How do you batch upscale AI-generated videos for a large film project?

Batch upscale by creating a dedicated upscale sub-agent inside invideo and routing your selected clips through Topaz Astra, which runs on invideo as the first post-production step before color work. Upscale after editorial selection, not before — in one documented production only 41 of 164 generated clips made the final cut.

Upscale your locked selects, not your raw generations — that single ordering decision is what makes batch upscaling affordable on a large project. invideo is an agentic video creation tool with the current models and upscalers available, so the whole pass runs inside one workspace. In one documented animated episode, 41 of 164 generated clips made the final cut (~25%), and on average only 5 seconds of each 15-second clip was used — upscaling before the edit would mean paying processing time on roughly 75% discard footage. Lock your cut first, then queue only what survives.

Next, create a sub-agent dedicated to the job: spin one up inside the invideo agent and name it something like "Upscale Artist," tasked only with upscaling footage. This turns upscaling into an automated batch pass instead of per-clip manual work, and follows the principle that specialized agents perform best with distinct, single-function roles. On large projects, keep it on its own project page — documented productions ran 6–8 agents simultaneously across separate pages, which keeps feedback to each agent targeted and lets upscaling run in parallel with whatever generation or editorial work is still in flight.

Route the queue through Topaz Astra on invideo as the first step of post, before any color work. This ordering matters for AI-generated footage specifically: heavy generation runs produce an ultra-sharp, plasticky skin quality, and upscaling first gives every downstream correction a clean, full-resolution base. As invideo's creative team puts it: "Here's the thing no one talks about, the post on AI films. If you want your film to look closer to live action, there's a whole bunch of things you have to do after you finish your generations."

For genuinely large queues, let the sub-agent run unattended — documented productions had agents continuing work autonomously overnight, which matters when a single short film can involve ~400 video generations. Hand the upscaled files off at your delivery format with a consistent naming convention so they drop straight into your NLE timeline.

After the upscale pass, the remaining realism work — a touch of blur, grain, and grade — is its own step before final assembly in Premiere Pro or DaVinci Resolve; upscaling is deliberately the first link in that chain, not the whole chain.

Watch some of these to see what works for you:

Here's the thing no one talks about, the post on AI films. If you want your film to look closer to live action, there's a whole bunch of things you have to do after you finish your generations.

— invideo's creative team