“The maximum EDL event limit (999) for CMX 3600 has been exceeded” Premiere Pro

[Tero Ahlfors]

You’ll need to split the project in a few parts. If for some weird reason the audio house is incapable of putting it together then you’ll have to figure out another workflow.

[John Pale]

Break the sequence into tracks, maybe?

Tracks 1-8 in one sequence, 9-16 in another, etc.

Then all they have to do is merge them into one session at their end.

If they can’t deal with that, then they have to do reels. It’s not like the EDL format from CMX edit controllers in the 1970s is ever gonna get updated.

[Tero Ahlfors]

There are different EDL formats that support all kinds of stuff, but Adobe is probably trying to keep it as backwards compatible as possible.

[Bret Hampton]

Tempe

The standpoint “when everyone worked in reels” is incorrect. We STILL work in reels. This is accepted format for feature delivery, fiction or documentary.

Of course your post house is free to request whatever format they want, but CMX 3600 is accepted standard and yes, 999 events is the limit. It’s a holdover from the analog tape days and isn’t going to change. Editors have asked this question for years.

It’s generally accepted to deliver each “A/B” reel (two ten min reels joined together separately), picture and audio. Then the audio engineer uses Pro Tools (the standard) or similar software to do any additional sound editing, add ambience, sound fx (in camera or Foley), ADR, Music, etc.

If they can’t accept your CMX list, maybe you can make an OMF from your edit software and they use that?