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CutConvert
Post-production file converter

Convert FCPXML to EDL (Final Cut Pro)

The EDL Final Cut Pro cannot export: cuts and dissolves, source and record timecode, speed changes, markers as locators, clip names and a reel list, written straight from the FCPXML.

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How to convert FCPXML to EDL

Convert a Final Cut Pro FCPXML to a CMX 3600 EDL online. Final Cut Pro dropped EDL export years ago, so an editor who needs an EDL for a conform, a colour session or an older system has had to go through another application. CutConvert reads the FCPXML in your browser and writes one EDL per project: V1 with A1 and A2, cuts and dissolves the CMX way, constant speed changes as M2 lines, markers as locator comments, clip names and a reel list.

  1. Add your FCPXML

    Drag in the .fcpxml or the .fcpxmld bundle exported from Final Cut Pro (File → Export XML).

  2. Convert to EDL

    Press Convert. Each project in the file becomes an EDL; extra video lanes become their own EDLs, like Resolve does.

  3. Download your result

    Download the converted file instantly, or a single ZIP archive when you convert a batch of files.

Final Cut Pro FCPXML and CMX 3600 EDL, explained

A CMX 3600 EDL is the oldest interchange format still in daily use: reel, track, transition, source in and out, record in and out. Final Cut Pro cannot write one. This converter reads the FCPXML timeline model that the site's other Final Cut converters use, flattens compound clips into their clips, and writes the EDL with the same rules as the Premiere and Avid EDL converters: dissolves as two-line D events, dips and wipes as dissolves with the original name in a comment, speed changes as M2 lines, and markers as * LOC: locators that Resolve and Avid read.

The EDL Final Cut Pro cannot export: cuts and dissolves, source and record timecode, speed changes, markers as locators, clip names and a reel list, written straight from the FCPXML. It is free to start, encrypted in transit, and converts a whole batch into one ZIP — sign in when you need large, high-volume jobs.

FCPXML to EDL FAQ

Which tracks make it into the EDL?

V1 (the primary storyline, or lane 1 when everything is connected) with A1 and A2. Further video lanes are written as separate EDLs; audio beyond A2 is left out and reported.

What happens to transitions and speed changes?

A cross dissolve is a two-line D event with its length. Constant speed changes are M2 motion-memory lines. Keyframed speed ramps keep only their average speed.

Are markers kept?

As * LOC: locator comments with the marker text, which DaVinci Resolve and Avid Media Composer read on import. Premiere ignores them.

Does it need Final Cut Pro?

No. The FCPXML is read in your browser; nothing is uploaded and no Apple software is required.

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Why editors trust it

Free to start

Convert everyday batches for free. Create an account when you need large, high-volume jobs.

Batch in, one ZIP out

Drop up to 10 files at once and download a single ZIP, or one file if that is all you need.

Made for editors

Whole timelines from Premiere, Final Cut and Avid with transitions, markers, titles, keyframes, levels, nests and bins; captions that keep their italics, colour, placement and speakers across SRT, VTT, ASS, TTML, iTT, SCC and STL, any of them in, any of them out; transcripts into Premiere with the words the engine timed. Frame rates and timecode handled the way post expects.

Private by design

Files are converted in your browser and never uploaded. Nothing is stored, sold or shared; only a count of conversions is kept.

Questions, answered

Where are my files processed?

In your browser. The converter runs on your own machine and the file never leaves it; the site only records that a conversion happened. CutConvert never sees, stores, sells or shares your media.

Is it free? Do I need an account?

Small, everyday batches are free to convert. For large or high-volume jobs you'll create an account and upgrade, which keeps the free tier fast for everyone.

What do I get when I convert multiple files?

Drop several files and you get back one ZIP archive containing every converted file. Convert a single file and you get that one file back, no ZIP.

Which formats are supported?

Timelines: Premiere .prproj, DaVinci Resolve .drp (as exported, or gzip- or Zstandard-wrapped), Avid AAF and Final Cut FCPXML in; FCP7 XML, FCPXML, Resolve .drp, CMX 3600 EDL and shot-list CSV out. A Premiere or Final Cut edit travels with its transitions, markers, titles, opacity and scale keyframes, clip volume, speed changes, nested sequences, bins, audio channel routing and each file's own frame rate, wherever the output has a place for them; an Avid AAF brings its transitions, markers, clip levels with their keyframes, muted tracks, nested stacks and each clip's own rate. Captions and transcripts, read and written: SRT, WebVTT, SBV, ASS, TTML, DFXP, iTT, SCC, MCC (a second 608 channel comes out as its own file), EBU-STL, Avid caption TXT, CapCut drafts of any size, timed CSV, Word, plain text, Whisper, WhisperX, AssemblyAI, Deepgram, Rev.ai and CapCut JSON, Premiere transcript JSON and .prtranscript, Rev, Otter and Word-style transcripts, with italics, colour, placement and speakers kept where the output can hold them and measured word timing into Premiere. EDLs become event CSV reports. The capability table lists what every pair keeps.

Can I pick a frame rate?

Yes. For EDL and Avid caption output you can choose 23.976, 24, 25, 29.97, or 30 fps, or let CutConvert auto-detect it from your source.