Final Cut Pro to DaVinci Resolve XML Workflow
Fix for Your Final Cut Pro to DaVinci Resolve XML Workflow
Have you ever meticulously edited a project in Final Cut Pro, shot on a great camera like a Sony FX3, only to have it fall apart when you move to DaVinci Resolve for color grading? You export the XML, import it into Resolve, and you're met with a sea of red "media offline" errors. It’s a frustratingly common problem, but the solution is simple and starts at the very beginning of your process.
This guide will walk you through the correct workflow to ensure a seamless transition from Final Cut Pro to DaVinci Resolve, and even offer a workaround if you've already done it the wrong way.
The Root of the Problem: Timecode Mismatch
The core issue comes down to a disagreement between how Final Cut Pro and DaVinci Resolve interpret timecode from camera files, especially MP4s from Sony cameras.
Final Cut Pro's Mistake: When you simply drag and drop your MP4 files directly into a Final Cut Pro event, it ignores the camera's embedded timecode and assigns a new one starting at
00:00:00:00(hour zero).DaVinci Resolve's Accuracy: Resolve, on the other hand, correctly reads the actual timecode baked into the MP4 file by the camera, which might start at hour 22 or 23, depending on your camera's settings.
When your XML file tells Resolve to find a clip at hour zero, but the source file's timecode starts at hour 22, Resolve can't find the media, and everything shows as offline.
Pro Tip: To make your life easier and avoid potential relinking headaches, set your Sony camera to use "Free Run" timecode. This ensures the timecode is continuous and unique for every clip you shoot.
The Correct Workflow: Rewrap MP4 to MOV with FCP
To get the timecodes to match, you need to change how you import footage into Final Cut Pro. The key is to preserve the camera's original card structure.
For Sony cameras, this typically looks like: private > M4 root > clip. Inside that final folder are your video files and, crucially, the associated XML metadata files. You must keep these XML files with the video files.
Step-by-Step Import Process:
Use the Import Window: Instead of dragging and dropping, go to File > Import > Media... in Final Cut Pro.
Navigate to Your Footage: In the import window, select the clips that are still within their original card structure.
Import the Media: When you select these clips, you'll notice the option to "Leave files in place" is grayed out. This is a good sign! It means Final Cut Pro recognizes the camera format and needs to process the files. Click "Import Selected".
Behind the scenes, Final Cut Pro is now rewrapping your MP4 files into QuickTime (
.mov) files. This new file has the correct timecode from the camera's XML baked into it. When you export an XML for Resolve, the timecode will now match perfectly.
Moving the Project to DaVinci Resolve
Once your edit is complete in Final Cut Pro, the turnover is straightforward.
Export XML: Select your timeline in Final Cut Pro, then go to File > Export XML. Choose the latest version available.
Import into Resolve: In DaVinci Resolve's Media Pool, right-click and choose Timelines > Import > Timeline. Point it to your saved XML file. Leave the default import settings, and Resolve will automatically find the rewrapped media inside your Final Cut Pro library file. Your timeline will appear with all media online and ready for color grading.
A Note on "Secondary Storylines": If you used Final Cut Pro's connected storylines (stacking clips on top of each other), they will import into Resolve as a single, linked clip. To edit them individually, simply select the clip, right-click, and uncheck "Link Clips".
Optional: Consolidating Your Media
By default, this process stores your media inside the Final Cut Pro library package. If you prefer to have your media files in a separate, accessible folder, you can consolidate them.
Modify Settings: In Final Cut Pro, select your project library. In the inspector, modify the settings to store media in a new location outside the library, such as a dedicated folder on your desktop.
Consolidate: With the library still selected, go to File > Consolidate Library Media. This will move all the rewrapped QuickTime files to the new location you specified, making them external to the library file.
The Workaround: The "Clip Attributes" Hack
What if you've already edited your entire project using the incorrect drag-and-drop method? All is not lost, but the fix is tedious.
Import Footage into Resolve FIRST: Before importing the XML, drag the original MP4 files (the ones without the card structure) directly into the DaVinci Resolve Media Pool.
Modify Clip Attributes: For every single clip in the Media Pool, you must manually change its timecode. Right-click a clip, select
"Clip Attributes," go to the "Timecode" tab, and change the first frame's value to
00:00:00:00.Import the XML: Now, import your XML timeline (Timelines > Import > Timeline). In the dialog box,
uncheck the option to "Automatically import source clips into the media pool". Resolve will now use the clips you already imported and manually fixed, allowing your timeline to link correctly. While it works, it's far more time-consuming than using the proper import method from the start.
