ATHLEISURE MAG #48 DEC 2019 | LET THERE BE LIGHT WITH VELLO VIKHAUS

LET THERE BE LIGHT with Vello Vikhaus

LET THERE BE LIGHT with Vello Vikhaus

We sat down with Vello Vikhaus, a pioneer Visual Music Artist whose work has been seen in some of the biggest concerts, fes- tivals, music videos, nightclubs and events around the world. We wanted to find out about the beginning of his career, how he collaborates with artists and projects that he's currently working on.

ATHLEISURE MAG: You've been produc- ing, directing and performing immersive visual arts for DJs, bands, festivals, venues and brands for over 20 years, tell us about your journey in becoming a Visual Music Artist.

VELLO VIKHAUS: My journey to become a "Visual Music Artist" started early on with my love for the arts. I got a lot of support and encouragement from my mother and grandfather. My grandfather gave me his VHS porta pack camera, and that is when I really fell in love with video as a medi- um. Around 1986, I spent many a summer evening manipulating video feedback mix tapes. I would then take the finished works to house parties and take over the home TV system for "testing" party at- tendees for their visual and physical reac- tions to the abstract works, live.

I graduated from the School of The Art Institute of Chicago in 1995 with a BFA, with focus on Art & Technology stud- ies. During my school years I participat- ed heavily in early electronic dance music events in the midwest area, performing and creating imagery to the music with a visual arts collective called OVT Visuals. This was a seminal time which I fell in love with creating visual artwork to music, and performing visual works live to music. My journey has involved continually and tech- nically evolving by learning from mistakes as much as you can each time.

AM: What are some of your key influences for your love of music, art, technology and live performance?

So much fun! Derivative has been a strong influence over the years as both a software platform and a community of like minded artists. I also really en- joy Siggraph, Live Design Internation- al, Mutek, Ars Electronica, Art Basel Miami and Art Chicago. I adore walk- ing museums and historic sights which I always find inspiring. Love Blue Man Group.

AM: What were the early days like with V Squared Labs, how did you keep up with the fast-pace of a multitude of projects ranging from top artist tours and festivals, music videos, Grammy award and Red Bull parties, industry events, and more.

VV: In the early days, V Squared Labs was a small, wild boutique studio that ran undercover in an unassuming house in North Hollywood, Los Angeles. The key to keeping up with a diverse array of projects has always been the abili- ty to remain nimble. Staffing up, col- laborating, outsourcing, experiment- ing. The early days seem dreamy now, where you remember the outcome but forget some of the wild perilous situa- tions. I've had the opportunity to work with so many different amazing artists over the years now, it is very humbling. I am genuinely thankful for the chanc- es I have received.

AM: Tell us about the OG Vegas days, like creating Paul Oakenfold's immer- sive residency at Rain in the Palms. It not only had DJ and multi-screen VJ components, but also choreographed dancers and a fully embracing experi- ence that was truly groundbreaking!

VV: The Oakenfold Residency real- ly paved the way for the current Las Vegas EDM mega DJ residencies, and proved the Vegas market could go electronic. Thinking about this experi- ence now makes it seem so primitive technologically.

array of electronic dance Festival stag- es, sets and tours. What does it take to put that together, what are some of the highlight stories from live VJ'ing festivals and engaging with audiences over the years?'

VV: One of my favorite stories would be when I was at the premiere of the Infected Mushroom Fungus Among Us Tour at Avalon Hollywood.

I remember being completely exhaust- ed after loading out and hanging out- side on the street waiting for our gear to complete load out.

While waiting, I overheard two guys talking while grabbing a late night street dog. They were talking about how it was amazing that the spheres actually moved up and down and won- dering what type of hydraulics etc must have been used. Both guys defi- nitely had consumed a few beers and other substances. I leaned over and told them that the pods never actual- ly moved and that is what projection mapping does. They looked at each other, both completely in awe and said wooooaaaaahhhhhhhh.

AM: You have also worked with a wide range of iconic bands like Red Hot Chili Peppers and The Police, Beyonce and hip-hop legends like Jay-Z to produce highly-emotive visuals for concert shows and tours. What differences have you encountered between EDM sets/ festivals and shows with diverse rock and rap anthems that can command crowd spirit and flow - where it is much about the respective songs and music, as well as the artists and the show.

VV: Overall music artists have very de- manding schedules and require a lot of focused attention on tight timetables. For iconic bands, visual works are typi- cally finely crafted per track in collabo- ration with various art directors, man- agers and client interests.

EDM Music festivals for me, depend- ing on the scenario have always been a place to experiment and improvise live as a VJ. Less scripted, more in the mix. Even if it is just the opening set, the one thing most common between EDM / concert experience is the tan- gible energy we dance and perform to created by the music and visual ex- pressions. Both iconic bands and EDM festivals now are getting to be more scripted and operating on similar pro- duction quality levels.

AM: When you’re creating your proj- ects with artists, what is that process like especially when it’s for large scale shows?

VV: Our process for large scale shows follows similar structure each time whether it involves music artists, brands or agencies. We explore, con- cept, design, build and execute.

AM: What are some of the tools that you've used, created and mashed-up to pioneer your visual revolution through the years in multimedia content pro- duction and interactive artist-fan en- gagement - from animation to projec- tion mapping to live video mixing?

VV: One of my favorite early visual DJ tools was the Panasonic MX-50 switch- er. I also really loved mixing DVD's on the SVM-1000 with Pioneer DVJ-1000 turntables. We currently use Disguise, Resolume, TouchDesigner 099, Notch, Cinema 4D, Rhino, Vectorworks, Ado- be Creative Suite and Unity for our production tool suite.

AM: What are some of your favorite projects you've worked on?

VV: Amon Tobin ISAM is still one of my favorite projects of all time. It repre- sented the beginning of so many jour- neys.

to produce battle stage environments and projection mapping for the vibrant e-sports culture, with projects such as Starcraft 2 Stage?

VV: Even though I actually play Starcraft and Starcraft 2, it had never occurred to me that I would ever help create the SC2 stage and experience for Blizzcon. It was just good luck and a most excel- lent colleague referring our services, combined with a few good ideas deliv- ered at the right time that lead to Bliz- zard Entertainment. My experience with gaming definitely helped me push the envelope for tight integration of in game data and statistics/APM usage to influence real time animations on the 3D set piece.

AM: What are some attractive benefits and particular challenges when build- ing immersive environments and sur- faces for nightclubs and lounges ven- ues versus festival stages or tour show visuals?

VV: Festivals come up and down and have a very short lifespan. This is at- tractive and typically have a much shorter turn around. You program for what is right in front of you, and it van- ishes before you know it. With perma- nent installations you are designing something to last, that is constrained inside an existing architectural perim- eter. Permanent installations require a much higher level of finish and involve integrating more disciplines.

AM: What are some of the venues you've designed that our audience may have had the pleasure to enjoy and en- gage with?

VV: V Squared (now Xite Labs) has de- signed custom TouchDesigner video systems, staffed VJ residencies, creat- ed visual sculptures, domes and con- tent for clubs like Kiss Kiss in Atlantic City, Project Club LA, The Heineken Dome @ Coachella, Oustisde Lands, Pitchfork, Marquee Las Vegas, Drai's

AM: We were excited to see the an- nouncement of XiteLabs, wow!! Tell us how it was to produce and run the very first event - a live immersive experience finale for the Los Angeles Philharmon- ic's 100th anniversary at the Hollywood Bowl. What are some other projects we can learn about from XiteLabs thus far and/or you can mention are in the works?

VV: This has been the first year of of- ficial business for Xitelabs. Running the LA Phil show was like standing on a high dive and jumping off once the show started. A long climb up for an exhilarating result.

Other project...... our biggest project ever....

Inauguration of The Diriyah Gate Proj- ect. Saudi Arabia.

We just wrapped this project having worked on it for about 1 year, with the show completing Nov 20th. Here is a photo. This is definitely one of the world's largest 3D projection map- pings which used over 200 projectors. We also created a massive carbon fiber 50ft Falcon. This was the central char- acter of the performance, and the na- tional bird of Saudi Arabia.

AM: Who are three people that you've yet to work with but feel it would be a dream to work together?

VV: Looking forward to Ultra Music Festival Abu Dhabi. Should be an ad- venture. Also really looking forward to Bad Bunny's May 2020 show in Puer- to Rico. Historic developments in the making.

AM: As someone who is always travel- ing, what are 3 items that you like to put in your carry on that make travel- ing and being on the go easier?

VV: Organic Dried Fruits, Tennis Ball, Back Knobber and my travel hoodie with an eye mask/neck pillow.

AM: It's almost 2020, reflecting back - how far do you feel the industry has come over the years and where would you like to see it develop in the near horizon in terms of music festivals, tours, club nightlife and brand/com- mercial campaign marketing.

VV: I think the industry has come a long way since the early days of electronic music rave events. I love festivals like Day for Night and Mutek that incorpo- rate music and visual arts in a cohesive package. More of this please.

@XiteLabs

PHOTOS CREDITS | Xite Labs

VV: I would love to collaborate with Philip Glass on an immersive envi- ronmental themed piece. Something about pollution and solutions to waste management. If I could rewind time Nam June Paik would be at the top of my dream list to meet/collaborate with.