Convert Final Cut Pro XML into an AAF for Pro Tools, Nuendo, Media Composer or Resolve, and an AAF from Resolve, Avid or Premiere into Final Cut XML, ready to import. Your Final Cut roles become named tracks, numbered, and in the order you decide.
One-time purchase · macOS · free demo, no signup
A multicam clip becomes a flattened track of cuts, built from the angle that was actually switched in Final Cut, picture and audio resolved separately, because the camera and audio are often different sources. Compounds are expanded, auditions keep the active take. The structure itself cannot travel in AAF, so the report names every clip that was flattened.
Drop any number of timelines, pick one target, convert them all, with live status per file and a cancel button that actually cancels.
Audio placement is exact to the sample, at any project frame rate. Frame rates from 23.976 to 120 fps, or none at all for audio-only AAF.
Every crossfade maps to the target's native construct: real AAF dissolves, Premiere transition items, true overlapping blends in Final Cut (that is FCP’s own audio blend; a dissolve transition only blends the video). Full blend length, no level dip, no shifted cut points: acoustically as close as the target format can render.
Volume automation travels as a real AAF curve or as Final Cut volume keyframes; pan (static and automated) via AAF. Channel counts are kept in AAF and FCPXML; the report flags what Premiere XML cannot hold.
Link to original media, or collect: the output and its
media land in one package folder, Name/Name.aaf plus Name/Media/, a
complete, movable turnover.
MXF audio transcodes to WAV automatically, multi-stream MXF included, or keep the original MXF references for editors that read them natively.
Picture tracks travel too: track for track in AAF and Premiere XML, storyline plus lanes in Final Cut.
Every conversion writes a plain-text report: what transferred, what the target format cannot carry, and every warning that matters.
AAF Everything now installs a workflow extension inside Final Cut Pro. Open Window ▸ Extensions ▸ AAF Everything and the current timeline goes straight to AAF for Pro Tools, Nuendo or Avid, without exporting XML by hand.
Each route has its own page, the exact steps, and what the format can and can’t carry.
By format: FCPXML to AAF · AAF to FCPXML · AAF to Premiere Pro · Final Cut to Premiere · split-stereo & channels
By target application: Pro Tools · Nuendo · Resolve · Media Composer
The demo is the complete app, every format, full batch, no signup. In demo mode each output covers the first 120 seconds of the timeline, with your complete track layout, enough to open the result in your editor and check every edit before you buy.
macOS 13+ (Apple Silicon)
First launch: your system may warn that the developer isn’t recognised. We’re a small independent studio and haven’t finished code-signing yet, it’s on the way, thanks for your understanding. The app is safe and runs offline. On macOS, open System Settings → Privacy & Security and click Open Anyway after the first launch. You only do this once.
Secure checkout via Lemon Squeezy · license key by email · VAT/receipts handled automatically
Anything that reads or writes the four formats: DaVinci Resolve, Avid Media Composer, Pro Tools, Nuendo and most audio-post DAWs via AAF; Premiere Pro via Final Cut 7 XML; Final Cut Pro via FCPXML or the modern FCPXMLD bundle.
Yes, audio placement is computed in samples, independent of the frame rate. Only Premiere XML is frame-quantized, because the format itself counts in frames. Every build is verified by an automated round-trip suite that converts real timelines through every format and compares each edit.
By default the output links to your original files. Choose
Collect and the output and every referenced audio file
land in one package folder, Name/Name.aaf plus
Name/Media/, that you can move to another machine
as a whole. MXF audio transcodes to WAV automatically (all
streams of a multi-stream MXF included), or stays untouched if
your target reads MXF natively.
AAF carries everything including pan and volume automation as real curves. FCPXML carries volume automation too, written as Final Cut volume keyframes, but has no pan or color field. Premiere XML keeps constant clip gain and leaves moving volume automation out; it is never averaged to some invented level. The report tells you whenever something could not travel. Compound, multicam and audition clips are flattened to what was actually switched or active, and the report names how many. Only clips sitting more than three containers deep are skipped, for those, Clip → Break Apart Clip Items in Final Cut and export again.
Yes, that’s the point. Coming from Premiere, export an
AAF (File → Export → AAF, the sample-accurate
route) and convert it to .fcpxml /
.fcpxmld for Final Cut. Coming from
Final Cut, export FCPXML and convert it to
Premiere XML for the way back, Premiere cannot read
third-party AAFs, so the converter always hands Premiere its own
XML dialect.
Yes, drop any mix of the four formats into the window and convert everything as one batch to a single target, with live status per file and a report next to every output. Existing files are never overwritten.
We are a small independent studio, and Apple’s code-signing & notarization program is genuinely costly for a tool this size, it is on our roadmap, and the warning will disappear in a future update. Until then Gatekeeper simply cannot verify who made the app and plays it safe. To open it the first time: double-click the app, click Done on the warning, then open System Settings → Privacy & Security, scroll down and click Open Anyway next to the app (confirm with your password if asked). You only do this once, macOS remembers it. Your timelines never leave your machine.
Your timelines and media never leave your machine, nothing about your work is uploaded, ever. The app itself contacts the network in three places: once to activate your license key, occasionally to re-check that the license is still valid, and briefly on start to ask whether a newer version exists (version, platform and demo-or-licensed only, with no identifier). The update check can be switched off in the license panel; without a connection the app keeps working.
AAF Bridge connects your editor with Ableton Live. AAF Everything is a pure format-to-format converter between editors, no Ableton involved. Same engine family, different job.
No. The free demo is the complete app and converts your real projects, so you can be sure everything works before you buy. Consumer rights that are mandatory under your local law stay unaffected.
Questions before buying, feedback, or found a bug? Either way, please write. If a real-world timeline breaks the converter, we genuinely want to see it, bug reports directly shape the next update. You’ll get an answer from the person who wrote the code.
Email support@aafeverything.app