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While I think it’s important as an artist to constantly develop your own technique and style, I also believe it’s even more important to keep challenging yourself to develop new ways of expressing that style. How do you manage all these different styles? Your loop packs range from textured gritty content, to a graphic vector look, to a glowy, dreamy, sometimes almost technological look. This is very similar to projected video, which only ever exists in a single moment. It’s even more special when it’s there, but you learn not to get so attached to it. Work on the street is also very transient and can be gone the next day, so the value you place on it changes. On an aesthetic level, I’ve always had a thing for dirty, run down streets and buildings, which certainly fed into the UrbanTextures pack. This sense of experimentation and liberation definitely feeds into my work as a VJ. I have always loved the idea of free, anonymous art, accessible by everyone. There’s a lot of scope for experimentation on the street, both conceptually and with the different mediums you use. How does that relate to your work as a VJ?įor me, starting All City was always a combination of celebrating all the art that was out there, and fulfilling a desire to express myself more. You're one of the founders of All City Collective, which is focused on street art. Very slick motion graphic piece for Skype I also believe that as we become a more visually aware, culture, people’s expectations about production values are changing, and the application of better designs, slicker interfaces, and a visually rich user experience, all bring people closer to the world that VJs and other digital artists live in all the time. So the gap is often not as large as you’d think. Lifestyle brands and companies that want to get the attention of younger audiences, for example, often take elements from youth culture and draw upon music scenes, events, vjing, and street art for inspiration. However, there are also some brands and companies that are very forward thinking.
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VJ work on the other hand is a lot more open, with no real rules, and is much more free and unrestricted. Corporate work can sometimes be restricted by both vision and brand guidelines, which means there isn’t always the potential to create something original. How does working on commercial and corporate projects relate to working as a VJ? Do you have a similar approach for both, or does one require a very different skill set than the other? Although Dan didn't work on these specific scenes, we thought the whole thing was too funny not too include
It wasn’t all comedy though, I think I also made some stuff that looked pretty cool too!Īwesome 'enhance' scene compilation on Youtube. But due to a combination of filmic mythology and convenient script writing, I’ve spent part of my career enhancing car number plates, making viruses flash on screen as laughing skulls, and showing network security breaches in giant red flashing letters. Anyone who has ever used a computer knows they don’t ‘beep’ every time you press a key, you can’t look round corners in CCTV footage, and you can’t hack into the CIA database in under 60 ing your watch.
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Working on content for Film & TV is great! There are obviously a lot of cliches with film graphics, and the ‘enhancing a poor quality image to reveal something crucial to the plot’ sequences are some of the funniest. What's it like working on an 'enhance' scene? You've also done some interface design for tv and film productions. Because UrbanTextures is a little bit different to what people may be expecting from VJ content, I hope it will help to get people excited about the possibilities of what you can do with some interesting clips and some decent software. I’ve been using Resolume for many years and it’s a great piece of software, so to have my work associated with it is very exciting.
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When I was originally asked about including my content with the Avenue download I was definitely flattered. How does it feel that every Resolume Avenue user has seen your work? Some of the loops from your UrbanTextures pack are used as demo footage when people first download Resolume. We figured it was time to get down to the nitty gritty. It's always inspiring to see someone make a living out of doing what he loves, especially when it yields such beautiful and diverse eye candy. He's responsible for the touring visuals for Deadmau5, Muse and Stereo MCs, and aside from live visuals, he does some amazing commercial motion graphic work as well. Dan Wise is the author of some the top selling loop packs in our footage library, as well as a very talented VJ and motion designer.