It doesnвЂ™t contain any metadata or instructions about resizes or effects other than that they exist in that shot. Then we go down to the next line (002) and see the next cut in the sequence. It can be read: source file/tape name, video only (V), cut (C) source in, source out, timeline in, timeline out, then a description of any effects used or any other notes you have chosen to put in there.

Each line describes an edit in simple ASCII text. ItвЂ™s useful though, because we can open it and look at it if we have questions about what youвЂ™ve done, or if thereвЂ™s a shot in there that the system canвЂ™t read properly. It can be edited, hacked and even read out loud should the zombie apocalypse occur and youвЂ™re left conforming a film with only tapes and two decks. An EDL is the most simple of the three, which is why we often request it in addition to an AAF or XML.ДЄn EDL (edit decision list) is a simple, specifically formatted text document that describes, shot by shot, a single layer of your timeline. Depending on that software, we need the details of your timeline in one of these formats to interpret it correctly. When a project is conformed, weвЂ™re not relinking your timeline, but rebuilding it in different software. I, the Unknown Artist, amВ here to try and demystify this aspect of turnovers, and hopefully make turnover specs seem less weirdly demanding.

TheyвЂ™re an essential part of any turnover, and each post house will request a different set of one or more of these (often along with your project or bin). IвЂ™ve been asked a few times recently to explain the what, how and why of XML, AAF and EDLs. Taking your project from the edit suite to the final product.

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