Support for Final Cut Pro X version 10.0, 10.0.1 or 10.0.2
Pro Export FCP 5.0 does not work with FCP X 10.0.3

Pro Export FCP includes an export app that works with the new Final Cut Pro X to export AAF or OMF to send audio to Pro Tools!

 

Automatic Duck's
Pro Export FCP

Pro Export FCP is an AAF/OMF exporter for Final Cut Pro that has been the standard for FCP interchange since 2002.

With Pro Export FCP 4.0 you can export Avid MXF media that connects to your exported AAF file, write media that is external to the OMF or AAF file avoiding file size limits as well as translate many effects from Final Cut Pro 7 to your Avid or Quantel Generation Q system.

When you purchase Pro Export FCP 4.0 for Final Cut Pro 7 you will also receive Pro Export FCP 5.0 for Final Cut Pro X which allows you to send audio from FCPX to Pro Tools.

What the Pros use

Pro Export FCP is used and relied on around the world by thousands of professionals. There is no better way to get your Final Cut Pro 7 sequence into an Avid or Quantel editing sytem.

Click here to download
QuickTime Demos
FCP 7 to Avid 1
This demo shows a long, complex sequence being translated from Final Cut Pro 7 to an Avid editing system. You couldn't do this with EDLs!
FCP 7 to Avid 2
This example shows how how media can be translated into Avid MXF files, it is magic.
FCP 7 to Pro Tools
Watch as a project is translated from Final Cut 7 into Pro Tools, with both media and volume automation coming across.
AMA relink to FCP7 media
Check out the option to help you link to FCP7's QuickTime through Media Composer's AMA.
FCP X to Pro Tools
In this movie we show how you can export audio from Final Cut Pro X to Pro Tools via AAF or OMF.

More Details

The exclusive AAF and OMF export for Final Cut Pro X.

  • All audio "tracks" exported at once
  • Audio media embedding option
  • Audio resampling to 32000 KHz, 44100 KHz, 48000 KHz or 96000 KHz for maximum export flexibility
  • Bit rate options of 16-bit or 24-bit
  • User definable handles for export
  • Audio crossfades
  • Audio keyframes become gain automation
  • Clip-based audio levels
  • Manual fades (At this time fades are not maintained when clip also has a volume adjustment applied.
  • Retiming is not supported

More info in the User Guide.

The best way to translate a Final Cut 7 sequence to an Avid editing system.

  • All tracks exported at once
  • Dissolves
  • Motion Effects / Speed Changes (constant, not variable)
  • Freeze Frames
  • Master clip Log Notes to Comments
  • Nested Sequences (limitations apply see user guide)
  • Subclips
  • Audio clip gain
  • Audio "automation gain" (FCP audio keyframes become Avid audio keyframes)
  • Audio pan
  • FCP's built-in Text generators become Avid Title Tool effects
  • FCP Position parameter becomes PIP
  • FCP Scale parameter becomes PIP
  • FCP Opacity parameter becomes Superimpose
  • FCP Rotation parameter becomes 3D Warp
  • FCP Crop parameter becomes PIP
  • Avid DS is not supported

The most powerful AAF and OMF export available for FCP7.

  • All audio tracks exported at once
  • Audio media embedding option
  • Audio resampling to 32000 KHz, 44100 KHz, 48000 KHz or 96000 KHz for maximum export flexibility
  • Speed Changes (constant, not variable)
  • Bit rate options of 16-bit or 24-bit
  • User definable handles for export
  • Audio crossfades
  • Audio keyframes become gain automation
  • Clip-based audio levels
  • Audio pan

The way to translate a FCP7 sequence to a Quantel Generation Q eQ or iQ system.

  • Layers
  • Dissolves
  • SMPTE Wipes
  • Freeze Frames
  • Motion Effects / Speed Changes (constant, not variable)
  • References to external file media
  • Effect description in Conform view
  • Audio fades
  • FCP's built-in Text generators become text effects

Want to learn more? Check out the User Guides for Pro Export FCP 4.0 (for FCP7) or Pro Export FCP 5.0 (for FCPX)

  • Avid project types and formats that are supported are
    • 23.976 NTSC: DV25P 411, DV50P, 2:1, 1:1, 1:1 10bit
    • 30i NTSC: DV25 411, DV50, IMX 30, IMX 40, IMX 50, 2:1, 1:1, 1:1 10bit
    • 25p PAL: DV25P 411, DV25P 420, DV50P, 2:1, 1:1, 1:1 10bit
    • 25i PAL: DV25 411, DV25 420, DV50, IMX 30, IMX 40, IMX 50, 2:1, 1:1, 1:1 10bit
    • 720p 23.976: DNxHD 60, DNxHD 90, DNxHD 90 X, DVCProHD, 1:1, 1:1 10bit
    • 720p 29.97: DNxHD 75, DNxHD 110, DNxHD 110 X, DVCProHD, 1:1, 1:1 10bit
    • 720p 59.94: DNxHD 145, DNxHD 220, DNxHD 220 X, DVCProHD, 1:1, 1:1 10bit
    • 1080p 23.976: DNxHD 115, DNxHD 175, DNxHD 175 X, 1:1, 1:1 10bit
    • 1080p 24: DNxHD 115, DNxHD 175, DNxHD 175 X, 1:1, 1:1 10bit
    • 1080p 25: DNxHD 120, DNxHD 185, DNxHD 185 X, 1:1, 1:1 10bit
    • 1080i 50: DNxHD 120, DNxHD 185, DNxHD 185X, DVCProHD, 1:1, 1:1 10bit
    • 1080i 59.94: DNxHD 145, DNxHD 220, DNxHD 220 X, DVCProHD, 1:1, 1:1 10bit
  • OMF only
  • Depending on the combination of parameters, PIP and 3D Warp may be used
 

System Requirements
  • Pro Export FCP 4.0 has been tested with Media Composer Adrenaline 2.7.7 and later.
  • DS is not supported, but lots of users take sequences into DS, sometimes using a Media Composer as an intermediate step.
    Note: Media created by Pro Export FCP cannot currently be played in DS, even if first "washed" through a Media Composer.
  • ABVB-based Avid systems are not supported.
  • Final Cut Pro 5.02 or later for version 4.0
  • Final Cut Pro X required for version 5.0
  • Import into Pro Tools requires DigiTranslator 2.0 from DigiDesign

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