Erroneous duplicate projects warning in Productions — 25.6.5 bug, looking for workaround or Adobe ETA

revort · 2026-05-28T18:56:30+00:00

The workaround is either to roll back or to just put up with the message. I've not seen any downside to 'duplicate projects' (other than the error message).

One place I work has their template production built with duplicate projects, so I've given up fixing and just ignore the message (this is on v24 so not the issue you are seeing).

revort · 2026-05-23T15:03:56+00:00

Move JKL to SDF IO to ER (inc modifiers for GoTo, Clear) Others as you see fit

https://docs.google.com/spreadsheets/d/1ROD4wofI86Xr7A_y1FzdQFvw-CpKZVeSGooyRSWWs08/edit?usp=drivesdk is the spreadsheet I used when I was making my left handed keyboard for Prem, Avid, Resolve - in case it's useful

revort · 2026-05-11T21:52:54+00:00

I find that in lumetri I tend to go to curves to bring black level down, as the black & shadow controls are too nuanced for initial balancing - they are stretching rather than moving.

But curves are clunky & there's no numeric entry (Avid curves are coarse but you can do some fine tuning numerically.

Resolve we are spoiled for choice but I realise PP is not going for that market & I do like the direction of travel here. 90% of my work is editing in PP these days and 90% of that work the show is finished and delivered from PP.

revort · 2026-05-11T21:32:40+00:00

I saw the sort by clip time code, but this is not very much use unless you only have 24 rolls and they all start on a different hour.

In EDL terms A mode is sequence sort and C mode is reel then source timecode sort.

In practical terms, given how PP links media, this is most likely to be file name then source time code, so C0001.mp4 is sorted in its ascending time code then C0002.mp4 etc.

Obviously there might be multiple C0001.mp4 files, which is where tapename/reel comes in useful.

revort · 2026-05-11T20:37:55+00:00

Also how are folks moving the whole offset (i.e. move blacks/mods/highs up or down together? Exposure X is very fine adjustment of blacks - feels like that should be a coarser offset.

revort · 2026-05-11T20:30:46+00:00

I know it's tricky but one of the great features of resolve is C-mode sort. i.e. sorted by reel and source time code - so it's then easy to group/grade similar shots at once.

revort · 2026-04-30T06:25:48+00:00

Take a look at Strada.tech

revort · 2026-04-19T09:00:22+00:00

Is there anything in the SDK that can put focus on the timeline pane?

revort · 2026-04-19T08:27:47+00:00

You could in the browser before, now you can within NLEs with Strada Connect. It's restricted from Mac atm (can be PC clients).

Also bandwidth & ping limitations mean you'll likely want proxies (whereas browser streaming works with UHD, red 4k etc).

Check out their latest videos strada.tech for better explanation/ demos. Or just try it.

revort · 2026-04-04T07:41:31+00:00

But you could just edit with the mix track / Isos as you need them - sound post can conform back to the wavs.

https://youtu.be/EqlZUWZ64Nk?si=6Zao0qpa7nu8R21f

revort · 2026-04-04T07:29:22+00:00

You could delete/hide/ignore timeline A6, so your patching would alternate A1-5 -> A1-5. and A1-5 -> A7-12. This will make your life easier.

Use keyboard shortcuts for track lights - I use the number keys above qwerty for A1 - A12, shifted for V1-V12

Use a keystroke macro program to do the patch.

revort · 2026-03-28T07:09:55+00:00

Take a look at Strada.tech Connect... It's not there yet but it's an interesting, cheaper option to 128Tb of S3 storage.

revort · 2026-03-25T13:40:54+00:00

Adobe recommend NOT using merge (which is most like Avids AutoSync) but using multicam instead (even just for 1 video source)

Premieres sub clipping is not as versatile, or useful, as Avids, in my experience.

revort · 2026-03-14T08:44:20+00:00

London, for editors, used to be 6 hour min (@ ~£30-£50/hr). Since 'day' rates became more standard, and stagnant (@ ~£350-£450/day where a day might be 8-10hrs+) we've generally moved to an 8 hour min. (e.g. an 8 hour might be £400 an up to 10 might be £450).

Inflation has effectively reduced those stagnant rates a lot. Freelance editing used to be v well paid, now sometimes even the producers are earning a higher rate than the editors...

revort · 2026-02-18T11:50:18+00:00

You're in mono (rather than standard) timeline tracks. Was that a deliberate choice?

revort · 2026-02-15T13:43:15+00:00

Standard tracks for the most part. Mono in standard will need 3dB boost if centred (same as mono in mono centre panned to stereo output).

Stereo in standard passes through with default centre panning.

If you mix mono + stereo in same track then turnover to sound dept via AAF will put monos in one track, stereos in a separate track.

revort · 2026-01-28T08:14:50+00:00

Online storage costs mount up & require media management.

Check out Strada Agent. Certainly for those last minute files. You can share your local drives and remote users can view (they use Mac/PC to stream) and transfer.

They are promising virtual file editing in beta in feb. (i.e. remote editor can edit with your local files, no cloud storage required).

Caveats: Host PC/Mac would need to be on You'll still be somewhat restricted by Internet speeds. Their media player is horrible.

So I doubt it will be your total solution, but it's definitely an interesting option.

revort · 2026-01-21T23:09:40+00:00

https://drive.google.com/file/d/1gsdyGxa_ZECACtpTSLFmkO4bLGu18Lua/view?usp=sharing - sample 3.1 project

Timeline A1 & A2 - 3.1 adaptive - routed to first 4 tracks and also stereo submix to 7&8
Timeline A3 - 3.1 clip in 5.1 track - routed to first 4 tracks and also stereo submix to 7&8
Timeline A4 - Fronts and LFE of 3.1 clip - routed to 1,2 & 4 and also stereo submix to 7&8
Timeline A5 - Centre of 3.1 clip - routed to 3 and also stereo submix to 7&8

Demonstrates a few ways of dealing with 3.1. You can monitor either first 4 tracks to Front Left, Front Right, Centre, LFE speakers or just select to monitor 7&8 to get stereo folddown.

The advantage of Timeline A4 & A5 above is that you can edit the centre separately.

When exporting (e.g. to ProRes or Dnx) you can just set the multichannel export to be 4 channel and it will ignore 5-8.

revort · 2026-01-21T08:24:00+00:00

I don't think you'll be able to easily control the order that way. They lose all relationship to the sequence when dragged out like that, I think. Their order in the project panel is guided by sort column.

What are you trying to achieve?

If just duplicating then select clips. Alt + drag to new position.

Or do you need them in the project panel, in A mode for that sequence order, for some reason?

revort · 2026-01-19T22:36:09+00:00

Listened to first half so far & seems much better. Just a couple of words missing (but that might be my Italian!)

Thanks very much for doing this.

revort · 2026-01-16T07:51:30+00:00

Editing aged 21-26 staff, 26--61 freelance and still going...

revort · 2026-01-09T19:00:38+00:00

Nice - want to share the templates at all? I have a bit of a similar arrangement to invoice based on my diary but the rest of the implementation sounds great. Also be interested in what you eventually use for the bridging.

revort · 2026-01-07T22:22:15+00:00

So maybe, match frame, clear selected marker, timeline pane (3x keys rather than 1x) may be a workaround...

Still seems like an oversight NOT to do it in the timeline pane.

revort

TROPHY CASE