PostMicroTools
Reference + tool
EDL inspector (CMX3600)
Paste or load a CMX3600 .edl and read its events, timecodes, reels and clip names. Everything is parsed in your browser — nothing is uploaded.
Events
No valid CMX3600 events found. Paste an EDL above.
| # | Reel | Trk | Src In | Src Out | Rec In | Rec Out | Clip |
|---|
Reading a CMX3600 line
Each event is: NNN REEL TRACK TRANSITION srcIn srcOut recIn recOut. Transitions: C = cut, D = dissolve (with a frame count), W = wipe. Lines starting with * are comments (clip names, locators).
Drop-frame vs non-drop
The FCM: line declares DROP FRAME or NON-DROP FRAME. Drop-frame timecodes use a semicolon before the frames (00:00:00;00). Pick the matching frame rate above so durations are computed correctly.
EDL vs XML/AAF
EDL is simple and universal but loses effects, multiple tracks and metadata. XML (FCPXML) and AAF carry far more (effects, multicam, audio), at the cost of complexity. EDLs remain the safe interchange for conform and color.
Reading a CMX3600 before the conform bites
The EDL is the oldest interchange format still in daily use, and its limits are exactly why inspecting one matters. A CMX3600 event carries an event number, a reel name (historically capped at 8 characters), track type, transition and source/record timecodes — and nothing else. Effects, speed ramps beyond simple M2 motion memos, color, audio levels: all silently absent. Knowing what survived the export is the first step of any conform.
Paste an EDL here and it's parsed into a readable table: events, reels, timecode spans, transitions and the notes lines (* LOC, FROM CLIP NAME) that NLEs append. The frequent catches: record timecodes that reveal the sequence was exported at the wrong frame rate (a 25 fps list for 23.976 media), truncated reel names that no longer match camera-roll metadata, and duplicate events left by a lazy list clean-up.
Everything is parsed locally in the browser — client material never leaves your machine — which makes it a safe quick-look when a list arrives from another facility and you just need to know what's in it before opening a conform session.
What actually survives in an EDL?
Cuts, dissolves, wipes, simple speed changes (M2 memos) and source/record timecode per event — one video track and rudimentary audio at that. Layered timelines, effects and color decisions need AAF, XML or OTIO instead.
Why are reel names limited to 8 characters?
CMX3600 lists were designed for tape machines addressed by short reel IDs in the 1970s. Modern NLEs still truncate or mangle long source names on EDL export — a top cause of failed relinks during conform.
When should I ask for AAF or XML instead?
Whenever the timeline carries more than a single video track of cuts and dissolves: multi-track sequences, retimes, repositions or audio mixing all need the richer formats. The EDL remains the lingua franca for grading conforms and legacy interchange.