Where on Earth can she be?

Inspired by a post I saw on r/tf2fashionadvice that made me want to try a tribute to a similar childhood hide-n-seek champion, instead using Femspy in tandem with the original inspiration. (I’ve named her Carmen Spydiego. Yes, I’m very original.) 


“They found Wenda. I’m sorry.”

Sony Vegas Editors: Disable Resample is Your Best Friend

If you’ve edited in Sony Vegas for a while, I’m sure you’ve heard other editors mention “disable resample.” What is it and why is it necessary? Allow me to educate!

What is resample?

In basic terms, resampling is changing the input of a video file into an output format. This can range from changing the video size and ratio to what I will focus on today: Frame rate.

In Vegas, there are three frame rates that you must know.

- Your input file

- Your project/preview file

- Your rendering/output settings

If your input file is 24 frames per second (fps), your project file and rendering/output settings need to also be at 24 fps. This helps tremendously with motion masking.

When your input file fps is different from your project settings, Sony Vegas ends up slowing down your clips. This can cause huge issues with motion masking when you are entirely dependent on masking from frame to frame. 

In addition to this, Sony Vegas has a feature called “Smart Resample” that is the default setting to put on all clips. There is a built in lag within the Sony Vegas program so in order to make up for this, Smart Resample installs motion blur to blend the frames together. However, this often results in added slowness to the clips and a sharp drop in quality when the project renders. The frames will become compressed on top of each other as they blend. This is what editors refer to as “ghosting” or “ghost frames.”

In the first example, you can see the outline of a frame over another frame. That transparent outline is the “ghost frame” and should not be there. That is what slows down your clips and will reduce the quality come rendering time.

The second image is what the clip should look like in a normal frame.

So, how do you prevent ghost frames?

Step 1) Right click on the video layer of your clip. Then, click on “Properties.”

Step 2) When the Properties window comes up, click the “Disable Resample” option.

Step 3) Click “OK” to confirm.

Please note, if you’re using this method to change clips to “Disable Resample,” you need to do this to every individual clip you place in the timeline.

In addition, make sure that your output and project fps matches with your input video’s fps.

To check your project fps, look at the video preview section of your Vegas window.

It will list both the “Project” and “Preview” fps along with the ratio of the project file. 24,000 p is the fps of this particular project file. If the fps of your project file does not match the fps under the “Properties” window of your video clip, it needs to be changed.

To change the project fps, there are three ways to open the “Project Properties” window.

Method 1) Click on “File” and go down to “Properties.”

Method 2) This is a shortcut method if your video preview area is already displayed. Click on the square icon with the arrow inside of it. It is located to the top far left of the video preview area.

Method 3) Just hold down the “Alt” and “Enter” keys on your keyboard at the same time. The window will pop up that way.

Once the “Project Properties” window opens, go to the “Frame rate” area and click on the drop down menu. Change the fps to the same number as your input clips. In this example, the video clip is 24 fps so I changed the frame rate to 24 fps in the project.

Next, hit “Apply.”

Then, hit “OK.”

Finally, when it comes time to render your project, bring up your “Render As” window.

When the window pops up, go to the “Template” area of the window after you make sure that your “Save as type” is the right type of output file you want. Click on “Custom.”

Once the “Custom Settings” window comes up, go to the frame rate area of the “Video” tab and select the same fps you used on the project file. Again, in this example, the fps of the input and project file is 24 so I select 24 fps here.

As a bonus, if you’re editing an AMV, you want to go to the “Project” tab and go to the “View Rendering Quality” area. Click on the drop down menu and select “Best.” This ensures that your project will come out looking the best it can when it renders.

Click “OK” once you’re done adjusting your settings and watch the magic happen!

Hopefully, this tutorial helps out some editors who have been stressing about quality drops in their final product. If you have any questions about this tutorial, feel free to send an ask! Happy editing!



  • photoshop cs5/cs6 (i’m using cs6, but i assume this works for cs5?)
  • knowledge on how to make gifs
  • high quality layers/images (i haven’t tested any of this out on lq videos)
  • this & this sharpening action
  • familiarity with photoshop

what we’ll be learning:

  • what resampling is
  • the timing difference between frame animation gifs and smart object gifs
  • how to work with this
  • sharpening techniques for both methods

Keep reading


ReSample @ SDNZ Auckland Regionals 2011


Exactly 3 years ago, the very first thing of Majora I uploaded to YouTube was an instrumental of Deku Palace. Here it is now, resampled.

P.S: Due to technical difficulties, there was no Q&A last Friday. There might be one this week, but it’s not sure yet. Apologies.


love the “maps” resampling here

UTAU Resources Masterpost!










Mastering Bedroom Style

There’s this great free introduction on the subject from iZotope, but it might be a little lengthy for some. Therefore I point out the most useful principles, tips and techniques in this post. (Yes, that means I’ve shamelessly ripped some shit directly from this document.)

Disclaimer: I’m not a formally trained mastering engineer and no purist/besserwisser would acknowledge a blog like this as a reliable or sufficient information source, do bear that in mind when reading this. That being said, I’ve been doing this on a certain level for many years now, I’ve read whatever has come my way, so I’ve become somewhat educated and savvy.

Also, I’m not going to get into details about the sound consistency across several tracks of an album or preparation for distribution, such as resampling or dithering.

Room and Requirements

Many pros would claim that the most important thing is the room and its acoustics. But for me and fellow bedroom producers, well we just have to do the best we can, given the constraints of our environment – our tiny corner in the small apartment that is.

However, I recommend you get a couple of monitor speakers or at least a set of relatively high quality headphones. (If you’re monitoring on headphones, remember that the stereo image is wider because none of the right channel is bleeding to the left ear and vice versa.) And if you’re sitting on a laptop, you’d better invest in an audio interface or sound card.

General Mastering Tips

Okay, so let’s start, firstly, here’s some general tips:

  • Mix down your track, then master as a separate last step.
  • If possible mix other producers shit and let someone else master yours.
  • Listen to other people’s work. Perhaps use them as references.
  • Bounce your track and listen to it on multiple sound systems, and don’t forget that your track may sound differently on other listeners’ playback system.
  • Check your track how it sound in mono. Try to find a good ratio between mono and stereo.
  • Listen to your track on different volume levels, e.g. on medium volumes, you tend to hear more midrange. 
  • Let your mastered track mature for some time or at least overnight. Return to it and make necessary adjustments.

Mastering Processors

The most common mastering processors aren’t that many (and the order is just a suggestion):

  1. Equalizer – shape the tonal balance.
  2. Compressor, Limiter and Expander – adjust the dynamics of a mix.
  3. Post Equalizer.
  4. Harmonic Exciter – add an edge, energy or sparkle to the mix.
  5. Stereo Imaging – adjust width and image of the sound field.
  6. Reverb – add an overall sense of depth to the mix.
  7. Limiter/Maximizer – increase the overall level of the sound.
  8. Dither – convert bit depths of the track/project for distribution, e.g. MP3 or CD.

I don’t always do all of them. Usually I skip some like 4, 5 and 6; I personally almost never use Exciters, and I think reverbs and spatialization are better suited to be dealt with in the mix, before mastering.

If you got some kinda meters (or spectrum) to measure the loudness levels, you could chose where to put them in the signal chain according to your own preference. But don’t stare blindly on the meters, use your ears, listen to different sounds and frequencies and how they correlate to each other in your track.


When it comes to EQ, listen and try to identify any problems that you hear. Try cutting between 100-300 Hz if your track sounds to muddy. If it’s too nasal, cut between 250-1000 Hz. And if your track sounds to harsh, cut some at 2000-3500 Hz. (Generally, you rather subtract frequencies than boost them.) Use as few bands as possible. Shelf or highpass filters below 30 Hz can get rid of low frequency rumble and noise. And remember why you’re doing all this – to make the track sound better yo.


While some genres demand wide dynamic range, I expect your shit doesn’t. Dynamics processing can reduce (or expand) the dynamic range. Also, dynamics can provide additional sonic enhancements by pushing certain frequency elements within a mix. One thing to remember is that compressors are designed and implemented differently. Even if the idea (to restrain volume when it crosses a threshold) is similar. In short, different compressors have unique sound and affect.

I’m not going in-depth on compressors here, but you could try 1.1:1 to 2:1 ratio on your full mix, 3:1 to 5:1 on your bass and kick, 2:1 to 3:1 on vocals for starters. Experiment with attack and release timing (shorter attacks level off more of the transients, and too fast a release time causes either distortion or a pumping sound.


A combination of compression and limiting can be used to maximize loudness; limiter can also enhance the perceived presence and impact. Some limiters also offer stereo enhancing by using stereo delinkable limiting.

Don’t forget that more loudness means less dynamics.

The appropriate range for the threshold depends on the levels of your mix. In general, a margin setting of -0.3 to -0.6 dB as a final output level is good (if higher, distortion could occur on the playback system).

More aggressive loudness maximizing (lower threshold values) will generally require longer release times.

I figure there’s much more to this, but this post is already too long. So until next time!




Feel free to send me more things to update this list!


ADAW 48/52 - Good night, Haise

“I want to die in a cool way….”

Kaneki again. Or .. Haise?! or even both?! I had to do a shooting like this after Chapter 54, I won’t describe this thing because it’s spoiling so much but I’m really hyped and had to do a shooting with him. I even made more two wigs for this shooting. I’m happy I was able to use all that stuff I made/bought for Haise finally. But the eyepatch-mask and I we will never be friends.. it took ages to finish it and I never like it on photos OTL but I wanted to include a shot of Haise in disguise because of reasons. My favorite is the photo of Shironeki, I tried to resample this chapter cover with it.

I know there are theories out there that Kageneki/Akaneki has red hair instead of black hair, or that the white tips are red because they are soaked with blood. Well… if it’s enough blood it can looks like it’s black or the red is that dark that is seems to be black (like the splattered “blood” in the back, it’s still on the foil from the Takizawa shooting and it seems to be black here and there). We can’t say which color it is, it was a quick decision to do this shooting and I had black fakefur at hand.


Disprove has dropped a hard EP on us that goes by the name “Damage”. You can hear all sorts of bass in the background, from the heavily distorted to the heavily resampled, it is there! Set in a galactic criseis, each track serves to open a new eye to the struggle faced when the sensitive intergalactic peace of the cosmos is interrupted by a swarm of invading pods, which will change the balance of the universe.

Two Faced starts us off with some incredible ravaging bass lines, with the drums ripping holes in the sound to fit in. The name seems to imply a sort of political corruption and when the drop hits you feels its full effect!

Cosmic Law takes us for another spin. Great use of space in here, as you hear synths fly around in the stereo image and a voice melds out of the soundscape. It appears that there is no court in session in this track, no…instead it feels more like the very laws of the universe, the ones that no one can change, and they are meeting out the justice that only they can give. Ripping shards of metal bass with heavy grounded bass lines shove their way against each other, attempting to reshape the conflict.

Supernatural brings a force, perhaps one that does not answer to the cosmos in the mix. Excellent use of vocals and sounds that rise in a very organic way, bringing everything to a climax that resolves into a mix that fits so well that it is hard to imagine anything else as a possibility.

Finishing us off is Damage. A fitting name for the final track, a look at what is left after the conflict, the destruction, turmoil, change, and perhaps even a chance for new life. Once again, Disprove’s sense of structure is spot on, writing and producing phrases that even the most untrained ear can sense as smooth and vivid, indeed a masters work.

Of EP’s of this kind, it is always a wonder how such masterful bass sounds are produced and mixed in such a comprehensive and cohesive way. An excellent work, that those who jive to the sounds of drum and bass will seek out for sure!

See the rest of the review and preview the release at @

Made with SoundCloud

-Possible new bacterium found in Lake Vostok, Antarctica-

As many of you might know, a research team from Russia drilled down to the surface of Lake Vostok in 2012 and finally broke through in February of 2013

The lake, which had previously been untouched by humans, is almost 4 kilometres below the surface of the ice. Anticipation over the possibility of finding life in such an extreme environment has been high, let alone discovering a new type of organism.

Keep reading