Upload an actual sample of the camera footage to Drive or Dropbox and post a link here. Many suggestions will follow, some of them good.

If your footage is 3840x2160, and your output is 1920x1080, your zoom factor should not exceed 2x.

If your Bluray output format is changed to 720p, as @fr0sty suggests, your zoom factor can be as much as 3x.

That's the math.

For larger magnification, the Upscale fx is suggested, but 4x is pushing the limits for any reasonable scenario.

Best of luck.

The coding was set to 3840x2160 25p 100 Mbps. I intend to make a Blu-ray disc, 1920x1080 50i.

Makes no sense to me to make from 2160p25, 1080i50 or even 720p50.

For Bluray delivery, I would try to slowdown 2160p25 to 1080p24.

@PeterDuke nice to see you back. Been a while.

For interframe smoothing there is also a deflicker Fx but I've had some stability challenges with it. Not sure if it's improved.

I have made many BluRay discs from my AX100 and some from my AX700 with fantastic results. I agree with 3POINT, I have always filmed at 2160p25 and output from a 1080p24 timeline where I have time stretched (slowdown to 96%). If you do not do this the video shows small jumps on movement, very annoying. I output using Sony AVC BluRay template (outputs video only) and output sound via AC3 pro (if you have it). I burn the BluRay using Sony DVD architect which does not re-encode if you have used the correct template to output the AVC file. [I have now moved away from BluRay and output 4K to USB stick as optical discs are not the future].

For Bluray delivery, I would try to slowdown 2160p25 to 1080p24.

For his choral concert, I wouldn't slow down or detune the audio. 50i is the best compromise, I think.

For Bluray delivery, I would try to slowdown 2160p25 to 1080p24.

For his choral concert, I wouldn't slow down or detune the audio. 50i is the best compromise, I think.

I bet when you don't know, you will not hear a difference . Also I doubt that we're talking about a high quality recording, when I read under which conditions it was made.

50i is the best compromise, I think

Introducing interlacing artifacts that aren't there in the source, just to gain a few (>150k) extra pixels? I'd say 720 50p would be the better bet with that considered. At least they get 50 full frames then, and they aren't throwing away frames or every other row of pixels to do it.

I don't have a dog in this fight, but I was curious.

23.976p

25p

 I'd say 720 50p would be the better bet with that considered.

Depends I think on whether or not his player supports the newer BD formats.

https://en.wikipedia.org/wiki/Blu-ray#Video

I don't have a dog in this fight, but I was curious.

23.976p

25p

Do you hear the difference?

@3POINT

Yes, but I was a musician.

@3POINT

Yes, but I was a musician.

But can you also hear a difference without comparing?

Yes, absolutely. Musicians and singers have pitch memory, the technical name is "relative pitch."

4% is a BFD in my world.

@3POINT

I’m not sure how I would do in a double-blind test. I’d probably do better than the rest of the population. I’m aware that 24-25 fps frame rate changes are done routinely.

Luckily my eyes are better than my ears.

 I'd say 720 50p would be the better bet with that considered.

Depends I think on whether or not his player supports the newer BD formats.

https://en.wikipedia.org/wiki/Blu-ray#Video

BD has always supported 720p50 in PAL regions... hasn't it? I know it supports 720p60 in NTSC in the original spec.

Yes, absolutely. Musicians and singers have pitch memory

@Musicvid I'm tone deaf so the clips sounded the same to me. But anyway when you slow a clip doesn't Vegas by default maintain the pitch?

 

BD has always supported 720p50 in PAL regions... hasn't it?

+1

Additionally, there was even a tool with which you could use 1080p50. I haven't tried it myself, but if someone wants to, they can give it a try.
https://www.videotreffpunkt.com/videotreffpunkt/index.php?thread/13194-1080p50-bd-iso-mit-dvda-genp50bd-plus-exportmarkersfl/

@Musicvid I'm tone deaf so the clips sounded the same to me. But anyway when you slow a clip doesn't Vegas by default maintain the pitch?

The elastique plugin is a kind of early pitch resampler; it was ok for speech, but introduced a lot of flanging and distorion; there was a freeware plugin on the internet that worked better, but it too, was unsuitable for music, 'cept maybe Metallica.

Understand that musicians want perfect "memory reproduction" of pitch, tempo, and timbre (pronounce ˈtambər); it's quite unlike an audience being wowed by a good performance. Closest video relatives are pixel peepers. Go to hydrogenaudio.com if you want the full audio wannabe treatment. ;?)

You guys are probably right about BD formats; I only burned a few images, it was all NTSC DVDs and no frame rate conversions were involved.

tl:dr follows: Most of our shows were done in VP8 from multicam DVCAM shoots. Three dozen mics, six subs were not unusual. Only the main camera pair and one outboard recorder could be freerun synced and genlocked with timecode.

Since one or two tracks invariably drifted from the master cam audio, my solution was to chop it into ~9 minute chunks. Cuts were made exactly on zero-crossings and faded ever-so- slightly, introducing miniature gaps, hundreds of them. The chunks were then aligned to the master with pluraleyes, and where it failed, aligned by eyeball and offset by a fixed amount if an ambient track. If a gap was audible, I just filled it with neighboring background noise.

Took three weeks, five days a week, to sync a show. Many incremental projects so we could revert when something went wrong.

So this is how we overcame drift; never tried slowing anything by 4% though, I doubt it would work.

To get audio AND video perfect for Bluray specs better record directly in 1080p24 (or 2160p24).

I have uploaded to dropbox an excerpt from the original video file and a zoomed version as it will appear in the final Blu-ray.

https://www.dropbox.com/sh/wkx9vvrkt0vvx1h/AAB9XlPIExxnzYpKOkt2pxtHa?dl=0

The sound in the original excerpt is as recorded by the camera while the sound in the final excerpt is from the two microphones near the choir. You will notice in the zoomed final version that the panelling behind the compere is shimmering. What can I do to reduce this shimmering?

The performance is gone, never to be repeated. I know I can’t make a silk purse out of a sow’s ear, but what I want is the most presentable sow’s ear that I can get.

In front of the compere, you will see six trophy cups awarded to the choir many years ago (long before television and my time in the choir!) when choral competitions were in vogue.

I was not in the performance because of a persistent cough and croaky voice.