![]() As I mentioned a very fine filmlike grain is really quite nice, it starts to look like 16mm. ![]() But I will follow your suggestions for some tests. My TV series is 5 hours! And so to run it all through Topaz would be an ordeal. There was a thread here where I submitted stills, but nobody provided a better solution than I can get myself, even though they recommended a very complex method. I am currently, in between working for a living, restoring an old TV series I made around 2006, shot in DVCam. You can see that very often on 4K Netflix documentaries that incorporate DV archive. ![]() Steve Fishwick wrote:Yes Carlo, it's true, it has some very innovative tools, I should experiment more with it However as I say, it's often a time/workflow issue and I have never seen an ideal solution for SD DV interlaced footage. Because, for me, as I said the difference between this and what can be achieved directly in the NLE, is subtle, I prefer to choose the quickest workflow, consistent with some useful improvement, but obviously YMMV. Grain often helps with perceptual sharpness in images. Most of it ends up looking like severe edge enhancement from the old video camera days, which is beginning to happen, I would say, in Carlo's first two examples too.įor DV footage, the best solution I have found is de-interlacing, judicious uprez to HD (4K is not going to happen) and then a very mild filmlike grain applied. It's easy to make an image very plastic looking with these tools. But nothing is really a magic bullet, and as with de-noising less is almost always better than more, the difference between results from all methods are subtle rather then dramatic. It's perhaps best for uprezzing BMD HD slo mo shots to 4K. I bought Topaz on an offer that was going but I hardly use it, since the workflow is cumbersome and slow. Use a black brush of 20-30% opacity and gradually mask those parts.Ellory Yu wrote:I kind of expected anything that does “aI” is calculation intensive and reiterative in its algorithm.ĪI is almost a misnomer these days, at least I would say it's not nearly as intelligent as the marketing would suggest, as you can see from Carlo's third example. You'll find areas with artifacts, fringes, strange colors, and over-sharpening. After applying Photo AI's noise reduction and sharpening globally, you should zoom in to 100% and examine the complete image. The same scrutiny is required when you work on landscape photos. I haven't noticed this myself, but it doesn't hurt to double-check. It is subtle but will become visible when contrast is applied to the photo. One viewer of my YouTube videos pointed out that he gets an ugly checker pattern for every upscaling he does to his raw photos. It will point out flaws in the upscaling. If you use the upscaling feature of the software, it might also be a good idea to take the scaled version into Camera Raw and temporarily apply Dehaze. ![]() If you own Photoshop or other software that allows you to work with masks and layers, load both the original photo and the AI-adjusted version into separate layers and use manual masking to remove the effect where Photo AI went too far. I show my way of dealing with that in the feature video. There's still some randomness to how it applies sharpness and introduces details during upscaling. ![]() It is important to note that the results from Photo AI are not perfect. Within Lightroom, you can even apply adjustments to the raw data, giving you great flexibility. You can use Topaz Photo AI as a stand-alone application, as a Lightroom plugin, or within Photoshop. Many photos, like the one of an eagle below, I took more to document my travels and less for my portfolio because I knew the quality would not be sufficient. While exploring Borneo, a 400mm or 500mm lens would have given me much more possibilities to capture the elusive wildlife. When I was in Malaysia, I longed for a proper telephoto lens. WildlifeĪ great use case for Photo AI is wildlife photos. And the quality I could breathe into some of my more difficult captures positively surprised me. Now, a few months later, as I'm going through the photos of those travels, I decided to try Topaz Photo AI. Sometimes, my Canon 70-200mm f/4 lens wasn't long enough, and other times, I had to bump the ISO past what I felt comfortable with. During those travels, I took many photos, of which some lacked image quality. When they announced it last year, I was still traveling through Asia and didn't have much time to try it out for my photo editing. Photo AI is the recent addition to the growing selection of AI tools Topaz offers. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |