#I just got a new editing software and had to test it out

[marliarty]

Melody of Waiting: [1/1] Favorite Force Character

->Akk Itsara

We love goofy Force in this household!

[insert-something-funy-here]

MUEHEHEHE >:)

CHAT IT'S SILLIES TIME!!!!

For those who didn't see before I deleted it, sometime ago, I made a post about an idea for an AU I have where Biograft is sentient enough for Medkit leaving Blackrock to affect him (and on top of that, that's how he discovers his own sentience). I spent a couple hours writing cus I got inspired! Biograft doesn't yet realize he's sentient, so I think (if people like thus enough) I'll make a pt2 to this cus I have ideas for where this could go!! (Tbh, I'll probably do it regardless of if people like it or not, but still!!!)

Edit: Am in fact making this a series

This is the start || Part 2

An error. A simple miscalculation. Making breakfast for two, when there was only one here who could eat. Opening the door to an empty, and uncharacteristically clear room. No phighter for me to wake. Green flowers at the bedside now wilting from missing… from his absence. It was odd how he would “heal,” them every other morning. I don't have such an ability, being created for the opposite of healing. Most iterations of me anyway.

I should throw those away before they begin to rot. It’s been a week now. Or I could leave them. Perhaps after such long-term exposure to his crystal, they will last longer than regular flowers. That’s all this is, testing a hypothesis. I can leave them a little longer, just to see the results.

New connections have started forming in my programming. One of me was out collecting materials for Subspace, and I saw those flowers again. When I saw them, what came to mind wasn’t any data about it, not its place of origin, ideal habitat, or its potential uses, but the memory of seeing Medkit reverse the effects of time on the ones he kept. Yet another odd error.

I asked Subspace to help me troubleshoot these recent errors. We came to the same conclusion of there being something in my software. He checked, said that my algorithms had been evolving rapidly and creating a new type of data, which could have been overwhelming the system and causing these errors. But what caused that spike in complexity? The only thing to have changed recently outside of myself is that his presence is no longer here. Subspace hasn’t given me any new updates, and such drastic change has never happened without Subspace’s intervention before. There is no reason for me to have change unless my creator requests it or it is within his benefit for me to do so on my own time. This isn’t benefiting anyone, so why is it happening? And why didn’t Subspace fix me?

He said even though he himself had no idea of the catalyst of these changes, with refinement, they gave the opportunity to lead wonderful new breakthroughs. Yet I find myself still unable to understand, which only in turn creates further lack of understanding. How am I unable to see what it is my creator wants from me? Why don’t I understand the results he wishes for?

Why do I ask and hesitate now instead of proceeding onward as I always have?

What makes life?

The definition I was programmed with was, “the condition that distinguishes animals and plants from inorganic matter, including the capacity for growth, reproduction, functional activity, and continual change preceding death.”

Am I alive?

I fit 2.5 of the important descriptors. I have the capacity for artificial change and growth (but it is not continual) and functional activity. I have the ability to die. To its simplest point, is living not just the absence of death?

Perhaps I mean to ask if I have sentience?

Is there a difference between chemical and code if they both have the potential to react irrationally to stimulus, be it internal or external?

Could this metal exterior be made metaphorical flesh?

One of me was out at the Crossroads today. I saw him, yet I did not attack. He is a wanted traitor, and I had the opportunity to pursue him, yet I didn’t. He saw me, and he didn’t run, even though he should have.

When I saw him, I thought of those flowers again. It’s been a month now. They’ve dried out but haven’t rotted yet. I should’ve thrown those away the same way I should’ve gone after him, without hesitation.

For some reason, part of me wanted to follow him, not to bring him back, but to see how he is now. Perhaps he would be able to explain why I’ve changed. What a strange hypothesis. Perhaps one worth further investigation.

It’s happened a few more times now. It’s been 4 months since his leave. Every time I see him, I act as though I haven't. I believe he’s caught on that I do it on purpose. I don’t know why I have this inability to approach him first. I think this “test” ends here. How unsatisfactory, with no results to show for it.

Is this cowardice? I think I better understand the concept outside of its definition now.

He stopped me as I went to leave this time. He pulled me aside into a nearby alley. Why? We stared at one another in an uncomfortable silence. Could silence be comfortable?

He asked me what I was doing. I asked him to clarify. He asked why I hadn’t been trying to go after him whenever Subspace wasn't around. I had no response. I moved on and told him something within me changed, but I couldn’t figure out what. He seemed confused but told me to continue. I told him about the errors, some of my questions, and about the flowers.

Something in the way he looked at me changed. He understood something about me that I did not. I couldn’t recognize what it was he held towards me with his gaze, but he stepped closer, and I let him

Innocent hands, covered in blood, not mine or its own, that wished to hold onto me. Sorrow grips us both.

I flew away to a false sky before my wings could be fully clipped, but left you, a fish in a bird cage. I can't take you to the water, but let me bring you drops of the sea.

“Even you need to rest and grieve… I missed you too.”

New ideas I had yet to understand.

I felt his arms wrap around me and an intense sensation rushed through me, it wore at me, as the waves do to a coastline, until I was left with nothing but the soothing sounds of the ocean.

[h-emera]

5th try at writing the guide on custom pet paint mode brushes, if tumblr manages to mess this one up i will have a fit

16/10/2023 Edited: Updated to add better hash ID generating practices.

Things you'll need:

Sims 4 Studio

GIMP

Notepad

Guide:

Tools that we will be using:

We'll begin by creating a new, empty package.

Save it somewhere convenient and easy to access.

Once you've saved the package, you'll be met with this screen:

From here, we'll go to Tools > Game File Cruiser

We'll be working with Pet Coat Brush files and DST Image, but for now we'll only select Pet Coat Brush file, so that it's easier for us.

I've selected the first brush file and I've highlighted the piece of data we'll need to use.

We'll have to use the Game File Cruiser search function, but first, press "Add to current package". When you've gotten the hang of this, you can explore the pre-existing brush files and decide which one you'd prefer to use as your base, all are different and correspond to different brushes/stamps in-game.

Once you've clicked on "add to current package" your package editor should look like this:

Now we'll copy the Image1 ID and go back to Game File Cruiser, select DST Image from the file type list and enter the ID into the search bar:

Now, click "Add to current package" and now the package file you're working on will look like this:

Before we move further, we need to generate new instance ID's, we'll need 3 of them.

Go to Tools > Hash Generator

Edited 16/10/2023: When generating your hash ID's, please use your creator name ie.: "[YourCreatorName/Blogname]TutorialCustomFurCoat1", this will give you a more unique hash code than hoping to be as descriptive as possible when generating the hashes (in this case instance ID's).

Thanks to Mizore Yukii for this advice, from Creator's Musings.

In the "text" field, enter whatever text you want, I just go with the item name/description + a number, to indicate which ID it is.

We'll need 3 of FNV64 hash codes.

These are the 3 ID's that I've generated:

514EF7FCFA080185

514EF7FCFA080186

514EF7FCFA080187

We'll use the first code for the Pet Coat Brush file, the second code for Image1 (Brush file) and the third for Image2 (Brush icon file).

Your Pet Coat Brush file should look like this now, with the updated ID's.

Moving forward, we'll be changing the ID for the DST Image1 (Brush in-game) -

Now that you've done this, you need to right click on DST Images > Duplicate, you'll be prompted with this window:

In this window, you'll use the last hash code you generated for the Image2 new ID (in-game icon).

Now! It'll all look like this:

To edit the brush we'll be seeing in-game, we'll now have to edit the image, begin by exporting the image available in DST Image.

Once that's done, open it up in whatever editing software you want to use, I'll be using GIMP, because it has built in DDS exporter, I recommend you do the same, however if not interested in doing so, make sure your program can export DDS images in L8 format, if not, edit in preferred software and use GIMP to export as DDS.

Once you've made your brush, you'll want to do as follows:

IMPORTANT

It MUST be exported in the format L8, it will appear broken in-game otherwise.

Then, import your custom made brush into S4S package editor:

Do the same for the icon:

You've got the easiest part down, now, comes the part with testing how well the brush works and behaves in-game.

The responsibility of this falls onto the values you may have seen in Pet Coat Brush file -

These are the values responsible for how the brush works in-game.

I'll be upfront right now, I can't get the rotation value to work, I'm not sure if I'm doing something incorrectly, but if I figure it out, I'll add to the guide eventually. I haven't had time to test this further, but as far as I've been able to test it, it works like a charm.

These are the value meanings -

Sorry for how lazy this is presented, as once I figured out the basic meaning, I moved forward.

B1 is responsible for sorting on whether your brush is considered a Brush or a Stamp. 0 & 2 - Brush, 1 & 3 Stamp EDITED 24/10/2023: 0 is non-rotating brush, 2 is a rotating brush!

For F1, I do NOT recommend using 0 or 5, when I tested these values in-game, they were extremely laggy when attempting to paint. 1 - Smooth Painting, 2 - Spaced Apart Slightly, Overlap, 3 - Spaced One After Another, Some Overlap, 4 - Spaced One After Another, No Overlap

F2 changes the size of the brush in-game, meaning how small it can be, I believe. 0 - 1px smallest size brush, scaling up changes how small the brush can get.

F3 I suspect is brush rotation, but I could not make it work on any of the brushes I tried making, so I'm not 100 sure. This is one of the brushes you'll have to look at values for in the existing in-game brush files, as I could not get this to work for myself.

F4 is the maximum the size of the brush will become. Maximum size the brush can get, I've tested it from 0 to 5, 5 is quite large, so I recommend that, but go for smaller as well.

F5 I'm not entirely sure, however during my testing, I found that this changes where exactly the brush appears in both stamps and brush tabs in-game. There may be more to it, however, I could not figure it out. The values I tested for this were 0, 1 and 2, this affected where the item appeared - 0 - First Row, First Item, 1, First Row, 2nd Item, 2 - 2nd Row, First Item, I've seen that these can go quite high, ie the base file I used being 44, so keep that in mind while changing this setting. For my personal brushes I use 0.

I recommend comparing existing brush files to the one you're looking to edit.

I believe this is it. If there are any questions, I'll try to answer as best as I can. If anyone wants to add anything to this, please do so, I'll be elated to update and credit you for the information shared.

This all came to be because I could not find a guide, but fortunately for me, I'm too good at figuring things out and even though I didn't quite understand how the Game File Cruiser worked a few days ago, I've consumed so much information it hurts my brain.

Forgot to add: Finished product

Because I didn't edit the Pet Coat Brush file I was working on, I've made a stamp, I recommend messing around for a while though and finding what you prefer. The values themselves are pretty easy and forgiving to edit.

So account for that, you'll definitely want to edit the values responsible for the brush working correctly. If you have any questions, please let me know, I tried to make this as clear as possible, and I know this is probably over the top for a guide, but I'm the kind of person who needs every small direction, to even know what I'm doing, when I'm following a guide.

UPDATED AGAIN, I FORGOT TO ADD THE ACTUAL VALUES I FOUND.

[shimmerloid-ai]

Preliminary Considerations - Which Vocal Synthesizer Software is Right for You - Paid Synthesizers

Hello everyone, Shimmer/Ripple/whatever you want to call me here. Sorry for not posting for a while, I've had a lot of stuff going on in my life (I turned 20 last week!), and have been busy with using vocal synthesizers than to make a blog post about them. I hope this article was worth the wait.

Last time, I comapred various free vocal synthesizers, and this time, I will be showing off the most popular paid ones. Quick disclaimer; I do not own all of these softwares, and will not buy the ones I have just to test them out as they are not cheap. I got feedback and advice from my friends who do own these synthesizers, along with Reddit posts and other forums. The piano roll images for the softwares I do not own are from various websites and vsynth users who I will be crediting in the captions. VOCALOID4

(Song: Devil's Manner by Konnichiwa Tanita-san; UST by Moru, Tuning by me)

When people think of the VOCALOID user interface, this edition of the software is probably what first comes to mind. It is very popular for a good reason; it’s got a simple UI and release of some of the best VOCALOID voicebanks; including Hatsune Miku V4x, Megurine Luka V4x, Kagamine Rin and Kagamine Len V4x, Fukase, Otomachi Una Sweet and Spicy, Megpoid Gumi V4, and Yuzuki Yukari V4. V4 also introduced the “GROWL” and “CROSS-SYNTHESIS” parameters! Despite being the sister software to UTAU, it is a lot easier to install voicebanks and plugins into VOCALOID4, and you do not need to worry about phonemizers or resamplers.

Pros:

Can use every V2, V3, and V4 VOCALOID voicebank

Growl and Cross-Synthesis (also known as XSY; allows you to combine any two V4 voicebanks of the same character; such as Fukase’s Normal Japanese voicebank with his Soft Japanese voicebank or Gumi’s V4 Sweet voicebank with her V4 Adult voicebank) parameters

Can use job plugins to simplify the overall tuning process like in UTAU, Open Utau, and SynthesizerV Studio Pro

Pitch Rendering function allows users to see the pitch of notes

Really beginner-friendly (this vocal synthesizer was the one that taught me how to tune)!

Cons:

Is no longer available for purchase on the official YAMAHA website; you can only obtain it through Mercari (that was how I was able to get it), eBay, or through piracy

No piano roll tuning; users are restricted to the parameter box

Can not use V1 or V5 and higher voicebanks

The breathiness parameter gives a metallic effect instead of the desired whisper-like outcome

VOCALOID5

(Song: ID Smile by Toa; UST by K3RA; Cover by Shara Delvia)

The next edition of VOCALOID that was meant to change the playing field for vocal synth users. With an entirely new UI and never-seen-before features, VOCALOID5 was designed to simplify and enhance the overall vocal production and tuning process.

Pros: 

Dark mode at last!

Unlike the previous editions where you had to purchase a voicebank to use VOCALOID, VOCALOID5 comes with four free voicebanks

Preset phrases that beginners can play with to learn how different vocal properties can result in different sounds

Preset “attack” and “release” pitch bend effects

Easy pitchbend and vibrato adjustment using the “style” and “emotion” tools

Automatic breaths

Can be used as a VST plugin in almost any DAW or as a standalone editor

Over a hundred style and voice colour presets (Rich, Husky, Hard; Melodic, Diced Up, Bent; Lead Vocal, Chopped, Pitched)

Tons of audio and mixing effects

Fixed breathiness parameter 

Cons

Appears to be no longer up for purchase through normal means, YAMAHA has  pulled it from the VOCALOID website to promote their newest engine, VOCALOID6

Does not support V2 or V1 VOCALOIDS

Does not support job plug-ins

Does not have the Cross-Synthesis parameter

Not worth the price

No piano roll tuning

VOCALOID6

(Song: Unknown Mother Goose by wowaka; VSQx and Tuning by me)

This is the most recent edition of VOCALOID that is up for purchase from the official website. With this installation of the VOCALOID software, the highly anticipated AI VOCALOID voicebanks have come into existence so that we can enjoy GUMI AI, ZOLA PROJECT AI, and Otomachi Una AI at last! It also comes with many other fresh features that were not present in VOCALOID5.

Pros: 

Multilingual(Japanese, English, and Chinese) AI voicebanks!

A total of ten VOCALOID AI voicebanks

VOCALO CHANGER: works similarly to plugging an RVC model on top of an audio file, but legal

The doubling feature allows instant harmony creation

Fixed breathiness parameter 

It can be used as a VST plug-in in most DAWs. or as a standalone editor

Included with the CUBASE AI DAW

Can be purchased at a cheaper price by upgrading from previous VOCALOID editions

Every feature that was present in VOCALOID5 is included in VOCALOID6!

Cons:

The AI voicebanks are of poorer quality compared to SynthesizerV; they are not easy to tune in the slightest, and you can only edit three parameters (pitch, pitch bend sensitivity, dynamics) unlike the normal VOCALOID voicebanks; not including the style presets

For the desired results in VOCALO CHANGER, the audio recordings must be clean without any flaws, otherwise the audio will sound distorted

Does not support V2 or V1 VOCALOIDs

Does not support job plug-ins

Piapro Studio V4x

(Song: Enjou Alice by Maiki-P; UST by KIRI; Tuning by Me)

Following its departure from YAMAHA, Crypton Future Media created a new vocal synthesizer to promote its new V4x Cryptonloid voicebanks. With its VSTi compatibility and E.V.E.C. feature, this software gave a new feel to tuning VOCALOIDs all while maintaining the features from the vocal synthesizers that were developed by YAMAHA.

Pros:

Bundles with Cryptonloids include Piapro Studio V4x and Studio One 6 for free; an incredible DAW

VOCALOID4 with a different, cleaner UI

Compatible with V2 (some of them), V3, and V4 voicebanks

Enhanced Cross-Synthesis parameter; now you can cross-synthesize two completely different VOCALOIDs (such as Hatsune Miku V4x Original with Megurine Luka V4x Hard)

E.V.E.C. with a press of a button; in VOCALOID4 you have to edit phonemes manually

Improved breathiness parameter

Ability to change the wallpaper of the piano roll and icons of voicebanks!

Can be used as a VSTi plug-in in most DAWs

Cons:

Does not support job plugins

Not all VOCALOID2 voicebanks are supported; such as Utatane Piko

Does not support NT voicebanks

Playback is not always on time with piano roll; you have to scroll as the vocals play unlike other softwares (this could be a glitch for me however)

No piano roll tuning

Can not run it through Studio One 6 (despite being included with the bundles), it can only function in Studio 5

Piapro Studio NT

(Song: vivid by Utsu-P x Yuyoyuppe; UST by pifuyuu; Cover by AfiqTV)

Yes, Piapro Studio NT (an acronym for “new type”) is completely different from Piapro Studio V4x. This successor to the latter vocal synthesizer is entirely separate from YAMAHA, and was created for Crypton’s NT voicebanks. It no longer requires the use of a DAW, and was carefully designed with resynthesis technology for efficient vocal creation through the research that was conducted by the National Institute of Advanced Industrial Science and Technology (AIST).

Note: As of August 2024; Crypton has shifted their intention to release the other NT singers to getting back with YAMAHA to develop Miku V6 AI. We will be getting a Piapro Super Pack in a week (it is currently available for preorder). The package contains remastered versions of Miku V4x Original, Rin V4x Power, Len V4x Power, and Luka V4x Natural; along with V4 versions of KAITO and MEIKO. The former V3 voicebanks will come with growl features, and although there will be no appends, you can cross-synthesize any of the new Cryptonloids to produce unique sounds. In addition, Miku NT will be receiving a massive new update in the future.

Pros:

Piano roll tuning at last!

New accent feature and E.V.E.C

Comes with Vocal Drive Plugin for growl and scream effects

Cons: 

Not compatible with VOCALOID voicebanks; Miku NT is the only usable voicebank to date

Harder to tune in

Missing parameters such as pitchbend sensitivity 

Plugins are not compatible

SynthesizerV Pro

(Song: Underworld by niki (reverse); SVP and Tuning by PixPrucer)

This is the complete version of SynthesizerV Basic. It has suppressed VOCALOID in every way possible; from having insanely good AI voicebanks, to a multitude of features, this is probably the best paid vocal synthesizer available for purchase as of now. Honestly, I could only find a few downsides to this software because it’s that good, and one of them is more of a personal preference than a major issue. YAMAHA seriously needs to take notes from Dreamtonics.

Pros: 

The synthesizer and voicebanks are much cheaper than any of the VOCALOID engines

Comes with Mai; an amazing female vocalist

Piano roll tuning

Auto-pitch tuning makes the pitchbending process much easier 

Paid voicebanks come with THREE activation codes so they can be used on multiple devices

Allows scripts (basically plug-ins but for SynthesizerV)!

Cross-Lingual Synthesis; allows Japanese voicebanks to sing in English, English voicebanks to sing in Japanese, etc

Really complex phoneme customization

Vocal modes for full A.I. voicebanks

The audio to midi tool we’ve always wanted for VOCALOID; it turns wav. files into an amazing SVP (I know V3 has the Vocalshifter plugin… but it’s kind of trash in my opinion as it only works with Japanese lyrics and goes crazy with trying to copy the vocalist’s tone rather than just the pitchbends)

Frequent updates!

Cons: 

As the voicebanks are ultra realistic, it’s not the best for those who enjoy more robotic voices, as seen in UTAU and VOCALOID

Crashes every now and then

Still no glottal effects 

ACE Studio

(Image Source: https://support.acestudio.ai/article/62-3-2-the-main-ace-studio-screen)

ACE Studio is a newer AI vocal synthesizer. Like DeepVocal, it features characters that originated from other softwares such as Namine Ritsu, Luo Tianyi, Kurobousuku, Yuezheng Longya, and many others. It also has a heavy emphasis on Chinese vocals. Most importantly, Ace Studio had a mobile version called Pocket Singer!

Pros:

Piano roll tuning

Can cross-synthesize voicebanks to your liking to make your own vocal synth (Pocket Singer has a simple yet cute OC maker)

Simpler pitch editing

Cons:

Subscription based model on both platforms

Some of the voicebanks sound too similar to each other

Pitch editing on a phone is not fun

The phone number sign-in thing is a pain… why don’t these guys have my regional  phone code as an option?!

One of the developers was exposed as a pedophile and proshipper; and some of the voicebanks used A.I. artwork; I personally don’t feel comfortable using a software made by people like this… ew

I’m just going to say it; SynthesizerV Pro is probably your best pick here, in terms of both price and versatility. You get so much out of this editor at a good cost, and it’s super easy to use! However, if you prefer robotic voices and can get your hands on it, then go with VOCALOID4 as it's pretty beginner friendly. If V4 is not an option, then you may have to deal with V6. 

Now, even though the latter software is not as easy to use as the former, a new lightweight singing editor designed for V6 and V5 called TuneLab has been recently released! It allows for piano roll tuning, along with better cross-synthesis usage. I will cover this software in a later post as I am still trying to learn the ropes of it.

Finally, as I have stated in my other post, take my statements with a grain of salt. Pick whatever synthesizer you want based on your interest; whether it is a fun feature or a specific singer you like. 

Hope this helps! In my upcoming post, I will recommend some VOCALOID voicebanks that are easy to use for beginners.

[titleknown]

PD MONTH CHARACTER: KAMMI AMALTHEA

Uh... hi. Is this thing on? I'm not much for words. It was Misshroom's idea to do this, I'm sorry if I'm not good at this.

I think I'll begin with... where I started. I was born in a lab. My mother was... well, she was a unicorn. Four legs, hooves, more hair than me. I know, it sounds strange, sorry.

My first memory is trying to hug her and her just... recoiling away. I remember that happening a lot. I... it's hard to not remember it clearly. I was fed and clothed in the lab. Sometimes there were people there who were nice to me, a few of them taught me stuff. Most of them weren't. There were lots of tests, some of them had knives, acid, poison, fire, a lot of other stuff. Some of them were at the same time. They couldn't really sedate me so I... well, I don't really want to talk about it. If that's okay.

I remember other people... like me, sorta, there. They didn't seem to have it much better. That poor phoenix girl. I think it was her who started the fire that got us out. I hope she's doing well, wherever she is. I almost didn't make it, but... mom, saved me. She'd never let me hug her, never wanted me to get close to her. But even after it all, she saved me. But she didn't make it...

After that... it's a blur. I picked up the mask a little after I think. People in the lab always said my face was bad, so it was nice to have something like that. I mostly lived on my own. I think I scared people. Some of the folks on the team found me, and... I think they liked me enough.

I can do some... neat things. I can heal, really, really good. I got real strong because of that. Real real strong. I can heal other people, make them stronger, do things more. They like that. I can help people now. People like me. People who're hurt, afraid, trapped. I can save them.

And... it's nice. People like me now. They think I'm neat. I'm happy, I think.

-----------------------------------------------------------

So, I am finally getting to work on the PD month character profiles! There's 4 more in the pipe, along with a couple surprises unrelated to that heroine group (Who I'm calling the Freak Legionnaires) that I think you'll appreciate.

To add a bit of context to her story, I imagine the program creating her as being a part of a broader "family" of programs that are this setting's equivalent to Weapon Plus from Marvel or the Cadmus Project from DC, known as Project Alphabet, usually themed after a letter; albeit one that often takes on double meanings or expanded/extra ones later.

The one she's from is Project M, which means both Magic and Moreau, meant to create hybrids of magical creatures/magical objects and humans under governmental control. Another character of mine, Boss McGlade (Who's under CC-BY and badly needs new art), was under Project Q (for Quickening), meant to create whole armies (Which tracks if you know about her powers)

One of McGlade's back fetuses was what was shoved into that unicorn to grow Kammi, which would be... awkward if they ever met. 

Also, fun fact, the first project of Project M was that they captured an angel, chained it up and imprisoned it in a government bunker, and then started taking its blood and injecting it into monkeys. And apes

And yes, this is how a lot of the Silver Age-y goofy monkey characters in this setting would've originated. This includes a chimpanzee that pilots a giant robot by riding into the head on what looks like a big stupid circus penny-farthing bicycle.The robot is called Big Top.

Also, I did a sketch of her face under that mask, which I put on because... well, I couldn't get DAZ to make her unmasked face not look deep in the uncanny valley. That's always kind of a problem with that software. 

But her face isn't that bad, she just has low self-esteem:

And yes, I post all this information, design, ect under a CC0 Public Domain License! Have fun and don't touch that dial, because there's more coming!

:EDIT: Bonus fun fact, also PD, she was given her name by Misshroom (She never had one in the lab) and it's a mix of both Kamen Rider and Cammy from Street Fighter for the first part (Because thematic similarities) and Amalthea from The Last Unicorn (Because Misshroom loves movies)

[chahleybros]

Switching to Linux 🐧

Over the past couple years Windows 10 has been giving me progressively more asinine problems to deal with, from desktop issues and bloatware, to automatically installing out of date drivers to replace the ones I've manually installed.

Before you ask, I attempted using Windows 11 when it came out and I refuse to acknowledge its existence after the hell it put me through.

Most recently Windows 10 has seemingly made a point of making ASIO and all audio devices and software I use functionally useless, causing ridiculous amounts of crackling audio. No rollbacks fixed it, no re-installs fixed it, not even Reloading Windows fixed it. The reason for using ASIO is that Windows default audio protocol, WDM, has too much latency for live real-time use. This issue not only makes things like live-streaming basically impossible but it also outright made my Digital Audio Workstation and Video Editing Software incapable of processing audio for longer than a second without hanging. Both Mixcraft and DaVinci Resolve became useless on Windows 10, and OBS was barely holding it together. When I tell you I did everything to resolve this, I mean I spent an entire Month troubleshooting this. The only solution I could find was to abandon Windows all together.

I've been meaning to switch my Setup to Mint Cinnamon for a while as I've been testing it out in Virtual box for a year or so, and after this nonsense I got a new NMVe basically immediately to run Mint on, and after switching properly I have to say I'm likely to never use Windows as my Host OS again. And yes I tested Windows on the NMVe. The issue persisted there aswell. And testing Mint via Virtual Box on Windows with Hardware Exposed via PAE and AMD-V showed the issue was entirely on Windows.

For reference this is my current rig: Everything is the same as when using Windows 10

GPU: Nvidia RTX a4500 20gb

CPU: AMD Ryzen 5 5600g

Ram: 16GB 3200mhz

DAC: PreSonus Audiobox iTwo

Capture Card: AverMedia HD Mini GC311

The Results:

Not only does Mint Cinnamon not have any of the issues I've had with Windows over the past Decade, which still persist to this day, but literally every single device I have just works.

Basically everything is Plug-n-Play with <20ms of latency on the Capture Card, which on Windows had a minimum of 600ms delay using drivers required for the card to even be detected. My Audio interface also works even better than before, with neither my DAC or Capture Card requiring manual driver installs, as their protocols are Native to the Linux Kernel.

Proton lets you play any Windows game on Steam that doesn't have explicit Linux Support, with Wine available for desktop applications. Both run better than a Native Windows install due to Mints lack of Bloatware.

Windows 10 has so much built-in Overhead that Mint can Emulate it through Virtual Box faster than if Win10 were the Host OS.

In Short: Fuck Windows. :) Also this is how my desktop looks currently:

You can make custom start menus. :)

[obdiichiptuningtools]

Getting Started with FoxFlash ECU Chip and Remapping Tools

If you've ever felt your car had more to give, you're not alone. I used to drive a small hatchback that always seemed sluggish on hills. I figured that was just how it was. Until a friend introduced me to remapping, I discovered tools like the FoxFlash ECU Chip and Remapping Tools, and honestly, it changed how I looked at car performance.

Let’s say you’re new to this. No stress. This guide is made for someone curious but unsure of where to start.

What Is the FoxFlash ECU Chip and Remapping Tool?

Think of the FoxFlash tool as a translator between your car’s brain and your goals. Your car’s brain is the ECU, or Engine Control Unit. That little box controls how much fuel goes in, when to shift, and how the engine behaves.

You can safely change the settings with a tool like the FoxFlash ECU tool. Want better fuel use? Done. A bit more power on the highway? Possible. It’s about using the car's full potential without breaking anything.

Why People Use ECU Programming Tools

Let’s be honest. Most of us want our cars to run better without spending a fortune. These tools are popular for one big reason: they work.

Tuning tools help boost power, make the throttle respond faster, or help you squeeze out a few extra miles per gallon. The ECU chip tuning tool can fix minor issues and bring fresh life into an older car. For some, it's about better towing power. For others, it's about fuel economy.

What Comes in the FoxFlash Tuning Kit?

When I opened my first FoxFlash tuning kit, I wasn’t overwhelmed. It came with the tool, OBD cables, and the software on a USB. Everything fits in a small box. It’s plug-and-play. Really.

The process felt more like setting up a game console than working on a car. That’s part of what makes the FoxFlash chip tuning system so beginner-friendly.

How to Use the FoxFlash Tool (Simple Steps)

If you can plug in a phone charger, you’ve got this. Here’s what I did:

Plugged the OBD2 tuning tool into the port under the dash.

Opened the software on my laptop.

Selected the car model from the list.

Clicked “Read” to copy the current map.

Made a few minor changes using presets.

Clicked “Write” to update the ECU.

Done. It took less than half an hour, and I noticed the smoother throttle response on my next drive.

What You Can Do With It

The tool is more than just a toy. Here’s what I found you can do:

Try a Stage 1 remap tool to increase power without stressing the engine.

Adjust turbo settings for a quicker boost.

Use it as an immobilizer bypass tool if your car’s system acts up.

Back up your ECU before making changes, just in case.

Clone ECUs for projects or troubleshooting.

It’s flexible. Once you get the hang of it, you’ll explore new tweaks.

Understanding the Software Side

The tuning software isn’t scary, either. Think of it like editing a playlist. You’re just changing settings that the car already understands.

Using the ECU diagnostic and programming tool, you can read and adjust engine maps, fix errors, and check system health. There’s even an ECU map editor for more advanced users, but it’s optional.

Standard Cars and Setups It Works With

Whether you have a diesel workhorse or a small petrol car, the ECU flash tool works with most brands. I’ve used it on a Ford, a VW, and a Fiat. For diesel engines, the tool supports specific tuning maps using the ECU flash tool for diesel engines. Just check compatibility on the site before starting.

Things to Watch Out For as a Beginner

I almost messed up here: I didn’t save the original map on my first try. Luckily, I found it in the default folder. Since then, I have always:

Back up the ECU file.

Make one change at a time.

Check that the FoxFlash tool download is the latest version.

Test drive after each update.

Small steps help you avoid big mistakes.

Is FoxFlash Right for You?

If you like to understand how things work or want to get more out of your car, the FoxFlash tool is a good pick. It’s helpful for DIY tuning or even for shop use.

I started using it as a hobby. Now, I’ve tuned half my family’s cars. It’s not magic, but it’s pretty close.

Getting Started Is Easier Than You Think

The first time can feel scary. I get it. But once you plug it in and see how the software guides you, you’ll realize it’s way more doable than you thought.

There are plenty of guides, support forums, and videos to help. And if you're like me, you’ll enjoy the process as much as the result. The FoxFlash ECU Chip and Remapping Tools aren’t just tools. They’re a fun, hands-on way to make your car a little more you.

[bllsbailey]

How Truth in the News Has Changed

I first began shooting professionally in 1980 as a photographer/reporter for a small weekly in Kansas City, Missouri. Covering the local angle of the U.S. presidential campaigns, I got to shoot a rally for Jesse Jackson, juxtaposing a shot of him making a fiery speech against a pic of a Jewish guy in the front row holding up a sign that said "Hymies for Reagan."  It was one of my first published photos and I was quite thrilled. I was 18 years old. 

Back in the day, we shot film. And you Got what you Got. If you blew your exposure or focus, you didn't Get. I learned a lot of painful lessons back then, but it forced me to get better at my job. Now in previous decades, retouching negatives had always been a thing in the commercial world, but you didn't dare mess with that in the news world. If you manipulated anything on your transparency using the Dark Arts of the Dark Room, it could destroy your integrity and credibility. Nobody would hire you again if they knew you'd done something to your film that artificially modified a news story. In 1986 I think, Life Magazine ran an image on the cover of its A Day in the Life of America issue. Some photographer out west had been handed one of the first digital 35mm cameras from Kodak to beta test it on this project. It worked fine and the guy got some nice shots. In fact, one was even run on the cover. Impressive. However, violating a core expectation of news shooters, the guy did not get both horizontal and vertical images of his subject. I think it was a shot of a cowboy on a horse going by a cactus silhouetted by the setting sun or something. Life's photo editor loved it so much that he insisted it be used for the cover. Only problem was, the shot he wanted was a horizontal and the cover page was formatted for a vertical. Hmmmmm....what to do?

Well, rudimentary editing software was also being developed at this time for what was then known as "desktop publishing." Think super-basic elementary Photoshop where you could do a handful of stuff in there to pick up your photos a little. And that's what Life did. They manipulated the image to fit the cover, changing it from a horizontal to a vertical, but failed to mention it to anybody. As it turned out, it leaked, made news in all the trade journals and Life was pilloried in the industry. (Yeah, just for that.)

Today, minor editing for exposure and color is standard in the business. It's not a big deal. But like any technical process, it's vulnerable to abuse. And over the last 20 years, the abuse has been approaching the level of Normal. (Lots of Photoshop truth robbing got spotted in Gaza. Remember this? Everywhere else, too.) Sometimes you never know if what you're looking at is really what was there. And naturally this practice in Photo has leached over into the practice of Reporting. It's taken a while, but now we're demonstrably living in the world of mainstream News/Bias, where standard hard news mixed with opinion, innuendo and partisanship is just simply considered...The News. 

Now I'm old enough to remember how the breach of this trust in 2005-2006 canned the career of Dan Rather, who was kind of like the most trusted guy in news at the time. But like a cryogenically stored body thawed out once they discover the cure for cancer, Rather has re-emerged in recent years because a cure has been found for the truth. Which, it seems, is no longer as valuable as the motive behind the story. In other words, your news stories are now fables with a message instead of simple news stories. Dan Rather wanted to tell a story about George Bush that wasn't supported by his native tongue (JD from Sam Houston State Teacher's College), so he decided to blaze a new trail and incorporate "his truth" into the mix so that the "greater truth" could spread. Great idea. Too bad he was too avant-garde for his peers then.

See also--> Dan Rather Redux: '60 Minutes' Producer Remains Defiant Despite Being Caught Red-Handed Manipulating News

Dan Rather, Disgraced Former Newsman, Claims Trump Poses a Threat to Americans

But he's back now after 20 years, and just like a fine cabernet that improves after years in the dark, liberals and progressives finally recognize the bravery and beauty of Rather's sacrifice. I imagine he sees himself a little bit like Caesar leading his Triumph as he hits the outskirts of Rome after having been gone for a couple of decades. He's got a book, a Netflix series and a home on Substack now.  And like Caesar himself, he just might avoid going into the Capitol proper to avert the new government's reach and Donald Trump. He'll probably tell his fans that he fears retribution and arrest but can remain silent no longer.So Bold. So Brave... *sigh*

Anyway, after 25 years (at least) of the legacy media switching out hard news for the opposite kind, keep an eye on this one to see how much traction it gets. If it breathes life into the whole progressive narrative after having been stomped on lately, we could see more attempts to undermine Trump's presidential leadership. Going to be an interesting Spring.

[audio-luddite]

Software.

Well relatively speaking vinyl is softer than many materials. I have a lot of LPs, but I am always on the lookout for special ones.

I have several gourmet editions of popular records. I have that two disk Fleetwood Mac Rumours. I have two fancy Steely Dan LPs. I have a MOFI Emmylou Harris. You know things like that. Basically if I like an album and know it and it may be getting old I may buy a new copy. Easy if you know the album already.

But what about other music? Say an artist I never heard of comes along how do I learn about that. And there are "classic" albums respected by collectors and audiophiles such as Willie Nelson's Stardust, or Jazz at the Pawnshop.

Those guys I usually see a review or a recommendation on-line. I find the "Copper Magazine" on the PS audio site to be a good place for that.

They have staff writers and guest writers. This is where I found the Getz / Gilberto review that led me to spend a lot of money. There is usually at least one music review. Most recent was an album by a West Coast singer Perla Batalla doing Leonard Cohen songs. I used the streaming thing to listen. The basic problem is do you like the music or the performance? The review praised the quality of the recording very much. I like L. Cohen's music and have a few albums. I did not like this particular album. Had I like it I probably would have bought it.

On the stream I can confirm the sound quality is very good. But I did not like her interpretation of the songs, any of them. She sang with LC for years as backup and duets on tours so she knew the material and was close to LC. I just did not like it.

Another album I investigated and was touted on the site was Hyeseong Hong Jazz Orchestra. Great sound quality, large band Jazz group based in New York. Much liked by the author. Also I did not like it on stream. It had great sound, detail and all that. But it just did not move me.

I keep a look out for records I missed or lost. I will probably buy a Rhythm of the Saints LP if I locate a good one. I may even buy the CD like I had before.

It is good to keep it fresh, and LPs cost much less than hardware!

This brings up the only important controversy in this Hobby. Do you have test records or records of music you like? By Test records I do not mean frequency sweeps and tracking torture tests. I do mean LPs with particular sounds or effects that you play just for that. Hey I have lots of records that have "particular sounds" but you gotta like the music. Cowboy Junkies Trinity sessions comes to mind. Yes there is the toe tap thing and the noisy AC duct on the first track, but I like the music.

I also have albums I regret buying but are really good sound. Bought back before streaming test drives and you took your chances.

When I have albums with good sound and I like the music I may play them too much. (Always the same thing says the wife) If I change something or get a new toy I have to try it out with the usual suspects.

I am currently contemplating a small change to my phono Cartridge. I will put in the AT 440 mla. It was a fairly expensive thing that started out sounding quite harsh, but got tamed by a better turntable and lower capacitance in the preamp. It is a remarkable unit but it has been in a box for a couple years. It is mounted on the headshell so it is just an easy swap.

I should do that before my new tubes arrive and the space heater goes back in the rack. They should be on the way soon.

[refurbzoo23]

5 Mind-Blowing Reasons Why Your Next Phone Should be Second Hand from Dubai

Shopping for a new phone can be thrilling yet daunting with all the options out there. But what if I told you that your best next buy might not be new at all? Yes, you heard that right! Let's take a dive into the world of phones, but with a twist - focusing on second-hand phones from Dubai. Here's why this option might just be your best call yet.

1. Unbeatable Price Points

Who doesn't like to save a buck or two? One of the most compelling reasons to consider a second hand phone in Dubai is the price advantage.

Why is it cheaper?

Taxes and duties on electronics in Dubai are significantly lower than in many other parts of the world. This, combined with a competitive market, means sellers can offer lower prices.

Dubai is a hub for trade-in and upgrade programs, which floods the market with well-maintained, second-hand devices.

Imagine snagging the latest iPhone or Samsung Galaxy model for way less than what you'd pay back home. Now, that's a deal hard to resist!

2. Surprisingly Good Quality

The word "used" might bring to mind a scratched, worn-out device, but hold that thought. Phones in Dubai are often in impeccable condition.

Why the stellar condition?

A culture of caring for gadgets like precious gems means most used phones have been pampered.

Regular trade-ins are common, meaning phones don't have the time to wear out before they're back on the market.

I once got a second-hand phone that looked and worked as if it had just been unboxed. Yes, it was that good!

3. A Wide Selection of Models

Ever felt like a kid in a candy store? That's what browsing through the second-hand phone market in Dubai feels like.

From vintage to the latest models, it's all there

Dubai's status as a luxury shopping destination means high-end and limited edition models are readily available.

The rapid turnover of devices ensures a constantly updated selection.

Whether you're hunting for a rare gem or just want to enjoy last season's flagship without breaking the bank, you're spoiled for choice.

4. State-of-the-Art Refurbishing Processes

Not all second-hand phones are sold as-is. Many undergo a rigorous refurbishing process that breathes new life into them.

What does refurbishing involve?

Professional cleaning and replacement of any faulty parts.

Software updates and thorough performance testing.

This means you're getting a phone that's as close to new as possible, but for a fraction of the price.

5. Eco-Friendly Choice

Lastly, by going the second-hand route, you're doing Mother Earth a big favor.

The eco-impact

Reducing electronic waste by giving a phone a second life.

Minimizing the demand for new device production, which has a massive environmental footprint.

Not only is buying a second-hand phone from Dubai easy on your wallet, but it's also a step toward more sustainable living. And if you ask me, that's a win-win.

Conclusion

Investing in a second-hand phone from Dubai isn't just a financially savvy decision; it's an all-around smart move. You get to enjoy premium quality, impressive savings, and a wide selection, all while doing your bit for the planet. Next time you're in the market for a phone, why not let Dubai's second-hand gems surprise you? Trust me; your wallet (and the Earth) will thank you.

[shreyabhagavatulainternships]

Summer Internship : 15 - 19 May 2023

15 & 16 May

15 May was the first day of the internship. After I settled down, I asked for specifics on the tasks for the first week. Shivansh gave me two options. The first was to come and watch a shoot they were doing for a project they had started, taking place on the 15 and 16 May. The second was to come directly to the studio on 17 May and start from there.

I decided to attend on the 15 and 16 to watch the shoot. Once I arrived I got more details on the project. It was a program called SoundChk (pronounced Soundcheck), a show featuring bands (funk, jazz, prog-rock) from all around India to expose the Indian youth to a new form of fusion music. This would be a project that we would do the marketing and distribution for, once all the videos had been put together.

The two days I attended were the last two days of the shoot. Each band was given 6 takes after which the footage would be edited together. I was able to observe live lighting and camera work as the producers rehearsed for each set. It was interesting to see how the crew fixed problems and the communication between the director and the visuals and sound crew. The director had very specific ideas for lighting and gave clear feedback to the artists about energy and positioning.

While I have some experience with Indian classical music and other genres separately, I definitely didn't expect the level of fusion that each band brought to the program. One of the groups was a prog-rock band which incorporated traditional Indian instruments with elements such as changing time signatures and intense drums. This opened my eyes to a new genre as something I could explore in my own music in the future. I was also able to get further insights into the making of the song when the artists were interviewed.

Overall, the first two days were more of me observing and getting to know the people. I was a bit intimidated because I was in a professional setting, however as I enjoyed the music, it helped me ease in. Shivansh was very patient and explained when I asked anything. This also helped me as I felt like I at least knew one person over there.

17 - 19 May

17 May was the first day in the studio. My mindset before going was to have no expectations. I often end up with big expectations and if they're not met, I get disappointed easily. However, I reminded myself that this was about me learning new skills and gaining experience. Once I arrived, Shivansh gave me a tour of the studio and laid out what I would be working on in the future. I was a bit worried as I had not used some of the software that he was talking about. He reassured me that I would be learning along the way. I realized that this internship would test me on my adaptability and my ability to grasp new concepts.

An important thing was that their workday was structured differently than a regular 9-5 job. Shivansh told me they usually begin around 11 a.m. to 12 p.m. and end late in the night. This was a very good schedule to operate in for me personally. I am not a morning person and the commute to the studio was 1 hour by cab which was the only convenient way, which meant I was able to start my mornings more calmly.

Shivansh told me that I would be able to meet Salim sir properly today and the wave of nervousness I felt was too much. This was someone I had watched on TV, as a judge for singing and talent competitions, and to see him in person is such a big thing! However, when I finally met him, he was such a down-to-earth person and welcomed me warmly. We did not get into any actual work on the first day and Shivansh urged me to sit in the studio session while Salim sir was composing. I also met the in-house artists/producers Raj Pandit and Aditya Kalway. They were beginning the composition process for the next project.

The next two days were similar and I just sat in the studio sessions and observed their process. I appreciated that I was not just being thrown into the work without any guidance. Everyone at the studio was very accommodating and I felt very reassured about the upcoming month that I'll spend there.

[s3898709]

Week 7

Reflection

From the testing session in the Capitol during the mid-semester break, the key change that I needed to make was to "be bolder". Once again, the colours aren't right (probably due to the architecture works and the amount of white that is in the space), and we can also now clearly see and compare it to the screen and how off it is (even if they are digitally the same hex colour). Luckily, I was given the opportunity to just play with the colour wheel directly in the space, so I now feel like I've got the colours done. Just need to get it ready for the next demo.

Also, going along with the theme of being bold, it was suggested that I add more 'flourishes' for when something happens on screen, so given that I'm not using the screen lights for pretty much anything currently, I'll probably end up using those lights for this.

The other thing that was noticed (or wasn't) was the team's progress within the roof. In general, I got the census that people would prefer that the entire rim lit up rather than individual lights (which will be easier for me, so that's a bonus).

Overall, though, I think the syncing up with lights with the video worked out well! And other than some more tweaks to get the whole thing in a draft state before next week's test session, it will be great because that demo was only half complete!

Research

Now, here's a bit of disappointing news. I can't find many academic sources or works that depict exactly what I want to do. Most of eSports flashy lighting procedures go into what I call the 'intro', which is essentially a hype reel before the game begins. The most that tends to happen in both the eSports scene and real-life sports is some animation (and maybe some lights turn on) when something like a goal (or in the same games akin to a goal) is scored. Nothing that really gives any indication of progress, or when a team holds possession. 

Now there are probably two main reasons behind this. The first is that it requires a lot of setup, and there are a lot of scenes to create if this were to be produced in a live setting (or a lot of complex code interacting between different applications and APIs). The second reason is that it doesn't make sense in a lot of games to have this sort of progression system. The game most akin to Splatoon in terms of its competitive ruleset is Overwatch. In Overwatch, you can respawn, and the rulesets are objective-based, rather than on elimination that occurs in many shooters or a 'goal' system like real-life sports and other sports like video games. Add in the fact that Splatoon has very distinct colours for each team and you can see why this idea hasn't been incorporated on a large-scale basis.

Progress

This week, I'm really trying to finish of the lighting design. That's because there will be such a long break before the next Capitol test, and also, I need to get some of the video elements (like the intro and getting commentators) started!

While I didn't really run into many challenges per se (other than testing what presets work the best with what I'm trying to produce), the biggest issue I ran into this week was the constant crashing of Pharos. I think in one night I encountered three crashes (which made me lose around three hours of work total). I think the issue with this was that I had my editing software, Final Cut Pro, open at the same time as I needed to test some things with that open simultaneously, but that ended up causing more hassle than it was worth (...yay).

The key changes I've made this week were changing up the colours and incorporating the other feedback (discussed above), as well as getting the intro in place. The purpose of the intro is to hype up the audience before the set begins, so I'm planning on starting with a small amount of lights, and then building it up so that people really feel like they're in for an awesome time. Luckily I decided on the audio piece early as it fits right into what I want to do (Surrender Peace by Grabbitz). The song itself builds up to a drop and the instruments combined with the style they're played in have a very similar vibe to Splatoon, so that's why I picked that track.

You can see this week's draft here ->

[dreamgirledward]

hey! if you're looking for a sign NOT to watch the rings of power, this can be it if you want 🥰 film-lover's psa incoming:

(this was originally a drop-down message on my the beauty of: lotr amv, which i deleted and copied here instead!)

lotr was created out of earnest love for the source material and the magic of filmmaking. the films took a total of 8 years to produce, including pick-up shots. they shot all three films continuously, well over a year, because peter jackson knew exactly what his vision would entail. the fellowship cast got matching tattoos after the experience because of how bonded they were by the end of production (john rhys-davies was the only one not to get one bc he said his stunt double, who does have a matching tattoo, did most of the hard work for him! ha!). the films put new zealand on the map and jackson opened the door for kiwi filmmakers of his generation and beyond in a way the world had never seen before. fun fact! the films also employed a huge number of Māori actors and you can actually hear and watch them doing the haka during specific battle scenes.

lotr is the perfect marriage of both 20th and 21st century filmmaking, expertly utilizing award winning practical and special effects mixed with cgi to create something wholly unique and almost timeless. compared to the two towers and return of the king being colour graded digitally, fellowship was still physically graded via colour timing (colourizing film in a lab, traditionally how all colour films were developed before the digital age), a prime example of just how new digital colour grading was in the industry. gollum was also a big first for the film industry: andy serkis shot his scenes in a motion capture suit (opposite elijah wood and sean astin), and the level of work weta digital put in to bring gollum to life resulting in such a sheer level realism was unprecedented. gollum still stands the test of time today and has aged incredibly well. the ai software, massive, was also developed for the first time for lotr to create large crowds and armies via visual effects, and changed the visual effects and 3d animation game forever. every single (computer generated) battle and crowd sequence you see in film & tv today is thanks to this software and lotr. the first time it was used was for the battle at helm's deep sequence during the two towers - and even then, that scene took over 100 days to film! the lord of the rings trilogy has been nominated 30 times and won 17 academy awards, honouring their revolutionary work in cinematography, score, visual effects, sound and picture editing, costume design, adapted screenplay, and more, and the return of the king was the first fantasy film ever to win best picture. the return of the king also accumulated eleven (!!) oscar wins, a record tied with titanic and ben-hur. aside from academy awards, the films, crew and cast have been nominated and awarded by countless guilds, boards and various awards ceremonies alike.

the rings of power however is a soulless cash grab that actively shits on tolkien's work, which is only loosely based on the novels at best. there are countless tolkien experts that can explain this much better than me, if you're interested in learning more i highly recommend reading up on it. the portrayal of galadriel alone is so severely out of character (just from the trailers!), i would argue these characters we know and love from the lotr books and films may as well be from an alternate reality of middle-earth. peter jackson and fran walsh are not affiliated with the rings of power. much like the house of the dragon, this is yet another attempt at attracting streams through the promise of nostalgia-bait, and it's riding the success of what came before it. and no, this is not because im a racist, woman-hating, anti-progressive, and elitist tolkienist, and the people who say this are performative and dont actually understand the underlying issue. the rings of power was funded because of jeff bezos personally involving himself in negotiations, and the series was created because he wanted it to be after obtaining the rights to develop a tv show. showrunners will label people like me criticizing and asking people not to support the series as anti-progressive until the cows come home because it makes them look good. if you still care about boycotting amazon, boycott this show. it's directly tied to bezos and his rotten money. if you must watch it purely for entertainment, fine, but this is a gentle reminder that pirating is easy and free <3

[the-final-sif]

Kind of related to the situation, but I want to ask a serious question on something you mentioned, about making fake media look 100% authentic through clone apps and screenshoting to fuck up the metadata of the picture. It's scaring the hell out of me, have we really reached a point that there are ways to fake evidence and make it look real even if that evidence is tested by actual professionals? In other words, if the evidence can no longer be proven real or fake by computer pros, that all we have left are character witnesses? The sheer idea that someone could fake something about me on some app I am known to use and destroy my life just by using some app clone software they found on google is making me freak the fuck out!

Sorry if I'm not making sense, but thanks for all the info you post! Helped me calm down and look at the situation with a clearer mind

Well, so, I think the problem here is that you've forgotten a key element: evidence absolutely can still be proven real or fake, just not by people on twitter. An actual courtroom is different from a court of public opinion.

This is not new by any means. People have been able to pass off convincing fake information since information has existed as a concept. Since any method of documenting information has existed, there have been ways to fake those methods.

I've mentioned them before, but the Cottingley Fairies are the perfect example of this. It's a series of 5 photographs taken by two young girls, appearing to show the girls interacting with fairies in the 1910s-1920s. The photographs the girls took were extensively examined for any signs of alterations, and the girls were even given a camera with plates set up such that no alteration was possible. The images produced were examined by experts, and nobody was able to find any sign of editing or alteration to the photos.

How did they do it? Easy, the girls had cardboard cutouts made from a popular children's book. The photos were unaltered, but they were photos of cut outs. Not photos of real fairies. The girls were 9 and 16 and playing a prank for fun. They admitted to how they did it much later in life, and explained that they had been too embarrassed to admit that it was a prank at the time.

That evidence was both fake and undetectable by experts through examination of the photographs. Much like screenshots, screen recordings, etc, can also be fake in ways undetectable to experts. You set up an app clone, write whatever you want, then screen record that. The app clone is the cardboard fairy cutout. That's part of why I urge people to not leap to conclusions based on whether they think a photo or video is edited, rather than considering whether the underlying content has been altered.

However, here's the thing, this only holds up on social media. Once you actually get into a court of law, this no longer works. Because in a court, the actual company who has the data (ie, twitter, instagram, phone companies, etc) can be asked to provide logs of what actually occurred. And that's what actually happens. Nobody goes into court with a screen recording and gets to submit that as evidence without some method of authentication.

The issue at hand isn't that there's no way to know what is or isn't reality, the issue at hand is that people often aren't willing to take the time to authenticate information. Some people aren't willing to be skeptical of the things that they are told, and run with information before they've been able to verify it. They conflate an image or video being unaltered with the underlying information being unaltered. They then misrepresent this information to others in a vicious cycle of misinformation. It is a real and present issue, and it's not new.

Back in 1920, the photos of the fairies were published to mixed reactions. Some people believed wholeheartedly that they were real and empirical proof of fairies. A lot of people didn't. Some people pointed out possible issues, and got dismissed by believers. It was a topic of conversation for awhile, and then it died down. People believed what they wanted to believe for a long while, and the truth finally came out in the 1980s.

The difference between what happened back then and what happens today isn't a difference in how willing people are to believe misinformation or how easy it is to create misinformation, but rather a difference in how quickly misinformation can spread, and how much misinformation people are exposed to. That's what worries me.

I don't have a solution for this problem as a whole. But what I can say is all of us can do our part to evaluate sources of misinformation, be careful about what we spread and how we spread it, and do our best to provided corrections when we feel we are able. Deep breaths, question things in a responsible manner, and be ready to wait for the actual truth of a situation to come out.

[trentreznorfanboy]

a cool Q&A i found + some really cool pics from around the same time

“Pro file: Nailing a New Look” pt 1

Q&A with Trent Reznor and Rob Sheridan about All That Could Have Been

By Mathew Honen for Macworld on February 1st, 2002

“Trent Reznor ushered in a new era of digital audio production with the 1989 release of Pretty Hate Machine, an album that helped launch an entirely new genre of music. Reznor's band, Nine Inch Nails, continued to break new sonic ground and push the limits of what can be done with music on a computer throughout the 1990s. And he's still breaking ground, with the December 2001 release of the Nine Inch Nails tour film And All That Could Have Been and its accompanying CD. Reznor and Nine Inch Nails Webmaster Rob Sheridan shot the entire film on mini-DV, edited the video in Final Cut Pro, mixed all of the audio in Digidesign Pro Tools, and assembled the DVD rough cut in DVD Studio Pro.”

And All That Could Have Been, Still and Live

Q: Why did you decide to shoot And All That Could Have Been on mini-DV?

Reznor: Cost-wise, it made sense. We bought a few XL1 cameras, and we could film every night of the tour from eight different positions. It seemed like it was something we could manage and make it what we wanted it to be. From our perspective, we weren't video editors. The cool thing about this process was finding out that, yeah, you can do this. The ease of use of the hardware and software made it possible to get the tedious crap out of the way and just get down to what we wanted to do.

Q: What did you use to edit the footage?

Sheridan: When the tour was over, the whole thing was edited in Final Cut from beginning to end. We had something like 200 mini-DV tapes. We lined up all that footage and all the different takes of one song in Final Cut. So we would have professionally recorded audio synced up to 30 different instances of a song--like five angles from Chicago, and three from San Diego. You can then flip between them and start cutting. It takes a long time to set up, but once you have, it's a great way to cut.

Q: The audio was assembled on a Mac too, correct?

Reznor: Normally when you film or record a tour, on our level, you get maybe two nights to record. Invariably those are the nights that aren't very good. We took some of the budget we were saving from having massive multicamera shoots, put some into the audio, and recorded four or five different nights to digital multitrack. Got back to the studio afterwards, picked the best version of the songs, loaded everything into Pro Tools on a Mac, and mixed in surround, then remixed everything again in stereo.

Q: What was the experience of using DVD Studio Pro like?

Reznor: It had literally just come out, and it was timely because we had figured out digital-video editing, and we wanted to [figure out] what we could do the medium of DVD. What are the limitations? We had a very rudimentary knowledge of what you can do. DVD Studio Pro, we used with the intention of mocking up something. We knew we were taking it to an authoring place, and we could beta test it at home. This was a way for us to get a feel for things in very easy-to-deal-with terms. It puts a lot of power in something that doesn't have a thick manual.