Solved Best way to render film for DVD and bluray

Vegas Pro 12

I am making a film from footage and stills shot with a nikon D3200. What is the best to render it. I want it for dvd and also for blu ray. Can i use the same .veg file to open the project/produce dvd then open and produce blu ray

What i am doing is making an mp4 from each days shoot and then i plan to put all the mp4's in vegas to render the final product. Is this OK or is there a better way?

Thanks

Hi Cineman

When you need to make DVDs and Blu-ray discs from the same project, all you have to do is set the Project Properties to HD Resolution.
The best and easiest method is to use the Match Media function when you import the videos from your D3200.
When you import the first video file onto the timeline, Vegas should ask do you want to match the media settings - say yes.
If your shooting in 1080p, this is the same resolution as Blu-ray.

When it is time to render a DVD, select an MPEG2 Video for DVD Architect template and the rendering process will convert to Standard Definition video format.
For rendering a Blu-ray, select a Sony AVC or MPEG2 Video for DVD Architect template.
I already have tutorials showing how to do this.

Now if I go back one step, if you want to render sub-project videos before you get to the making DVD/Blu-ray stage, the preferred method is to render to an intermediate format that does not use compression (lossless video format). The two most popular choices on a PC is to use Avid DNxHD or Cineform. The only negative thing about doing this, is you will end up with very large file sizes, because there is minimal compression. The positives are these file formats are super high quality and much easier to edit with - you will get far less to no lag in the Preview Window.

I can't into the the details of exactly how you do this, otherwise I would have to write a whole tutorial for you right now.
What I can give you is a link to a tutorial that explains the process in Sony Vegas.
johnrofrano.com/training/video-tutorials/avid-dnxhd-template-for-vegas-pro/

You will need to install the Avid DNxHD codec.
If you want to use Cineform, install the free GoPro Studio software - this will give you a program and also install the Cineform codecs, which will show up in Vegas.

Regards
Derek

DoctorZen wrote: Hi Cineman

When you need to make DVDs and Blu-ray discs from the same project, all you have to do is set the Project Properties to HD Resolution.
The best and easiest method is to use the Match Media function when you import the videos from your D3200.
When you import the first video file onto the timeline, Vegas should ask do you want to match the media settings - say yes.
If your shooting in 1080p, this is the same resolution as Blu-ray.

When it is time to render a DVD, select an MPEG2 Video for DVD Architect template and the rendering process will convert to Standard Definition video format.
For rendering a Blu-ray, select a Sony AVC or MPEG2 Video for DVD Architect template.
I already have tutorials showing how to do this.

Now if I go back one step, if you want to render sub-project videos before you get to the making DVD/Blu-ray stage, the preferred method is to render to an intermediate format that does not use compression (lossless video format). The two most popular choices on a PC is to use Avid DNxHD or Cineform. The only negative thing about doing this, is you will end up with very large file sizes, because there is minimal compression. The positives are these file formats are super high quality and much easier to edit with - you will get far less to no lag in the Preview Window.

I can't into the the details of exactly how you do this, otherwise I would have to write a whole tutorial for you right now.
What I can give you is a link to a tutorial that explains the process in Sony Vegas.
johnrofrano.com/training/video-tutorials/avid-dnxhd-template-for-vegas-pro/

You will need to install the Avid DNxHD codec.
If you want to use Cineform, install the free GoPro Studio software - this will give you a program and also install the Cineform codecs, which will show up in Vegas.

Regards
Derek

OK Derek. Many thanks I will look at all you say and the link

CineMan wrote: ~~ What i am doing is making an mp4 from each days shoot and then i plan to put all the mp4's in vegas to render the final product. Is this OK or is there a better way?

Thanks

Another method would be to copy the events from each project into a new project, that way you don't have to render an intermediate file, therefore no additional storage space or any degradation.

For each days projects save the project file such as day1.veg, day2.veg, day3.veg, day4.veg, etc. At this point you don't have to render anything, unless you want to see what the final results will look like. This process simply makes one big project out of your daily projects.

(NOTE: This process works best if all your daily projects have the same timeline setup, as in the same amount of tracks in the same position.)

1. Start Vegas (I will call this Vegas 1) and open day1.veg. Before going any further, 'save as' with a unique name such as 'master project.veg', or 'final project.veg'
2. Start a 2nd occurrence of Vegas (I will call this Vegas 2) and open day2.veg.
3. While in Vegas 2, press 'Ctrl+A' which will select all the events in that project. Then press 'Ctrl+C' which will copy those events.
4. Switch over to Vegas 1, place the cursor on the timeline at the position you wish the day2 events to be placed. Press 'Ctrl+V', which will paste all the selected events from project day2 (that are in Vegas 2). All the selected events from project day2 will now be in project day1 starting at the cursor and remain selected. While they are all selected make any fine adjustment to timeline position. Make any transitions or title/text you may want (although you could also save this until the end).
5. Switch back to Vegas 2. Press 'Ctrl+F4' which will close project day2. Then open project day 3, while you are in Vegas 2.
6. Now do 'Step 3' through 'Step5' for each additional project day you have.

In Vegas 1, save the project. You should now have a master project. Finish it up like any other project, then render out to your delivery format DVD, Bluray, mp4, etc.

I 'save as' a lot as I go along, incrementing the save, so I can go back if anything goes wrong (that would be me making a mistake!!). This process doesn't effect your original day projects, saves the time of rendering each day, and you will always get the best quality in your delivery file because you are using your original footage rather than an intermediate render.

I use intermediate files a lot because of a different reason, but I also use the method above when I am not facing this different reason. The separate projects often make it more organized for me, and then combining them together offers a method to streamline all the time it takes to render out intermediates, as well as, reducing the storage space to archive my whole project.

So, sometimes intermediate files are the best workflow and other times I thing the project combination is the best workflow. In the process you are describing, combining the projects may be an alternative to consider. Hope I have explained this well enough to follow.

The best and easiest method is to use the Match Media function when you import the videos from your D3200.
When you import the first video file onto the timeline, Vegas should ask do you want to match the media settings - say yes.
If your shooting in 1080p, this is the same resolution as Blu-ray.

Is this OK when some of the media are jpg still shots?

CineMan wrote:

The best and easiest method is to use the Match Media function when you import the videos from your D3200.
When you import the first video file onto the timeline, Vegas should ask do you want to match the media settings - say yes.
If your shooting in 1080p, this is the same resolution as Blu-ray.

Is this OK when some of the media are jpg still shots?

I like to 'match media' to the predominate video in the project, regardless of witch media I actually add first. If I am adding only photos (I prefer .png rather than .jpg, as they look better in Vegas and Movie Studio), I don't match to the still, rather set the project properties closest to those I will use during render. I typically size stills about double the resolution of the project, example 1080p project (1920x1080) I will size to 3840x2160. Considering my stills start at much more than 3840x2160. If they are less resolution to start, I will try to attain at least the same resolution as the rendered project like 1920x1080.

Some times my stills aren't the same aspect ratio 16:9, and the greater resolution allows me to Pan&Crop or Track Motion, and size the photo full frame. I prefer to bring a larger still photo onto the timeline and downrez the photo to fit rather than a photo with less resolution than the video project and uprez the photo to fit. I normally shoot stills in 16:9 aspect ratio, but my wife likes 35mm format and sometimes I have to shoot quick and neglect to check before I trip the shutter!!!

Eagle Six wrote:

CineMan wrote:

The best and easiest method is to use the Match Media function when you import the videos from your D3200.
When you import the first video file onto the timeline, Vegas should ask do you want to match the media settings - say yes.
If your shooting in 1080p, this is the same resolution as Blu-ray.

Is this OK when some of the media are jpg still shots?

I like to 'match media' to the predominate video in the project, regardless of witch media I actually add first. If I am adding only photos (I prefer .png rather than .jpg, as they look better in Vegas and Movie Studio), I don't match to the still, rather set the project properties closest to those I will use during render. I typically size stills about double the resolution of the project, example 1080p project (1920x1080) I will size to 3840x2160. Considering my stills start at much more than 3840x2160. If they are less resolution to start, I will try to attain at least the same resolution as the rendered project like 1920x1080.

Some times my stills aren't the same aspect ratio 16:9, and the greater resolution allows me to Pan&Crop or Track Motion, and size the photo full frame. I prefer to bring a larger still photo onto the timeline and downrez the photo to fit rather than a photo with less resolution than the video project and uprez the photo to fit. I normally shoot stills in 16:9 aspect ratio, but my wife likes 35mm format and sometimes I have to shoot quick and neglect to check before I trip the shutter!!!

How do you do this? My stills are the best quality from a nikon D3200. I would have to check size. Thanks

CineMan wrote: How do you do this? My stills are the best quality from a nikon D3200. I would have to check size. Thanks

I use either PhotoShop or Paint Shop Pro.

- If it is a planned event, I set my Nikon for the highest resolution with 16:9 aspect ratio. These are jpeg.
- I pull the photos into Paint Shop Pro and before anything I save them as .png files. Then perform any adjustments, like color correction, or special effects. Then I crop to the same aspect ratio. If they are larger than 3840x2160, I reduce the size to 3840x2160 using a bicubic method. Then save them as .png files.
- I add the media stills, then place them on the timeline.
- If I want to add a small amount of motion to the stills, I use Track Motion. If I want to add a small amount of motion and also perform a zoom, I use Pan&Crop.

However, if I think I will do a lot of zoom, then I will not reduce the size in Photo Shop, but rather leave them at the fullest resolution the camera will provide.

If you do not have a photo editor, then just bring them in straight from the camera.

Last year I was working a project with a lot of stills. Many were very high resolution. I noticed when I put the high resolution still directly in Movie Studio, and let Movie Studio reduce the resolution during rendering, the results were not as good as when I reduced the size in Photo Shop. I think that has to do with the method Movie Studio uses as opposed to Photo Shop and Paint Shop. There wasn't a huge difference, just enough I could notice.

Adding the steps to go through PhotoShop before Movie Studio obviously adds to the workflow and for many projects it may not be necessary. I just like to have, what I feel is the best I can get, and fortunately I have the time to take the extra steps. Also, I have read that others, when placing large still photos in the 4K range, they experience a slow down or jitter in playback.

Eagle Six wrote:

CineMan wrote: How do you do this? My stills are the best quality from a nikon D3200. I would have to check size. Thanks

I use either PhotoShop or Paint Shop Pro.

- If it is a planned event, I set my Nikon for the highest resolution with 16:9 aspect ratio. These are jpeg.
- I pull the photos into Paint Shop Pro and before anything I save them as .png files. Then perform any adjustments, like color correction, or special effects. Then I crop to the same aspect ratio. If they are larger than 3840x2160, I reduce the size to 3840x2160 using a bicubic method. Then save them as .png files.
- I add the media stills, then place them on the timeline.
- If I want to add a small amount of motion to the stills, I use Track Motion. If I want to add a small amount of motion and also perform a zoom, I use Pan&Crop.

However, if I think I will do a lot of zoom, then I will not reduce the size in Photo Shop, but rather leave them at the fullest resolution the camera will provide.

If you do not have a photo editor, then just bring them in straight from the camera.

Last year I was working a project with a lot of stills. Many were very high resolution. I noticed when I put the high resolution still directly in Movie Studio, and let Movie Studio reduce the resolution during rendering, the results were not as good as when I reduced the size in Photo Shop. I think that has to do with the method Movie Studio uses as opposed to Photo Shop and Paint Shop. There wasn't a huge difference, just enough I could notice.

Adding the steps to go through PhotoShop before Movie Studio obviously adds to the workflow and for many projects it may not be necessary. I just like to have, what I feel is the best I can get, and fortunately I have the time to take the extra steps. Also, I have read that others, when placing large still photos in the 4K range, they experience a slow down or jitter in playback.

my stills would be 6016x4000 before cropping. Isn't track motion lossy?

CineMan wrote: my stills would be 6016x4000 before cropping. Isn't track motion lossy?

I'm not sure what you are asking. If you are comparing a loss of definition between using Track Motion or Pan&Crop, I suppose you could say Track Motion is lossy and Pan&Crop is lossless......although these may not be the correct terms, but probably reflects the difference between the results.

It is my understanding, that using Track Motion for zooming in will retain less definition than using Pan&Crop. I don't quite understand it, but I have tested this myself and came to the same conclusion. If I am going to make any significant zoom in's, I will use Pan&Crop, otherwise I like Track Motion.

If you have additional information about this, I would like to hear it, or perhaps Derek or another forum member will reply. I just haven't spend enough time researching the actual mechanics of the difference, I just go with the results of the difference of my tests.