[Riccardo Luppi]

Hey Kelly,

Here you can find download links to all versions backwards till V7: https://www.steakunderwater.com/wesuckless/viewtopic.php?t=3444

For older versions, I would suggest contacting Blackmagic directly. They most probably have a .exe archived that they can send you.

Best!

[Riccardo Luppi]

Hey Anthony,
Here are my two cents as a colourist: first of all I would not bother trying to “fix” the flare, both in contrast and colour shift. It is part of the shot and its beauty. I would probably park on a frame that has no flare con correct the shot based on that frame so that the flare naturally falls into place where it makes sense. Just check the flare frames from time to time to make sure nothing there is getting clipped or out of the gamut and you should be fine.
Best,
Riccardo

[Riccardo Luppi]

Hey mate,
so in order
– for the CPUs, you mentioned the under 400USD price range. Most of the CPUs in the list are well above that pricepoint. Core count really matters with DaVinci, same the CPU cache. Puget Benchmarks are valuable but are just that. A real-world usage can differ because of, mostly, sustained load on the processor and multiple operations at once. I would recommend at least a 12 core CPU. for that, AMD is cheaper.
– iGPU is futile with DaVinci. Unless we are talking about M1 Apple processors, you want a dedicated GPU. And yes, vRAM is critical. That, along with the bandwidth of the GPU, will most probably be your bottleneck. 8GB is the bare minimum for 4K.
– Definitely go for a fast DDR4. DDR5 is still too pricy for anyone on a budget.

[Riccardo Luppi]

Hey Peter,
could you add a screenshot of your export settings from DaVinci and one of the error you get in Premiere?

Usually, .mov files should not be a problem for Premiere, even if alpha is involved. That said, you could opt for an alternative route: exporting a normal video (with black or even normal background instead of alpha) + a matte from DaVinci.

Exporting the matte is easy. Simply duplicate the clip in the timeline and in the duplicate use the Custom Curve or any other means to make all the matte portion of the image white. This way you’ll get a video where your matte is white and alpha is black. You can then feed that into the Premiere along with the normal video and that should do the trick.

[Riccardo Luppi]

Hey Derek,

so Interl does perform better on the newer processors, but for the past generations that is not the case. Since you are on a budget, it is the safest bet to go on something a bit older but still very capable, like a Ryzen9.

Please remember that GPU acceleration matters mostly when OFX-heavy grading is involved. For editing and most Fusion work, the CPU will do the heavy lifting. That said, as long as you go with an NVIDIA RTX card with 8 GB of RAM or more, you’ll be good to go.

About the RAM, if you can go with 64GB then do so, but I would suggest going for a faster 32GB set-up rather than a 64GB slower one.

Finally, disks are indeed crucial. The disk read and write speeds can definitely limit your playback and render speeds. Having your system and program installed on an M.2 will be the best. the have at least one SATA SSD for the files you are currently working. Archival can be done on HDD, don’t worry.

[Riccardo Luppi]

Hey, so what would be your requirements?

Like: are you going to do editing only, simple or heavy colourgrading, vfx etc?

In general you would want an at least 8gb GPU. Right now a great entry point at a budget would be an RTX 3070.

As for the CPU, I would definitely recommend Ryzen, possibly a 3900 could be an interesting one. If your budget allows for it, even 5900, but that is not necessary.

Get at least 32gb of ram. Ideally 3000 or higher frequency.

[Riccardo Luppi]

Hey mate,

So first a question: you mention an ssd: is that internal or external? If external, what connection are you using?

If you are working from an external ssd, unless you have it connected via thunderbolt, you should transfer the file to the internal disk. This is because the usb connection is too slow.

That said, the major issue is the file format, mp4 (i’d assume H264). That is a terrible format to edit, as it is heavily compressed. Thus, DVR has to work a lot to unpack the information to work with for every frame.

The best way to solve the issue is to use either proxies or optimized media. If you are not working with other editors I’d recommend the Optimized. Anyway, the resolution can stay to choose automatically, the important setting is the format. I’d recommend DNxHR HQ if the source is 8bit or HQX if the source is 10bit.

With the optimized/proxies you’d be good to go.

[Riccardo Luppi]

Hey mate,

Actually, if you use 9 (or F9) it does disable/locks all tracks at once.

So this should solve it for you.Hey mate,

Actually, if you use 9 (or F9) it does disable/locks all tracks at once.

So this should solve it for you.

[Riccardo Luppi]

Hey Jim,

I am not sure if I am understanding exactly what you mean. If you are referring to locking the tracks, in that case the shortcut is alt(option)+Shift+Number for video tracks (ex alt+shift+1 locks video track 1) and alt(option)+Shift+Function for audio tracks (ex alt+shift+F1 locks Audio track 1).

If you instead want to disable a track, in that case, the shortcuts are the same, just with Control(Comand) instead of Alt(option). So for ex Ctrl+Shit+1 disables video track 1 and Ctrl+Shift+F1 disables Audio track 1.

Anyway, you can customise any of these shortcuts from the Keyboard Customization menu in DaVinci. That is also a great resource to if you are looking for specific commands.

Best,

Riccardo

[Riccardo Luppi]

Hey Tim,

DVR does not support 10bit in its free version. You can use Sony Catalyst to convert the footage to 8bit and then import it in DVR, or invest in a studio license.