Final Cut Pro to DaVinci Resolve — and back.

Two applications, no shared format

Resolve imports AAF into the edit page and into Fairlight, and exports one from the Deliver page. It does not read FCPXML from Final Cut Pro, and Final Cut has no AAF import of its own. The AAF carries the timeline between them.

Resolve is also the source of most AAFs that turn up in a Final Cut suite — a locked cut coming from the online, or a Fairlight session coming back from the mix. That leg is AAF back into Final Cut.

Final Cut to Resolve, 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. Resolve reads interleaved stereo, so the Channels options can stay off unless you specifically want per-channel files.

4. Decide about the media

   Link to original media is fine when both machines see the same storage; Collect next to output gives you a movable package. MXF-wrapped audio can stay untouched here — switch the transcode off and Resolve reads the originals natively.

5. Import in Resolve

   File → Import → Timeline and pick the AAF — on the edit page or on the Fairlight side. The report next to the output names what could not travel.

6. Coming back: a Resolve AAF into Final Cut

   Export from Resolve — Deliver page with the Pro Tools preset, or File → Export → AAF — and 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.

What travels — and what does not

• Audio positions — in samples on AAF’s 48 kHz timeline grid.
• Volume automation as real curves, plus fades, crossfades and clip gain.
• MXF audio — transcoded to WAV or left untouched, whichever the target needs; every stream of a multi-stream MXF is covered.
• Picture comes along where the export keeps picture and sound separate; the report counts the picture clips placed.

What does not come along: pan — Final Cut’s panner is neither read nor written here. Markers are written into the AAF, but Resolve ignores AAF markers, so do not count on seeing them there. Track and clip colours ride in a private AAF comment that only this converter reads back.

We open the AAFs we write in Resolve ourselves. AAF dialects differ, so convert one reel with the demo and open it on your own system before a delivery depends on it.

FAQ

Should I let MXF audio transcode?

Going to Resolve, no — it reads MXF natively, so reference as-is keeps your originals untouched. Coming from Resolve into Final Cut, yes: Final Cut does not read MXF audio from an XML reliably.

Resolve gave me _A01 and _A02 tracks.

That is how Resolve writes a split stereo pair. Switch on Combine split stereo tracks and confirm the pairing in the review window before converting.

Do my markers show up in Resolve?

They are written into the AAF, but Resolve ignores AAF markers. Do not plan a workflow around them on this route.

Can I go Resolve to Premiere instead?

Yes — an AAF from Resolve converts to Premiere XML the same way. Note that Premiere XML is a delivery format, not a source: coming from Premiere, use Premiere’s own AAF export.

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