 Hello everybody welcome to another exciting edition of logic live my name's Andy and I want to thank everyone before we get started, I just wanted to thank everyone for all the messages of support that we got after the the logic life from last week. A lot of work goes into putting these out and I really meant a lot I just want to say thank you again to everybody who reached out I'm glad to hear that everybody's enjoying these. And let's keep this party going so if anyone has any suggestions for things they'd like to see in a future logic live, send me a message, you can do it on Facebook or logic bfx at gmail.com. All right, this episode of logic live is brought to you by our sponsor synthesis Oceana. They're my, they're my own personal reseller, we've been working with them for about 15 years. We could not do our jobs without them they help us keep our offices on both coasts running. And they've also been huge supporters of the flame community forever of synthesis has sponsored flame user group meetings in New York and like the first ones we got going in New York they couldn't have done it without them. We've also got user groups going in Detroit and Chicago Atlanta Dallas Toronto, and I'm sure other places as well. And I've always provided prizes for the one frame of white contest that we run, and including just a bunch of logistical support so you couldn't find a better friend than the friends over at the team over at synthesis, synthesis Oceana provides solutions to keep teams connected and working. Find out more about the remote workflow solutions at synthesis.io, supporting flame artists since 1997. All right, I'm going to stop my share here and I'm going to invite Tim to come on board if you want to start your video Tim. Here's Tim. Hey. Good evening everyone. How are you doing? Good evening. Tim's joining us from Melbourne, Australia right now. And he is the lead developer over at ABsoft, or a lead developer over at ABsoft on working on Neat Video. I just want to say thank you very much for joining us and for willing to come on board here and show all of our friends here on Logic Live a bit more about Neat Video and what they can get out of it. As I said to you in our chats leading up to this, I'm a huge fan of Neat Video and the only thing I've ever done with it is sample an area and press, you know, build profile and then okay. You know, never really gotten any deeper with it. And so I'm really excited to share with everybody what you showed me as you can see all the kind of things you can do with Neat Video and how to get the most out of it. All right. Perfect. Thank you, Andy. And yeah, thank you for organizing this session and giving us a chance to sort of voice our vision of Neat Video and share it with everybody else. I hope that everybody is well and okay and healthy in this crazy time. And so hopefully it will be all over sooner or later, better sooner. But okay, let's start. Let's start. And I assume that most of you know Neat Video's workflow, at least the basic workflow as Andy has just mentioned, the most important steps. And it's basically a two-step process. So the first step would be to build a noise profile. And I'll quickly show it to you. So I'm using Premiere Pro for my tests and development, but the interface is the same, regardless of what you use. So first step is click this button, Auto Profile. It finds an area. Then you go to Adjust and Preview tab. If everything is looking good here, then you click Apply. So that's the most basic workflow with Neat Video, pretty simple, couple buttons. And in most cases, it's actually all that is required. So now Neat Video, as you have seen the user interface of it, it's actually very flexible and customizable. It supports many different scenarios. It can work with many different types of footage and different types of noise. And that's why it has very many parameters in user interface. But most of these sliders, so the good news is that the most of these sliders, they only designed to deal with very specific problems. And if you're not facing these problems, you should just leave these sliders at default values. And the key to success with Neat Video is not to know how to touch and play with all these controls, but it's actually getting just a few of these controls right. And that's just doing this will help you to achieve 95% of success with Neat Video. And today I'll actually try to focus on showing you this most important controls and settings in Neat Video so that you can get most out of the plugin in the shortest possible time. So the most, the single most important thing with Neat Video is to use a good noise profile. Noise profile is a description of noise for Neat Video. It's some information that helps it to distinguish and differentiate noise from details. And it's difficult to overemphasize this that it's very important to build a good noise profile, although still on YouTube, you know, we often see people just doing it incorrectly, just using areas on details and clicking the bottom stage shouldn't be clicking. So I'll just quickly once again review the steps needed to build a good noise profile. So the first step is actually you do it in your video editing software, like in this case it's Premiere Pro, so you choose a good frame for profiling. And what you're looking for, you're looking for a frame that contains featureless areas of strong noise, large featureless areas of just noise. So these areas, they shouldn't contain any details. It should be pieces like patches of wall, patches of sky without clouds, and so things like that, so something without details and just noise. So in that case, my example, so my, what you want to see on the screen is the video from the link that Andy had shared with you at the beginning. And I'll be just using this video. It's in this video, it's basically showing just one scene and any frame of this video shows this wall. And this wall is perfect. It's a perfect area where we can build a noise profile. So I'll just select some frame in the middle, click prepare and build. And I'm getting into neat video. So your screen by default may look a little bit different. So I'm looking at two by two mode, so it's the original picture and then why channel CR channel and CB channel. And if you want your screen to look like mine, it's this button here in the top in the bottom left corner, and you can switch, switch the mode here. So from here, here, so whatever, whatever is more convenient for you, but I'll be using two by two mode. So the first thing, so let's just find an area to build a noise profile. So I see that this area here in the top left corner is actually quite good. So it's not too light and it's not too bright. So the noise here looks quite strong. So let's just try using this area. I selected and I click build profile. So the profile is now built. Hey Tim, could I ask you a question. I'm sorry to interrupt it. It says noise level 2.5. What is that 2.5 based on. Okay, so it has some meaning, but it's so it has to do with statistics. I don't have like some absolute meaning, but it's basically the higher this noise level is, the more noisy your frame is. So if it's your footage is like terrible, you can get like noise levels of 5.6, but it's just a measurement. So need video is doing the measurement and it just shows you the noise level, why it can be useful. It's basically because now if you select another area somewhere, it will, it will also measure the noise level in that other area. It will display it. And if you now remember that the noise area in the initial area was 2.5 and now it's 1.8. It means that the noise is actually less strong in this area. And because of that, you should be using the first area because what you're looking for. So the best area for profiling is uniform, large enough, no details and having the strongest possible noise on the frame. And this area, it has a noise level of 2.5, it's stronger noise. So I should be using this area and not this one, this one is 1.8. And if I zoom into like this area here on the frame, it's 1.3. So it's noise is twice as strong in the first area compared to this one. But in absolute terms, there is no like physical sort of, you know, unit of noise. It's just some internal numbers that basically to allow you to understand where noise is stronger and when it is not as strong. So that's what these numbers are about. Anyway, so the first thing actually, so just a second. Yes, so now we have selected the area, we have clicked the build profile button. And I'm just, yeah, I'll just make sure that I'll do it again so that we keep a frame. So select an area, build profile, and we have done everything right. But the most important thing here is to make sure that this profile is actually accurate. And the way to do it is this profile check button. And that's where I highly recommend to use it every time you build a noise profile. But before I click this button, I'll switch my knit video to advanced mode. By default, knit video works in beginner mode. It shows less control, gives you less control over noise reduction. But once you're getting more or less familiar, we highly recommend to switch to advanced mode and stay in this mode. It just gives you more control. Like, okay, so now. So I selected an area, clicked build profile, and now I'm clicking profile check. So when I've done it, knit image, sorry, knit video is now showing assist image. So you can see this right corner says assist image. And assist image means it's not defined on result yet. It's just some image, some special mode that knit video uses to simplify tuning and simplify operations that I'm doing now at the moment. So my goal is to check the noise profile, whether it's accurate. And assist image is showing me a special image that helps me to understand whether the profile is good or not good. So it's, it may be looking like a bit too plastic over processed, but again, don't be too scared, just assist image. It's not defined on result yet. So what I should be doing now. So what's the point of this profile check? The idea is that you zoom into different areas of your frame. And you make sure that noise is sufficiently reduced. And there are no artifacts left. And at the same time, details are not, are not damaged. It's maybe quite difficult to see it from the start. So you don't know like what to look for. And that's why what you should be doing like you should zoom into an area like let's zoom into this area about the frame. And you see that there is a slider here. It says noise level. And what I should and what I will do now is I'll try to sort of move the slide a little bit to the left. And what I can see if when I, when I move it to the left. So I'll see these artifacts like noise artifacts residual noise starts to reappear on all the images. So basically I should be, I don't want that to happen. And that's why I should be now dragging this slider to the right and to the point where all the artifacts are gone. And at the same time, what I don't want to happen, I don't want my details. And like in this case, it's this faint text on the wall. I don't want these details to suffer too much. If you see if I start to sort of drag it too much to the right. So all my text starts to disappear and I don't want that to happen. So it's about finding this sweet spot. Like now, if I might minus 30%, you see these artifacts pages of noise, I can zoom in a little bit more. So all this thing, it's all residual noise. I don't want that to happen. So I'll just go back up. And that's my zero. That was the default. So it looks quite good, but there are some, you know, small dots here, some residual noise. So I'll just increase it a little bit more. And now it's looking good. So that's essentially the process. So this process helps you to understand whether your noise profile describes is accurately describing the noise, whether it's overestimated, underestimated, or whether it's good. So in this case, it's quite good. But I'll show you a couple of examples so that you are so that you have a better understanding of how things look like when noise profile is not good. So the first thing I'll do, I'll use this Barren's button. And basically, so I'll show, I'll share the link. We have a video tutorial about how to use, just I'll try to get back to my chat window. And smart. Okay, I'll see it now. Participants. Hey, Andy, how do you? How do you? Okay, I found it. Let's chat. So that's the tutorial for. Oh, perfect. Yeah, for using variance. That's a great feature. It basically just allows you to compare different settings side by side. And in this case, my variant one will be the profile that I have just built. And I'll create a second variant body photos. It's identical to the first one. And what I'll try to do, and we should never do it in your real life video. I'll select this. I'll just disable this profile check mode. I'll just select an area with details here and click the build profile button here. So that's what you should never do. You should never use an area with details or even worse. I'll just select this picture here and say build profile. So immediately now in profile check, you can see that the text is absolutely not readable. It's very smooth. Like play sticky looking. You know, it's all killed like, and now I'll try to sort of drag it back. And it's, yes, it helps a little bit like it recovers my details. And but again, I had to drag it almost to the left. It's basically no noise reduction. And I'll also show you another example. When Andy was asking about noise level, I have showed him this area here on the frame where the noise level was 1.4. I'll try to use this area now to build a noise profile. So it's uniform. It doesn't contain details. So it's okay, but it just doesn't reduce noise. You see, like I am now in profile check mode, but this wall is full of noise. If now I come, if I now I compare it with the first variant. So that's the result of using the first profile. And that's the result of using the second profile. It's a massive difference. So the third profile, it was built using a uniform area, but it was not noisy enough. That's why basically it's not working. And you can see it in profile check that, you know, you give me a video ago and it's not using it. So you can try to sort of drag this slide and out of the right. It's helping. But even if I drag it to the right most position, it's still plenty of noise left. So it means that the noise profile is not good. All right, let's go back to variant one and just, I'll just say a few words about what do I. So what do I do if noise profile is not good. If I click profile check and I see that something's not right. So I have a few options. So first option is to use a different area. So if I was here, if I built a profile using this small page on the frame, click build profile and I see it's not working. So I might now think, okay, let's try to, you know, find a different area and give it a go. But maybe I'll build it here. And yes, it's looking better. So sometimes I can also even go to a different frame. If I find that I try to build noise everywhere here and none of the areas on this frame is giving me a good looking image. I might go back to my video editing application and pick a different frame. So next one, if my result is looking good generally, but I can just see that there are some sort of remaining stubborn patches of noise that I want to deal with. What I can do now, I can zoom into these spots, into these spots of patches of noise. And I'll just look in, for instance, at, see this dot here. It's obviously noise. There is nothing on the wall. What I can do, I can choose another area, a small area usually, and click this manual fine tune button. So sometimes it helps. Sometimes it doesn't. Like I can do, I can try to select other areas and do the same thing. But in this case, it's just the noise. It's just simple noise. It's too strong. So it's not really helping. But sometimes it does. So I'll just try to see what's here in this area. Yeah, there is something here. And yes, it's helping in this case. So these notes becoming more faint, less noticeable. So that's one thing you can do in addition to rebuilding a noise profile using a different area. If it's just few isolated patches, you can just select these patches. Again, make sure there are no details in these patches and click the manual fine tune button. Also, you can drag this equalizer manually. So that's basically noise distribution. It's noise levels in areas of different brightness. So that's noise in your black areas and that's noise in your bright areas. And you can manually tweak the curve if you know what you're doing and if you test the change as well. So it's, yes. Sorry to interrupt. Is there any like a plot feature or function like an eyedropper? Like could you hover your cursor over one of these areas? You might want to sample where there's additional noise and it would show you where that lies or where that exists on the graph there. It actually does it. Like if you select it, you can see that some knots on the graph in large, they become bigger. And that's exactly the feedback you're getting from this video that it's actually these knots on the graph. These are responsible for the area like the red channel and there is a blue, the bigger blue dot here on the blue graph. It means that it's here and the green, I'm not sure the green is probably I'll just switch to the green. Yeah, it's also the green and blue are in the same spot here. Thanks. But that's the feedback. Okay, and other options. So anyway, so just wanted to mention that manual profile and equalizer. It's very sort of advanced tools and be careful when you use it and make sure that you test your change as well. So just zoom to many different areas on the image and make sure it's all looking good there. Sometimes you may sort of target one area initially, but when now and everything may be looking good here. But now if you zoom to another area, it may need what we can do. And if nothing of that works, then you have a couple of more couple of other options. First is to use a generic profile button. We have a dedicated tutorial on using generic profiles. And it's again on the same page with all other video tutorials. And also we also have a more detailed tutorial on just building a profile using the sampling method that I'm now showing. And the other option is again use a profile that you build on a different video using this that it was shot with the same camera with similar settings. And you can just reuse profile from that video by using this low profile button. But the point is that no matter what you do, no matter how you build a nice profile, you always we always recommend to click this profile check button and make sure it's working. So that's the main sort of point that I was trying to make. Okay, so we're done with the noise profile. It's looking good. So it is actually not quite good here. So I'll just sort of increase the level a little bit here. It's looking better now in this era, less artifacts. So I'll now go to the just in preview tab. And so that's where you tweak filter settings. So now you didn't know knows how your noise looks like. And now it's, now it's up to us to tweak filter settings if you want to. And again, there are three important things to do on this step before you click apply. And similarly, these checks are, you can find them in similar filter settings check button. And steps are numbered here. So you see number one, two, three and four, and we generally recommend to do these steps in this order. And it's, yeah, and we start with number one. So the noise level check, the noise level check when you select it, you can see that a blue overlays appears on my image. And this blue overlay, it has some white holes on some, on some areas. And this white holes should generally be only around moving objects on objects that move from frame to frame around edges of these moving objects. Like this scene is more aesthetic, but I can see that still this white spots are concentrated around the edges. And that's exactly what I want to see. So I don't want, in this case, I don't want to adjust noise level further. But if, on the other hand, I see that this white areas and I'll, there is an easy way to demonstrate it. If I now reduce the noise level here, I can see that these white spots start appearing, you know, on things in the frame that are static that don't move. And that's if I see this. And again, if I see this, and if I'm pretty sure that my noise profile is accurate, then what I do with it, I increase the noise level to the point where I only see white spots around moving objects around the edges of moving objects. So that's the first step. It's called noise level check. Once you're happy with this, you move to the next step, and it's called local flicker check. And again, it's the same idea. It's again blue overlay is used. And again, you want these blue or white spots here only around the edges of moving objects. And in this case, it's actually not quite, it's not quite true. I can see that these white spots are located on the wall. The wall is not moving. It's static. And I can actually now see this in dynamics and see what's going on. And you can see it's flicker. So it's moving. It's this white spot is moving. And that's a combination. So the reason for this flicker is a combination of the camera that I used. It's a mobile camera. It's using rolling shutter, and it's all often gives you these bands of moving noise. And the second reason is the light source. Like in this case, there is a light here in the right corner. And it's LED light, and it gives you this nasty looking flicker. So there are two kinds of flicker that need video is able to help you with. The first one is frame flicker when the whole frame changes in brightness. Like it's like a strobe and light maybe that is affecting the whole scene. And the second one is local flicker. And the thing about local flicker is that it's often maybe present in the video. And sometimes it's maybe difficult to pick up with a naked eye. In this case, with this scene, yes, you can pick it up with naked eye. You can see this flicker here, but sometimes it's not. Sometimes it's not as easy. And that's why I always recommend to do this step on any video. Because this will affect the quality of need video filtration. This will affect the quality of... It will basically sometimes make it more difficult to adjust other settings. Okay, so what do we do? So we found that it's flicker. And what do we do? Same thing as we did on the last step. There is a local flicker slider here. And we just drag it to the right until these areas on the wall disappear. And in this case, it's probably around here. Let's see how it looks like in dynamics. So the wall looks good. But this area here around the light can still see some flickering here. So that's why I'll just sort of increase it a little bit more. And now it's almost good. I'll just find this frame. Some frames are still having some flicker. So I'll just increase it a little bit more. So yeah, it's looking good now. There is some here, but it's not too much. And it's around the light. So the light is actually flickering. So we might actually want to keep it in the video. But anyway, so we're done with local flicker check. You can either click finish button here. Or you can just click this local flicker check button and proceed to the next step. Hopefully it's all makes sense until this point. Now, repeated frames. So that's. Yeah, actually, does anybody have any questions so far for what Tim's covered? Here's a question for you, Tim. What is the downside to adding the flicker too high? Like if you were to, if you were to make that slider too high, do you lose quality or does it contaminate any, any other part of the process? Yes, you can. There is, there is some downside. If you, I'll try to see what I can reproduce it here. I'll try to see what it, what it. So let's say that I'm just drag it to the right. Well, sometimes it's okay. But sometimes I can actually start losing some faint details, large scale, faint details, like a large object that is like not very contrast on the image. Like in this case, maybe this faint sort of text here. Or maybe it's too high. Maybe it's, so I will just try to adjust local flicker. So you may, yeah, sometimes you can, you can have some like details, large details in low contrast. These details may suffer. So that's the downside. So be careful. But many cases it's okay. Like in many cases it doesn't do any damage. And it's the same with noise level. It's sometimes it's okay, but basically don't want to overdo it. And don't want to be too greedy. Like you may be tempted, like in this local flicker check, for instance, you may be tempted to, or especially in noise level check. You may be tempted, oh, I don't want sort of any white at all. I just want to go all the way. But in this case, if you do it, then again, you may lose some details and dynamics. So don't overdo it here. Okay, back to, yeah, back to repeated frames. That's where I was. So repeated frames were sort of addressing two problems here. So there are two things that we don't want. Well, they do present in video sometimes. And the first thing is repeated frames. And that's what we actually have in this video. So repeated frames is when you shoot in low light conditions and you have a high frame rate, like 50 frames per second. And the camera doesn't have enough time to expose each frame properly because of high frame rate. And what it ends up doing, it just sends the same or very similar frames to the video stream. It just duplicates frame because it doesn't have time to expose a new frame. And in this case, that's what I see in this video. And sometimes neat video is actually able to pick it up. And that's why you can see this rep, rep, rep, it means a repetition. So neat video picked up the fact that frames are repeated in this video. And you can see this. Now I switch from this frame to the next frame. And you can see that there is virtually no change in the picture. While if I now jump to the next frame, then yes, there is some change. So that's the first thing. And the second thing is repeated noise. And repeated noise is where when the frame changes, frame changes, but there are some sort of patches of noise that remain static. Like in this case, now I'll just try to say, yeah, that's, it's repeated frame itself. But what I can see here is that the details remain static, but noise changes, but not all of it changes. Like if I zoom into this spot and try to do the same as I was doing before, you can see that there are some sort of similarities. So some noise artifacts remain the same as they were. So both of these problems, repeated frames and repeated noise, they present a challenge for neat video's temporal filtration. And the reason for that is because when neat video is doing temporal filtration, it compares frames before the current one and the frames after the current one. And it's looking for noise. And noise is something that neat video thinks is randomly changing between frames. And if noise doesn't randomly change, as it is the case with this video, because frames are repeated, so noise is repeated as well. And it really thinks that because this noise is not changing, it may confuse it with details. And instead of removing this noise, it may be amplifying this noise. And that's, and if this happens, we want to tell neat video that our video actually contains either repeated frames or repeated noise. And the first, and how we can see it. So first is these wrap indications. These are the wraps. It means that, you know, video likely contains repeated frames. Sometimes you don't see it. And the way to understand that your video suffers from repeated noise or repeated frames is when you go back to profile step, profile and step, and we are now in profile check mode. And it's all clean, no noise artifacts here. But now if I switch to repeated frame check here in adjusting preview tab, I can see that there are some nasty noise artifacts here. And that means that when temporal filtration kicks in, it actually makes damage to your video. And that's the most reliable indicator of the fact that your video suffers from repeated noise. So what do we do with this, how you address it? So first thing, you increase the temporal radius. This alone won't make any changes, but it will help with further adjustments. And the further adjustments is this repeated frame slider, repeated trade. And it's basically, you tell me video how much, what's the percentage of the frames that repeat. And how you do it, you just slowly drag it to the right and you watch this assist image. Again, it's an assist image. It's not a final result. And you drag it until these artifacts disappear. And in this case, it's about 15%, maybe 60%. So I'll leave it at 50. So I'll just try to compare it with the variant. So that's how it was without adjusting the repeated frame. And that's after the adjustments. So before and after. So you can see that it did make a difference. So I'll leave it here and I click finish now. And that's it with the first three steps. And the final step, it's for, it doesn't have check. So the previous steps, your check, check, check. And this is a tuning. So that's not a check as such. It's just, if you want to further tweak spatial filter settings, you can click this button and it will help you with further adjustments. But I won't be covering this today. So it's just something that you might want to select. If you plan to adjust spatial filter, it will just sort of amplify noise and sort of, it will just bump noise reduction to the maximum. It will make again the image look plastic, it will at the same time emphasize residual noise and it will make it easier for you to tackle this noise. But again, this is not a check. So it's not something that you need to do every time. It's just there. So basically, that's pretty much it. In terms of getting the most important settings of need video, right? I'll just do a short recap of workflow and the checks that you should be doing. So first step is you select the frame that has a large uniform area of strong noise. You go to need video, you select an area, could build profile. Now you always do a profile check, zoom in, check if there is any residual noise. If there is, then try to play with this slider and make sure there is nothing left. Once you're happy here, if you are not happy, then do something about it. It's either like try to manual fine tuning, try building a profile using a different area, try using generic profile, try using a profile from a different video. But anyway, do something until you see a good looking assist image. Once you're happy, proceed to the next step and do three steps here, noise level check. Make sure there are no white spots on static areas. If you're happy, proceed to the next step. It's a local flicker check. Same idea. If you see white spots on static images that don't change on static areas that don't change between frames, increase the noise flicker level. Don't be too greedy, don't overdo it. So I can see still a little bit on the frame. Once you're happy with the local flicker, proceed to the noise to repeat this frame check. If you see some residual artifacts of noise, increase the radius and increase the frame rate to the point where all these unwanted residual noise artifacts are gone. Once you're done, click finish. And at this stage, if you want some small tweaks or deal with some specific problems like dust and scratches or, I don't know, jitter, just adjust sort of this trembling around the edges or do anything else with the spatial filter by all means go and adjust if you feel the need for it. Otherwise, click apply and you are done with tweaking. So these are the steps that we recommend you to do. It doesn't take too much time, basically. And I was spending a lot of time now showing you different controls, but in many cases it's basically the matter of clicking this button and if you select the area right, then you won't see any problems here. It's usually 0%, you just leave it here. Sometimes it's not 0 and that's why we recommend you to not skip this check and the same with the noise level and same with these checks. So if your video doesn't suffer from local flicker, you won't see any white spots here. If it doesn't contain repeated frames, then you won't see any artifacts. So it's just a matter of you checking that tick, tick, tick. It's just a checklist of things to check. That's great. And the idea is that... So the damage of... The danger of not doing these steps is that if you skip these check steps, then you may sort of then try to tweak other settings and you may just struggle with it. You can spend a lot of time trying to, for instance, adjust dust and scratches. If you are doing with old video that has some scratches and dust artifacts on the film, and you can actually see that no matter how hard you try, you try to sort of increase the threshold, increase the amount, it doesn't work. And the reason for it may be noise level, it needs to be higher or local flicker, it needs to be adjusted. So you need to get these things right. And if you don't do it, then some other further settings, you may have problems with getting the other settings right. So that's all about setting up the filter. And the last thing I want to show to briefly touch it is that need video is about performance. So need video by default is only using your CPU. If you have a powerful GPU in your computer, you may increase the performance of need video by letting it use your GPU. And you do it by going to need video preferences tools, preferences, and then performance step. And if you have, if need video found GPUs, it will show it here. And what we always recommend you to do is to click this optimize settings button and run a quick test. So need video run a quick test to determine what's the best combination of devices to use on your computer in order to deliver the best performance. So now if I click the start button, it will basically try to use different number of cores of CPU cores on my computer and different combinations of GPUs. I have two GPUs installed. So it will try to use each of them individually, two of them together, GPUs and CPUs at the same time. And then it will just deliver a recommendation that I think that on your computer and with this video, it's a full HD video and I'm using radius of four frames now. It actually says that in this circumstances, it's better to use full GPUs and it will deliver you this speed. And this is a Tim, I don't mean to cut you off, but yeah, this is a fantastic feature. I mean, I, I am, I'm just running a MacBook Pro at home like a 2016 MacBook Pro at home. And I ran this two days ago, I installed, I purchased an update to need video five for the Adobe suite at home. And this doubled the performance of just the stock, you know, CPU only settings for my little, my poor little laptop that I think is melting under the load. But yeah, this is great. I had run this on my Z8, you know, HP Z8 at work and was amazed at the performance difference. It's a really fantastic tip. Yeah. Thank you. So it doesn't, again, it's a very quick thing. So by default it will be CPU. And if it's a powerful GPU, if it's a machine that is built for editing video, it's very high chance of you like having a good GPU in it. That's why it makes a good sense to let me to use it. So once it's done with the test, click this accept best combination and the video will adjust the settings. So what we recommend you, what I would recommend is also to repeat this test when something significantly changes in your workflow. For instance, if you're processing full HD frames and now you're now dealing with 4K. So it may actually change the balance because GPUs, they tend to be more efficient on large frames. If it's small frames, like, you know, if you're using with digitized TV capture, for instance, if it's a 460 by 480, CPU will likely be more efficient on such small frames. And that's why when you change frame size significantly, like from, you know, NTSC, for instance, to 4K, it's definitely a good idea to rerun this test because this test is run for the current settings, for the current frame size, and for the current temporal radius. Just rerun it. And the same thing about your hardware. So if you purchase a new GPU and install it, your video will not automatically start using it. So you should go back to tools, preferences, performance, and either manually select this GPU, and it's also a check speed button that just helps you to measure the performance of the current combination only. So you can either use optimized settings or just sort of manually tweak it and click check speed button and see how it affects your performance. So if you change something on your side, whether it's hardware or different footage, different type of projects, we recommend you to go to performance tab and tweak the performance settings. So there are some more things here about the memory settings, but I probably won't cover this here where I guess we're running out of time. It's about sharing. It's basically whether a new video is getting enough memory, GPU memory for its operations. That's the recommended amount. So that's how much new video wants for the optimal performance. And this thread buys. It actually shows how much memory is taken by somebody else, whether it's video editing application, so the operating system or something else. And you can adjust the slider if you need to. But I won't be covering this in detail now. And that's pretty much all I want you to show today. A couple of questions for you, Tim. Thank you very much before we dive into the questions. First one is if I will need video, take advantage of an eGPU. I'll give you buy an eGPU. Yes, it will. But if you have a chance to install it internally, I would highly recommend to do it. And the reason for that is when you connect a GPU as an eGPU, you're using Thunderbolt connection. Thunderbolt connection is about four times slower than internal PCI Express connection. And that video needs to pump a lot of data to GPU and from GPU. And the fact that this connection is slower, it makes this exchange much slower and it will affect your performance quite significantly. So the GPU itself will perform calculation at the same speed, but the data supply will slow it down. So yes, we will still get some advantage, especially if it's a powerful GPU. And if it's, for instance, if it's a laptop and you can't install a graphic card at all and eGPU is the only way to go, then yes, a powerful eGPU will improve the performance. If it's a desktop computer, it's much better to install it internally and at the same time to make sure in BIOS that it's actually using full PCI Express bandwidth because often if you install it in your own slot, it won't be a PCI Express 16. It can be PCI Express 8 or PCI Express 4. And that will again slow the data exchange down. Gotcha. I got a question here from Alan. Why the switch from OFX plug-in to special plug-in for Resolve? Yeah, it's a good question. So we just found that Resolve has become increasingly popular and we also noticed that it's becoming popular amongst home users, like not the pro users that are, you know, not necessarily large studios. And we just see that there is a demand from intermediate users for Resolve and that's why we decided to sort of split it into a separate product and make the pricing more attractive for wider audience and for less professional audience for home users who are limited on budget. And at the same time, we just wanted to sort of, because Resolve is much more popular compared to other OpenFX hosts, we just wanted to not be bound by the same restrictions as our main OpenFX plug-in is bounded with. So it's a little bit, so OpenFX is a standard but the way how each video editing application interprets this standard differs significantly and that's why it's sort of a little bit of difficult to be, it was difficult to be restrained by the same frame in order to optimize this plug-in specifically for Resolve and that's why it was a combination of sort of marketing and technical factors that sort of forced us, necessarily forced us, but that's why we made this decision. So it's a combination of what was the demand for Resolve, the fact that many people had started switching to Resolve from other video editing application and many of them were not able to afford the Pro plug-in or the OpenFX and at the same time, we just wanted the plug-in to be better optimized for Resolve. That's why we couldn't, the fact that we were bounded by the, it was difficult to do it from technical point of view if you wanted to do within a plug-in that supports all other video editing applications, hopefully that answers the question. That makes sense. Okay, need floating license for Resolve plug-in. Yeah, okay, I'll add it to the wish list. So we are considering extending, so at the moment, floating licensing is only available for the OpenFX plug-in and not available for any other video editing application. We're considering extending it to others, so Resolve and After Effects, if we decide to go there, so Resolve and After Effects will be the first products that will get the floating licensing. So the thing about floating licensing is that it's a great feature. The thing that actually stops us from expanding it to the full range is that technical support is difficult because sometimes people who are not good in system administration, so they purchase floating license and then they try to set up a licensing server at home and they have to deal with the firewall, opening ports, environment variables and people, sometimes it's an easy task for system administration, but if you're just a video editing professional, you're not necessarily, you don't necessarily have a good experience with this and instead of sending questions to RLM, they're sending questions to us and sort of doing the RLM support bit. It's quite significant. Get in line. I guess we'll get there. Cool. Alan had one more question because when he's using, this is a flame specific question, when he's using neat video and rendering in the background, they get consistent errors when doing background rendering with GPU, but CPU is fine. Have you seen anything on that? I'll just scroll it up. We'll get consistent render errors when doing the ground render. It's fine. So what exactly these errors are? Can you maybe share? So it's actually, I would probably suggest to, have you tried to emailing our support team? So many of these questions, especially if they are GPU related questions, they will get back to me because I'm the, so I'm the person who is responsible for GPU. Find his way to your help desk? Yes. So it will still probably end up with me, so in this case, what I would probably look at, so first, what's the nature of these errors? What exactly the errors say? One thing that you can try is to reduce the memory given to neat video in the performance settings. That's here. So sometimes moving this slide to the left helps. So if you move it beyond to the left from the green marker, it means that neat video won't, may not get the best performance, but if you're getting errors, then it will just reveal to CPU anyway. So you might still want, you know, to go to the left here until the errors are gone. Another thing is, if you can, you can set flame to switch to CPU only mode. Some video editing applications, they give you this option. We know that you can do it in Premiere Pro, you can do it in Resolve, maybe something else. Some applications just don't let you control it. They just automatically jump on your GPU and start using it. But if there is an option in flame to disable or to reduce the memory that flame is allowed to use from GPU, you can try to begin these settings. You can sometimes video GPU errors that result from errors in video drivers. So a couple of months ago, we had a situation of like neat video, sorry, NVIDIA had a couple of versions of drivers that were consistently shown errors when on multi-GPU systems and we had to advise our users to roll back to the previous version of the driver. So the current version of a driver is okay, but if your system is not up to date, try updating that. But I would still recommend, you know, to have a more sort of focus discussion, send us a message to our support team and we'll see, we'll try to help. Great. Does anybody have any other questions for Tim? So... No, I think we're good. All right, well, Tim, thank you very much and I really appreciate it. Thank you. Yeah, thank you. Thank Sandy for inviting us. And yeah, if you have any questions to our support team, just fire away. Send them to support at neatvideo.com. We're really proud of how we do technical support. It's a very small team and most of the people who respond to emails, they have been with neat video for years and many of them are the developers. So it's... We don't have like first line support, second line support, third line support, so you don't have to sort of knock the wall for a long time before you get to a person who really knows what you're asking for. So it should be very short interaction and we are willing to help you. And the last thing, and I wanted to mention is the discount link that were given 15% discount for a limited time for a week to all the attendees of this meeting and Andy will share the link with you. Yeah, we're gonna send the link out to everybody via the email address that you used when you signed up. Yeah, so this link will give you a 15% discount for the pro edition of OpenFX plugin that you can use in Flame if you need something else, like if you wanted to, like a multi-user license or if you're using a different video editing application or if you want a studio, like a floating license, just send the message to our sales team, salesandneedvideo.com, just explain the situation a couple of words and we'll be able to send you a link for your specific circumstances. So this link is valid for a week. So if you are thinking about buying a video with a discount and taking advantage of the offer, don't think for too long. This is your week. Yeah, this is your week. So, and yeah, thank you once again for your questions and for your attention and thanks Andy for inviting us. It was good to chat and share our vision experience. Hopefully, I hope it was useful and well. And yeah, stay safe. Stay safe and stay healthy. Thank you. Thank you very much. Thank you very much. All right, let's close this out everybody. And just want to let you remind you that we have some great logic live sessions coming up in the weeks ahead. We have next Sunday, May 17th, an interview with Will Harris, Flame Family Product Manager, and I think some more of the dev team is going to join. I mean, we'll go over some of the new features in 2021, but this is going to be an excellent opportunity just to kind of talk maybe in broader strokes about flame development and where the app is going. That's going to be followed on Sunday the 24th by Maya for Flame Artists with Yuri Tempolsky. And then on May 31st, Connected Conform for social deliverables with Brian Bailey. We had to deliver some social deliverables last week. It was a painful process, but it was made easier by Connected Conform. So there's definitely something to be gained from that. After that, we have Silhouette Paint with Boris FX on June the 7th and Resolve for Flame Artists on June 14th. I'm going to have some more logic live sessions to announce for later in June and later into the summer coming shortly. You can find all the logic live sessions and a whole bunch more information on logic.tv as well as other resources. All of the logic live sessions are available there. Please be sure to subscribe to our YouTube channel. We'd really appreciate it. And thank you again to Synthesis for sponsoring logic live. Synthesis.io for all of your remote workflow needs. That's it everybody. Thank you very much. Thank you again, Tim. And we will see you all next week. Thanks everyone.