I came here to post exactly this same problem. Every time the software is launched, the login process through the browser window needs to be repeated for me as well.
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I’m sure it is checking to see how many copies you have running at the same time?
Otherwise - why require to be online?
I would be curious if the 2 licenses per copy of software is being enforced now? And exactly how is it doing it?
Reminds me of the old FCP days, when the software cost $1,000 per seat. It didn’t care if you were online to check for multiple copies of the same license running at the same time – it would just search your network. Of course you could also buy 10 pack of seats or unlimited if memory serves.
Then Apple through out the whole licensing thing with FCPX.
That worked for me. Many thanks.
Please back old connexion login for this software, the new login with web is very bad for me with more problem. Thanks Topaz
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It is not checking how many copies is running at least for me. As I posted yesterday I ran 7 separate instances on 3 different computers all at the same time running Release 3.0.7 . I’ve been doing that for the last year. Each of the three machines have different hardware configuration but I’ve had no issues running them at the same time.
https://community.topazlabs.com/t/topaz-video-ai-v3-0-7/37695/74?u=mikef
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No, it’s a bug, ther are fixing it for v 3.0.8. They want it to be an initial online licence check, then once a month at most and are gonna fix it.
Hi guys!
On 3.0.6 Estimate button does not work on stacked Tif’s. Is it up running on point seven?
And does anybody know if audio sync is working? In 2.6.4 it got slightly off in the beginning.
Alright, I’ve got to vent…
I’ve been a Topaz Video AI user for almost 2 years now and IMHO, Topaz needs to drop absolutely everything they’re currently working on and devote 100% of their time on optimizing cpu/gpu performance.
It is literally getting worse and worse with every release, and it’s at the point now where the software is barely useable anymore.
I love new flashy features as much as the next person, but my god you guys… when your software barely uses 15-20% of the hardware resources available to it, in all honesty, it’s trash.
STOP releasing new features. Make your software work, THEN add new features to it.
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Just for test. Same source, Topaz Proteus FT with same settings, RTX3080
v. 2.6.4 - processing time 6m 11s
v. 3.0.7 - processing time 9m 41s
Result nearly equal. 2 Frames here
(Snatch : Screenshot Comparison)
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I’ve been getting some bizarre behavior out of the audio settings. A few times when the audio in the source was exactly what I wanted it to be and I set it to “Copy”, it came out differently in the output.
After a few reties usingvarious options, I realized that I was playing a digital version of (audio) Whack-a-mole.
I think I’m going to do like I did a version or two back. I’ll extract my audio beforehand and put it back (unscathed) on the finished video.
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Looks better on 2.6.4
There are a bit more small details.
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Absolutely agree with everything that’s been said. Topaz should not pull a Skylum on a software that used to be exciting to use and was kind of a revolutionary tech when I first experienced it.
Now it just comes across as a gimmicky facade; being mediocre in its output coupled with that awful preview and unsatisfactory speed for rendering videos.
Whatever changes have been made under the hood need more than a tweak to attain the level of performance which was present in the past version of VEAI. You can do it Topaz!
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Questions:
Out of curiosity, what does the “add noise” sliders for? How is that different from the Grain setting. And finally, why would anyone want to add noise to video that the AI in this application is intended to remove?
Another Question that I find bothersome. Does the 2X deinterlace do any denoising as part of its process, or does it just bake it into the image more? I have discovered that it does give better results to deinterlace to 2x, Take the output and clean up the noise and enhance the double speed video while interpolating it down to it’s original framerate.
The real question is: Why isn’t there a reduce noise setting available for 2x Deinterlacing?
If anyone knows the answer to these questions, I’d appreciate hearing them.
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Shabbir,
I think the evolution to a fully functional TVAI 3 is still in progress. I’m hoping it will continue to get better and faster. It has the potential; I believe they are gradually making it real.
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As far as adding grain I only do that on old pre-color films that I know had a little grain to begin with. Usually in restoring some of these very poor quality copy of a copy of a copy you end up with a overly soft or flat look. I mean I remember going to the local theater in the early 60’s and watching many old films and ‘stories’ as some where called. The grain was there in many but not in your face grain so restoring some of these videos to get that original feel I add a very small amount. It is very trial and error and it doesn’t just involve TVAI but the pre and mostly post processing for each trial to get the right amount. Most color films from better studios rarely had visible grain when watched at the theater. It kills me when I see large grain all the way through many restored color films. I think most of the time the restorer is just covering artifacts that were not delt with properly.
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I’v found a solution to this problem for DDV3 model:
It does not happen if “Square pixel” is selected in “Video out” (instead of “Original pixel type”).
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It is related to the file format and the compression of the pixels. My experience to this day is to convert programs of 30 minutes with v.3.0.7 to a solid format.
I have been rendering Betacam Digital material every day without any problem…the notes sent by Gregorio.Maddra are executed correctly.
I review well and pass the rebel frames or sequences to V.2.6 4 in Tiff format and this program has enough tools to solve most of the problems.
To measure and quantify background noise I use Neat Image Pro, it has the necessary tools, There is a free trial version.
I remember your phrase that in computing garbage that comes in, garbage that comes out and therefore the old intertwined images and many other problems that accumulate, must be diagnosed in order to apply the correct medicine.
If you have a rebel sequence, render it to me in tiff of the original
with v3.0.7 and send it to me. I will return it to you with my executed diagnosis,
I have been in post VFX for more than 40 years and I am indebted to you for the interesting contributions made in this forum,
Regards Disculpa mi spanglish .
Absolutely brilliant App and love what you guys are doing. I have a few requests. I’m using the software to enhance some old Cine 8mm films that have been scanned and some of the frames are damaged beyond repair. The film also has a lot of dust, scratches and hairs etc…
Part of the enhancing process I want to increase the frames per second and when the software comes across dust and damaged frames, it tries to incorporate that damaged information in the extra frames generated.
It would be good if there was a frame repair option, that allows us to manually select and generate a new frame to replace the damaged or missing frame, based on frames pror to and after the damaged one.
Something that will identify hairs, scratches, dust specs, based on whether they are visible in a couple of frames either side.
And a feature that would allow a dynamic adjustment of exposure of a scene, as old cine films can go from under exposed to overexposed at times, something that would smooth that out would be great.
All of this would need to happen before the software carried out any work enhansing detail and increasing fps
Perhaps it needs to be a completely new App for cine films with features specific to those 
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And you aren’t even listed as a Beta Tester. Is this bug listed?
Or maybe to prevent color banding on compression when transferring to BluRay? In my own processes, I use a closing VapourSynth line to the script, like
vid = core.neo_f3kdb.Deband (vid, preset="veryhigh", dither_algo=2)
This will add grain (on gradients only), so color banding won’t occur, as a result of x265 (or any other compressor) thinking the colors on a gradient are too close to each other, and starts ‘eating’ them: aka, cause the infamous color banding.
Still don’t really get it, though. Studios have the best of the best equipment: no digitial noise should suddenly appear, accidentally, anywhere along their processing line.
