[Chris Wright]

sorry, i may have gone overboard and missed your question. anyway, since you’re happy with the capturing, and auto youtube resize,
you could take a gander at a few deinterlacing products:

free avisynth QTGMC Deinterlacing Script
Fieldskit deinterlacer
red giant frames
BCC deinterlace

I also forgot about quicktime’s photojpeg which has a selectable jpeg compression. It’s smaller than quicktime png.
there’s also prores 422 LT or DNxHD 36 is 36 Mb/s or even Avid DV(though you’ll probably have compression artifacts)

[Chris Wright]

you don’t need to capture more than 640×480 interlaced top field first. mjpeg is better than h.264 capture(less artifacts). uncompressed is often unrealistic due to disk speed/space

Resize in your NLE later.(more on this later)

If you want better quality deinterlace, export out high quality digital intermediate
and deinterlace with alchemist od or some other personal preference(almost anything else is better out there for deinterlace
in the world of adaptive deinterlacing)

If your framesize is different from youtube, then alchemist can also resize or use premiere’s preserve upscale.
https://helpx.adobe.com/after-effects/using/detail-preserving-upscale-effect.html

just use adobe’s youtube presets. You’ll want to match the size with preserve upscale effect so that youtube doesn’t try to resize again losing more quality.

i’d transcode all the files to prores hq/dnxhd or cineform for offline. or proress 4444/dnxhr if you want almost perfect backups.

you can also edit the h.264 via the new proxy ingest feature to use cineform(which is the smoothest to edit)
https://helpx.adobe.com/premiere-pro/how-to/proxy-media.html

I think AE does the same deinterlace algorithm or a smidge better. It’s been a while since I compared.

I wouldn’t transcode the h.264 into dv because you would lose a lot of quality going from a 4:2:0 to a dv 4:1:1 re-compression of really really low data rate.

I haven’t compared the matrox codec compression but you might(as a compromise) try handbrake, then reencode with the constant quality slider at around 18 and see if you like the quality/filesize.

unfortunately, any backups of high quality and small file size do not exist, as even wavelet codecs like cineform and prores require a lot of hd space. Although they came out with a 5TB for $80, so its getting cheaper everyday.

[Chris Wright]

yea dave’s right. do you mean with proxies? because you’d need a SSD m.2, x4 pci lanes 950/960 pro to playback multiple 4k online streams.
or a single stream with 850 pro or external T1/T3 via usb 3.1.

[Chris Wright]

adobe by default creates whole frame duplicates. the other options are:

1 .you could either speed change it to match frame for frame in the new sequence
2. or leverage the new optical flow built into cc
export Settings dialog, choose Time Interpolation > Optical Flow
https://blogs.adobe.com/creativecloud/optical-flow-time-remapping-tips-tricks-for-best-results/

3. use 3rd party tools such as compressor, alchemist etc.

[Chris Wright]

is that a 8 bit transition? and is your render output 8 bit?

[Chris Wright]

Adobe recommends the free tool handbrake. To constant framerate.

Not to be confused with constant bitrate

[Chris Wright]

Record room tone same levels and with same equipment in room. Record with all props, people, cameras and tripods in same undisturbed positions. Tone changes depending on what is in the room. AC turning on/off can wreck tone as well.

[Chris Wright]

Alchemist od will do a better job

[Chris Wright]

Drag its title over another window until u see a transparency

[Chris Wright]

see if this rgb to video lut will help. it will convert 0-255 to 16-235

https://f1.creativecow.net/10598/fixmyyoutube