Pixop

Pixop solves a problem that will only grow: enormous quantities of valuable footage exist at resolutions and frame rates that modern distribution will not accept. A broadcaster with decades of archive, a documentary maker with 1990s tape, a rights holder sitting on a library nobody will licence because it looks like 2003 — the content is fine and the format is the obstacle.

It applies machine-learning upscaling, restoration, deinterlacing, frame-rate normalisation and SDR-to-HDR conversion in two forms: Pixop FILE, a managed service where you submit single assets or whole archives through a web app or REST API, and Pixop Prime, a licensed pipeline you run in your own cloud or on premises, including in real time for live broadcast.

Both are priced on request rather than from a public price list, which fits its broadcaster and media-company customers better than a small production company testing one restoration.

Pixop is based in Odense, Denmark, so EU jurisdiction under GDPR — which matters for unreleased or rights-encumbered footage passing through a processing service. The limits are honest: it improves footage rather than inventing detail that was never captured, results depend heavily on the condition of the source, and heavy processing of long-form material costs real money. It is also a processing pipeline, not an editor.

What Pixop does well

• AI upscaling, denoising, deinterlacing and frame-rate conversion
• Managed service or self-run licence, including real-time live use
• Whole archives submitted via web app or REST API
• Danish company, EU processing under GDPR
• Makes unsellable archive licensable again

Where Pixop falls short

• Improves footage rather than inventing missing detail
• Results depend heavily on source condition
• No public pricing, quotes on request
• A processing service, not an editing tool

Standout feature. A library nobody would licence because it looked like 2003, made sellable without sending it to a post house.