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8bit → 10bit video with temporal noise filtering, stunning results


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I dunno cantsin. I can't get past the codec limitations. For me, all this process doesn't really add anything. If you look at the hand there are terrible compression artifacts in both images, without

For the banding removal mentioned earlier, when you have massive banding, it can be useful to add grain and then apply temporal noise reduction. I applied a very strong grade to one of my X-T2 F-Log c

Neat Video is THE defacto industry noise reduction plugin worth every cent they charge for it. I would rather purchase Neat Video than buy another LED light.  My process is to first run an instan

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9 minutes ago, kidzrevil said:

@Matthew Hartman the end game will always be in pursuit of better quality. I like to test things myself. Its how I learn new techniques to incorporate into my work.

being able to get 10 bit out of the file shows its benefits when grading

Fair enough. I hope you don't think I was being adversarial, I was genuinely curious. 

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Yes, Neat Video is VERY good in going from 8-bit to 16-bit. I've used Neat Image in Photoshop when cleaning up 8-bit jpeg files and it's astonishing how much it can clean them up towards 16-bit stuff, especially shadows. Neat video does some excellent interpolation with bit depths.

And yes, it is CLEARLY doing upscaling in bit depths. Take an 8-bit jpeg, increase the shadows, look at the banding. Now mash that 8-bit file through neat video / neat image in a 16-bit comp / workflow and it will increase those shadows so much more cleanly, it's not even funny.

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Okay guys, let's do the "is it possible?" challenge

Here you can download Andrew's original A7S II SLOG3 banding (and black sun) example video. I have never seen this kind of stripes ever in any of my footages, but this is the toughest example of the problem in 8 bit 420 4K 100Mbps. Do your best with grain and NR, i hope you can make it work.

 

edit: ohh, as i can see, you are unable to download the out of camera file, the "original" files is already re-encoded, so challenge canceled

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36 minutes ago, Deadcode said:

Okay guys, let's do the "is it possible?" challenge

Here you can download Andrew's original A7S II SLOG3 banding (and black sun) example video. I have never seen this kind of stripes ever in any of my footages, but this is the toughest example of the problem in 8 bit 420 4K 100Mbps. Do your best with grain and NR, i hope you can make it work.

 

edit: ohh, as i can see, you are unable to download the out of camera file, the "original" files is already re-encoded, so challenge canceled

Ummm I think we should get Andrew's permission first? 

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3 hours ago, Matthew Hartman said:

Fair enough. I hope you don't think I was being adversarial, I was genuinely curious. 

Not at all I know how crazy and obsessive I must sound trying to figure this stuff out ???

im just as curious about this stuff as well. Especially after reading about display manufacturers with faux 4K & HDR i.e. LG TV RGBW pixel array. If they can fake 4k resolution and 10 bit color on a display level then im sure we can figure out how to do the same in post production

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11 hours ago, Attila Bakos said:

I would use masks/keys and Resolve's deband filter for this kind of stuff.
Just one frame: beforeafter
I did not finetune the key so there is some detail loss here and there, I also modified the sky's color a bit. This is way faster than grain + denoiser.

Awesome results!

I tried your workflow deband workflow + NR + dither, and the results are very nice even with this low bitrate footage

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  • 2 weeks later...

I can confirm @cantsin theory works 

the only thing im finding hard to remove is the macroblocking / compression artifacts in the original footage. I did underexpose these by roughly -0.5 so i’ll try exposing higher next time to see if that will help with macroblocking and compression. I did another grade using heavy temporal noise reduction and course grain and it got rid of compression artifacting on export. Its like this workflow creates new pixels so it doesn’t really matter whats the bit depth of the source file when shot and exposed properly

 

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