![]() Fixing the weird motion errors it’s introducing has to happen first.īoilerplate Disclaimer: The Star Trek Deep Space Nine and Voyager Upscale Project is a fan-based restoration and not sanctioned or endorsed by Paramount in any fashion. I’ll have updated tutorials soon and hopefully a method of extracting high-quality consistency out of DaVinci that I feel like I can share without ruining someone’s day if they try to duplicate my work. I don’t have a great or specific way to end this story, except that I hope this discussion of how to achieve the highest-quality results in TVEAI is useful to some of you and that you generally enjoy the footage and samples. When I make multi-scene clips, I tend to be much more conservative with color rather than risk wrecking something. What looks good in one scene may not look good in the next. ![]() The reason some of color grades vary from clip to clip and from image to image is because I’m still learning how to color grade and I experiment a fair bit. “It’s no illusion.” No, it jolly well isn’t. This 2560×1920 output was then back-blended with resized 1280×960 output to create the final product. In some cases, 1280×960 outputs were combined and layered in DaVinci Resolve Studio 17 and then fed through Topaz again as single inputs, creating 2560×1920 output. Those files were then run through multiple Topaz models to create outputs that were themselves blended together. They are composited from multiple AviSynth files that were preprocessed in multiple ways. The video and images presented in this article are composites. This is not strictly required to restore an episode but I wanted to see just how far I could improve the show. The episode of Trials and Tribble-ations I built used parts of 18 different encodes and file processing methods. ![]() It’s the opposite of a cherry-picked example.īlending works best when you have specific facets of different images that you want to utilize, without any problematic artifacts that are going to poke through as well. A user-controllable comparison model is available on imgsli.Īgain, you might not like my specific blend choices, but I literally picked this frame at random. The composite strengthens each output where it was weak without compromising any of the areas where it was strong. This image is a 33/33/33 weighted blend of the previous three images. Adobe Premiere might work just as well as DaVinci Resolve for my purposes but I haven’t had time to test it yet. Giving DaVinci the same footage in a different wrapper will also sometimes fix these problems. Manual frame replacement in the video will sometimes fix these problems. It throws random “Media Offline” errors in MKV files for no reason and will refuse to read certain frame sequences that extract perfectly and scan as ordinary files to every file application imaginable. DaVinci will silently change the timing in your video and never bother to tell you that it did so, or why it did so, or whether this could be fixed by using a. I currently have more of a love/hate relationship with DaVinci than I do with Topaz Video Enhance AI because I have a better sense of the things TVEAI is bad at. DaVinci sometimes struggles with maintaining proper frame motion when compositing video. Topaz Video Enhance AI and DaVinci Resolve both struggle with maintaining audio properly through a video encode. You edit sequences of image frames that have already been dumped to disk. One of the great apparent ironies of video editing is that for best results, one does not edit video at all. Then again, I also have mixed feelings about Topaz Video Enhance AI. I have mixed feelings about this application. With a better version of DaVinci Resolve, I might have gotten an extra 12 hours of sleep last week. Without DaVinci Resolve, I couldn’t make some of the improvements I’ve made. I’ve had to rely on other tools to splice in audio because DaVinci doesn’t always understand what to do with audio files attached to video files. I’ve had to unmake and remake multiple clips manually to fix motion errors. I had some luck moving to MOV but have not resolved the problem yet.ĭaVinci Resolve has been critical to my quality improvements and also a giant, sabotaging pain in my ass. It sometimes refuses to decode files properly if they are provided in MP4 or MKV format (Resolve supports MKV as of version 17). It has ruined multiple encodes by introducing motion errors during composition. Resolve, ironically, is not very good at compositing video. My overall experience with Resolve has been problematic, to say the least. I’ve used DaVinci Resolve for this, though I’m considering exploring other solutions. Second is blending footage from multiple models. Janeway with and without noise and grain addition via AviSynth.
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