It's the manual repair tools that set them apart. The main difference is in the metadata & clip handling, and the GUI functionality with masks/ tracking /roto /paint. The "automatic" filters actually aren't that much different that what avisynth has to offer. Very labour intensive for high quality repairs It might sound counter intuitive, but that's how it works. digital projectors and 4- to 8-meter screens for real-time work and film. The more expensive the software, the more manual work (roto / masks / painting) is involved. Image restoration using Diamant and Phoenix stations and, depending on the. Most restoration studios have a few seats (not just 1 guy/gal doing work usually a few people doing the restoration work along with a few other specialists like a colorist, compressionist) (e.g pfclean, davinci revival, hs-art diamant, digital vision phoenix, drs nova ).
Diamant digital film restoration software#
Avisynth is just a tool, used in combination with other toolsĭedicated restoration software suites can cost $10K - $50K per seat. Avisynth isn't selective enough with masks or roto. Is it possible to remove all these artifacts: with AviSynth?
There is no such thing as "push button restoration." However, you do need skill, and some things will require some artistry. This is still required in some cases, even with commercial versions of the software I linked to.īottom line, unless you need colorization, you can get 90% of what you see in these restoration featurettes simply by using the software VideoFred developed. I was comissioned to hold a digital restoration workshop for Diamant Film Restoration software for the Korean Film Archive, Seoul.
I've only done one restoration project for Hollywood, when I provided some of the film Sony Pictures used at the start of "Concussion." Since I was being paid, I restored each frame by hand. by using a frame from a different source. Each product has been designed around a feature set for specific jobs and budgets. With a familiar timeline based interface, the artist and archivist can easily review and touch things up in context if required. It would be really nifty to be able to fill in burned frames, splices, projectionist marks (on prints), etc. Featuring our multiple award winning DVO technology, Phoenix is designed to produce great results fast with less manual intervention. However, they do have access to two additional things that you or I don't have, both of which make a huge difference: multiple prints of the same movie, and lots of hands to do the work. There isn't much difference between the software in the two links I gave you and the software used by the pros, although I suspect they may have motion tracking built into their software, something that could be very useful for certain improvements. I'm talking about professional film restoration.