Great video, a really interesting insight and tutorial. It can be a bit of a struggle for more laymen-types to get their heads around this stuff, but I found the map you provide really useful, as I'm also a visual learner, especially for processes such as this. Look forward to seeing more!
I watched this for the 2nd time after doing some decent research into video transfer methods and deinterlacing. This is by far the best video guide to optimising archival camera footage out there and thankfully is using the best tool out there by far being hybrid. Your comments on hybrid filter options and chatGPT are also spot on. It has a ton of info regarding this tool and far easier to use for research than blind google searching. Oh one thing ChatGPT did say was that using bob before deinterlacing was the optimal approach for smoothest movement. Thankfully hybrid allows the combining of these processing options. Thanks very much by the way.
@@TheBukman Thank you for this comment. Im really making an effort to give practical guides that are complete. My next tutorial will be a beginning to end HDV to 4k remaster of an old film I shot with the Canon XLH1 in 2007 along with a surprising discovery about this camera’s color science. (Far ahead of its time).
(29:45) Bob deinterlacing doesn't cut the frame rate in half, but rather doubles it, giving you an extremely stable 60p output when using QTGMC. This would provide more temporal resolution which should result in less artifacts when interpolating to 24 FPS.
Yes thank you! Did I say halves it? I meant double. You are spot on with the advantage of doubling temporal rez when Bobbing to 50 or 60p. Nice catch thank you Kooz!
I am not someone who comments on RUclips videos but I just want to say thank you so much for this extremely detailed instructional video on how to use Hybrid with Vaporsynth QTGMC.I have been using Avisynth with VirtualDub but I think I am going to make the switch over to Hybrid due to how much easier this is and Avisynth does not play well with multiple audio tracks, specifically tape formats like professional recordings on Umatic. I am in the beginning stages of starting a video transfer business with my buddy and this is one of the most difficult parts of getting our clients professional results. I take this approach: I give them the raw archival footage and the upscaled and deinterlaced x265 for easy viewing. I tell them to put on the cloud and when video processing get exponentially better in 20 years you can give someone the files and have them make it "better" than the "viewing" files that you currently have. Thank you!
@@chrisjaeger7795 you got it exactly! Good luck with your new venture! Thank you for your service to the tape archival rescue! Im about to release a 6 part series on hdv transfer and remaster to color so hopefully you will glean more knowledge or inspiration from my mistakes!!!
Thank you for this really helpful video. Been using Hybrid for a while and it is an excellent piece of software. Would like to request a video on your approach to using Hybrid for an Inverse Telecine process on video SD content that came from film (which means it has the 3:2 pulldown as part of the video), creating a final clean 24p output file.
Thank you for sharing the invaluable experience! One question though: at the crop/resize tab, you talked about choosing the bicubic resizer over lanczos one, ok. But then in the Vapoursynth area (at the Resize subtab), you talk now about choosing NNEDI3 resizer. Now which of the two tabs actually matter for the resize settings and which resizer will be used, provided that we have activated Vapoursynth? Thank you!
@@sergeypianovaria hey! I think I do that out of habit but now that I think about it I believe nnedi upscale settings override. Ill need to read more about that pipeline to give you a more informed response!
@@zhalberd Yes, that's correct. I tested all of the resizers in Crop/Resize to see how they compare and discovered that when one checks that Resizer box in Filtering-Frame-Resize it overrides whatever you selected in Crop/Resize.
excellent information and presentation :) do you have anything that covers actually getting the original footage? i've been trying to use VirtualDub2 but most of the compression formats i try either show up as progressive in MediaInfo or don't seem to be very receptive to de-interlacing within Hybrid. so i guess that's the main thing i'm attempting to do: get a good quality interlaced copy of the original footage that i can manually work with in Hybrid. thanks in advance! :)
@@locommotionmusic hi! Thanks for your comment. Correct me if I misunderstood but are you asking me the best method to capture the archival source in the first place?
Yes I think this is what was asked. I am interested in that also. It seems these tools like hybrid start with a source file that was captured in some sort of interlaced format from tape which is then processed by your hybrid process presented here. If would be great to get some suggestions on that initial tape capture step. Eg what codec and file format and what resolution is best to capture from tape with. Also would you upscale during the tape capture process? Some capture tools provide many options and it can get confusing if the intention is to use tools such as hybrid to do the main processing step. Plus as you say you should capture with no processing initially to be able to use new processing tools later that come along. I would love to know what that initial tape capture to digital should be for future proofing.
@@zhalberd correct. i realize the premise of this video was that you were working with source material being provided to you. but as @TheBukman described it can be quite the challenge to capture good quality source material first. fwiw after a LOT of tinkering and tweaking I have had a little better luck getting _decent_ OCF and getting Hybrid or StaxRip to play nice with the footage. but it still seems pretty hacky on my part! :D
Hey yall. I've made a video for you based on this request. I realize that this was a critical component of the workflow so I hope this helps! ruclips.net/video/zB42-A5VOsQ/видео.html
I work primarily in the film business with post production facilities that only accept ProRes as a deliverable. Sometimes I have clients who are PC/Windows based and they demand DNxHD or DNxHR. I will work with any format a client requests! In a perfect world I would prefer to stick with open source formats.
@@zhalberd I capture in losslessly compressed Huffy and one thing that sucks if you want to use davinci resolve is the lack of support for lossless codecs.
Why do video editors like to work with 23.98fps instead of 29.97fps which is what 99% NTSC video tapes are? Changing frame rates usually degrades the video. Why not keep original fame rate?
Great video, a really interesting insight and tutorial. It can be a bit of a struggle for more laymen-types to get their heads around this stuff, but I found the map you provide really useful, as I'm also a visual learner, especially for processes such as this. Look forward to seeing more!
Thanks for stopping by!
I watched this for the 2nd time after doing some decent research into video transfer methods and deinterlacing.
This is by far the best video guide to optimising archival camera footage out there and thankfully is using the best tool out there by far being hybrid.
Your comments on hybrid filter options and chatGPT are also spot on. It has a ton of info regarding this tool and far easier to use for research than blind google searching.
Oh one thing ChatGPT did say was that using bob before deinterlacing was the optimal approach for smoothest movement. Thankfully hybrid allows the combining of these processing options.
Thanks very much by the way.
@@TheBukman Thank you for this comment. Im really making an effort to give practical guides that are complete. My next tutorial will be a beginning to end HDV to 4k remaster of an old film I shot with the Canon XLH1 in 2007 along with a surprising discovery about this camera’s color science. (Far ahead of its time).
(29:45) Bob deinterlacing doesn't cut the frame rate in half, but rather doubles it, giving you an extremely stable 60p output when using QTGMC. This would provide more temporal resolution which should result in less artifacts when interpolating to 24 FPS.
Yes thank you! Did I say halves it? I meant double. You are spot on with the advantage of doubling temporal rez when Bobbing to 50 or 60p. Nice catch thank you Kooz!
I am not someone who comments on RUclips videos but I just want to say thank you so much for this extremely detailed instructional video on how to use Hybrid with Vaporsynth QTGMC.I have been using Avisynth with VirtualDub but I think I am going to make the switch over to Hybrid due to how much easier this is and Avisynth does not play well with multiple audio tracks, specifically tape formats like professional recordings on Umatic. I am in the beginning stages of starting a video transfer business with my buddy and this is one of the most difficult parts of getting our clients professional results. I take this approach: I give them the raw archival footage and the upscaled and deinterlaced x265 for easy viewing. I tell them to put on the cloud and when video processing get exponentially better in 20 years you can give someone the files and have them make it "better" than the "viewing" files that you currently have. Thank you!
@@chrisjaeger7795 you got it exactly! Good luck with your new venture! Thank you for your service to the tape archival rescue! Im about to release a 6 part series on hdv transfer and remaster to color so hopefully you will glean more knowledge or inspiration from my mistakes!!!
Thank you for this really helpful video. Been using Hybrid for a while and it is an excellent piece of software. Would like to request a video on your approach to using Hybrid for an Inverse Telecine process on video SD content that came from film (which means it has the 3:2 pulldown as part of the video), creating a final clean 24p output file.
Can you explain the next step? VHS processed by Hybrid is ok, but a basic color correction in DaVinci Resolve Studio?
@@matti157 hey! That’s a great idea. Ill be sure to add this to my episode idea sheet
Thank you for sharing the invaluable experience!
One question though: at the crop/resize tab, you talked about choosing the bicubic resizer over lanczos one, ok. But then in the Vapoursynth area (at the Resize subtab), you talk now about choosing NNEDI3 resizer. Now which of the two tabs actually matter for the resize settings and which resizer will be used, provided that we have activated Vapoursynth? Thank you!
@@sergeypianovaria hey! I think I do that out of habit but now that I think about it I believe nnedi upscale settings override. Ill need to read more about that pipeline to give you a more informed response!
@@zhalberd Thank you!
@@zhalberd Yes, that's correct. I tested all of the resizers in Crop/Resize to see how they compare and discovered that when one checks that Resizer box in Filtering-Frame-Resize it overrides whatever you selected in Crop/Resize.
@@videocaptureguide thank you for confirming! These notes are good for the community 👍🏻
Cool thanks! My vids are all hi8
@@AllenMichael ur music is rad. Are you running your recordings through tape format prior to transfers?
@@zhalberd thanks. I record my music on tape, then mix it to tape; then send the tape to mastering.
Yes please could u do a music video
Haha. I have a terrible voice. Not sure this is a good idea.
I mean deinterlace a music video from a vhs
@@britsluver yes I could do that for sure
excellent information and presentation :) do you have anything that covers actually getting the original footage? i've been trying to use VirtualDub2 but most of the compression formats i try either show up as progressive in MediaInfo or don't seem to be very receptive to de-interlacing within Hybrid. so i guess that's the main thing i'm attempting to do: get a good quality interlaced copy of the original footage that i can manually work with in Hybrid. thanks in advance! :)
@@locommotionmusic hi! Thanks for your comment. Correct me if I misunderstood but are you asking me the best method to capture the archival source in the first place?
Yes I think this is what was asked.
I am interested in that also.
It seems these tools like hybrid start with a source file that was captured in some sort of interlaced format from tape which is then processed by your hybrid process presented here.
If would be great to get some suggestions on that initial tape capture step. Eg what codec and file format and what resolution is best to capture from tape with. Also would you upscale during the tape capture process?
Some capture tools provide many options and it can get confusing if the intention is to use tools such as hybrid to do the main processing step.
Plus as you say you should capture with no processing initially to be able to use new processing tools later that come along. I would love to know what that initial tape capture to digital should be for future proofing.
@@zhalberd correct. i realize the premise of this video was that you were working with source material being provided to you. but as @TheBukman described it can be quite the challenge to capture good quality source material first. fwiw after a LOT of tinkering and tweaking I have had a little better luck getting _decent_ OCF and getting Hybrid or StaxRip to play nice with the footage. but it still seems pretty hacky on my part! :D
Hey yall. I've made a video for you based on this request. I realize that this was a critical component of the workflow so I hope this helps! ruclips.net/video/zB42-A5VOsQ/видео.html
Why go ProRes and not a lossless intermediate codec?
I work primarily in the film business with post production facilities that only accept ProRes as a deliverable. Sometimes I have clients who are PC/Windows based and they demand DNxHD or DNxHR. I will work with any format a client requests! In a perfect world I would prefer to stick with open source formats.
@@zhalberd I capture in losslessly compressed Huffy and one thing that sucks if you want to use davinci resolve is the lack of support for lossless codecs.
Prores is good it’s just not mathematically losslessly compressed.
Why do video editors like to work with 23.98fps instead of 29.97fps which is what 99% NTSC video tapes are? Changing frame rates usually degrades the video. Why not keep original fame rate?
Because they were originally recorded at 23.976. The 29.97 frame rate is the result of 3:2 pulldown. You’re restoring it to its original state.