This guest technique post is brought to you by Jonny from the Eclectic Method who was nice enough to share these videos about his process for making A/V remixes in this three part series.

To get things started, here's an overview of the workflow we'll be looking at over the next few tutorials:

1. PICK A THEME AND CREATE LOOPS.

Prepare as many samples as you can.

Tip: Choose something fun, like ponies or robots.

Learn more about this in part one - creating loops.

2. LOAD CLIPS INTO VDMX AND JAM.

Use a MIDI drum pad, DJ mixer style controller, or other instrument to switch between your samples and adjust visual FX settings.

Learn more about this in part two - jamming.

3. ADD MIDI OUTPUT TRACKS TO YOUR LIVE PROJECT.

Learn more in part three - working with Ableton Live.

4.  PERFORM & RECORD OUTPUT. UPLOAD TO WEB.

Learn more about using the Movie Recorder plugin.

Now that the we've got a sense of the overall workflow involved with making the EM remix, next we'll see in detail how Jonny prepares his prepares his audio visual samples before importing into VDMX in part one.

In the introduction of this series we went over the big workflow steps involved with making an Eclectic Method Remix. For part one we'll start with a more in depth look at  how Jonny goes about cutting up and preparing his A/V samples using Sony Vegas.

Next up in part two, loading these clips into VDMX to jam on playback sequences and FX processing.

Notes and tips:

If you're using a different video editor, you can do a seconds to BPM conversion to determine where to place your samples within a loop.

1 bar in seconds = 240/(clip BPM)

120 BPM <=> 2 seconds per bar, or 0.5 seconds per beat.

For best performance and quality when exporting clips to use in VDMX we recommend PhotoJPEG or the Apple Intermediate Codec.

GUEST POST BY:

This is part two of a series with guest instructor Jonny Wilson of the Eclectic Method. You may want to start with the introduction post covering the overview of the workflow and the first topic on creating A/V samples.

In this tutorial we'll be looking at loading movie clips into VDMX and jamming on them using a MIDI controller.

Any MIDI instrument, OSC sender, and DMX console can be used to trigger clips and adjust FX parameters in VDMX. For more information on working with various types of controllers see the MIDI introduction tutorial.

STEP 1: JAMMING ON CLIPS

Use a MIDI drum pad or keyboard to quickly trigger A/V samples and eject on note off. Setup for movie triggering can be found in the Media Bin plugin.

Also check out the basics of movie playback.

STEP 2: VISUAL FX

The free 3rd party FX Jonny is using in this video can be found at the v002 github page.

For more details see the tutorial explaining how to use visual FX in VDMX.

Next up in this series, part three - working with Ableton Live.

GUEST POST BY:

In part three of our series looking at how to make an Eclectic Method remix with Jonny Wilson we'll be looking at using Ableton to control video triggering using MIDI notes.

This basic idea can be repeated on multiple tracks in Live to control any number of layers or other parameters in VDMX.

Notes and tips:

Ableton Live's MIDI preferences has options to enable "Sync" output and "Track" for each MIDI output.

The "Sync" setting activates sending MIDI clock which can be used to set the BPM of "Clock" plugin in VDMX.

The "Track" setting allows for sending notes, control and pitch-bend data from MIDI tracks. Each enabled 'Output' port in the preferences is available in the track 'MIDI To' menu.

Each track in Live can send out both MIDI notes and ctl (envelope) values at the same time.

Almost all interface items in VDMX can respond to MIDI messages from Live, including the Media Bin, sliders, buttons, and pop-up menus.

For more information about MIDI setup in VDMX see the introduction to MIDI tutorial.

Ableton Live Preferences configured to send MIDI track and clock sync to VDMX.

For each track set the 'MIDI To' menu. Useful if you want to control more than one computer from a single copy of Live.

MIDI control of the 'Layer Opacity' slider in VDMX.

MIDI Notes set to trigger clips on 'Layer 1' in a VDMX Media Bin plugin.

GUEST POST BY:

In addition to standard number values, VDMX supports the special OSC color type for quickly passing around packed RGBA values between data senders and receivers. This is particularly useful in the Step Sequencer plugin which has a color option for tracks, making it easy to automate changes and fades between colors for generators and FX that use color swatch UI items.

The project file for this tutorial is available for download.

Prerequisites:

1. Read the tutorial on the basics of using the Step Sequencer plugin.

Step 1: In the Workspace Inspector create a 'Step Sequencer' plugin and using the inspector change the 'Type' of 'Track 1' to the 'Color' option.

• Use the 'Rows' column in the inspector to change the number of different color choices.
• Adjust the Interpolation amount between 0.0 and 1.0 to set how fast to fade between colors.
• Click on a color tab in the left column of the sequencer to reveal a color picker for setting the row color.

Changing the track type to 'Color'

Using the picker to change the row colors.

Step 2: In the Layer Source Controls for 'Layer 1' use the 'Constant Color' source option. Click on the color swatch to reveal its options in the UI Inspector.

Step 3: In the UI Inspector in the 'Receiving' tab use the '+' button to create a new color receiver for the swatch. Use the data-source menu to select 'Track 1' from the Step Sequencer plugin.

Choosing the color receiver for the swatch.

Next, read about using the Section Presets UI Item in the Step Sequencer to save and restore track presets.

Using the File Inspector section of the Workspace Inspector individual clips can be tagged with attributes that override the source, FX, and composition settings of the layer that they are triggered on to. In this walkthrough we'll focus on the basic task of previewing a clip in the inspector and setting it to use a custom FX Chain.

The completed project file for this tutorial can be downloaded here.

There is also a video tutorial available with a more detailed look at the File Inspector.

Prerequisites:

1. Read the tutorial on loading and triggering files with the media bin.
2. Read the tutorial on the basics of visual FX.

Step 1: Import a media file, right-click on it and choose the 'Inspect Selected Files' option to preview and edit settings in the 'Workspace Inspector'.

Step 2: Switch to the 'FX' tab in the 'File Inspector' and enable the 'Use custom FX Chain' toggle button.

Tip: Set the default for this option in the VDMX Preferences under Files.

Step 3: Use the 'Load Asset' menu to Add / Replace the FX on the custom chain for the clip, then click the Apply button.

Tip: Use the 'SET ICON' to change the thumbnail of the clip in the media bin.

Step 4: Click on the clip in a media bin to trigger it to a layer. The existing FX chain on the layer will be overridden.

Setting a custom FX Chain for a clip in the File Inspector.

Media bin displaying clips with custom FX chains and thumbnails, click to trigger to Layer 1.

With the Window Input sources, the output from applications that aren't Syphon enabled can still be used by VDMX as a video source for a layer. This is particularly useful with Google Chrome which can be used to playback specialized WebGL visualizations and other web pages that may not work in other browsers.

This same idea can be used with most any other application, but for this tutorial we'll focus on using Chrome.

Materials and Prerequisites:

1. Download Google Chrome.
2. Read the introduction tutorial on using built-in sources in VDMX.

Enabling Window Inputs in the Workspace Inspector, with Google Chrome visible in the background.

The Window Input from Chrome is set as the source for Layer 1 which inverts it before display in VDMX.

Step 1: Launch Chrome and load the webpage you wish to display. Switch to VDMX without hiding Chrome.

Try searching online for "WebGL examples" or check out some of the online example Chrome Experiments.

The window we are using as a source in VDMX must be visible on screen.

Step 2: Under 'Workspace Inspector / VidIn' switch to the 'Windows In Other Applications' input type and click the 'Enable Window Video Inputs' toggle.

Tip: Use the controls in the sub-inspector for each listed window to adjust the size, frame rate, and apply a crop to the window before it is displayed on a layer.

Step 3: In the Layer Source pop-up menu choose the Window Input from the 'Google Chrome' sub-menu option.

Tip: Window Inputs also can be added as clips on media bin pages.

If Google Chrome is not in the list of sources, make sure the application is not hidden.

"The setup for the shows is all LEDs, set up at each venue by the promoter so it's always a little different. We've asked them to provide a Back Wall, 11 Columns in front of that, and a DJ Booth surface .. Deadmau5 plays whatever he wants and I improvise video to go along with it."

Thanks to guest poster Momo The Monster currently on tour with Deadmau5 for a special round of holiday shows in North America to take the time to make a blog post and tutorial with us from the road.

Step 1: Build a 3 layer setup in VDMX with a foreground, background and a 'playground' layer for creating masks.

This is a slightly simplified version of a configuration that Momo blogged about a few years ago his his VJ Kung Fu series. Make sure to watch the Structure in VJ Performance post for the thinking behind how Momo prepares his sets.

Momo's three layer setup in VDMX with multiple custom control surface plugins showing just the needed controls.

Lemur iPad setup with both master and individual layer controls.

Step 2: Connect playback controls to Lemur iPad app over OSC.

• At the top are the controls for BG and FG, including page switching.
• In the middle are the corresponding UI items for the  control surface plugins in VDMX.
• At the bottom are the controls for the Playground layer's Quartz Composer clips.
• Master fader and per-surface coloring controls.

Step 3: Make it extra portable.

"I was told to make it all lighter and smaller, so I hacked up an old camera case and filled it with a TVOne Dual DVI Scaler, 10-Port USB Hub, DVI 1x2 Distribution Amp and 8" Lilliput monitor. I snaked together everything I could, and all the devices are velcroed to the case so it stays in place pretty well."

"Setup and teardown times clock in at about 6 minutes apiece, not too shabby."

Entire rig in a bag, ready to go.

What you need:

• ArtNet capable DMX adapter (eg. ENTTEC ODE) or ArtNet enabled software running on another console.

1. Setup DMX receiving options in the VDMX Preferences.

Enter the number of input ports you'll be working with for each one set which ArtNet Universe it should listen for.

Click the 'Auto Setup Inputs' button to set the SubNet and Universe addresses of the input ports to match any sending detected ArtNet nodes.

2. Triggering media files with a single DMX channel.

Inspect a media bin and under the 'Control' tab set the 'Trigger By Index' (uses DMX value 0-255) or 'Trigger by Float' (scales 0-255 DMX value to number of clips on the current page)  row to the DMX port and channel that will be used to switch between media files.

3. Controlling Composition, FX and other parameters.

Any slider, button and pop-up menu in VDMX can have its value set by a DMX channel like any other data-source. More information about setup can be found in the Introduction to Receiving MIDI, OSC and DMX tutorials.

DMX Preferences, receiving on ArtNet SubNet 4, Universe 4 from the Luminair iOS app over a WiFi connection.

Media Bin 1 set up to 'Trigger by Index' for ArtNet Input Port 1 / Channel 1

Inspecting the 'Opacity' slider for Layer 1, receiving on DMX Port 1 / Channel 2.

The completed project file with sample movie files for this tutorial is available for download in both 480p and 720p formats.

Back in the early days of desktop and laptop VJing, it was pretty standard to see software that could only mix between two or three video sources at a time. To work with more than this, separate hardware for mixing and compositing was often used to combine two sub-mixes created by computers or other equipment.

One of the benefits of this setup was the ability to juggle between the sub-mixes to create new improvised compositions that could be jammed on or automated using LFOs for a few minutes, then switching over to the next composition being prepared on the other system.

Now that computers are fast enough to run more than 2 or 3 layers of video at a time, a VJ setup like this can be run on a single machine without the additional hardware video mixer. In this tutorial we'll look at how to create a 4 channel video mixer that has two separate sub-mixes.

Next up see how to use Live Camera Inputs with this setup or record the output as a movie.

Our completed dual two channel mixer template for VDMX.

1. Set up the groups for the sub-mixes in the 'Workspace Inspector' under the 'Layers' tab.

Create four layers (two for each sub-mix) and use the 'Group Selected Layers' option.

2. In the 'Workspace Inspector' under 'Plugins' create three 'Two Channel Mixer' plugins.

One mixer for A/B, one mixer for C/D, and one to fade between the {A/B} and {C/D} sub-mixes.

3.  Add Media Bins, LFOs, Preview Windows, FX-chains and other controls for each sub-mix.

The settings of plugins and UI items (sliders, buttons, etc.) can be copied and pasted for fast replication.

Creating a group in the Workspace Inspector 'Layers' tab.

Three 'Two Channel Mixer' Plugins configured to mix between four layers.

Tip: The 'Media Bin' sub-inspector under the 'Menus' tab let's you restrict a bin to trigger on specific layers.

In addition to sending values, many new MIDI and OSC controllers can also receive information back from the software they are working with to update their own interfaces, whether with LED buttons that light up, motorized faders, or touch-screens with virtual interface items.

When working with controllers that can receive talkback messages, the Media Bin plugin can be set to relay the current state of the clip currently associated with individual MIDI triggers, allowing interfaces to update to display what clips are playing and other useful information without having to look on the computer screen.

This tutorial covers the steps needed to set up UI sync with the APC20 and APC40 controllers, but the technique is very similar for other hardware devices such as the Launchpad and Ohm-64, as well as touchscreen apps like TouchOSC.

A quick example setup for the APC20 / APC40 can be found in the Templates menu within VDMX.

Load the example APC20 setup from the Templates menu.

Buttons on the Clip Launch automatically light up for available and currently playing clips in the bin.

1. Inspect a Media Bin and under 'Triggers' set up the range of MIDI buttons.

To automatically set up a quadrant of MIDI buttons on the APC grid, click the 'Range' button, then press the top-left MIDI button, followed by the bottom-right MIDI button.

- or -

Use 'Hardware Learn' mode option in the 'Workspace' menu and press each MIDI button in the order you wish to use them in the bin.

Media Bin waiting for the 'Bottom Right' note during 'Range' detect.

2. In the 'Sending' tab set the 'Sync UI With Device' menus to the controller to sync with. 

In the 'Media Bin State Sender' sub-inspector, set the velocity values to send for each clip possible clip state to set the desired color of the buttons on the APC grid. The APC uses the following values:

• 0 - Off
• 1 / 2 - Green / Green (blinking)
• 3 / 4 - Red / Red (blinking)
• 5 / 6 - Orange / Orange (blinking)

Media Bin inspector with APC20 set up for UI sync.

Tip-- When using the APC grid to trigger more than one media bin, use different colors for the Ready and Playing states for each region.

Left and Right Media Bins for Layer 1 and Layer 2 respectively..

Left and Right Media Bins sharing the APC20 Clip Launch with different colors for non-playing clips.

The completed project file with sample movie files for this tutorial is available for download in both 480p and 720p formats.

For this tutorial we'll be looking to replicate more functionality commonly found in professional hardware video mixers commonly used by VJs such as the old school WJ-MX30 including making use of a Downstream Key for masking the final mix and a variety of preset transitions and standard effects that can be easily accessed via a main control panel.

One the advantages of a simplified frontend setup like this is that it is much easier to see at a glance all of the "useful" controls needed during performance while continuing to have a more powerful rendering configuration behind the scenes.

Unlike a dedicated hardware mixer, this setup can be modified in any number of ways, such as the addition of a Syphon Output to another application or receiving DMX to change clips and other settings.

Completed advanced two bus mixer with wipe modes, 80's style effects, and a Downstream Key.

How to build it--

This is an advanced tutorial and before continuing you should know how to customize the layout of a Control Surface plugin, how to build a four channel mixer, and the basics of applying a mask to a layer.

1. Mix and Transition Modes

In the 'Workspace Inspector' create A and B layers and group them into a Mix.

Use the 'Layer Composition Section Presets' for the A and B bus to store mix and wipes, then set each to trigger from a button in a Control Surface plugin.

Mutually Exclusive 'Mix Mode' buttons are used to switch Layer Composition 'Section Presets'

2. Effects A and Effects B

For each bus create a Control Surface plugin and for each noteworthy stylize effect parameter add the appropriate slider or button.

For utility effects such as Color Correction, it can be useful to set up a separate dedicated Control Surface with parameters for both A and B.

Custom layout Control Surface plugins for A and B FX parameter controls.

3. Downstream Key (DSK)

The Downstream Key module applies a finally masking stage to the Mix group. The DSK can switch between using either the A or B bus, an external camera, or the matte generator as its source, as well as an additional "feedback" option which routes the mix output back into the DSK for unusual results.

Add a background layer behind the Mix group to display the Matte generator or a solid color.

Settings in the Downstream Key panel adjust the Layer Mask and Edge Overlay on the mix.

4. AV Sync Modes

Add an Audio Analysis plugin and per-bus LFO plugins to automate control of parameters. Use AV Sync buttons in Control Surface plugins to change sliders, buttons and other parameters between manual control and the automated data-sources.

Audio Analysis, LFOs, and other plugins can provide data-sources for AV Sync and automation modes.

The project file for this tutorial and its vintage sample clip from the Prelinger Archives can be downloaded here.

In this video tutorial we'll first cover how to set up VDMX to receive MIDI Clock from Ableton Live to keep the measure position between DJ and VJ apps perfectly in sync.

This same basic idea will also work with most other audio apps on your Mac or from another computer over a MIDI connection.

In the second half, we'll use the clock position to drive a step sequencer plugin and set it up to dice up a movie on beat.

Notes:

Set the Clock plugin in VDMX to receive the "To VDMX" source.

In the Ableton Live Preferences in the MIDI tab under "To VDMX" set the "Sync" to "On" option to enable MIDI Clock output.

Step Sequencer in VDMX used to 'dice' the movie time on beat.

The completed project file and sample clips for this tutorial are available in HD (1080) and SD (480) formats.

Chroma Key is an image effects technique for compositing multiple video streams on top of each by applying a hue based masked to the foreground images. Commonly a blue or green screen backdrop is used in film production for these purposes.

Within VDMX, using the 'Chroma Mask' FX on a layer will create a color-based mask that is applied within the FX-chain. Pixels in the input that are within the tolerance range are set to become transparent through the usage of alpha channels.

As a source, you can either use pre-recorded movies or a live camera for doing pre-visualization on set.

Prerequisites:

1. Read the tutorial on Adding an FX to a Layer.
   
2. Read the tutorial on Layer Composition which covers changing the composition mode.

Completed example project with 3 layers: Front, Middle, and Background.

Step 1: Add the 'Chroma Mask FX' to the layer playing the blue / green screen footage to mask.

Adjust the 'keyColor' and 'range' values until the background appears black in the preview window.

Step 2: Set the 'Composition Mode' for the layer to the 'OpenGL- Over' option to prevent additive blending.

If using non-GL composition modes, use either the GLSL 'Mix' or CoreImage 'Source Atop-VV' option.

Before and after previews. Click the 'Sample' button in the color picker for the Chroma Mask FX, then click on a pixel in the pre-FX window to set the color to be masked out.

Layer Composition controls for the 'Front' layer with OpenGL- Over mode.

The completed project file and Quartz Composer patch for this project can be downloaded here.

Getting ready for your Valentines Day gig?

Here's a quick starter project for VDMX that includes a simple particle generator Quartz Composer composition that rains down hearts over a live camera input and movie loops to add an extra bit of special something-something to the visuals.

The included composition will work in other example projects as well such as the Four Channel Mixer, or try extending this project yourself by adding a step sequencer to change the color of the hearts on beat.

Live Camera + Quartz Composer, next stop romance.

Notes:

Set the 'Composition Mode' to 'OpenGL-Over' so the Hearts layer appears in front of the background instead of blended. Read more on Layer Composition Basics.

Clouds and Hearts composition contains controls for adjusting the position and color of the particles.

Open and modify the Quartz Composer composition to add your own custom input parameters.

The completed Quartz Composer composition and an example VDMX project can be downloaded here.

For this guest tutorial we're joined by Jim Warrier, aka Minuek, who has been sharing his awesome Quartz Composer compositions and VDMX tutorials on the Vidvox forums for the past few months, to the point where we had to invite him to do a guest tutorial with us featuring his work and to help other people get started with Quartz Composer.

"What got my into QC was seeing the Memo Amoeba Dance video on Create Digital Motion. That was enough for me.  I had been tinkering with VDMX a little. Then around last May I set myself the task of making a new Quartz patch every day. Was slow at start but soon started getting better."

If you're not already familiar with Quartz Composer, you are missing out on one of the key items in the Mac VJ toolkit and Jim has some great examples of the possibilities.

To the right, some example output from compositions shared in the destroythingsbeautiful.com downloads section where you can find image generators and FX you can use with VDMX and other VJ apps that support QC compositions.

Example of converted GLSL shaders.

Example of converted GLSL shaders loaded into VDMX.

Last year Minuek toured with his compositions at festivals and shows across Europe including Fierce Festival, Shambala Festival, Nozstock, Supersonic Festival and is currently performing with a series of events with Yellow Lounge bringing classical music paired with live visuals to various 'urban space' venues around London.

Making the 'Cube Control' Quartz Composer composition.

This is beginners tutorial in which we'll be building a very basic interactive composition containing a cube in 3D space with lighting, along with published parameters for adjusting its size and rotation. This patch can then be loaded into VDMX to be animated, processed by FX, and composited with other sources.

Materials and Prerequisites:

1. Quartz Composer
2. Read the tutorial on using the Input Splitter object.

Completed 'Cube Control' composition loaded into a VDMX project.

Start with the 'Basic Composition' template from the New Project wizard.

Adding a 'Lighting' object to the patch.

Adding a 'Cube' object and publishing parameters by right-click.

Creating top level Input Splitters for parameters.

Step 1: Open Quartz Composer. Choose a Basic Composition and add a 'Lighting' object from the Library.

Double click on the 'Lighting' object to open it.

Step 2: Inside the 'Lighting' patch, add a 'Cube' from the Library and right-click to add published inputs.

Publish the X Rotation, Y Rotation, Z Rotation, Height, Width and Depth options.

Step 3: On the top level of the patch create Input Splitters for each published parameter.

For the X Y Z Rotation splitters, inspect each and set the range to: Min Value: 0, Max Value 360

For the Height, Width And Depth splitters, inspect each and set the range to: Min Value 0, Max Value 2

The project and sample movies can be downloaded here. On a slow computer? Try the 2x2 standard def version.

In this intermediate level tutorial we'll be taking 9 standard definition movies (640x360) and combining them in a 3x3 grid layout to make a single 1920x1080 HD output image in the style of a video wall running on your Mac.

The movies for this project will be live sampled, using a camera feed - if none is available just use the sample clips in the download above, or use some of your own videos as sources. This template can also be a great way to re-use old lower resolution VJ footage for HD display.

Before making this project yourself...

1. Read the tutorial on Layer Composition.
2. Read the tutorial on Movie Recording.
3. Read or watch one of the tutorials on using Live Inputs.
4. Watch the tutorial on customizing control surface plugins.

How to Build It Yourself:

1. Create 9 layers and for each adjust the width / height, set the 'Position Mode' to 'Onscreen' to make it easy to dock layers to the screen edges, then use the X and Y position sliders to arrange their layout in a 3x3 grid.

2. Create a 'Control Surface' plugin with a slider for 'Master Volume' and mute buttons for each layer, then set each layer to receive the appropriate data-sources.

3. Create a 'Movie Recorder' plugin, set its record resolution to 640x360 in the 'Workspace Inspector' and set its 'Video Source' to a live input, or other video feed.

Workspace Inspector with 9 arranged layers, Width and Height set to 0.33 in 'Fit' mode.

Control Sufrace with 'Master Volume' and 9 mute buttons to control each layers audio controls. UI Inspector showing settings for TL Source Mute button.

Using 'Movie Recorder' and 'Preview Window' plugins for live sampling.

Hap is a new video codec for Mac OS X designed for video artists and VJs that performs image decompression on a computer's video card, substantially reducing the CPU usage necessary to play back a movie- this is useful in situations where CPU power is a limiting factor, such as when working with high resolution movies.

If you've already installed VDMX, the Hap QuickTime component is already available on your computer.​ Alternatively you can manually download the standalone Hap installer here: http://vidvox.net/download/Hap_Codec_1.dmg

To confirm that Hap is properly working on your Mac, download some sample movies at 1080p or 480p​ to try in VDMX.

Converting movies into Hap.

Movies can be saved in the Hap format from the standard Quicktime export movie settings panel, which means you can both encode new files in the format as well as easily convert existing movies using a batch exporter such as our free VVBatchExporter utility (Mac OS X 10.6.8 or later)

http://vidvox.net/download/VVBatchExporter_1.0.5.zip  

There are three different Hap codecs:

• Hap has the lowest data-rate and reasonable image quality.
• Hap Alpha has similar image quality to Hap, and supports an Alpha channel.
• Hap Q has improved image quality, at the expense of larger file sizes.

​

Hap, Hap Alpha and Hap Q show up as codec options in the standard Mac Quicktime export panel.

When is it appropriate to use Hap?

When supported natively by a host application such as VDMX, Hap has a number of distinct advantages over other codecs commonly used for real-time video playback.

• Very low CPU usage, even at high resolutions
• Support for an optional alpha channel
• Reduced data through-put to graphics hardware

Since Hap is heavily optimized for use in specific applications, if you're just getting started with working with video or aren't running into any performance problems with standard CPU based codecs, there's probably no rush to convert all of your files into the Hap codec-- the PhotoJPEG medium and 'Apple Intermediate Codec' are both excellent general use formats to try first.

For situations where a computer can't handle playing back movies because the CPU usage is too high, using Hap may make it possible to reduce the overhead of playback. Additionally, as most movie formats do not have support for an alpha channel, the Hap Alpha option can be a good alternative to using the Animation codec in its "Millions of Colors+" mode.

You can read more about about the benefits of using Hap in our blog post featuring side-by-side comparisons against other popular Mac VJ and real-time video codecs.

Lastly, it's important to note that you'll only benefit from using Hap if your video application natively supports it: if you aren't sure, check with its developers before transcoding your clips. If you want to see Hap supported in other QuickTime-based video apps, please ask its developers to check out Hap on GitHub, where we have simple sample code demonstrating its use.

​

​The free VVBatchExporter can be used to automate the conversion of movies into Hap and other Quicktime codecs.

The completed project file for this tutorial and sample clip can be downloaded in Hap Alpha 1080p.​

While VDMX itself is an application for creating real-time visuals, eventually most VJs and other visual artists have some use for  other types of video software on the Mac such as non-linear editors (iMovie, FCP, Premiere) or motion graphics generators (Motion, After Effects) to create pre-made footage to mix during live performance.​

When exporting movies from other software, often it is an option to include the transparency information known as an alpha channel for each pixel that can be used by VDMX to automatically adjust the opacity of different parts of the image during real-time composition of layers. This is particularly useful when you want to create the appearance that one layer is "in front of" other layers behind it, instead of simply blending the two layers together as when using the 'Over', 'Atop' and 'Mix' style composition modes that use alpha channels in this manner.

Most of the standardly available video codecs on OS X do not support alpha channels- when including transparency with QuickTime movies typically 'Hap Alpha' and '​Apple Animation' are the two best choices for use with VDMX. The 'Hap Alpha' codec features a substantially lower data-rate and CPU load than 'Apple Animation', but the image quality isn't as good. See our blog post on the Hap codec family for side-by-side performance comparisons of the two.

In this tutorial we look at exporting movies from Apple Motion to use in VDMX and including the alpha channel by using the 'Hap Alpha' codec. The same basic idea can be used with other motion graphics software such as Adobe After Effects.

​Making a new 1080p 30 fps project in Motion.

​Basic fire and smoke particles from Motion encoded as 'Hap Alpha' playing on a foreground layer in VDMX.

Materials and Prerequisites:

1. Software to render movies with alpha channels, such as Motion, or use a sample Hap Alpha clip.​
2. Read the tutorial on Layer Composition which covers setting opacity and blend modes in VDMX.

​

1. Export the Motion project as a high quality QuickTime movie and then convert it to Hap Alpha.

In some software, such as Apple Motion, only certain codec options are available as export options. In this situation it is best to first render to a high quality or lossless format that includes an alpha channel, such as Apple ProRes 4444. Once exported as a QuickTime movie, open the file in QuickTime Player 7 or the free Vidvox Batch Exporter utility to transcode it into the 'Hap Alpha' format.

Choose 'Export Movie' to use in other video apps like VDMX.

Use these  export settings to render with an alpha channel.

Render with an alpha channel- note 'Premultiply alpha' is on.

Transcode the movie to the 'Hap Alpha'​ compression type with any QuickTime export utility.

2. In VDMX use the OpenGL Over blend mode, or the GLSL / Mix composition modes.

By default, new layers in VDMX using the OpenGL Additive blend mode which is useful when working with movie files that don't provide alpha channels. However, to have the "foreground" layer (the one on top) appear "in front of" the content behind (below) it, a different set of blend modes are available to create this effect.

To get the best performance when using movies with alpha channels, layers should be set to the OpenGL Over blend mode, or the GLSL / Mix composition mode. If using CoreImage, the VVSource-Atop mode can be used instead, but it may be slower.

​Foreground layer with 'OpenGL- Over' composition mode selected.

​Foreground using OpenGL- Add

​Foreground using OpenGL- Over

VDMX project with foreground and background layers.

In honor of being the first third party developer to support the new open-source Hap codec family natively, today ​we're joined by by Phillipe Chaurand who writes Millumin, an awesome piece of real-time visual software with a focus on adding video elements to theater, dance, and mapping installations.

Along with Hap, Millumin also shares support for Syphon, which allows for ​making layers in VDMX directly available as inputs for layers in Millumin. In this video tutorial Phillipe demonstrates how to set up this connection between the two applications.

Next , try using Window Inputs to capture a window from Google Chrome in VDMX and send via Syphon to use in Mllumin.

Notes:

The '​Syphon Output' plugin in VDMX is used to publish layers.

Use the 'New Media Layer with Syphon Sources' found in Millumin's 'Layer' menu.

Millimun can switch between multiple Syphon sources when available.

​The output of Millimun can also be received by layers in VDMX using Syphon.