Should i use detelecine

It's way more complicated than encoding HD which is generally all progressive. Stepping through the material, each frame is unique and there's visible combing in almost all motion. I know there is a method of using Bob and doubling the framerate, but I didn't care to keep the soap opera effect. Every 4th and 5th frame is combed. But if I use --filter detelecine at If I run --filter detelecine at I'm thinking of avoiding --filter detelecine in this case may be a better choice since the material really doesn't seem to have a consistent pattern.

Let me know if any of that doesn't sound right as I figure out what's the best way to handle these :. Stick with it, I guess! Skip to content. Star 2. New issue. Jump to bottom. Labels help wanted. Linked pull requests. Copy link. Also try Decomb set to Default, this will smooth out interlace artifacts. Goo wrote: Also try Decomb set to Default, this will smooth out interlace artifacts.

I didn't see much of a difference with detelecine set to default, so i played with that setting, and then deinterlace. Yeah; those are artifacts caused by interlacing or rather, caused by poor deinterlacing. Handbrake's decomb filter is actually the one you probably want to turn on: it's capable of looking at the content of each frame to determine if it's interlaced, and, if it is, runs what is essentially the "slower" deinterlace filter.

But, you also lose some detail and sharpness in the process. So I've always left it off. However, I had no idea that leaving those other filters on could drop file sizes that much when the advanced settings, speed setting, and CQ were exactly the same. This must be a pretty odd BluRay. Something sounds screwy here. You didn't really do a "test encode". You did a "test re -encode".

That's why I always left detelecine off. Also, since HD doesn't usually have any interlacing that is also why I leave decomb off as well. But it resulted in better looking playback at smaller file sizes even though all settings and RF cq were left the same.

Same thing. Smaller file sizes and better looking playback. I haven't had that good of performance with VidCoder with BDs. With Vidcoder, I use a I do leave detelicine and decomb on. Both look good to me. Maybe with enough fine tuning the two conversions would have similar results. No matter what you're re-encoding even if it's an encode you are re-encoding the same source with and without the "D"s enabled and comparing the two new encodes? If you just leave the framerate as "Same as source," though, HandBrake will drop those duplicate frames and only those duplicate frames, with no extra dropping or copying of frames.

We call this process Variable Frame Rate detelecine. Simply leave the framerate set to "Same as source," and HandBrake will do variable framerate detelecine, dropping duplicate frames from the hard telecining process. This will happen when you mix progressive and interlaced content, or when film is converted to video telecining.

For example, if an NTSC Video source is entirely hard telecined from beginning to end, you can convert it from 30fps to 24fps, recreating the original film speed and frame order.

The difficult part is, most sources aren't entirely telecined. Parts will be supposed to run at 30fps. Other parts can be safely brought down to 24fps. For example, title cards might have been done on a computer at 30fps, while live- action material was shot with a film camera at 24fps and then telecined. Other times, part might be progressive 24fps soft telecined. Even if a source is entirely hard telecined, HandBrake's detelecining filter is stateless, and will produce variable output: if part of a scene has no movement, it won't detect any telecining since there will never be any combing, even in duplicate frames.

If you bring the entire source up to 24 frames per second, the part that is supposed to run at 30fps will be displayed too slowly. If you bring the entire source down to 30 frames per second, the part that is supposed to run at 24fps will appear jerky.

The solution is to leave everything at the speed it was meant to play at. Leave the soft telecined parts progressive, detelecine the hard telecined parts to be progressive. When this is done within one movie file , it's called variable frame rate. The frames per second vary between 24 and A place for everything, and everything in its place. Tech Community Register Log in. XVideo Pulldown of Parameters. FaceBook Share. For every 4, 1 is added.