342 Appendix PREPARING FOR LINEAR ONLINE name from another project. There may also be two separate ver- sions of the same project that have been combined. The EDL Manager has to change that tape name in the list. The source table tells you that since you had a tape 001 from project X and a tape 001 from project Y, that with a Sony format, EDL Manager changed the second tape name to "999." A CMX list changes a second tape 001 to "253." According to the system, these are two different tapes! This is why the original logging is so important. If you don't have that information, then you could get very lost. Never attach a source table to the electronic version EDL on the disk because it is really just a very long comment added to the last event. Many sys- tems have a limit as to how many comments they can read per event, and this will cause an error when reading the list if you have a lot of tape sources. Make the electronic version without the source table, but always print it out separately to take with you. You can truncate the names of your tapes in a very specific way. This is important if your tapes have been given names that do not match the restrictions imposed by the EDL format. Most formats impose a character length limit of between six and eight charac- ters. You may find that the way the system truncates your tape name makes very little sense. You now have control to preserve the end of the tape name if that is where the most important dig- its of the tape library code exist. This is especially useful for track- ing back tapes to a stock library. PAL Lists If you have a PAL project, be aware that the very first time you open EDL Manager, it may default to NTSC. You can change this to PAL under the Standards setting and it will stay that way. PAL lists become complicated when you are working in film and want to go back to the negative because of the two different methods of dealing with the difference between 24 fps (frames per second) and 25 fps. Sometimes you slow down the audio and sometimes