[Oki Pienandoro]

Just do a self test, whether your system is capable of handling 120 min of 1080p (i assume Sony NEX VG20 is outputting 1080p). Find a clip online, or use your own clip, make dozen copies, and do a random timeline editing (trim, overlay) and a bunch of audio track. See if your system is stuttering or not.

In the past (like 5+ years ago), i used to make a proxy-video from my source video (lower res, lower bitrate) to lower the burden on my system, and it works wonderfully.
Then after the editing is finalize, i replace the proxy video with the source video. It’s only a two separate folder method (one with proxy, and the other is the source). You can use batch renamer to trick Premiere (renaming the proxy clip with prefix “_unused”), then Premiere is trying to relinking the file, and you simply pointing Premiere to the target source clip.

Be sure to test this method first, i never used these for a long time. Make sure Premiere can relinked to the source clip after you’ve done proxy editing.

You can always try first to lower the playback res in Program Monitor (1/4,1/2 x) if your system is struggling.

And you can also transcoding the source to ProRes, it has better playback speed on many system, and they were visually lossless.

Btw, sorry if any of my suggestion is misleading/wrong, it’s only based on my experiences.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

How long “future” are we talking about, 10,30,50+ years ?
Other issue that you might look is your current scheme to store them as DualBD.
Will there be a player capable of retrieving from the disc in 10,30+ years ?
Another thing. I’ve seen a BD disc less than 5 year is degrading, unplayable, etc.

In a really-really long archival purpose, your safest bet is actually keep them updated with the current generation, thus negating the needs for concern whether it can be retrieved properly (codec wise).

This require you to store them in lossless whether you like it or not, since this approach requiring you to re-trancode in perfect copy again-and again-and again in the future.
Sure, ProRes is recommended due the versatility in the past 10 years or so, but as an archival purpose, and the nature they were not true lossless, i don’t use it.

I also store many video for archival, and i keep updating (read=transcode) to the current gen, from huffyuv (past) then lagarith (past) to Ut video codec (current).

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Sorry for the english, not native speaker.

[Oki Pienandoro]

https://www.nikse.dk/subtitleedit/
It’s one of the best freeware tools IMO.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

By comparison, of course DVD will produce a lower quality than blu-ray no matter how you encode.
Thus the real question is, is it the render is awful because a wrong bitrate/target size. Or is it awful subjectively ?

When i’m answering your question, i assume the problem because Encore trying to squeeze a very long complex project (2 hour+) into a single DVD, because you were saying you need to render that into dual layer.
However, knowing that the project was roughly 1,5 hours. It should fit into single layer DVD.

Do a test render (just a couple of minutes footage).
1. Render your AE/Sony Vegas project into 1080p lossless or uncompressed.
2. Put that file in AME, use default preset (MPG-DVD), choose accordingly to your format (PAL/NTSC, Wide/Normal).

Compare the AME render result with your previous awful result in Encore.
If the quality roughly the same, i’m afraid there’s nothing much to do. That is how DVD video look.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

Yes you’re right. And i never use an uncompressed audio track, so the whole stream is always below the max bitrate permitted.

I edit/remove my above post to clarify that.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

Well i just follow this advice from this spec :
https://www.mpeg.org/MPEG/DVD/Book_B/Video.html
Works fine all the time for me.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

Update your driver maybe ?

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Sorry for the english, not native speaker.

[Oki Pienandoro]

https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-Professional-GPU-Acceleration-502/

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Sorry for the english, not native speaker.

[Oki Pienandoro]

Cineform.
Bitjazz Sheer Video->Lossless
Ut Video (freeware)->lossless

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Sorry for the english, not native speaker.

[Oki Pienandoro]

I assume the whole sequence was still video, right ?
So i didn’t have to wrote how to do a camera track ?

Anyway,..
You can blend the edges using mask, then apply the mask in Premiere.
The “track mattes key or image matte” is in the video effects library.

The “mask” is only a black and white image with gradient.
The white will become solid, and the black part is where the image will be transparent.
The “grey” area is where the image become semi transparent.

Example :

Track matte method :
1. Make the “soften edge mask” in photoshop.
2. Import the mask in premiere, drop it above your master video track.
3. Apply that “track mattes” in your master shot, set the layer mask target into the video track you drop earlier in step 2, set the matte to Luma.
4. Drop your footage replacement (left monitor) below tor master shot.
5. If the result was inverted (the which supposed to be opaque become solid), you can reverse the matte.

Image matte method (less messy):
Basically the same as above, the only difference is instead of dropping of to the video track, you can choose the file matte you made in Photoshop and import them using the setup button (the little button on the left of reset button.

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Sorry for the english, not native speaker.