But you can also directly drop it onto a clip, layer or composition area. You can even drop it onto an empty clip in the layer strips. If you already know the name of the effect you're looking for, simply start typing the name of it while the effect browser is in focus.
The browser will then jump to the effect automatically. Clip effects are applied to the individual clip when it is playing. Layer effects are applied to whatever clip is playing in the layer, after its clip effects have been applied. Composition effects are applied to the final output, after the layers have been mixed together. Effect can also be applied to an empty clip, creating an Effect Clip, which has some special properties.
For further info, see below. All effects can be temporarily bypassed B toggle or removed X button. Effects can be stacked together by dropping more than one into the same place. If you do this, they will be applied in order, starting with the top one in the slot. Each effect will be applied in turn, affecting the output of the previous effect.
You can change the order of the effects by dragging them by the three horizontal bars on the right of the effect name. Changing the effect order can dramatically change the resulting output. For example, apply the Fragment effect on a clip, followed by Edge Detection. Probably looks cool, but now see the difference when you drag the Edge Detection above the Fragment effect!
You can also add an effect to an empty clip. In doing this, you will effectively ha! If you're used to working with Photoshop or After Effects, you'll know this feature as Adjustment Layers.
Any effect s applied on an Effect Clip will be applied to all the clips playing in the layers underneath it. This way you can very quickly create a sequence of different looks and effects, while still being able to swap out the footage on the fly. Even better, this will allow you to assign MIDI or keyboard triggers to effects, or even fade from one effect to the other using the automatic transitions feature! Like Sources, Effect Clips can be assigned a duration as well, so you can use them with the Auto Pilot too.
Of course, you can stack as many effects in an Effect Clip as you want or until the output turns to an unrecognizable soup. Creating an Effect Clip in fact creates a copy of the clips playing underneath. So after first creating it, you can actually delete the effect, and then use the Transform controls to create all sorts of zooming, picture-in-picture and mirror effects.
To create a mask, drop an image file from the file browser onto the area of the Composition, Layer of Clip tabs where it says 'Drop effect or mask here' you'll know when you're in the right place when you can 'Drop it like it's hot! This is useful for creating video with a non-rectangular frame.
In Resolume 4, the clip properties described above can be applied before and after the effects. By default, Resolume will apply any effects first, and then apply any changes in the properties. If you want an effect to be applied after the changes in properties are applied, simply drag the Transform tab above the Effects tab you can drag it by the three horizontal bar, similar to the effects. The same applies to masks and transformations.
By default a mask is applied before any transformations, so you can move, scale and rotate the content, while the mask stays locked to the content and moves with it. This way you can make slight adjustments to your mask to account for lens distortions or misaligned projectors. If you want to apply a mask and reposition the content independently from the masked area, you can drag the Transform tab above the Mask tab. This way you can animate or distort content within a mask, without affecting areas outside the mask.
Audio effects may provide any number of parameters but there is one that they all share. You can use Dry Wet to control how the affected version for the audio is mixed with the original.
When this parameter is moved over to the left, the effect will not be heard at all. When it is at the far right, the original audio will not be heard.
Similarly to audio effects, video effects always provide at least one parameter - Opacity. You can use this to mix the effect with the original video. As with mixing layers, you can select one of the mixing modes to use. Aside from this, this manual is too short to tell you what every parameter of every effect does or how you should use it.
You can try them out and wiggle a few of the controls to find out yourself. You'll figure out which ones you like soon enough. To get you started though, there is a list of all included effects and their descriptions in Appendix 3. Both audio and video effects support the creation of presets. Each preset contains all the settings for an effect - enabling you to quickly activate an effect with a set of settings that you like.
To create a preset, first get the effect working how you want it. Then use the Preset drop down above the effect parameters and select the Save As Enter a name and hit return. The new preset will now appear in the effects list, under the name of the effect itself.
To use a preset, drag it onto the Composition Properties, Layer Properties or a clip in the same way as you would for the effect itself. If you make any changes to a preset, you will need to use the Preset dropdown Save option to save the changes. You can also use the Presets dropdown to rename presets, delete a preset or reset the effect settings to their defaults.
Sources are very similar to effects. Like effects Freeframe 1. The difference is that, while effects changed existing audio or video, Sources generate new content on the fly. Because they generate content, Sources need to be placed onto clips in the same way as you would place an audio or video content file. To use a source, drag it from the Sources tab on the right of the screen, to one of the clip slots.
Once placed in a clip, the properties for the Source will be available in the Clip tab. Sources can have audio and video effects added to them just like any other clip. Presets are not available for sources but that isn't a problem - you can just create multiple clips with the same Source, using different parameter settings.
The Sources tab is also where you will find any video capture devices that you have attached to your computer. If you use a capture device, some additional options will be available in the Clip tab.
You can set whether the video from the device should be deinterlaced You do not need to do this for most webcams but it is useful for solving 'jaggy' problems with video cameras.
If you want to use Sources or Live cameras with the Auto Pilot, you can! Specify a duration for each source via the Clip tab. This is set by default to 5 seconds. The Preferences gives you access to settings that affect the way that Resolume works overall. Here, you can also set the directory folder that Resolume will use to store recordings that you make and whether to record Video and Audio.
See the later section on Recording for details on how this works. Also, you can choose whether or not Resolume should update the clip panel when a clip is triggered. You'll want to turn it off when you are for instance using an external source for triggering a sequence of clips via MIDI, OSC or DMX for instance , while you are applying effects on another clip at the same time.
The Arial Unicode checkbox changes the font used by Resolume. If you are non-latin characters, and having trouble displaying them correctly please enable this. When Quit Confirmation in enabled, Resolume will wait for you to confirm your choice when you've decided to quit. The audio tab presents you with options that control how audio should be output from Resolume:. Audio Output Device. The device that Resolume should use for audio output.
Master Output Channels. The channels that should be used for the main output of Resolume. Preview Output Channels. The channels that should be used for audio monitoring of the clip or layer selected for preview. You will need an audio device that supports more than 2 channels in order to use separate monitoring of the preview. Sample Rate. Higher sample rates provide higher quality audio but will require more processing, especially if audio effects are in use.
The default will usually be okay. Buffer Size. Higher buffer sizes will introduce more latency into the system but setting the buffer size too low may cause glitches in the audio. The audio device and channels that should be used for external audio analysis See later section for details. VST Plugin Directories. The directories folders that Resolume should look in for VST audio effects and sources. On the Video tab, you can select the directories folders that you want Resolume to look in for Freeframe 1.
You can also disable global effects and blend modes. This much reduces your flexibility - when using this option, only a basic Alpha blend will be available for compositing layers. However, it will make Resolume run much faster when dealing with high resolution video, so it can be useful for specific performances. The Scaling Quality allows you choose between two different algorithms when scaling your clips up.
Trilinear gives the best result, but you may want to go for the 8 bit glitch look that you get with Nearest Neighbor.
You can set the preview monitor background to display transparent pixels on a dark checkerboard, a light checkerboard, or just as black. For further info, check the Syphon chapter. For more info check the section on controlling Resolume with OSC. This section allows you to change the default import settings for video and audio files. Whatever you choose here, will be the default setting for files that you import from that moment on. So for instance, if you always use your video clips on BPM Sync and play once and eject, you can choose these as the default settings.
Note that this does not affect clips that were already imported. Also you can still change this setting for individual clips after importing as well. This tab simply provides an easy link to the Resolume website, where the latest update of the software will available.
See the earlier section on Registration for details of how to use this tab. Unless you are just using the recording feature of Resolume to make video clips, at some point you will want to route the video from Resolume out of your computer, hopefully to a really big screen.
Before you can configure the outputs in Resolume you need to set up the displays in your computer's operating system before you run Resolume, in order for the displays to be available in the Output menu. On the settings tab make sure you have at least 2 displays visible and active. Mac OS X. Then on the Arrangement tab make sure 'mirror displays' is turned off. Now you have two separate displays on your computer. Now start Resolume and checkout the Output menu.
The Fullscreen and Windowed options enable you to select which of your computer displays the main Resolume output should go to and whether it should fill the screen usually the best option if your are using a video out from the computer or windowed sometimes useful if you are using an external scan converter. You can remove the output by selecting the Disabled option. If you are spanning your output over several projectors or screens, Resolume provides a flexible way to control which part of your composition goes to which output.
You will see a window that lists the active screens on your computer down the left hand side and shows a rectangle representing your composition on the right hand side.
To setup a screen, select it on the left hand side, and choose which output of your computer it should use on the right hand side. This way you can assign the correct screen to the correct output very quickly when working with multiple outputs.
After setting up the outputs correctly, you can tweak the output further by using slices. Each screen can have one or more slices. By defining a slice, you can control what part of the composition it will contain. This way you can define that the left hand side of the screen will always go the projector on output 1, and the right hand side should go to the projector on output 2.
But you're not limited to dividing it vertically, or even halfway. You can select any part of the composition you want to account for different output resolutions and aspect ratios. You can select a slice by clicking it on the left hand side.
You can then use the Input Selection panel to resize it and drag it around in the right hand panel. You can also type precise numbers into the boxes at the right if you need the output to show a precise part of the composition.
Right clicking a slice will reveal a drop down with some useful slice setting presets. You can select each layer of your composition to go directly to a slice. This means you don't have to reposition your layers to send different content to each display. Each display can be configured in two modes: Input Selection mode and Transformation mode. Input Selection mode works the same as for Resolume Avenue, see above. Additionally, you can tell the slice to wrap around the composition for degree panoramic projections.
In Transformation mode you can apply screen warping, which means you can adjust the position or geometry on the final output. This is useful for projection mapping the output to an irregularly shaped surface, or when aligning multiple projectors for a spanned output. This mode again is made up of two submodes: Edit points mode and Transform mode.
In Edit Points mode , you can select a slice on the left and then pick up corner points and drag them to a desired location. You can add or remove points on the right, as well as choose between linear or bezier interpolation. Bezier interpolation adds bezier handles to the points that allow you to curve the edges. Also you can show a grid to help the aligning process. When you have a single point selected, you can fill in precise values or nudge the point with the arrow keys or controls on the right.
In Transform mode you can change the position, scale and rotation of the entire slice in the output. This is useful if you want the same part of your composition repeated on two differently sized displays.
Also you can right click for some useful preset settings. If at any point you get confused during the process for which part of the output is going to which monitor, you can troubleshoot by identifying the displays by type and number, which will show in both the interface and the output. Also you can display a test card to calibrate and align your projectors.
If you are using a lot of slices, masks and crops for a project, you can quickly rearrange their order by dragging them up or down in the slice stack. You can even drag them to another display. Besides adding displays and slices, you can also add masks and crops directly in the Advanced Output. Masks and crops allow you to hide parts of the output, without distorting it. A crop will cut off all pixels that are outside of it. A mask will cut out a part of the image, effectively creating a hole.
You can have as many crops and masks as needed. Masks and crops can have an arbitrary amount of points. By default they are created as squares, but you can make them into triangles, circles, stars, hexagons or in the shape of that weird stain on the wall in the attic. Double click the outline to add a point at that location, double click a point to remove it. A crop can be turned in to mask and vice versa using the drop down on the right.
In both modes you have the option to compensate the black level of the slices. Since projectors project light, they can never project true black black actually is the absence of light. Rather they project a very deep grey. So where two projectors overlap, in the areas that should be 'blacked out' by softedging, they will project deep grey on deep grey.
Since projectors work in additive colour space, this causes the problem to accumulate, and the result in the overlapping area will be an even lighter grey. The black level compensation is to make up for this difference, by allowing you to make the non-overlapping areas slightly brighter. Also you can adjust the brightness and contrast of each output, to fine tune any difference in luminosity that can't be solved by adjusting the projectors or screens themselves. If you are using both a LED screen and a projector, and the LED screen is blowing all the other lights in the venue away, you can decrease the brightness on the LED screen, while still having the projector at full power.
Or just leave everything at maximum, and give the audience a tan with your visuals. Also, you can apply edge blending to any slice. This will help you blend the output where two projectors are overlapping, by gradually fading out the area where they overlap. In order for edge blending to take effect, you need to have two slices cover the same part of your composition. Then you can turn on edge blending for each slice in turn.
Resolume will automatically blend the edge in the middle, but you can still control the edge by refining the following three parameters:. Power: This control the slope of the edge blend curve. The higher this number is, the steeper the curve will be in the center of the fade area.
Luminance: This control the brightness of the centerpoint of your fade. This allows you to further adjust the slope of the curve. Gamma: This is the overall brightness of the fade area.
Sometimes you want to try things out before sending them out to the main audio and video outputs. This is what the previewing feature is for. We can use previewing to take a peek at a layer or clip without actually playing it out.
The Preview Monitor window sits in the bottom left of the screen, below the main Output Monitor. Make sure the preview is expanded by clicking the small triangle at the left before using it to preview video. To preview a layer or clip, click its name on the layer strips.
You will now see the video for the layer in the Preview Monitor. If you have set up preview channels for audio In the Audio tab of the Preferences window you will hear the audio for the layer or clip through the channels that you have selected. If the clip has an alpha channel, you will see the transparent parts on a checkerboard background. This setting can be adjusted in the Video tab of the Preferences Window.
When previewing, the volume and opacity parameters of the layer or clip are ignored. Syphon is a great set of tools to route the visual output of one program to another.
This way you can for instance get jiggy with your funky Processing sketches, but apply effects and map them to a surface with Resolume Arena. To enable Syphon, simply check the box in the Video tab of the Preferences. Any program that is broadcasting its output via Syphon will now show up under the sources tab.
You can add them to a deck like you would any other live input. The moment Syphon is enabled, Resolume will immediately start broadcasting its main output as well. Resolume Arena allows you to further control this via the Advanced Output. Syphon will be treated like a separate physical screen. This allows you to warp the output before sending it, or to select parts of your composition to send to Syphon.
All the while you can still send a different output to your physical screens. In the previous section, we looked at the ways in which Resolume can play and manipulate audio, video and audio-visual clips. Now we will look at the different ways we can tell Resolume what to do. Controlling the individual features of Resolume with the mouse pointer is okay a lot of the time but in a live performance situation, you really want to have instant access to the features that you need. This is why Resolume enables you to control it in a number of ways:.
This powerful feature allows you to sequence clips in a layer. When activated, Resolume will start playing the next clip in the layer when the current clip reaches its end. You can specify whether the sequence should play forwards, backwards or play a random clip. Empty slots are always skipped. Auto pilot can be turned on for all clips in a layer in the layer properties panel, but individual clips can be set to have some additional options. By right clicking on the name handle you can set the auto pilot on a per clip basis.
By using this setting on the last clip of a sequence, you can tell it to loop or simply stop the sequence. This way you can keep switching automatically between two clips, keeping your hands free to improvise on the other layers, or head over to the bar for that well deserved drink. You don't need to turn on the auto pilot for the entire layer. Using the right click drop down, each clip can have an individual auto pilot setting.
Also Sources can be used in auto pilot sequences. Although a Source doesn't have a set duration like a normal clip, you can change the duration in the clip tab. This way you can use content that doesn't have a fixed duration like Flash files, Quartz Composer files or even live cameras in your sequence as well. By default sources are set to a duration of 5 seconds. One thing to keep in mind when using the auto pilot is that beat snapping is still taken into account.
This means that when the current clip is finished, it will try to trigger the next one, like expected. However, when beat snapping is turned on for that next clip, the current clip will actually loop until the master bpm gives the all clear, and the next clip is triggered in perfect sync to the beat.
This is a feature not to be underestimated, and it allows you to create very complex loop structures, presentations and story lines. When you've assigned a clip target other than the current layer for a clip in auto-pilot mode see the triggering clips section for more info on how to go about this , auto-pilot will actually ignore this, since otherwise the chain would be broken. You have seen how a wide variety of things can be controlled in Resolume by moving parameter sliders, from the volume of the composition to an individual setting on an effect.
There are several options for moving these parameters automatically. To access these options, click the little grey triangle next to the parameter name. A menu will appear. The options in the menu will be slightly different depending on whether the parameter you are working with is for the Composition, a layer or a clip.
However, they all work in much the same way. The Timeline option presents you with an interface similar to the Timeline clip transport mode.
You can have the parameter loop, ping-pong or play once and you can set the speed that the parameter animates at. You can set in and out points for the parameter, just like with a clip. We will look at the Dashboard option in the next section. If you select Clip Position , the parameter will be animated along with the current clip position. You can use the range markers to select the values that the parameter should animate over.
You set the number of beats that the parameter should animate over, whether it should loop or ping-pong and the in and out points. The parameter will then be animated in time with the global BPM. It works slightly differently to the BPM Sync mode. Rather than presenting us with a timeline interface, it works by setting the parameter to its maximum value set by the in and out points when a beat occurs and then sliding it down to the minimum value. You can use the invert toggle to have the parameter slide upwards after each beat instead of downwards.
A great way to use this mode is to use it to control the Scale parameter of a clip. If the minimum and maximum values of the parameter are set right, this will make the clip appear to jump forwards on each beat before receding away again.
This trick also works well with the opacity parameter for a BPM-matched strobe effect. Easing can be applied on every type of animation, which will allow you to controls how smooth the value should start and stop. Sometimes you want to control more than one parameter at the same time. The is often the case when dealing with both audio and video effects. We can get some really nice results by moving the parameters of an audio effect at the same time as a video effect to make a unified result. The secret to doing this is the Dashboard.
There is a Dashboard for the composition, and one for each Layer and Clip. Each dashboard is separate and deals with parameters at its own level. Each dashboard provides 8 controls. Any parameters that you choose can be linked to these controls.
Any number of parameters can be linked to each control. To link a parameter, simply drag the parameter's name up to one of the Dashboard dials. You can also select the Dashboard option in the parameter control drop-down menu. You will then be able to select which of the dashboard dials the parameter should be linked to.
Once a parameter is linked to a dashboard, the parameter display will change so that you can select the range of values the parameter should take and whether the dashboard controller should be inverted when applying it to this parameter. You can then move on to other parameters, linking them to the same or different controls on the Dashboard. Of course the obvious use of the dashboard is linking audio and video effects. But also by linking multiple effect parameters that look good together, you can drastically change the look of the output with only one mouse movement.
Once a dashboard dial has at least one parameter assigned to it, you can change its name by clicking it in the Dashboard section. To control the parameter values that are linked to the Dashboard, click and drag the dial up and down.
You will see the parameter moving with the value of the Dashboard dial. Audio analysis enables you to drive parameters directly from the music to make your visuals dance if you are really brave you could also use Audio Analysis to drive audio parameters - who knows what would happen? To activate audio analysis, select one of the Audio FFT options in the control drop-down menu for a parameter:. Use the audio device specified in the audio preferences to drive the parameter.
This is the one to use if you want to use a feed from a DJ or band or if you have an external microphone. You can also use it to play along with a CD or audio file. Use the main audio output of the composition to drive the parameter. Use the audio output of the individual clip to drive the parameter. Only available on clip parameters and clip effect parameters. The parameter display will now change to display the Audio Analysis options.
The first thing you should do is click the small grey arrow to display the full options. You can now use the L, M and H buttons to select the Low, Middle or High end frequencies to use to drive the parameter. You can take even finer control of the frequencies used by adjusting the in and out points below the audio spectrum display.
Use the Gain control to boost the signal until it is having the right amount of effect on the parameter. The Fall control sets how quickly the value falls back from a peak. Note that you have to select a source if you want to use the external option. This can be done via the audio tab of the preferences. The computer keyboard provides you with a really convenient way to access particular features of Resolume instantly. You set which key should do what by setting the Key Maps. There are two Key Maps in Resolume:.
The Application Map is used by all compositions. Keys set up in Layer Focus will change what they control depending on what is selected.
For example, if you set a key to clear a layer while in Layer Focus, the currently active layer will be cleared when you hit that key. You can then change the active layer and clear it with the same key. Deck focus is different in that the mapping is absolute, so every layer can be cleared with its own key.
An exception is made for mappings applied to the Clip tab. These are always context dependent, meaning that the same keys will control the same functions on all clips.
This way you can for instance set and trigger the cue points of all clips in your deck with the same keyboard shortcuts, without having to map each one individually. The Composition Map is saved along with the composition. Keys set up in this map affect particular things.
For example, you can set separate keys to clear each of the layers - each key will only clear the layer it is assigned to. The secret to good keyboard control is to combine the Application and Composition maps together so you get control over the specific things that you need through the Composition Map while also maintaining some flexibility with the Application Map. You will see that some of the Resolume interface is overlaid with blue boxes.
Each box represents an item that you can bind to a key. You will notice that some items already have keys assigned and have the relevant key on them in white. You can now use the Key Map box in the bottom left of the screen to select whether to focus on the currently selected layer or the deck. While Layer is selected, the keys you bind will control things based on the currently selected layer. If you select Deck, they will control things based on the currently selected deck.
To bind a control to a key, click the blue box over it and then press the key that you want to control it with. The Key Map box will then show options depending on the kind of control you clicked. Single click button e. No controls - hitting the key works just like clicking the button. Toggle button e. Select either toggle control toggles each time you hit the key or mouse control control value is based on the mouse position when you hit the key.
You can also select piano mode control toggles when you release the key as well as when you press it down. Apply an Invert RGB effect to the entire composition, and set the effect in bypass mode by pressing the 'B' button. Now enter Application Mapping, map the space bar to the bypass button and set it to piano mode. Now every time you hit and release the space bar, your output will flash inverted.
Great for that sweeping climax! A numerical value control e. Select maximum and minimum values for the control using the sliders. Toggle mode will switch between the maximum and minimum values each time you press the key or when you release it as well if you select the Piano option.
Mouse mode will use the current mouse position to set the parameter value when you press the key. Editing the Composition map is very similar - the only difference is the controls that are available for mapping. You can hit escape to exit the Keyboard Mapping mode. Read the Key mapping paragraph. Even if you just want to map your shiny new midi controller, it has essential info for all mapping modes.
MIDI also supports sliders and dials called Continuous Controllers which give you more control over numerical values. To send MIDI feedback to a device, simple enable in it the preferences, and map your controller as your normally would.
Feedback will be sent automatically, so changes in the interface will be reflected on your controller. As with key mapping, we can map midi notes and controllers at either Application level or Composition level. You can now click the illuminated interface elements to select them and then hit the MIDI key or move the MIDI controller that you want to use with each feature. If you use a controller, the Mapping options panel in the bottom left of the screen will contain options for Absolute and Relative modes Relative modes are good for 'endless' controllers.
You can also invert the controller value. If you assign a MIDI note to a numerical parameter then you will see options for how this should be handled. By default, the value will toggle between the maximum and minimum values set in the mapping options panel each time you hit the note. If you select the Velocity option, the strength with which you hit the key or pad will be used to set the new value for the parameter.
If you select the Piano option, the parameter will jump to the maximum value when the key is pressed and then return to the minimum value as soon as it is released. Video Conversion with Alley Conversion made simple. Freeze when enabling output When I go fullscreen to a second display, Resolume freezes. Lots of Outputs I want to run Resolume with lots of outputs!
Can I use Resolume to sync visuals to my tracks? Menus Disappearing? Shadowplay Why is there a microphone icon in my output monitor? Reporting a Bug If you found a bug and know how to reproduce it then please use this template to report it to us and we'll fix it in a jiffy.
Registering Make your Resolume legit. Online Verification "E. Registering Using a Dongle Take your Resolume with you where ever you go. Yearly Renewals All of the good stuff, none of the bad. Workflow Quickstart Tutorial Let's see what this baby can do! Basic Vocabulary Je m'appelle Resolume.
Clips The nuts and bolts of Resolume. Layers The key to mixing clips and making your output look good. Groups What happens in the Group, stays in the Group. Composition Your masterpiece in motion, 60 fps of pure poetry. Decks Decks are like the records in a DJs record bag. Interface Layouts Pimp my Resolume.
Stills A picture is worth a words. Sources Generative images and live camera inputs. Live Inputs Capture the real world into neat and tidy pixels.
Effects Master the art of effect magic. Transform More than meets the eye. Clip Renderer Beautiful renders! I call upon thee! Advanced Output Going beyond a single screen behind the DJ.
Screens Working with Screens in the Advanced Output. An added advantage is that, should you do this show in a different location, you can just re-use resolime same animations and input map. Masks and Crops Arena Only! This control the slope of the edge blend curve. Optimising Your System for Resolume. VJFit has an excellent tutorial on how to make custom content in Cinema 4D for this setup. Soft Edge Arena Only! Default Application Key Mnual. Global Speed and Direction Controls.
Then you position and scale each poly resolume avenue 4 manual roughly in the projection and fine tune its points to align resolume avenue 4 manual. If you are using a lot of slices, masks qvenue crops for a project, you can quickly rearrange their order by dragging them up or down in the slice stack. Introduction Welcome to the world of audio-visual performance mabual Resolume!
Layer 2 will be our Everywhere layer. A crop can be turned in to mask and vice versa using the drop down on the right.
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