in our head, to a degree. The exception to this rule may be a project that is extremely time or budget sensitive.

When designing a show, we usually begin thinking of the bigger picture; What’s the overall visual language (colours, textures, symbols, film/CGI/mixed, etc.)? What theme wants to be communicated and carried throughout the show? What restrictions do we have? And so on.


After we begin to get a sense of what’s working and what’s not, we will start to move on to individual looks for songs, forming a mood board with a few routes for the client to choose from which we can develop further on.


Alongside this process, we will begin to think a bit about how we are going to produce it, but the level of that thought process varies massively. It’s more important that the client is happy with the core ideas, and as long as we have a rough idea of how we may translate the looks from paper to screen, then we will figure the rest out later. It’s worked out well for us to let the creative evolve in its right and not be too restricted by process.

After that it’s probably a similar process to most productions, we work out if we need to film anything, if we need any research and development days, then we begin any CGI process.


There’s always some technique, hardware or software that we need to learn to complete a job (in the office or on the road), but for us it’s not only interesting but rewarding to be able to learn something new, and as a company we’re lucky to have a team of friendly, clever and competent people capable of standing up to that challenge.


Software wise the list could be endless! Pre- production often involves a lot of drawing, post-it notes and Adobe InDesign for mood boarding.

During production we mostly use Cinema 4D, X-Particles, Octane Renderer, Houdini and Adobe After Effects.

Then for touring live we obviously use Resolume, which takes care of pixel-mapping, inputs, outputs and playback.


Alongside After Effects, Resolume really has been the tool that we have used and loved since day 1 of Comix and I couldn’t see us changing that any time soon, especially with some of the great features that came out in version 6 and the support you guys give to the community.

Cheers to that!
Tell us a bit about the kind of prep that goes into playing massive stages.


Sam Hodgkiss:
Every show is different, but I’ll talk about a show like Ultra Miami.
This show is unique in that a lot of our clients like to use it to launch their new visual and lighting show here which will normally be toured throughout the festival season in the summer, sometimes with a few additional updates.

We would start by looking back over the previous show with the client and working out how much new content they would like to add. This can range from a few updates if the content is fairly new, to an entirely new show and direction.

If everything goes well, and there’s always a few complications, we will get a stage design and pixel map in advance of the show. At this point depending on time and budget, we would look at creating custom content specifically designed to take advantage of the stage design, add any unique moments and do what we can to make this show feel different.


Once all that is complete, minus the usual last-minute amendments, we head into rehearsals. That’s when the fun part begins, sitting with the client and lighting operator and building the show.

Again, depending on time and budget this can vary from a small previz studio to having the entire stage built in a rehearsal warehouse.

This is where Resolume Arena can shine.


It allows us to keep the show organized, make changes quickly, drag and drop clips, add effects and colour corrections right in front of the client. And if there are any last-minute changes to the stage design or pixel map, Advance Mapper makes it easy to fix and adapt the final output with minimal re-rendering.

And, what hardware do you guys work with?

Sam:
Unlike traditional touring, with most DJs we don’t have trucks to transport large case’s, and sometimes fly in hot straight to stage at shows ranging from small clubs to large arenas. So, in that respect everything needs to be as portable as possible and with no compromise. Below is a list of essentials:

● High end show laptop with a minimum Nvidia 1070. A lot of new festivals now have dual 4k outputs and the 1070 allows playback at 60fps with no frame drops.
● A second identical laptop as a backup, also used to create content on the road.
● Midi controller of choice with backup, this is always personal preference
● Every video adapter under the planet with spares, these things always seem to go missing.

As every show is different, we also have some more specialized equipment for example:

● Datapath Fx4’s for those shows that love 4+ outputs
● Multi-camera rigs. A few of our clients incorporate live cameras into their set to add an extra layer to the live show
● And the camera rig is accompanied by Capture cards, Roland video mixers and preview monitors among other things.
● External Sound cards if audio input or output is needed

A new addition the some of our shows is a Notch Rig. This allows is to incorporate some really cool camera overlays and generative content live into the show.


When we are lucky enough to have a truck tour or we need the extra power at larger show, Coachella main stage for example, we have video server racks that can really push those extra pixels and outputs.

Tell us about your studio- where all that Comix magic is created.

Tom:
We have recently expanded our studio to accommodate for the greater variety in work we now produce and to accommodate our growing list of talented employees. Now, with one studio concentrating on post production and CGI, and the other as a live film, rehearsal space and test area for interactive work.

Rig wise in the studio we all use PC towers running Windows with at least two graphics cards (NVidia 1080ti + Titan’s), a decent amount of ram (32-64GB) and a good processor (Intel i7/i9), then tonnes of storage on a server for resources and backups. We also have render node’s with NVidia 1080ti graphics cards for when the 3D work needs extra muscle thrown at it. It’s also great if you need an extra heater in the office!


Haha! What are your favorite bit of content/ shows that you’ve created?

Harry: Every Avicii show I VJ’d over 6 years touring with him is now a memory I’ll never forget.


Sam: Swedish House Mafia’s One Last Tour. After being on the road for 6 months with the guys and a really amazing crew it felt like a family. Being lucky enough to travel around the world getting up every day to perform this massive show will never be forgotten. It was a truly great send off.


And finally, any words of advice for budding visual artists out there?
Harry:


LOL. Thanks for the great interview and work, guys.
You are quite the c̶o̶m̶i̶c̶s̶ comix, yourselves :)

The sale has ended and again we're very grateful to welcome so many new people to the Resolume Family. Welcome, and enjoy Resolume everybody! Checkout the free training videos to learn how to get the most out of your shiny new Resolume.

[s]Alright, it’s that time of the year again. The Traditional Resolume 50% Black Friday Discount. Ooh and pumpkin pie, turkey, cheese grits, brussels sprouts and gravy if you’re from the USA.[/s]

This weekend we offer 50% discount on our software, footage and even our t-shirts, so you’ll have something nice to wear to your next gig. The discount also applies to upgrades and educational licenses and it ends after Cyber Monday. Remember that this is the only sale we ever do so get it while it’s cheap. Shop Now!

So about that thanksgiving dinner. If you’d like to perfect your gravy then checkout this recipe from Jamie Oliver. That looks delicious :-)

We have finally updated the Resolume video training to version 6. It's completely re-recorded with Avenue and Arena 6 by DocOptic. But the best news is that it's now completely free!

It's great for beginners who are just getting started but it's not just a course that teaches you what each button in Resolume does. It also educates on basic compositing and use of color in a VJ set. There is something to learn for everybody. Watch the training on our site, Vimeo or YouTube.