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Laserdisc Noise
#1
Is there a way to remove or mitigate laserdisc noise in a capture? I'm trying to avoid using pure noise reduction since that would cut into the grain also.
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#2
What kind of noise are you talking about? The best you can do in order to avoid the noise, will be using high end player, good cables and high end capture card. Here's what I achieved with Pioneer LD-4300D, Prolink Futura RCA Cable and StarTech.com USB3HDCAP.

This is just raw capture to x264 @ 10000 kbps, it wasn't deinterlaced yet.

[Image: aKsaZOg.png]

If you're looking for something to do using software, check out AviSynth and it's filters.
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#3
Thanks for the response Colek. I guess what I'm looking to do is a way to get rid of that analog noise that is part of laserdiscs. Try to separate the noise from the grain in a capture. I see this a long time ago on the ot

http://originaltrilogy.com/topic/LDnoise...h/id/16162

I know althor has since moved to direct capture from the circuit inside his ld player. That lowers the noise but doesn't eliminate it.

And if I'm thinking aloud can two captures be done of the same video and subtract the noise out that comes from the composite connection. Kind of like the combining 5 samples method
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#4
I am pretty sure that it's video we are talking about here, so I don't think you'll be able to hear it Big Grin
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#5
Lol I was thoroughly confused. Thanks for clarifying!

That's what I get for skim reading on my phone during my commute home.

Previous post deleted.
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#6
Yeah it was video noise I was talking about. Should of made that clearer. My fault
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#7
It was clear. I was just distracted at the time. Sorry.
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#8
Multiple capture technique works great, but for the best results you must use different copies of the same edition, or, better, different editions, even from different countries and/or TV systems, and possibly using different players (high quality ones are the.best.choice, obviously).

The result, compared to the best edition captured using the best player could.be astoumding... the temporal and spatial alignment could be a nightmare, though! Big Grin
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#9
(2016-01-22, 09:39 AM)spoRv Wrote: Multiple capture technique works great, but for the best results you must use different copies of the same edition, or, better, different editions, even from different countries and/or TV systems, and possibly using different players (high quality ones are the.best.choice, obviously).

The result, compared to the best edition captured using the best player could.be astoumding... the temporal and spatial alignment could be a nightmare, though! Big Grin

What do you suggest to use multiple capture techinique? Any AviSynth script for that?
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#10
What is being suggested here is something that I have done on multiple projects myself, with impressive results in some cases.

Basically, you capture different sources individually and then you have to align EACH ONE to where the framing of all of them match EXACTLY to each other AND you sync them FRAME TO FRAME. This can be tricky because different sources may be coming from different masters and they might not always align properly where you have extra/missing frames (depending on which source you decide to use as your "master" track) and they may be framed differently which can add difficulties to the process.

HOWEVER, IF you manage to align the frames and sync them to each other (here an NLE app, like Sony Vegas comes in very handy, because you can SEE the individual frames on numerous video streams SIMULTANEOUSLY, which makes syncing them soooo much easier) then you OVERLAY the videos (using anything from a 70-30, to 60-40, to 50-50) one on top of another one, which helps cancel out some of the noise, can help improve the overall resolution due to different parts of the picture "coming together as one" when overlayed onto each other and helps mask out certain artifacts. Do TWO sources at a time and then add any potential extra source to the RENDERED file of two sources. So if you overlayed source A with source B, you take that AB and then overlay source C onto it. If you were to add a fourth source, then you would take the rendered ABC and overlay it with source D and so on.

This is all assuming that they color match each other, which if they don't I recommend using DrDre ColorCorrectionTool.

The more sources you have, the better, because at that point you can use SuperResolution to upscale the footage to 1080p and actually get a pretty decent result.

I can give you a fairly detailed tutorial on how to do this using the SR app, DrDre's CCT, and Sony Vegas; although there are multiple ways of achieving the same result and if you're interested in AviSynth scripts then I am NOT the guy to ask about that, as we have waaaaaaay more experienced AviSynth script members here.
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