Every stage, on your own graphics card.

Each frame is resized on your graphics card with a Lanczos filter, the same family of filters used by professional editors. It keeps edges crisp and avoids the blocky look of a basic stretch.

You choose the output size: 1080p, 1440p or 4K, measured on the short side of the picture so vertical clips work too. The aspect ratio never changes, and the output is never smaller than your source.

Be realistic about what this does. Upscaling makes a clip clean and comfortable to watch at a larger size. It does not add detail that was never recorded.

Noise is reduced in two ways. A spatial filter smooths speckle inside each frame while protecting edges, and a temporal filter compares each frame with the one before it to settle grain that flickers.

The temporal part is motion-aware. Where something moves, it steps back, so people and objects are not smeared into ghosts. Where the picture is still, it works harder.

One slider sets the strength. At high settings very fine texture, such as skin pores or fabric, can start to look smooth, so check the preview before you commit.

After resizing, a sharpening step boosts local contrast on edges. It limits itself to the range of the surrounding pixels, so bright outlines and halos stay under control.

Soft footage from small phone sensors and older cameras responds well. Footage that is out of focus does not: sharpening can only enhance what is in the picture.

Use the before and after slider to find the point where the picture looks natural for your subject.

FrameHoist tracks the overall movement of the picture from frame to frame, builds a smoothed path and moves each frame back toward it. Four levels trade steadiness against how much of the edge is cropped away, from about 2.5% to 6% per side.

This corrects shifts up and down and left and right. It does not fix rotation, a wobbling rolling-shutter look, or heavy motion blur, and deliberate pans stay as they are.

Footage with a lot of fast action across the whole frame can fool the tracker. Preview a busy section first.

The picture is analyzed as it plays. Black and white points are stretched to use the full range, and a gentle white balance pulls strong color casts, such as the yellow of an aged tape, back toward neutral.

A strength control decides how much of the automatic correction is applied, and a saturation control lets you add back warmth or calm an over-colored clip.

Automatic color suits most home and event footage. Graded or stylized footage may be better left alone, so turn the strength down or switch it off.

Many VHS, Hi8 and DV camcorder transfers are interlaced. On anything that moves, that shows up as fine horizontal teeth along the edges.

The deinterlace option detects those combing patterns and blends the affected lines, leaving still areas alone. It is a simple, fast method rather than a motion-compensated one, so very fast movement can look slightly softer.

Switch it off for footage that is already progressive, such as phone video.

Each preset is just a set of the same controls you can see and change: grain reduction, sharpening, shake reduction, color and deinterlacing.

Phone clip leans on shake and noise. Old tape adds deinterlacing and stronger color repair. Social upscale favors sharpening for low-resolution clips. Wedding polish keeps changes light so the film look survives.

Move any control and the preset switches to Custom, so you always know what is applied.

Scrub to any moment in your video and drag the divider to compare the original with the enhanced picture, live, in the same frame.

Changing a slider updates the preview straight away, so you can tune settings on a hard section such as a dark room or a shaky walk before you process the whole video.

The preview does not use credits. Credits are reserved only when you press Enhance.