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Also, different options can change smoothing and noise reduction quite dramatically. QTGMC: Best retention of original image detail and handling of edge case artifacts, but you have to watch for colorspace issues when working with Adobe programs if you render out using FFMPEG. If you don't want to read through the entire post, here's my opinion about each of the options that I currently have access to: In some ways, the results can actually be better than many of the above solutions.īut it's always good to do a reality check periodically - which of these methods works best? I don't have access to a Teranex or the cash to use Tachyon, so I'll be comparing mostly free options and/or ones embedded in >$300 programs. While it's not trivial to set up, the end results are excellent, combining greater detail with highly configurable noise reduction and other options. ![]() This is very similar to what "motion flow" and other motion interpolation algorithms do on modern TV sets, but focuses on accuracy rather than wow factor. ![]() #FFMPEG RESIZE ALGORITHM FULL#It separates out individual fields and tries to use data from surrounding fields to generate full resolution progressive frames from them. Like its less-optimized forerunner TempGaussMC (which I've never used), QTGMC is an AVISynth deinterlacing script that uses a combination of several different plugins. Slightly later methods like Yadif improved on deinterlacing quality, but were still only working on individual fields, using still image interpolation to essentially round off the edges of aliasing after line doubling. Most early tools for dealing with interlacing in this space focused more on combining similar fields together - mainly as a result of them being geared towards processing TV captures of anime. For a while, your only options here were frame blending and "bob" deinterlacing, neither of which were particularly great. The only way I've seen to get around this inside an editing program is to use the FieldsKit plugin, which works a bit better than real-time conversion boxes, but not as well as SAAS options like Tachyon. Unless your entire project from beginning to end uses interlaced settings, editing programs tend to toss out every other field and line double the remaining field, which cuts both motion detail and frame detail essentially in half. #FFMPEG RESIZE ALGORITHM PRO#I haven't used either Media Composer or Final Cut Pro X's implementation, but with everything else I've tried, this is garbage. Built-in deinterlacing within video editing programs. #FFMPEG RESIZE ALGORITHM SOFTWARE#Services like Cinnafilm's Tachyon that do the same sort of job using very complex and proprietary software and hardware on a rental (or on-premises, for a higher fee) basis. Simple, but not always the best quality, and the hardware is pretty expensive (especially when you consider that you also need both a separate dedicated playback device and a recording device in addition to the conversion box). Hardware-based video conversion boxes like the Teranex that are designed to perform resolution and frame rate conversions in real time. Roughly about 10 years ago, deinterlacing had four general types of solutions: There are new pieces of software, plugins, and even hardware that are released on a regular basis, and keeping up with all of it can be challenging. One of the things about working as an editor is that the technology is constantly changing. When I've finished part 2, I'll link to it here. #FFMPEG RESIZE ALGORITHM SERIES#Before I began, I'd like to give a special thanks to Aleksander Kozak for his help in testing and providing the HD footage used in this post.Īlso, this is part 1 of a series of posts. ![]()
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