Music:

1st – tha Trickaz – Heritage (CloZee remix)
2nd – C5 & Seanyy – Battlecry
3rd – Skan & Krale – No Glory (feat. M.I.M.E & Drama B) [Nimez & LEVR Remix]

Released: 10/24/2017

Combos and Editing by Cjbqulix

Street Fighter
Problem: In the (MAME) arcade version, one of two sound channels handles sound effects while the other predominantly handles music. Unfortunately, some of the sound effects such as the impact noise and the kick whooshing sound come through the music channel. Therefore, muting the music channel leaves the sound effects sounding flat.
Solution: PS2/Xbox Capcom Classics Collection 2 includes a version of SF1 with an audio option menu which lets you adjust music and sound effects levels individually. It’s not available from the main menu before loading the game, so it’s easy to miss. You have to load SF1 and then press Select to bring up the Pause Menu. Access Audio Setup to take Music Volume all the way down while leaving SFX Volume alone.

CPS1 SF2 Trilogy: World Warrior, Champion Edition, Hyper Fighting
Problem: Same problem, except the other way around – some of the musical drum beats are handled by the sound effects channel.
Solution: Creating a MAME save state and loading it from any of the three introductory game loading screens (hardware check, game identification, regional warning) magically mutes the background music where the state was loaded. Unfortunately the soundtrack changes when one of the characters gets under 30% vitality and that brings back the music. So if you intend to do a combo with 1P against 2P, beat up the 1P character until the music changes and then save the state. That way the music won’t change even if your combo does 100% damage against 2P. This limits your options somewhat but it should be good enough for most cases.

CPS2 Library: SSF2/ST, Alpha series, Marvel series, Darkstalkers series, etc.
Solution: Kawaks does the trick with Sound -> QSound options -> Disable QSound music and other emulators have similar options. Otherwise, you can request custom soundtrack muting cheats, which simply silence the music without altering anything else.

Street Fighter Collection: SSF2 and ST
Solution: PSX/Saturn versions let you shut off music within the Option screen by lowering the BGM Volume stars down to zero while leaving the SE Volume setting alone. (This is the version that gives Guile access to CPS1 chains in both SSF2 and ST.)

HSF2 and HSFA plus the rest of SFA Anthology
Solution: While neither of these PS2 titles offer BGM muting options, they do benefit from the awesome PS2 feature of being able to eject the disc during gameplay. Since the music is read off the disc in real time, removing it stops the music while preserving all other sound effects. The game will keep running as long as you don’t encounter any loading screens. In most cases you can even change characters without having to put the disc back in.

SF3 Trilogy: New Generation, 2nd Impact, and 3rd Strike
Solution: Dreamcast versions of Double Impact and 3rd Strike as well as PS2 3S (SFAC) all have convenient soundtrack muting options.

Street Fighter IV and SSF4
Problem: Xbox360/PS3 versions let you shut off music via Options -> Sound Settings but it still remains faintly audible even at the lowest volume level.
Solution: The best way to completely shut off background music in SF4 is to create a silent MP3 file, put it on a USB drive, load it onto the console, and play it after you start the game. I do it when i reach the mode menu and it stays in effect until i turn off the PS3. If you don’t want to go through the trouble of making your own, here’s mine. (Unfortunately there’s no way to isolate the announcer samples and shut him up without disabling the character voices too.)

Capcom vs SNK, CvSPro, and Marvel vs Capcom 2
Solution: Dreamcast versions don’t have any volume control options whatsoever, so you’ll have to create custom soundtrack remixes with silent non-looping audio files. It’s kind of a hassle, but fairly straightforward as far as hassles go.

Capcom vs SNK 2
Solution: The Dreamcast version lets you shut off music via Option Mode -> Sound Option. You can even save VS Mode matches onto your VMU and then watch them in Replay Mode after turning off BGM from the menu. But personally i keep BGM off at all times because there’s no bigger waste of time than having to rerecord a combo due to this oversight.

Capcom Fighting Evolution/Jam
Solution: Xbox/PS2 versions can disable music via Option Mode -> Sound Option -> BGM Level.

SvC Chaos
Solution: Kawaks has a great little feature where you can press numpad + or – keys to scroll through the game’s music selection. Using this feature, you can flip through all the stage soundtracks until you reach one of the short samples like the Game Over tune. Let it play out and you’ll have the rest of the round to do whatever you want in silence. For other emulators, you’ll probably have to go through the cheat code route to artificially silence the music without altering anything else.

Marvel vs Capcom 3
Solution: Xbox360/PS3 versions can turn music off through Options -> Sound -> BGM Volume.

Well, that covers basically every major Capcom fighting game series of the past twenty years. If anyone happens to have similar information regarding other titles, please post it as a comment to help us gather every solution in one convenient place.

Sprite flickering was especially prominent in 2D games to indicate that something was appearing, disappearing, invisible, or invincible. It’s also employed in situations where there are more sprites on screen than the hardware can handle. Dropped frames cause flickering objects to remain solid or disappear entirely. Maj recently reupped his SF? Guile Exhibition in high res, and that’s what happened to the barrel debris in the bonus stage intermission.

Sonic Booms present a similar problem: the animation cycle is in four parts, with the sprite changing on each frame. With half those frames gone, the animation looks incomplete. The difference can be easily spotted at around 1:11 when the Sonic Boom on screen goes from half to fully animated during the KO slowdown. Hadoukens also have a four-part animation, but two frames pass between segments, so losing every other frame makes no discernible difference.

You may be able to reduce the inevitable quality damage by performing the framedrop with your own video editing software before uploading. Let’s examine a short sample clip from the barrel dropping bonus stage in the arcade version of Street Fighter II: Champion Edition. This clip has lots of flickering and high-frequency effects that have the potential to be spoiled: The barrel debris, the scoreboard, the Hadoukens and the rapid-fire punches and kicks.

I’ll be using Avisynth scripts to describe the editing operations. You can use most any video editor to do these things but Avisynth is controlled by plain-text scripts that can easily be shared. Here is the avs script file used for the examples below. Click on the headers to download the video that results after filtering and encoding.

Unaltered

This is what it’s supposed to look like. We want to keep it as close as possible to this after reducing the framerate.

Even and odd separately

selecteven/selectodd simply keeps every other frame and drops the rest. In this case, even makes the barrels vanish, while odd keeps the debris solid. Actually the solid doesn’t look too bad, except for the fact that player 1’s light-up tally isn’t being shown. (The reason the lights are bright on both sides in the Guile video is that clip is from World Warrior, and the flickering was introduced in CE.) Hadoukens flicker on and off for two frames each, so they appear normal after the frame loss.

Merged

Here, the clip is divided into both even and odd frames, then the two sets are mashed together with merge. Each pair of frames dissolves together like this:

Flickering objects are effectively rendered half transparent and appear a little dim. It’s possible to intensify some objects by weighting the merge operation toward one set, but this would also cause the complementary set to dim and the light-up boards on each side would appear at different brightness. Another downside of any blending is that it blurs all graphical changes. Moving sprites and scrolling backgrounds get smeared out over an extra frame.

Interleaved

Instead of merging even and odd frames, you can alternate them. This can be done by halving the original frames twice and then interleaving. Since there’s no blending there’s no blur, but the animation is a little choppy because an unequal amount of time passes between consecutive displayed frames: Instead of skipping every other frame, it’s alternating between skipping zero and two. This means the flicker effect is preserved (at half rate) in the barrel debris and lights, which change every frame. However, the animation for Hadoukens and rapid fire punches and kicks changes every two frames, so now they are prone to being spoiled. In this case, the Hadoukens are OK but the punches and kicks don’t animate. If the even/odd filter pattern is changed up you can reverse that but something’s going to be broken.

Change FPS

changefps sets the framerate to the specified value by simply deleting frames while maintaining the duration. Youtube’s method is likely to be similar to this. Since the source framerate, at 59.6, is not an exact multiple of 30, the result alternates between showing the even and odd frames, which you can tell from the periodic disappearance of each player’s score display.

Convert FPS

Avisynth has a special filter, convertfps, just for dealing with this kind of problem, but it didn’t work so well. This filter seems to divide the screen into an even domain and an odd domain, with the boundary determined by the third argument, zone. The result is barrel pieces disappearing at the top of the screen then fading back in at the bottom, and only one player’s scoreboard visible.

Keep in mind that it’s not necessary to do anything if the effects can still be observed at the reduced framerate: In the Guile Exhibition, the debris in the first oil drum clip (9:34) doesn’t flicker properly, but it looks better in the next clip. This is because the second clip is from Hyper Fighting. The random frameskip in HF effectively makes the flickering pattern random and avoids the masking effect of the framedrop.

Has anyone got any other tricks or suggestions on how to deal with this?

Thanks to error1 and Maj for input on this.

Scripting Guides on Sonic Hurricane

These tutorials are for anyone interested in learning how to make tool-assisted combo videos. Start by reading the introductory ones, then skip around to whichever topics interest you.

1. Fighting Games Don’t Make Interesting Speed Runs

Except in rare cases, a fighting game speed run is going to look like this: find the most damaging combo and then use it over and over, completing the game in as little time as possible. This can be really painful to watch, even if you’re familiar with the game. Both Dammit and I thought we found a way to do an interesting fighting game TAS with speed as the primary goal. I did a “pacifist” run, and he did a great slash mode TAS. Both failed badly.

2. Make It Like a Combo Video

If you can’t use speed as the main goal, the obvious alternative would be to find your favorite combo video and copy those ideas. The problem with this plan is that you can’t do a lot of what makes a combo video entertaining: no cool soundtrack, no flashy editing, no extremely complex setups, etc. You also lose a lot of what makes a TAS unique – normally when you TAS a game, no one has ever played frame-by-frame before, so it’s easy to make something more complex and impressive than anyone has seen before. Most fighting games have been studied frame by frame for years, so just playing with extreme precision isn’t going to impress anyone.

3. Fighting Games Usually Make Bad TASes

So what do you gain over a combo video besides additional wait time between combos and extra difficulty setting them up? Not much. You should always try and have fun with enemy manipulation but that’s probably not worth more than a minute of entertainment, in most cases. This means fighting games are generally a poor game choice.

4. Don’t Be Afraid to Try It Anyway

Obstacles aside, the TAS format still offers a bunch of possibilities that can’t be done as a combo video. I think my Street Fighter Zero 2 Alpha run works much better as a TAS than if it were a combo video. A well-done run can be entertaining no matter what, but you’re at an advantage if you’re doing something new, or at least if you choose Mokujin.

Well, that just about covers the basic considerations for producing a fighting game TAS. Since they’re likely to continue growing in popularity, now is a good time to share your opinions on the subject. What do you guys want to see more of in tool-assisted playthroughs?

    #1: Write a transcript explaining everything in your video to make it more accessible. At the very least, cover the new stuff that nobody’s seen before. Everyone specializes in different games and not everyone in the fighting game community plays the game you chose to make a video about. There’s no reason to exclude them.

    #2: You can’t expect everyone to find your video on their own, so don’t be shy about helping spread the word. Figure out the local etiquette of whatever forum you think might be interested, and follow their rules. Some forums have a designated subforum or designated thread for posting combo video news. Make some noise to generate some feedback.

    #3: Be careful not to cross the line with shameless self-promotion. The internet tends to be overly paranoid and unforgiving of anyone who seems to be trying too hard. Just present your video in simple terms and if it doesn’t catch on, then it wasn’t meant to be. Go try someplace else instead of forcing the issue and burning bridges.

    #4: Never allow yourself to obsess over view counts. We can discuss all sorts of tips and tricks to help your videos gain more exposure, but the truth is there’s no guaranteed method. No matter how many people buy SSF4/MvC3/TxSF, we’re still a very small community at heart. Random daily factors have a major impact because things aren’t standardized enough to where everything averages out. Essentially it’s a matter of luck, so it’s best not to worry about it too much. Concentrate on making quality videos that you truly want to be making.

    #5: Always be cordial with viewers, even when they’re being difficult. No one likes losing arguments, particularly not internet folk. They don’t know how to lose an argument and walk away. Keep in mind that you gain very little from winning an internet argument. You’re much better off being polite to people if you want them to be on your side or even just to leave you alone. Otherwise they’ll stick around and hold a grudge. Either don’t answer rude questions or answer in a way that makes them say, “Oh that’s pretty cool, I didn’t know that.”

Of course there’s a lot more to this whole topic, but these points cover the general essentials. I’d be happy to answer any further specific questions you guys might have.

The Tekken Combo Debate Thread on Tekken Zaibatsu

It delves into various subjects and covers a lot of ground. After all, it’s not every day that we get to be a fly on the wall as some of the most prominent Tekken combo makers in the world discuss questions such as:

• Walls, what’s your take on them?
• Programmable sticks? Yea or nay?
• How do you decide what stages to select when doing combos?
• What aspects of the completed video are the most personal to you?
• What’s the best way to get your videos seen?
• How do you feel about collision / trade combos?
• What do you guys use to make a combo video and why?

Lots of good stuff there. Go check it out.

    #1: Don’t go overkill on the editing. Make sure your transitions don’t obstruct the combos. There’s nothing more annoying than watching a video where you can’t see the beginning of any combo because the clip is flying all over the place. The best editing tricks are subtle, and blend in with the actual subject matter instead of trying to take center stage.

    #2: For combos ending with a super (or any move that takes forever to finish), unless there’s some compelling reason to show the whole super, please skip to the next combo. We’ve all seen a Proton Cannon before, so if that’s the last move of the combo, skip to the next one as soon as we can see that it connected. If we all work together, we can put Proton Cannons and Magnetic Tempests on the federal endangered species list where they belong.

    #3: Don’t use horribly overplayed radio music. There was a year where half the combo videos made reused the-band-that-shall-not-be-named as background music. To this day, i still turn off my speakers before i watch those videos. There’s a quick and easy fix: choose from the most obscure, unobtrusive songs in your collection. At least that way you’ll never have to worry about everyone being sick of your video before they ever watch it.

    #4: Do yourself a favor and list your background music in the credits. People always ask for that – in some cases they’ll skip reading your initial post and any other post after that, and just ask what the BGM was. Save yourself a lot of repetition and include the name of the artist and the name of the song in your video. Besides, they deserve proper credit.

    #5: Using programmable pads and emulator tools is fine, as long as you plainly admit it in the video. You don’t have to make a big deal of it – a small note at the end of the video is fine. The entire tool-assisted speedrun community does this and so do most prominent combo creators, such as Sai-Rec and kysg.

    #6: Using cheats is a little more shady, but that’s why it’s even more important to clearly state every cheat you use. If you’re giving yourself infinite meter so you can do stylish combos, make a note of it in the video. If you’re turning off dizzy to make longer combos, make a note of it in the video. Let your viewers be the judge of whether or not they should overlook those cheats. After all, the only reason you used them in the first place was because you thought you could do something cool with them right? Trying to hide the fact that you cheated is only going ruin your rep down the line.

    #7: It doesn’t hurt to include production and release dates somewhere within the video. The month and year will suffice. This helps you because if you’re the first person to discover a glitch, viewers can use the date to compare. Also, with capture devices constantly improving in output quality alongside your own development as a video editor, your old videos are going to look ghetto. There’s no way around that. Citing release dates can help put a little distance between your first attempts at combo video making and your latest work.

Well, that covers the basics. The rest comes down to your own personal view of aesthetics. Don’t be afraid to express yourself in your videos, as long as the content remains clear.

    #1: Don’t use Infinite Meter. If you don’t want to keep switching back and forth between Infinite Meter and Normal Meter, then just use the Refill/Recover option. Not only does Infinite Meter look really tacky, but it also makes it difficult to tell how much meter is being used.

    #2: Turn off background music so it doesn’t clash with whatever song you end up using. Almost every game has a way of shutting off BGM without sacrificing sound effects.

    #3: Try to mix things up a little. Use different stages, different opponents, and different costume colors throughout your video. But please stay away from those over-the-top custom colors with really high contrast. Also make sure that the costume colors you choose stand out against the background. For example, don’t pick dark colors on the CvS2 rainy rooftop stage.

    #4: When capturing clips, leave plenty of empty space before and after each combo for clear transitions. Take a deep breath and relax between combo retries. It’ll make the editing process much easier and the final product will look much cleaner.

    #5: Always use the best capture method available. If you find a killer glitch and the only recording device you have in your home is your cell phone, then it’ll have to do. But if you have (or can borrow) a digital camcorder, there’s no reason not to use it. And please take the time to figure out how connect it directly to your console. The end result will be much nicer.

Remember, your video can only look as good as your captured footage, so don’t be lazy with this step. Set everything up properly with the highest settings available. Then try to think ahead by imagining how each clip will look within the edited video.

    #1: Do your research. If you’re making CvSPro combos, watch every CvSPro combo video you can find. Make sure you’re either making improvements on their combos or going in a different direction entirely. There’s no reason to duplicate anyone else’s combos or to produce inferior versions of anyone else’s combos. There’s always room to find original material in any game, especially the good games.

    #2: Try to convey an interesting concept within each combo. Either build the combo around a new discovery, or try to incorporate at least one unexpected element into every combo.

    #3: Plan ahead so that your combos don’t end up looking too similar. If you have three clips starring the same character, with the same beginning, the same ending, and the same core concept, your video will turn out repetitive and monotonous.

    #4: If the combo works midscreen, keep it midscreen. Save the corner for true corner-only combos. Generally, midscreen combos are more technically impressive. They also look better simply because they seem more challenging, they take up more of the screen, and you don’t have to worry about fancy supers/ultras getting cut off by the corner.

    #5: Don’t overuse Rolento/Zangief/Chang/Honda as dummy opponents unless the idea absolutely demands it. If the combo works against a thinner opponent, use someone less common like Guy, Vice, C.Viper, Yun, whatever.

    #6: This should go without saying, but it comes up often enough that it bears repeating. Make sure your combos actually combo! Random combo videos pop up all the time containing two or three failed combo attempts and that’s just plain simple laziness. It’s quite annoying to see something that amateurish in a combo video; and makes it seem like a waste of time watching the video. Always do one last check to verify that the number of hits matches the combo counter in every clip.

    #7: If the game includes a recovery mechanism, make the dummy recover whenever possible. For example, SFA3 combos should be performed with automatic air recovery (tech flips) enabled in Training Mode. If you perform the combo in Versus Mode, at least verify that it’s inescapable beforehand by using Training Mode or some other precise method. If your project inentionally includes combos that are escapable, then make a note of it in the video.

Adhering to these basic standards should help you produce consistently high-quality content for all your combo video projects.