Bridge between Creativity & Technology

About Me

Like anybody who wants to make the most out of their live; you start a journey of exploration. I knew I wanted to something with animation but couldn’t pinpoint what exactly. I was trying out all kind of things; business videos, commercials, videogame videos and even dived into gamedesign & 3d-printing. However non was catching my attention or taking my breath away. During these times I always experimented with the idea of using music as an inspiration for my animation.

Only after a while, a friend of mine linked the concept of VJ’ing and I was instantly sold. I can still remember that the aftermovie of Qlimax 2012 was my source of inspiration. How come I didn’t know about the world of VJ’ing? Very simple; I never went to a festival my whole live, and the concerts & events that I knew of didn’t have any visuals, just lights. I directly signed up for VJ Academy and after some fierce competition I started the course to become a VJ.

After the first few lessons we got the opportunity to VJ at our very first gig: Emporium 2013 along with Vision Impossible. My very first festival and gig ever. As you can imagian I was instantly sold. Not very long after I got Michelle (from VeeMee visuals) as buddy to learn more about VJ’ing and I started freelancing for Vision-Impossible where one of my very fist assignments was to help out with Qlimax 2013 with content production.

During my VJ Academy period I took every opportunity to learn and grow into my newfound career and not even a year later I took a job at Vision-Impossible and was responsible for most of the VJ gigs. During that time I got to properly understand how the world of VJ works and was able to push myself to a higher level. Because of the constant pushing I was able to grow extremely fast in just a couple of years.

However in April 2017 I decided that, in order to keep pushing myself, to leave Vision-Impossible and do something scary; Leave my job and re-start my own company again. I wanted to have my qualities and skills improved and go for the next level; and you can sometimes only achieve that by jumping into the very unknown.

Where do I want to make a difference? I’ve noticed that with a lot of projects, small, medium, big and massive that the bridge between creativity and technology is neglected. There is sadly a distinct lack of understanding and communication between the two. Even very simple things such as a pixelmap are sometimes already a bottleneck, limiting the creativity. My mission is to remove all those bottlenecks and making the workflow so smooth that you will only have one bottleneck; creativity itself. This requires a vast amount of knowledge on each side of the spectrum; creative and technical. And how one of my colleagues used to say: “Your source of creativity doesn’t come from the same place like ours, but rather the source from what is possible with technology and how to make the most of VJ’ing. 

As you will notice; the website is very minimal and takes more the form of a CV than a portfolio website. Those who work with me already know what I’m capable of or already saw my work live. Similar to my social media interaction; it is minimal. I usually post where I’m going and thats it. They all combined reason; to free up time and create results, create deep work and become better at what I do. I’m rather brutal when it comes to inefficiency to my own workflow. Between you and me; we all that know that one successful person who doesn’t even have a proper website but is part of the most beautiful projects.

If you are still doubtful, just contact me or call me. I rather like a personal method with appropriate examples to make sure you are at the right adress.

My Services

The core business. VJ’ing these days isn’t only about putting up a beautiful visuals and move along with the music; that is just the basics. In todays world a VJ should have a strong technical background and a proper understanding how other disciplines work;

In a world where currently LED can overpower the other disiplines; it is important to know when to take a step back. On top of that; every client, event & genre requires a different style of  VJ’ing, you aren’t going to bring a pure hardcore style to a techno party. I understand the new world and upcoming world of VJ’ing and I’m always on top of the latest developments.

Technical Knowledge (VJ'ing)

Very similar, but still different from VJ’ing. I consider “video-operating” a more passive and a more controlled method of controlling visuals. They also require another whole set of technical skills compared to that of VJ’ing These types of skills are most used for concerts, video-mappings and even conferences; often a predetermined schedule how the event will look rather than the improvisational nature of VJ’ing.

Currently I’m in the progress of learning and understanding the d3 Mediaservers and diving deeper into understanding timecode systems for video. The plan is to have a proper and good understanding of the d3 media server during 2017.

Technical Knowledge (Video operating)
d3 Technologies Media Servers

I started on the age of 14 already with Photoshop, from there I grew slowly towards animation. Now I already have almost 10 years experience with content production from different types of projects. Commercials, Event Visuals and even some side tracked elements such as gamedesign and 3d-printing are part of my knowledge; giving me a broad knowledge of different methods of achieving creative solutions.

However I approach animation and content production on another level compared to my peers. Similair to my VJ skills; it is also has a very technical background by nature. I’m not afraid to dive deeper into expressions, scripts, xpresso (c4d node based scripting) and tools that help me achieve my goals smarter. Good basic understanding of how codecs work is another part of the job;  it is that little difference in understanding how creativity flows into technology is where I try to make a difference.

Currently (but still just plans atm) is to look into creative workflows that require a more technical knowledge. One such example is particle flow animations and/or anything related that requires a large amount of “generating” from a computer.

I always first fully investigate who and/or what I’m working at, understanding first the full concept before I start with my visual production.If you don’t understand what or who you are working with, then there is no way you can create something that the clients wants; understanding each-other is the first step to a healthy working relationship and a beautiful product

After Effects

Show Calling
A new endeavor I am exploring; something when I started doing small projects where I had to run timecode. I was always forced to stay in contact with the stagemanager knowing when I had to start the timecode shows. This interaction is already very close related to the job of showcalling. During these little projects I started to learn how to communicate during gigs at critical moments. In combination of understanding Timecode; I was able to start looking at systems and methods where I don’t have to rely on pen and paper to know if everything is going alright, or painstakingly keeping track of the time. These days you can use technology to your advantage to stay on track of everything that needs to happen. I don’t use pen a paper and a timecode + watch to see if everything is going alright, I rather use the same systems that I use for video and sending timecode to keep me up to date realtime and have countdowns to tell me what is coming up.

Show Directing
I consider the element of Show Directing very similar to that of Show Calling. I don’t consider the role of Show Directing directly as the one who needs to create the whole creative image, but rather communicates and combines the disciplines at his disposal. The most successful & creative en-devours that I’ve encountered in my career are the ones where everybody with their own specialization is able to give input and where the Show Director gives each discipline the room to shine and make the most out of them. This will give the event the most creative solutions and everybody will be invested into the concept. This creates a platform and a team that is able to deliver something new at each iteration of the event. In my opinion; the role of the Show Director is one that brings people together rather than telling what other people to do according to their own vision
During a gig, at non critical moments; the role of Show Director should be taken. Making sure the identity and atmosphere of the event is kept. At critical moments; the input of the Show Director isn’t needed; the moments are already made beforehand and “creative input” at these moments could even ruin it. This moment the attitude of Show Calling should be used, making sure that every discipline is on the same track and understanding.

I’m aware that this isn’t applicable to every single event; specially the ones who are more complicated and require a larger team to operate, and where the role between Show Caller and Show Director is more defined. My vision is more focused on the aspect of dance events where there are a few moments that are critical and the rest is more “freestyle”.

With VJ’ing and Video Operating you develop the skill of understanding how to use the stage to your full advantage. The best among us are able use visuals in such way that makes the stage pop out visually and are able to make out the most out of negative space*. Sadly; often stage designs are made without the involvement of the VJ which is a big shame. Very often the advice of a VJ could make the stage design even better. When I am able; I always try to join in the process of the stage design and give my feedback on it. Whether it is the positioning and sizes of the screens or the visual ideas that could be combined with it.

If requested, I’m also able to create and concept a stage design myself. I then often contact the other disciplines to have them give input on the matter and keep tight communication with the technical party to ensure it is possible to create such stage. I use the same principles of Show Directing on that of Stage Design.

*negative space; locations where visual content can’t be displayed; however content is suggested by using the appropriate visuals that draw suggestive lines and make the stage look bigger than it is.

Zonder Tegenslag, Geen Vooruitgang

— Daniel van Veldhoven —



Every event wants to have the biggest and most popular DJ’s, however you can’t make a difference with that anymore. The visitors surely will come for the DJ, but the show will make sure they will come back for the second time.

— Daniel van Veldhoven —

+31 6-278-253-93

Amsterdam, The Netherlands


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