u/Betty_Sweaters

Visuals available on Patreon for anyone who wants to utilize them :)

Had a fun time digging through old archive footage and finding gems to run through the analog rig-- there something to getting lost in random. niche corners of film & media history that I find super comforting and inspiring. Such as nice palate cleanser when I things get stale an need artistic reset-- an really easy, low stakes, low pressure way to make visuals and get into a flow state: Look for things that look cool, clip cool thing, run thing through gear and play around with knobs until you unlock something that looks cool. A lot of times, I end up finding a new style or look that I like and can work in future pieces. Then outside of that, after looking through and passively analyzing all the archive footage I end up walking away with a bunch of new (old) visual ideas/techniques/styles to try out, emulate, or readapt.

Visuals available on Patreon :) Collaboration w/ Plasma Wizard & ThreeThinx

(26 Loops | File Size: 2.68 GB)

For this experiment, Plasma Wizard started by running his classic liquid light rig through an Edirol V4 and a circuit-bent glitch switcher, adding analog textures to his dyes and oils. From there, I ran his feed into my own Edirol V4, mixing it with camera feedback that I had patched through the BPMC Premium Cable to further manipulate the reactivity and textures. Finally, we sent the signal through ThreeThinx’s TouchDesigner setup, where he layered on additional effects and retextured the footage.

Loop Pack Available on Patreon: https://www.patreon.com/BettySweaters

(28 Loops | File Size: 7.03 GB)

Remix 2000 explores the visual language of early-2000s video hardware — saturated color palettes, chunky digital processing, and the imperfect blend of analog video with emerging digital effects. The pack was created as an experiment in recreating that look using modern tools, while starting with analog source material that already carries the movement, texture, and character of the era.

I started with a selection of my existing analog/glitch visuals because their movement, distortion, and texture was already made using the gear/style of the period. I then brought them into PhotoMosh Pro and built a custom processing patch designed to emulate the kind of color and digital effects you might find built into hardware from the era.

The patch uses Decimate, Posterize, 8-bit, Color Correction, and Push effects, along with an orange, cyan, blue, and purple color palette. The idea was to recreate the feel of an analog video mixer Colorize-style effect through software, essentially creating an effect that looks like could have been produced by my Edirol V4.

Once the patch was dialed in, I ran a selection of analog/glitch visuals through it, allowing the new color palette and digital processing to reshape the footage while retaining the original movement, structure, and glitch characteristics.

The result is a collection of colorful retro visuals that combine analog source material with an emulated early-digital processing style — essentially a modern recreation of the kind of analog/digital hybrid visuals that could have come directly out of the gear of the era.

Suggested uses:

• Use as standalone early-2000s / Y2K-inspired visuals
• Layer with other analog or digital content
• Combine with other analog glitch visuals for a cohesive look

— Betty Sweaters

Featuring Footage From:

• Neumonic at Red Rocks for Deadbeats / Zed’s Dead “DeadRocks 2026”
• The Glitch Mob at Fire Lights Festival 2025 | B2B with Matte Glossy & N3wtTron
• Super Future 360 show at Diamondback Music Hall ft. Ozztin, Dredlok, Volume Unit & More | Pulp! Video Lab B2B with Matte Glossy & RX Visuals
• Supertask at Fire Lights Festival 2024
• Supertask Downtempo Set on The Hideout at Fire Lights Festival 2024
• A Hundred Drums at Fire Lights Festival 2024 on The Hideout
• Xotix at Lost Lands 2024
• Kursa for Keep The Dream Alive: Live Stream Charity Festival
• Ozztin at Red Rocks for Wakaan Rocks 2026 
• Two Percent B2B Ozztin at Wakaan Music Festival 2025 | B2B with Interlude Visuals
• Medicine Place at Beyond Existence Music Festival 2025
• Ozztin: Live From The Hideout | Filmed at FEED Media Art Center| Pulp! Video Lab B2B with Nasty Taxi, Jetset, Plasma Wizard, A Thousand Rooms
• Ozztin at Lost Lands 2024 | B2B with Interlude Visuals
• Speaker Honey at Area 15: A-lot
• Monty at Fire Lights Festival 2025 | B2B with Matte Glossy
• EarthHz B2B2B at Fire Lights Festival 2024 | Pulp! Video Lab B2B with Matte Glossy & More

Loop pack available on Patreon

Colorize 95 is a collection of colorful retro/analog visuals created in collaboration with Plasma Wizard, built around a combination of camera feedback, glitch processing, and heavy analog color manipulation.

The visuals were created using a feedback-heavy analog signal chain consisting of two Roland Edirol V4 video mixers, a BPMC Premium Cable, a Mezkalin Video Master, camera feedback, and multiple layers of internal video feedback.

Some of the visuals were created by combining camera feedback with internal feedback, using mirror balls and other physical props to manipulate the signal and create different shapes, patterns, and reflections. Other visuals started with different NestDrop patches, which were sent through the analog chain to experiment with how their movement and reactivity interacted with the feedback and glitch processing.

A major part of the look came from pushing the Edirol V4's built-in Colorize effect and various color styles. The footage was heavily colorized and manipulated throughout the process, giving the visuals their saturated, retro character — and ultimately inspiring the name Colorize 95.

The result is a collection of colorful analog loops that combine reactive digital source material, physical feedback manipulation, glitch processing, and heavily stylized analog color.

Suggested uses:

• Use as standalone retro/analog visuals
• Layer with other content to add colorful feedback textures
• Combine with mirror, kaleidoscope, or additional color effects for variation
• Use during psychedelic, colorful, or more visually dense sections of a set

— Betty Sweaters

Now available on Patreon: https://www.patreon.com/cw/BettySweaters

Yuk! is a grungy, green, mixed-media visual pack built around a toxic waste-inspired aesthetic and a character I call Ms. Yuk — my 3D girlfriend with a “Yuk” sticker for a head.

Ms.Yuk was created with Blender by kitbashing a body model to a Mr.Yuk Puck-head I made in Illustrator. The animations were also made in blender with some rigging assistance w/ Mixamo. From there, I brought the scenes into After Effects to build out the final visuals, compositing the character with background elements, additional source footage, and graphic textures. I also used After Effects to touch up and stylize the character and apply the mixed-media paper treatment, giving the footage its grungy, printed and slightly imperfect look.

The result is a collection of character-driven loops centered around Ms. Yuk, with a mix of green textures, graphic backgrounds, paper imperfections, and layered animation.

Suggested uses:
-Use as standalone visuals
-Add threshold effect, for a grungier black and white style
-Layer and blend with each other create chaotic, cohesive collages

— Betty Sweaters

Loop Pack Available on Patreon

Textura Obscura is a collection of blue-toned texture and abstraction visuals that blend analog video processing, mixed-media animation, and digital effects into a layered, multimedia aesthetic.

The pack was built from a variety of source material, including visuals created in NestDrop, Resolume, and other abstract animations. These were then routed through a feedback-heavy analog signal chain consisting of two Roland Edirol V4 video mixers, a BPMC Premium Cable, a Mezkalin Video Master, camera feedback, and multiple layers of internal video feedback. As the signal passed through the system, each stage introduced new textures, distortions, and motion, creating a library of unique analog source footage.

Once the analog visuals were captured, I brought everything into After Effects, where I applied a mixed-media treatment inspired by DreadLabs' mixed-media animation tutorial and project files. Paper textures, film grain, threshold and ink bleed effects, and subtle imperfections were layered in to give the visuals a tactile, printed quality.

As a final step, the clips were processed through PhotoMosh Pro using a custom patch I built for this project. This introduced additional strobe behaviors, posterization, subtle 8-bit pixelation, glow and luminance-reactive effects, along with digital glitching and decimation to further evolve the imagery while preserving the analog foundation.
The result is a collection of texture-driven abstract loops that sit somewhere between analog video art, mixed-media collage, and digital glitch processing. The combination of these workflows creates visuals that feel tactile, layered, and continuously evolving.

Suggested uses:
-Layer with other visuals to add texture and depth
-Use as standalone abstract visuals
-Layer them together to create more dynamic visuals collages

— Betty Sweaters

Loop Pack available on Patreon: https://www.patreon.com/c/BettySweaters?vanity=user

Loop pack available on Patreon: https://www.patreon.com/c/BettySweaters

(77 Loops | File Size: 5.74 GB)

Loops available on Patreon:https://www.patreon.com/posts/hazard-loop-pack-157027611

Now available on Patreon (23 Loops | 4.9 GB ) https://www.patreon.com/c/BettySweaters

Chromakopia comes from another analog session with Plasma Wizard, built around his classic liquid light setup and the same feedback-driven workflow used in the Slime Light pack — but with an additional layer of digital post-processing to push the colors and textures further.

Like the previous pack, the visuals started with Plasma Wizard’s liquid light rig, where dyes, inks, and oils are manipulated between glass plates on an overhead projector to create constantly shifting organic motion. Alongside the liquid light source, camera feedback was introduced to create additional motion and distortion in the signal.

From there the signal moved through an analog chain: first into an Edirol V4, then through a Mezkalin VideoMaster, before being mixed again through my second Edirol V4. During this stage I introduced additional internal glitch feedback using my BPMC Premium Cable, bending and destabilizing the signal before capturing the final analog output.

Once the analog visuals were recorded, I brought them into PhotoMosh Pro to experiment with additional digital feedback, texture treatments, and color processing. This stage pushed the visuals into more saturated, psychedelic territory while still retaining the organic motion and feedback artifacts from the original analog chain.

The result is a set of liquid light loops that blend raw analog feedback with digital color distortion — fluid, chaotic, and highly saturated.

Suggestions / ideas for running clips live:

• Use standalone during colorful, psychedelic sections of a set
• Layer with other visuals to add additional motion and texture
• Combine with mirroring or kaleidoscope effects to generate evolving color patterns

— Betty Sweaters