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Final Cut ⇄ Media Composer

Final Cut Pro to Avid Media Composer — and back.

AAF is Avid’s own format. Final Cut writes FCPXML and nothing else — the conversion sits between them, in both directions.

Short answer: Export File → Export XML from Final Cut Pro and convert it to .aaf; an Avid AAF coming the other way converts to .fcpxml or the .fcpxmld bundle.
Why AAFStep by stepWhat transfersFAQ

The reference implementation

AAF came out of the Avid world, and Media Composer reads and writes it as a native interchange format. Final Cut Pro writes FCPXML and has no AAF import or export, so the conversion sits between them in both directions.

Avid expects OP-Atom MXF and particular descriptor details, which is why MXF-wrapped media is best left untouched on this route — Media Composer reads it natively.

Final Cut to Media Composer, step by step

  1. Break apart compound and multicam clips

    Clip → Break Apart Clip Items. These clips do not expose their contents to any converter. Nesting is followed three container levels deep — on a deeply nested project that can cost most of the timeline. The report counts every clip that fell out, but fixing it in Final Cut is the only way to get the material back.

  2. Export the XML from Final Cut Pro

    File → Export XML. A single .fcpxml or the .fcpxmld bundle — drop either one in.

  3. Convert to .aaf

    Drop the file in and pick .aaf. If your Avid workflow wants channels split, the Separate combined channels option writes one mono file per channel while the tracks stay stereo.

  4. Collect the media

    Collect next to output gives one movable folder. MXF audio can stay untouched (reference as-is) — Avid reads MXF natively, so the originals can stay as they are.

  5. Coming back: an Avid AAF into Final Cut

    File → Output → Export to File → AAF in Media Composer, then convert to .fcpxml or the .fcpxmld bundle. Leave the MXF transcode on for this leg — Final Cut does not read MXF audio from an XML reliably. See AAF back into Final Cut.

Two things to flatten first: speed changes are carried by none of the four formats, and the converter does not detect them either — a retimed clip arrives at its original speed. The same goes for a video cross dissolve: it is not carried, and picture after it can slip by the length of the dissolve. Render or consolidate both in Final Cut before you export.

What travels — and what does not

What does not come along either way: pan — Final Cut’s panner is neither read nor written here. Track and clip colours ride in a private AAF comment that only this converter reads back. Exact track names give way to Final Cut roles on the return leg, and empty tracks are not representable in FCPXML.

FAQ

Should MXF audio be transcoded for Avid?

No. Media Composer reads MXF natively, so reference as-is leaves your originals alone.

What about markers?

They are written into the AAF as named markers.

Can I go Avid to Premiere instead?

Yes — an Avid AAF converts to Premiere XML as well. Premiere cannot read third-party AAFs reliably, which is exactly why that route exists.

Try it on your own timeline first.

The demo is the complete app with unlimited conversions — each output covers the first 120 seconds with the full track layout. If your file converts the way you need, buy a license.

Download the free demo Buy — $79