Projects
Video Plugins
Effects that take a picture apart rather than grade it: compression made into a control surface, pixels sorted into place, and the reproduction screens that printing and early displays left behind.
Each demo below is the plugin's own output. They were recorded in one session against the same five seconds of the same portrait under the same light, so what differs between them is the effect and not the footage. Bitrot and Pixel Sort are OpenFX plugins for DaVinci Resolve, published under the Oddity FX menu; Bitmap is a native After Effects effect. Nothing plays until you ask it to — hover a demo, or press it.
Bitrot
Bitrot does not paint glitches over a picture. It keeps a running account of which regions of the stream have failed, since when and how, and rebuilds every frame from that account — so damage outlives the moment that caused it, blocks arrive visibly from the wrong place or the wrong time, and a block-transform stage reproduces what compression looks like when it runs out of budget. Its fifteen presets are named for the failure rather than the look: Packet Loss, Chroma Collapse, Decoder Panic. The same engine runs as an effect or, driven by a transition’s own progress, as a transition.
Pixel Sort
Pixel Sort finds contiguous runs of pixels along each row or column, reorders the pixels inside a run by a key you choose, and leaves everything outside the runs alone — which is a directional smear at one setting and a full melt at another. Pixels are moved and never recoloured, so no value in the output was invented. Rendering is deterministic and seam-free under partial render windows, which is what makes it behave the same in a timeline as in a full-frame preview.
Bitmap
Bitmap drives the frame down towards a bilevel image and lets the choice of screen do the work: ordered dither, error diffusion, and halftone screens, each with its own grain and its own way of falling apart. The recording runs through them in sequence, from a hard threshold that keeps only the silhouette to a fine dot screen that holds the modelling of the face. The controls are built around the printing and display artifacts the techniques come from rather than around an abstract amount.
Codec
Codec starves a picture the way an encoder short of bits starves one. The frame separates along a transform-block grid, flat areas band and drift off the level they started at, and fine detail is spent well before the grid itself gives way — so what is left at the bottom of the sweep is a face carried by block averages rather than by pixels.
Print puts the frame through a reproduction screen and keeps the colour. Line screens, cross-hatches and dot grids are laid over the image at a screen angle, and the recording moves through them in turn, so the same portrait is rendered once as engraving, once as newsprint and once as a woven mesh. The screen modulates the original colour rather than replacing it, which is what separates this from reducing the picture to black and white.