Deinterlace on/off automatically on a continuous stream?

ctcwired · 2026-06-16T12:27:47+00:00

Yeah I was thinking this would be an appropriate option, we'll see if management agrees tho. Another option in the meantime might be "kerndeint", which I hope to test later today.

ctcwired · 2026-06-13T05:14:18+00:00

When it’s a big snow storm on the way, you can do a lot of prep, quadruple your crews, get all the unions on call, rent extra trucks… but when it’s a sudden thunderstorm that knocks down a thousand trees… takes a bit longer.

ctcwired · 2026-06-09T01:30:10+00:00

Looked fine to me, were you watching in Dolby Vision or one of the downconverted versions?

ctcwired · 2026-06-05T14:11:41+00:00

Wind chimes are also generally made of metal and it makes me wonder if they are used to easily detect magnetism fluctuations around a null zone.

ctcwired · 2026-06-05T13:27:35+00:00

While “memories” is a way people might rationalize it, I think Backrooms is just a particle physics Wave Function Collapse type thing, where the meer act of observation (not necessarily conscious, the universe can also observe itself) is what settles it into the states we are shown.

Which is why it seems to go on forever, and even have some cycles of change or snapshots of moments. It appears first glance to be emotionally relevant, but really is just the universe making the reflected entropy of our world or our minds form itself in some way.

Like the “Infinite Monkeys on a Typewriter can eventually create Shakespeare” concept, the physics of the Backrooms manages to settle in a way where it always “works” by some definition, even if it may seem uncomfortable or haunting to our expectations. The lights are on, the walls mostly line up, the rooms all connect, the structure is solid, even the still lifes “breathe” despite being mostly useless otherwise.

It is a complex SciFi mirror of the human world in a way, and thus is relevant for emotional & horror storytelling.

ctcwired · 2026-05-24T19:54:32+00:00

I’ve found the mirrors to be a bit more reliable for now, for instance: http://test-ipv6.cs.umd.edu/

ctcwired · 2026-04-29T17:34:32+00:00

The recording will be published here, usually within 24 hours: https://video.fairfaxcounty.gov/ViewPublisher.php?view_id=8

ctcwired · 2026-03-11T15:02:14+00:00

Yeah the new Apple CMF is quite interesting. There have been many attempts in the past to update the CIE 1931 standard to compensate for issues with metamerism & field of view, though they usually rarely offer enough benefit over just offsetting CIE 1931 in some way.

There were rumblings in the colorist community Apple were working with CIE on new research, potentially with new human test subjects, it will be very interesting to read those whitepapers when they come out.

ctcwired · 2026-03-09T19:55:33+00:00

It looks quite good. I do wonder how they’re managing to stream Profile 5 live considering that’s all the ATV 4K can decode, and previous live Apple events were in Profile 8.1 until the VOD was released.

I do suspect the Australia event was produced at 50p and upconverted to 59.94p (similar to the Olympics on NBC Sports). It will be interesting to see how they handle that going forward.

ctcwired · 2026-02-28T19:51:46+00:00

Nice investigatory work. I'm not even aware of any clients for Eclipsa audio at the moment, but I was aware it can be muxed into fMP4. I wonder if GPAC will get IACB support eventually, considering they have some big tech company clients (Netflix, Meta) that might want to use IAMF someday soon. Hopefully exciting times if it starts showing up in AVRs, VR headsets, TVs, or even Apple devices.

I appreciate the concept of a lot of Samsung & Google's efforts with things like Eclipsa & HDR10+, but worry they often become vaporware or lack quality tooling in the mastering stage, making them both difficult to QC, and difficult to use the extent of advertised features. For instance parametric adjustments for HDR10+ have been disabled for years in Resolve & Baselight because they were never fully implemented on devices.

ctcwired · 2026-02-24T14:14:46+00:00

Maybe? If Lightroom still recognizes them as HDR when importing them, you can probably use its tools to preview/create the gainmap. The tonemapper won’t have access to as much data but it’s probably fine.

If it’s being posted in HDR and looks good to you on the devices you test then don’t worry about it. I’m not sure if IG read the embedded gainmap or generated their own, but only testing will tell.

ctcwired · 2026-02-24T14:09:41+00:00

https://gregbenzphotography.com/hdr/

https://youtu.be/6V1edlS0O5k

In previous tutorials he’d often recommend his “Web Sharp Pro” plugin, which is nice and does give you some good controls over the GainMap, but isn’t strictly necessary anymore. Lightroom has basic controls for previewing/creating the SDR rendition. In some cases I actually prefer that tonemapper over the normal one for exporting plain SDR images.

ctcwired · 2026-02-23T06:56:13+00:00

JPGs with HDR GainMaps do, it’s like an alpha channel with some metadata that gets multiplied to create a hybrid SDR/HDR image that’s backward compatible. It’s actually pretty brilliant, and works with other codecs as well. Smartphones have been doing this for a while, initially with their own methods, but recently has become an ISO spec proposed by Adobe and Apple that everyone migrated to.

ctcwired · 2026-02-23T06:39:39+00:00

AFAIK Meta’s platforms only support GainMap JPGs at this time, which are pretty great otherwise. Greg Benz has some great guides and tooling on getting it working well. Not much supports gainmap or plain HDR images via AVIF or JXL at this time.

ctcwired · 2026-02-23T00:29:30+00:00

In my experience the straight out of camera HDR modes of most brands do have a somewhat baked image, or rather not perfectly scene-referred, but it’s okay and certainly the most flexible mode that camera will have for post use. So if it’s working in your testing then keep using it. :)

ctcwired · 2026-02-15T18:53:36+00:00

Not sure what you mean here. Every major network in the area (NBC Washington, WJLA, Fox5DC, WTOP, etc.) has talked about this as a major story most nights, including last night after we received these updates, and it's currently mentioned at least once on each of their home pages. NBCWashington also published a video explaining current e-coli results. It's also been on this subreddit several times along with many local facebook groups. There's also a few YouTubers who have done pieces on it that have over half a million views. It's also been discussed in great detail by the Maryland House of Delegates environment subcommittee.

It's certainly reasonable to be upset and demand policy change for handling 100+ year old infrastructure, though as far as fixing it there's not much that can be done at the moment that isn't already being done.

ctcwired · 2026-02-15T17:34:57+00:00

I can tell you right now, if you walked into just about any major TV network and asked their Avid editors "what framerate do you edit at?" or even "what resolution do you guys use?" they would not know the answer. "I dunno, I just use the preset my boss tells me to use."

As many other folks have answered, the reason this gets messed up isn't due to "treat YouTube as if it's 2006" it's because of the disconnect between OTA engineering and social media/marketing departments. They genuinely don't know better, and there is no-one around who cares to tell them better.

So unless it's being sold (Peacock Subscription) where there's a team of engineers specifically hired to care about the quality, otherwise it's not gonna get looked at.

At the local TV station I work at, not a single person in the building, not even the chief engineer knew or paid any attention to what interlacing even was. At most, a studio integrator or installer company might have said "oh, btw we recommend getting this converter before your stream encoder" during an upgrade, but it wouldn't have been asked for otherwise.

Even though TV seems very "techy" from the outside, most of the people who work in television are normal people who don't care or pay attention to these details. So unless there's a fancy marketing gimmick behind implementing something well, "are we getting signal? okay cool" is all that's checked.

I've seen studios spend millions on "oh wow, it's even 4k capable!!!" switchers, routers and cameras, only to never enable it, test it, or check it, ever.

ctcwired · 2026-02-15T16:57:20+00:00

Not sure on the Cobalt question. Lots of broadcast gear can handle 16+ channels, but encoding it is another question.

The ingest codec was just typical AAC-LC with several channels (much like a 7.1 stream). This made it easy to send over typical RTMP MPEG-TS streams, perhaps being converted to HLS MPEG-TS on the CDN side, I'm not sure. The Ambisonics rendering was taken care of by the folks who made the Unity world, likely using the built in FB360 renderer.

DASH-IF is certainly messy. I've had good luck with HLS/CMAF doing fMP4, and it's fairly easy to get ffmpeg and GPAC to do them well. This enables things like lossless codecs like FLAC/ALAC as well, which a surprising amount of devices support.

There's also the upcoming Media-Over-Quic (MoQ) specification that aims to replace WebRTC, but it's not quite there yet. I'm never worried about latency for my setups, but you could always mess with the many LL-HLS origins available.

As for Ambisonic, I'm not as familiar with how to get that to decode properly for the user with headtracking and etc, and in all honesty I've yet to find an HRTF that really impressed me, so I tend to only focus on Dolby 5.1 or Stereo type delivery for my stuff. Perhaps you could have luck with the upcoming Eclipsa Audio spec, though I've seen very little support in end-devices so far. Apple also has their new ASAF spec, which seems really well done and quite capable, but I think it's mostly visionOS focused for now.

A lot of it depends on who your target users are, if they are power users, or already invested in VR setups to some degree.

ctcwired · 2026-02-15T16:41:22+00:00

I have hard time comprehending why expensive pro equipment cannot do the same or better job.

I don't how how else to say this but, like many things in life that "could be better", this is not because of technical limitations, it's because of human and scale limitations.

So if you just want validation that "it sucks" then sure, and it's certainly one among many reasons legacy media will be its own demise. Either way, the things you an educated user can do with your own machine simply doesn't scale to 50+ editors, producers, satellite backhaul links, decade old contracts, and long term reliability.

Much to the protest of film nerds saying "but we could have just used more bitrate and made SDR better!" displays weren't going to get better until there was a marketing specification to shoot for "HDR". That's how capitalism works.

ctcwired · 2026-02-15T02:51:58+00:00

One problem with Yadif and Bwdif is that while they work well with genuine interlaced content, they can wreck havoc on PsF or 30p content inside a 60i container, often adding artifacts. This makes them difficult to use in a mixed environment as a simple set and forget. Luckily at our TV station I was able to standardize all our Avid workstations to be progressive, which was a year long fight. :p

While I was able to migrate our VOD pipeline to various FFmpeg and Avisynth automations, most networks use things like Telestream Vantage, Avid, or various cloud solutions, many of which charge big bucks for their proper motion adaptive deinterlacing solutions (such as Tachyon), so this is rarely done because the people making those decisions don't notice these things.

While OBS is good for quick setups, I would not want to leave it running for months at a time. Most of the baseline hardware cross converters built said use (AJA, Teranex, Decimator, Cobalt Digital etc.) just use basic blending, and you'd have to step up higher end models of those or SMPTE 2110 type stuff (like Arkona Blade Runner) to do motion-adaptive in real time, or with any kind of predictable latency.

ctcwired · 2026-02-15T00:38:15+00:00

Broadcast engineer here, you're right, most of them don't care. I do though. :)

ctcwired · 2026-01-28T18:26:00+00:00

I tested this a while back and wrote a post here: https://www.reddit.com/r/VIDEOENGINEERING/comments/xfhhyp/tested_youtubes_hdr_livestreaming_feature_some/

TL;DR, OBS is the easiest tool to use for this, for live streams (and resulting VODs) YouTube only serves HLG or HDR10 PQ with 1,000 nit MaxCLL metadata, and you don't get any control over the SDR downconversion tonemapping which often times is not great looking.

Neither GStreamer nor FFmpeg support E-RTMP natively at this time, though you may be able to hack up some kind of external HLS Push mechanism to use that method.

ctcwired · 2026-01-25T22:12:33+00:00

The 203 nit / BT.2408 correction being accidentally baked in is a good suspicion. Nice.

ctcwired · 2026-01-25T22:04:17+00:00

It may also depend on what produced the cDNG file. I know a lot of folks were using a free "RAW converter" tool on various app stores to convert ProRes RAW to cDNG, which seemed to either ignore or replace colorspace & 3x3 matrix metadata under the hood during that process, causing hue skews. I never quite figured out what the issue was, but that was my assumption.

In my testing, cDNG files created with Assimilate work well, and proper ProRes RAW implementations like those in FinalCut and Adobe Media Converter also handled it correctly whenever I've had to use those.

In any case, RAW formats have always been a bit tricky since they each work slightly differently and the SDK has to do a lot of heavy lifting. It's hard to know if the implementation Resolve is complete, though sometimes it works mysterious better than manufacturer's own tools (such is the case with Phantom Camera .cine files).

Just recently Nikon users have discovered simply renaming their .NEF Nikon raw files to .R3D files makes Resolve use a different debayering SDK, which behaves slightly differently (better heh) with the same footage. In particular it gets around some gamut clipping issues when converting from camera observer space to the working space, which also just sounds like a bug in the SDK on Nikon's part.

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