Portfolio

Part 3. Motion Design with Vj-ing

Visuals & VJ Performance at Viva Braslav Festival

At Viva Braslav, the largest festival in Belarus, I was responsible for creating a full VJ pack for two nights of electronic music on the main stage. I mainly used my own content, but I also adapted the video materials provided by the artists — editing them into clean loops and preparing compositions that matched the screen layout.

Because the LED lines on the stage were spaced far apart, I arranged the visuals in a way that looked natural with intentional gaps, instead of stretching the footage horizontally. This avoided the distorted, elongated look that appeared in daytime sets from VJs who weren’t prepared for screen mapping.

For live performance, I used my “three‑column” Resolume technique, grouping loops into smooth, strobe, and BPM‑driven categories. This setup is extremely effective for EDM, allowing fast, intuitive control during high‑energy sets.

Visuals for a Live Electronic Music Performance (Siyanie 5‑Year Anniversary)

For the 5‑year anniversary of the Siyanie promo group, held at the large rave in the VERH art space, I created a set of abstract visuals for an intellectual electronic live performance. The entire show was filmed with multiple cameras for a full recording later published on the Ballantine’s Music YouTube channel, so the visuals had to be clean, sharp, and high‑contrast, and the VJ performance had to be flawless.

All animations were rendered with alpha channels, allowing me to reuse their elements in the final video edit — a task that was also assigned to me. This project had a strong impact on the future direction of my abstract visual style: until then, I mostly adapted to client references, but here I began developing my own artistic language more consciously.

VJ Performance at Viva Braslav Festival

At Viva Braslav Festival, in addition to performing two late‑night VJ sets for electronic music on the main stage, I also created a series of custom intro videos that played with the unique geometry of the LED screen. These short branded animations served as transitions and opening sequences between artists, highlighting the stage design and reinforcing the festival’s visual identity.

LED Screen Mapping for Kosmos Nash Festival

For Kosmos Nash Festival, I developed a full visual pack tailored to the non‑standard LED screen shape of the main stage. Working in After Effects, I created all animations from scratch using custom shape‑based graphics inspired by the festival’s branding elements and poster design.

In addition to the branded visuals, I produced a series of cosmonautics‑themed loops, reflecting the festival’s space‑oriented concept. All content was composed to fit the irregular screen geometry precisely, ensuring clean mapping and a cohesive visual identity throughout the event.

Visual Content for Large LED Torii Installation (Japan‑Inspired Racing Theme)

For a large‑scale LED installation shaped like a Torii gate with an additional central screen, I created a custom visual package themed around racing culture and Japanese drift aesthetics. The content combined high‑contrast motion, stylized 3D elements, and fast‑paced graphic sequences to match the energy of the event.

I performed live VJing using Resolume, adapting the visuals to the unique geometry of the Torii structure and synchronizing them with the music for maximum impact.

VJ Performance at JET Festival

For JET Festival, I created a special content pack designed specifically for the ceiling‑mounted LED modules above the dancefloor. Instead of using standard full‑frame footage, I built a custom After Effects composition that allowed me to control each module individually, treating the ceiling as a grid of separate visual elements rather than a single screen.

All loops were edited with the upcoming BPM adaptation in Resolume in mind, so during the live techno set I could trigger rhythmic patterns, strobe sequences, and alternating motions precisely in sync with the beat. This approach turned the ceiling installation into an active part of the performance, reacting dynamically to the music and creating a fully immersive overhead visual environment.

Visuals & Live VJ Performance for the Samasutra Techno Event

For the techno event Samasutra, I created a series of custom visuals built around a chrome‑red aesthetic — sharp, metallic, and intense. The visual language drew from familiar dark‑techno motifs such as chains, spikes, serpents, and other aggressive symbolic forms, all stylized to feel sleek rather than literal.

All loops were produced with alpha channels, allowing for flexible layering during the performance. To make the content fully adaptable to different BPM ranges, each loop was rendered in x4 / x8 / x16 frame‑length variations, enabling smooth mixing and precise synchronization with straight‑beat techno rhythms.

During the event, I performed live VJing, combining these loops into a dynamic, evolving visual flow that matched the energy and atmosphere of the night.

Halloween Visuals for “Siyanie” Promo Group — Inspired by *The Shining*

For a Halloween event themed around the film “The Shining”, I created a set of custom 3D visuals inspired by the movie’s iconic atmosphere. The content was designed so that lighting inside the depicted rooms could “blink” in sync with the real lighting on the dancefloor, creating a seamless interplay between on‑screen and physical light.

The visuals also incorporated techno‑driven rhythmic accents, allowing the content to respond to the beat and intensify the horror‑themed aesthetic. The result was a cinematic, immersive environment that blended film references with club‑oriented visual design.

Siyanie — Church‑Inspired Techno Night with Symbolic Visual Language

Siyanie embraced a mystical atmosphere inspired by sacred architecture and symbolic imagery. The mood leaned toward a ritual aesthetic — arches, stained‑glass abstractions, and ceremonial light pulses. My task was to merge techno intensity with spiritual tension through a unified visual world.

Work on the stage involved mapping three separate LED segments, each treated as an architectural fragment. The mapping layout allowed me to create illusions of broken sacred spaces and shifting symbolic structures. During the event, I performed live VJing, synchronizing visuals with the music.

The project had several specifics: balancing symbolic imagery without becoming literal, managing multi‑screen mapping, and supporting both slow and aggressive techno tracks.

The final result was a surreal, sacred‑techno hybrid environment. If you need a conceptual visual world for a themed event, I can develop a full motion and stage system.