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Changelog

Built in the open

Every version, what changed in it, and when. Updated the day each one ships.

Releases

Shipped

26.9.28

25 September 2026

  • Much faster. On large projects, listening to a clip is up to ten times faster, changing a setting up to six times faster, and conversions take 10 to 20% less time.
  • More stable. Hardened against unexpected quits and freezes, including on the heaviest projects.
  • Interface improvements. The ↑ ↓ keys turn each clip's details to its metadata: scene, take, roll, note and more. The clip under the pointer lights up, everything you can press shows it, and the window stays smooth on the biggest timelines.
  • Your Mac stays awake through a conversion. While the app converts or prepares, your Mac does not go to sleep, even if you leave it alone.
  • A better experience. Long conversions say how long they have taken and how long is left, and switching headphones or audio interface keeps playback going.
  • A lighter download. The app is smaller and downloads faster.
Shipped

26.9.27

22 September 2026

  • The field recorder's metadata travels in full. With the audio beside the AAF, every WAV carries everything the recorder wrote: the shoot date and time, the UBITS, the channel names, the marks and its own fields, as well as the scene, the take, the roll and the note.
  • New setting: Metadata priority. Where Final Cut and the field recorder's file say different things about the scene, the take, the roll, the note, a channel's name or the start timecode, you choose which one to believe. What only one of them states always travels, and the report names each difference with both values.
  • Show help (⇧⌘H). A switch in Settings ▸ Interface and in the View menu that hides the explanations in the settings column once you know them. Warnings still appear.
  • More stable with difficult files. Recordings and projects that could stop the conversion now convert in full, and the report says what could not travel.
  • A clearer report, easier to read. Every line says which clip, at what timecode, which file with its path, and what to do to fix it. What did not arrive whole is counted at the very top, a clip is named once however many channels it has, and the app's window says what the report says, in the same order and in your language.
  • Thanks again to Clément Chauvelle for providing material to test this release.
Shipped

26.9.26

20 September 2026

  • Five Mac changes every 30 days. It was three. Each one still comes back 30 days after it is used, and if you need more than five in one month, write to us and we will be happy to reset them.
  • A corrupt file, or one that cannot be read, no longer stops the delivery. The conversion finishes, those clips are left out, and the report names them at the very top beside the ones that are not on the disk. They are the two ways audio goes missing through nobody's decision, and they now open the document.
  • The report reads straight through. On a long documentary it could run past three thousand lines, one per clip. It is now the same information in a couple of hundred lines of reading, under the headings a mixer opens a report to find, with the full lists at the end for when you want one clip in particular. The app's own window got the same treatment.
  • Every loss with a switch that undoes it says so. If something did not travel because an option was off, the report names the option, with the name it has in the window. And the microphones left out of a synchronized clip are now named the way switched-off clips and clips at the bottom of the fader already were.
  • ‘Locate the material’ finds everything at once. Point at the folder where you gathered the material and it finds what came from every drive inside it, not only the first. If a project was cut with rushes from a camera, recordings from a field recorder and a couple of files somebody had on their desktop, once is enough.
Shipped

26.9.25

18 September 2026

  • Listening to a clip sounds like a desk. Starts, pauses, jumps and stops enter and leave without a click, dragging across a clip is a scrub that follows your hand, and everything plays at the level it was recorded at, with the level the session will open at said beside it. Space pauses and Escape stops, always.
  • The waveforms look after themselves. They can be redrawn at any time, including after a conversion. Changing the sample rate asks first, and with the automatic setting on it redraws them by itself and waits until every file is linked. The picker now offers 88.2 and 176.4 kHz as well.
  • A preset can be the default one. Mark it with Set as Default: it goes to the top of the list with a pin, the app opens with it, and Restore Default Settings gives it back.
  • The report is now written in timecode. Every position it names is on the same clock as Final Cut and Pro Tools, rather than a number of seconds.
  • Delivering the audio beside the AAF is now immediate. It takes no room of its own on a Mac-formatted drive, and each file still carries its scene, take, sound roll, note and recording timecode.
  • Shuttle drives work like Mac ones. exFAT and FAT32 deliver exactly what a Mac-formatted drive does. And if the disk runs out of room or is write-protected, the app says so in a sentence.
  • Thanks to Maxime Bichon. The default preset is his idea, and he also reported an uncommon error on exFAT drives.
Shipped

26.9.24

15 September 2026

  • The take's metadata travels into the session. The scene, the take, the sound roll and the note the recordist wrote reach Pro Tools in the fields it has for them: the Clip Info panel and the Scene, Take and Sound Roll columns of the Workspace. With the audio delivered beside the AAF, every file carries them inside it along with its microphone, so it says what it is in any application. The manual has a table of what arrives and where, per kind of delivery.
  • Thanks to Clément Chauvelle for his help. This release came out of what he reported.
Shipped

26.9.23

15 September 2026

  • Every clip carries its microphone's name. The names a recorder gives each channel, which Final Cut keeps as subroles, now arrive in each clip's name after the recording's, such as A012_T03 Boom. Whoever mixes can tell which microphone each clip is without checking its track, and the name stays with the clip wherever it goes.
Shipped

26.9.22

15 September 2026

  • Better fades on multicam and compound clips. Transitions between multicam clips, compound clips and synchronized clips, or between them and other clips, reach the session as crossfades and clip fades, in place and at their length, ready to adjust like any other.
  • More precise placement around transitions. Every clip lands exactly where the edit put it.
  • Markers arrive where Final Cut shows them. Every clip's markers are delivered, including those inside multicam and compound clips, right where they appear in the timeline.
  • More audio enhancements noted in the report. Alongside Voice Isolation, Loudness, EQ, Noise Removal, Hum Removal and Match EQ are noted with their setting, clip and role, so whoever mixes knows what to rebuild and on which copy of the clip.
  • An easier report to read. Each clip gathers all of its effects on one line, and the notes focus on the audio that reaches the delivery.
  • Improvements when converting camera and phone recordings, which Generate Waveforms benefits from as well.
  • Clearer messages when a recording cannot be read. The message names the recording, its channel and the moment involved, so it is quick to find in Final Cut.
  • Thanks to Oscar Bucher for his help. Several of these improvements came out of his report.
Shipped

26.9.21

14 September 2026

  • Optimised for macOS 27 Golden Gate. The app is built and tested on the newest macOS, and remains compatible from macOS 14 Sonoma.
  • Interface refinements for Liquid Glass. The toolbar buttons, with tighter corners, the progress card and each clip's card take on the system's new material, and the Stop button is always clearly visible.
  • Improvements to the timeline preview panel. A track excluded from the delivery stops sounding the moment you switch it off and no longer plays or shows the card for its clips, so what you hear in the window is what reaches the AAF. While you prepare or convert a session, the whole window pauses until it finishes or you stop it, so the work runs without interruption.
Shipped

26.9.20

10 September 2026

  • Writing the AAF shows its progress. The window counts every region going into the file, names the recording being written and tells you when it is finishing the file, so on large projects you always know how far along it is. Stop responds at any moment.
  • Improvements to the report on audio effects. Every effect is listed with its clip and its moment, grouped and named in English, so whoever mixes knows where to rebuild it. An AAF cannot carry effects, so the audio arrives as it was recorded. Stacked clips carrying the same effect appear as one line.
  • A reversed clip travels with its original audio. It arrives whole, in place and at natural speed, ready to reverse in the session, the same way retimed clips travel.
  • Improvements to fades in some very specific cases. Some transitions that sound like a fade in Final Cut now arrive in the session as clip fades, in place and at their length, ready to adjust like any other.
  • A track whose subrole was never named is called after its role. When a stereo pair is routed without naming its halves, the track takes the role's name instead of Final Cut's placeholder.
Shipped

26.9.19

9 September 2026

  • Improvements to reading volume automation. A timeline with detailed automation comes in whole.
Shipped

26.9.18

8 September 2026

  • We would love to hear what you think. There is now a Leave a review link in the window that appears when a conversion finishes, and another in the Help menu. It opens the review page on the site, and it is entirely up to you whether you use it.
  • The site opens in the language you are reading. The manual, the plans and the review page each exist in English and in Spanish, and until now every link inside the app went to the English one. They now open in the language the app is set to.
  • And an update now says what changed before you install it. When the app offers you a new version, the notice carries this changelog, in your language, so there is nothing to go and look up.
Shipped

26.9.17

4 September 2026

  • The marker list can now travel as a CSV and as a MIDI file beside the AAF. Two switches under Marker files, off unless you ask for them. They are for Nuendo and Cubase, which do not read markers out of an AAF: Nuendo imports either file, Cubase the MIDI. Pro Tools and DaVinci Resolve read them from the AAF itself and need neither. The manual has the import steps for each.
  • A marker panel. View all beside the marker rail, or ⇧⌘M, lists every marker in the timeline with its timecode, its name and its kind — which is where you read them when several fall on the same frame.
  • And you can leave one out. Untick a marker there and it stays out of the AAF and out of both files. It stays visible, dimmed, on the list and on the rail, and the count reads delivered over total.
  • Thanks to Dave Duffus for the heads-up. This came out of his report.
Shipped

26.9.16

4 September 2026

  • An AAF with the audio inside it opens in more applications. Checked by opening the delivery in Pro Tools and in Cubase, both ways round.
  • Thanks to Dave Duffus for the heads-up. This came out of his report.
Shipped

26.9.15

3 September 2026

  • The app tells you when it could not confirm your licence. Before, what you saw in that case was the free plan notice, and it was confusing: your licence showed as active in Settings while the window talked about a five minute limit. What was missing was not the licence, it was the connection to the server. Now it says so in those words and explains how to fix it on your side, which is where it gets fixed: it is usually a VPN, a post house's firewall, or one of the filters that block recently registered domains. The window names the domain to allow and lets you copy it. We cannot touch your studio's internet setup; what we can do is tell you exactly what to ask for.
  • And it clears itself as soon as the network is back. Change network, switch the VPN off or move to your phone's hotspot, and the app notices and tries again without you closing anything. You can also press Try again in Settings. Once it is confirmed you can put your VPN, your proxy or your firewall back as they were. And neither the retry nor the reconnection spends one of your Mac changes; only activating the licence on a different Mac does that.
  • Converting itself does not need the internet. The connection is what confirms the licence, not what does the work. Once it is confirmed, the app converts with the cable out, in a machine room with no network, or on a plane: your material is read from your own disk and the AAF is written there, and nothing about a conversion is ever sent anywhere. The confirmation renews itself whenever there happens to be a connection, and it stands for up to a month: as long as your licence has left when it is a dated pass, and never more than a month either way. Ordinarily there is nothing to think about. Only after all of that time without the app reaching the server once does it ask for a connection again.
Shipped

26.9.14

2 September 2026

  • Material that is not on disk no longer stops the conversion. A clip that went missing, a file nobody ever sent you: one absent file used to refuse the whole conversion, including the tracks whose own material was right there. Those clips are now left out of the AAF and everything else is delivered as usual; the report names them file by file, and a track left with nothing does not travel as a silent track.
  • Clips with no file look like it. They are drawn hollow, with a dashed edge and the word OFFLINE, and they cannot be played because there is nothing to decode. They deliberately do not look like a silenced clip: a silenced one is in the session at −∞ and can be raised, and this one is not in the file. The figure at the top says how many clips travel out of how many the timeline has, and only when the two numbers differ.
  • You are asked before you choose the folder, not after. When clips are going to be left out, you are told with the count and you can cancel. And when there is nothing at all to deliver, because the drive is not mounted, you are told at once: no folder is created and nothing is written.
  • The list of missing material now says how to send it. It is grouped by folder instead of a column of paths, and it opens with what to ask of whoever is sending it: keep the folders, send each drive or card separately, rename nothing. Saving it opens the Finder on the file.
  • The missing-material warning fits in one row. It took a third of the window with a paragraph and four paths, directly above the timeline. The title and the two buttons are what is left, and “Locate the material…” is now “Relink…”, which is what a mix room calls it.
  • Thanks to StefB for asking for it. Converting with offline material came out of their report.
Shipped

26.9.13

1 September 2026

  • Stability improvements throughout the application. A general review to make the process smoother and steadier.
Shipped

26.9.12

1 September 2026

  • It warns when two clips end up reading the same file. Material gathered into one flat folder can leave two clips pointing at the same recording, and one of them then plays audio the edit never asked for. You are told before you convert, with the file and both paths named, and the report repeats it.
  • Each relinked folder is listed once.
Shipped

26.9.11

1 September 2026

  • The list of missing material can be saved. The warning names a few files — useless for fixing it when there are sixty-eight. A button beside “Locate the material…” now writes every one of them to a text file, the paths exactly as the document states them. Whoever opens the XML is rarely the person who cut it, and what they need is a list to send the editor. Thanks to Mitch for asking for it.
Shipped

26.9.10

31 August 2026

  • Changing a setting no longer decodes audio the cache already had. Turning off a “Silenced in Final Cut” switch, or shortening the handles, used to send already-decoded audio through again. The waveforms stay drawn and the offer to generate them stops coming back.
  • Subroles under one role now share a track. A synced shoot with eight microphones opened as eight dialogue tracks; now they share a track wherever they do not overlap, so the session arrives shorter and easier to read. Clips that overlap, or that differ in channel count, still take their own — a multitrack recorder never merges. It is under “What to include” and can be switched off.
  • Clips you faded to −∞ now have a switch of their own. “Silenced in Final Cut” had two and was missing the third: the clip whose fader you pull to the bottom, which on a double-system shoot is usually the camera's audio under every take. You can now leave those out without touching the microphones you muted inside a synced clip, and with all three off nothing silent remains in the delivery.
  • The transport moved to the foot of the window. While a clip plays, where the playhead is and which recording it is appear at the bottom, in the place the version sits the rest of the time. The track list never gets shorter, so the clip you just clicked stays in view.
  • Holding a clip plays it through. It used to sound for an instant, start over and carry on; now it starts once.
  • The colour key copes with a project full of roles. The ones with a colour of their own are shown and the rest are counted; click and they are listed with the colour their clips carry.
  • The waveform setting moved to Interface. The switch that generates them when a timeline opens was in Advanced, beside the cache; it now sits with the theme and the language, which is where anybody looks for what changes how the window looks.
  • Clips you switched off now travel by default. It was the one switch of the three under “Silenced in Final Cut” that came off, on the argument that switching a clip off means it does not go. It does — about the picture. An alternative take, a line cut on the day, the audio under a shot that was replaced: a mix may want any of them, and what never reached the delivery cannot be asked for. They still land after the programme, on tracks marked (OFF) with their clip gain at −∞, so nothing is audible until somebody raises it. If you do not want them, the switch is still there.
Shipped

26.9.09

31 August 2026

  • The timeline now draws each clip's waveform. The “Generate Waveforms” button decodes the session's audio and the blocks stop being blocks: you see where each voice comes in, where the silence is and how loud each take runs, before you convert anything.
  • That same step leaves the conversion almost done. The audio decoded to draw them is exactly what the delivery needs, so once the waveforms are there, converting takes seconds. It is the same work, done once, when you decide. And if you would rather not decide each time, Settings › Advanced can generate them as a timeline opens: opening takes longer, but you reach Convert with everything done.
  • You can now see which clips arrive muted. A clip whose fader you left at the bottom in Final Cut is drawn silenced, with its waveform in grey so you know what is in it, and plays at the recorded level when you click it. The report counts them too and says why they arrive at −∞, so the mixer knows what they are looking at.
  • Preparing and converting now report in the same panel. The window shows the bar, the stage and the name of the recording being worked on, with the stop button right there.
  • A more reliable cache.
Shipped

26.9.08

31 August 2026

  • The roles you assign in a clip's audio configuration reach the delivery. When you give each microphone a role there, those are the names the session opens with: an interview with three people arrives on the tracks you named for them, one each, rather than under the role the material came in with.
  • Rushes with several microphones in one file open with all of them. P2, XDCAM, Canon XF and several Panasonic cameras: a four-microphone rush opens with all four, each on its own track.
  • Improvements to switched-off microphones in synchronized and compound clips. The microphone sits on the track it would have had, at −∞ clip gain, and comes back the moment you raise it. The “Carry every microphone of a synced clip” switch governs it.
  • A primary storyline made of generators or titles brings its audio. If you cut over generators, placeholders or titles instead of video, everything connected to them goes into the delivery like any other clip.
  • Thanks to Alex at Cinema Filmak for suggesting these improvements.
Shipped

26.9.07

30 August 2026

  • Audio playback inside the app is smoother, so listening to a clip before converting responds better from the very first click.
Shipped

26.9.06

30 August 2026

  • The report breaks down what you are handing over more clearly, so it reads easier and says more exactly what is in the delivery.
Shipped

26.9.05

28 August 2026

  • The app is ready sooner after you open it. Minor adjustments to how quickly the engine loads, and small visual refinements at startup, so the window settles first time on what it is going to show.
Shipped

26.9.04

27 August 2026

  • Pasting your licence key works first time. A key copied out of a purchase email brings along whatever the email put on it — a line break, an invisible space, a typographic dash. The field tidies that the moment you paste and shows you the result, so what is on screen is what gets sent. Only the invisible characters are touched.
  • A network in the way now says so. A studio proxy or a hotel’s sign-in page can answer the licence check before it ever reaches us. That now reads as what it is, rather than as a problem with a key that was right all along.
  • Your track plan stays yours when a setting moves the layout. The names you gave, the order you put them in and the tracks you left out now follow their own tracks wherever those land — switching on the muted microphones, for instance, no longer costs you the plan you had just built. And a name you gave to a track that a setting takes away comes back with that track when the setting returns.
  • Back to defaults goes all the way back. Returning the table to the engine’s own layout now also clears any names waiting on tracks that are not on screen at that moment, so nothing you cleared comes back later.
Shipped

26.9.03

26 August 2026

  • The rail now shows markers that fall at the same instant. Three lanes marked at one point write three markers at the identical time; the rail shows one flag with the count beside it, and pointing at it lists them all with their kind. They travel as they always have — in Pro Tools the full list is in Memory Locations, ⌘5.
  • The keyboard while you rename a track. Return saves the name and the arrows move through the text. The row’s own shortcuts — Return to hear the clip, the arrows to walk to the next one — wait until you are done typing.
Shipped

26.9.02

26 August 2026

  • The application's icon looks better in the Dock. It now takes the shape macOS gives its own, with the edge lit from the top left in the violet the rest of the application is in.
  • The mounted disk gets it too. Open the download and the volume on the desktop, in the sidebar and in the window's own title now wears this new icon.
  • The fcp2aaf icon as it looked before.

    Before

  • The fcp2aaf icon from 26.9.02, with its new shape and lit edge.

    After

Shipped

26.9.01

25 August 2026

  • fcp2aaf is released. This is the finished application — the same engine the testers spent August putting real deliveries through, now the version anybody can buy. Nothing about the conversion moves with this build: what changes is that the version number no longer carries a word beside it telling you this is not the one yet.
  • The 3-day pass and the lifetime licence are on sale. The pass is for a single delivery and the licence is one payment, for life, with every future update in it. Until 30 September the code 3DAYPASS puts the pass at $9 and LIFETIME puts the licence at $39. Type it in at checkout — neither one is applied for you.
  • The free plan stays exactly where it is: timelines up to 5 minutes, every feature switched on, no card and no account. It is a plan and not a trial. It does not expire and it is not counting anything down.
  • Thank you to everyone who ran a beta build against a real deadline. Most of what landed on this page through August came from a project somebody was actually delivering, and it is a better application for it.
Shipped

26.8.33

BETA

24 August 2026

  • Smoother track reordering. A track dropped in a new position settles there at once, and every row in the table now keeps the same height while it moves, so a stereo pair reorders as cleanly as a mono microphone does.
Shipped

26.8.32

BETA

24 August 2026

  • Your delivery settings, saved under a name and sent as a file. The whole settings column travels: handles, sample rate, bit depth, where the audio goes, what is carried and what is left out. Sound sets the delivery up, exports the preset and sends it; the editor loads it and delivers exactly that, instead of interpreting a paragraph in an email. Building and exporting a preset works on the free plan.
  • Change anything and the preset says so. Move a control after loading one and the head of the column says at once that the settings are no longer that preset; the report names it only while they still are. The library is a folder with one file per preset, so a studio can share theirs from a server and every Mac sees the same list.
  • Final Cut's three kinds of marker, each with its own switch. A marker, a to-do and a chapter mark are three different intentions, so you carry the ones the mix needs and leave the rest. Each says what it is: a to-do arrives as [TODO], a completed one as [DONE], a chapter as [CHAPTER], in front of the editor's own words. A plain marker travels untouched, being the one a mixer navigates by.
  • What the AAF cannot carry, said before you go looking for it. The foot of the settings column now lists it: track and clip colour, one marker ruler and one colour, the shape of a curved fade, pan on a grouped track, a muted clip, and Final Cut's audio effects. It is there so that none of it reads as a defect in the converter, or sends anybody looking for a switch that was never going to exist.
Shipped

26.8.31

BETA

23 August 2026

  • The notice for a clip with no audio to give now covers compound and synchronized clips too. If one of them leaves nothing inside its window, Notes says so next to Convert before you start, the same way multicam clips already did.
  • As with the previous fix, we got here thanks to the reports from Jari Innanen of Soundwise Oy.
Shipped

26.8.30

BETA

23 August 2026

  • Multicams synced by timecode arrive whole. Every angle you switched on for audio travels: each microphone on its own track, named after the role you gave it, with the levels and the fades you set on the multicam clip itself. An interview cut as a multicam opens in Pro Tools the way you edited it.
  • Notes say when a multicam clip has no audio to give. If the angles you switched on leave nothing inside that clip's window, it is listed next to Convert before you start, along with everything else that would not travel.
  • Thanks to Jari Innanen of Soundwise Oy, for reporting this and helping us get to the fix.
Shipped

26.8.29

BETA

23 August 2026

  • How many Mac changes you have left, always in view. It was in Settings ▸ General only once you had none, which is exactly when the number can no longer change anything you do. It now sits there while the licence is active, next to the plan and the Mac it runs on.
  • And better explained. The Mac changes are not a calendar month that resets on the 1st: each one comes back 30 days after you use it. The app and the manual now say so.
Shipped

26.8.28

BETA

23 August 2026

  • Tracks arrive named after their microphone. A four-channel recorder opens in Pro Tools as Tr1, Tr2, Tr3 and Tr4, and a synced shoot as dialogue-1 to dialogue-8: the same names you see in Final Cut and in the fcp2aaf window.
  • Auditions convert. If you left an audition in the timeline, three songs or four readings of a line, the take you had selected travels, and the report says how many alternatives stayed behind.
  • A stereo clip with a panner keeps its image. In Final Cut the panner on a stereo clip is a balance and not a position, and that is how it travels to the AAF: the music opens in Pro Tools as wide as it was in the edit.
  • The report counts the shape of the fades. A curved fade (easeIn, easeInOut) reaches Pro Tools as a straight clip fade; the report now says how many had a shape and which, so you give it the curve in one click instead of finding out in the mix.
  • You know what will not travel before you convert. Next to the Convert button, Notes lists everything the report would have said afterwards: a channel the file does not have, an angle with no audio, a decision made. You see it before you start, so you can go back to Final Cut and adjust whatever you want to adjust before delivering.
  • Faster loading on long projects. A timeline of over a thousand clips opens instantly, and the window responds as quickly as it does with ten.
  • Listen with the keyboard too. Space pauses and resumes. Return plays the clip on the selected track, and the arrows go to the next and the previous one. Works with VoiceOver.
  • Stop stops. Pressing Stop cuts the running decodes and the AAF write at once, whole files included.
  • While it converts, the window waits. Opening another document or moving tracks during a conversion is held until it finishes, so what is delivered is exactly what was on screen when you pressed Convert. Stop stays available.
  • A delivery that fails leaves nothing half done. The folder never holds a file that looks complete and is not.
  • One licence, your Mac. The licence is tied to the machine it is activated on, and you can move it to a new Mac several times every 30 days, and each change comes back 30 days after you use it. Releasing it from another Mac takes effect at once.
  • Open a project from the Finder. Right-click a Final Cut XML, Open With, fcp2aaf. A double click still opens Final Cut, as it should: fcp2aaf only offers itself in the menu. It works on a Mac that has never had Final Cut installed, which is usually the one receiving the delivery.
  • Small things you will notice. Errors are explained in your language. A document that could not be read says so and lets you retry. Track names are kept when you click away. Paste a timecode with ⌘V. A macOS notification when a conversion finishes while you are in another app. And opening a project with fcp2aaf while the app is closed loads it the first time.
Shipped

26.8.27

BETA

21 August 2026

  • You see the session before you make it. Every track draws its clips where they fall, with the fades on their corners, the dissolves marked, and anything arriving silenced hatched in grey. Where there used to be two numbers, there is now the whole session in view. And what you see is what Pro Tools will open: the positions come from the same arithmetic that writes the AAF.
  • You can listen to any clip before you hand it over. Click and it plays. And it plays the exact channel that will travel: on a four-microphone recorder, the third microphone is the third and not the first. Hold to hear it while you hold, drag across the clip to move the playhead, Escape to stop.
  • Silenced material plays too, and tells you what will happen to it. A microphone the editor left silent sounds at the level it was recorded at, under a notice saying it reaches the AAF at −∞: whole, and brought back by raising the clip gain. Playing it silent would not have answered the question you click it to ask, which is what you are about to send muted.
  • What you listen to is left ready for the conversion. The audio decoded to play a clip is kept, so that much of the work is behind you by the time you press Convert. The working files sit on the disk the project is on, which is usually the disk you deliver to as well.
  • A feature film fits in the window. The view opens showing five minutes, and a shorter project fits whole. From there you zoom in and out with R and T, as in Pro Tools, on the point under the pointer. Below it, the whole film compressed into a strip with a rectangle you drag to jump anywhere.
  • Final Cut's markers show where they fall. On a rail of their own above the tracks, in the colour of their kind, with a line down the whole session as you pass over one.
  • The window says how many tracks Pro Tools will open. Beside the tracks in the edit there is now the number of AAF slots, which is what actually appears when the session opens: a stereo pair counts as two. And renaming a track is a double-click on its name.
Shipped

26.8.26

BETA

20 August 2026

  • The fade count no longer includes silenced clips. The window was counting fades that do not reach the AAF; it now shows exactly the ones that go into the file.
Shipped

26.8.25

BETA

20 August 2026

  • General improvements to the stability of the conversion and of the deliveries.
Shipped

26.8.24

BETA

20 August 2026

  • Improved how the licensing of the technologies fcp2aaf uses is presented, to meet the terms of use and attribution each of them asks for.
Shipped

26.8.23

BETA

19 August 2026

  • The source timecode the recorder stamped now travels inside the AAF, whether the audio is embedded or in files beside it. It is what Pro Tools needs to send a clip back to where it was recorded, and to find you the other microphones of a take.
Shipped

26.8.22

BETA

19 August 2026

  • Improvements to how clips are laid out on export, so the session opens just as tidily in every case.
Shipped

26.8.21

BETA

19 August 2026

  • Grouped tracks open cleanly in Pro Tools. Stereo pairs are grouped, and any wider recording arrives one channel per track so the session opens with all of the audio in place and every channel where it belongs.
  • No microphone ends up where it should not. Every channel arrives on a track of its own, ready for you to place.
  • Each recording arrives together. The channels of a multitrack recorder land on consecutive tracks, one after another, instead of scattered through the session. An eight-microphone rush opens as a block of eight tracks, not as eight tracks to go looking for.
  • The track list shows what you are going to get. The tracks you see in the window before converting, and the names they carry, are exactly the ones Pro Tools opens afterwards. A wide recording appears from the start as the tracks it is going to occupy.
  • Every track says which recording it came from. The file name sits beside the role, so five tracks called the same thing that came off five different machines can be told apart at a glance. When a track carries several recordings, it says how many.
  • The list breathes. The tracks of one microphone are grouped together on screen, with a gap where the next one starts, so a thirty-track session can be read without hunting.
  • The panel and the report say what the converter does. The option explains that stereo pairs are grouped and what becomes of everything else, and if a track arrives split, the report names it. Nothing changes shape without being written down.
Shipped

26.8.20

BETA

18 August 2026

  • Material that changed drive is found again from the window itself. Show it the folder the material is in now and the rest is worked out for you — it makes no difference whether you pick the whole drive or the folder the rushes are in.
  • It tells you how many it found before anything is converted, and if the material is spread over several drives you can keep showing them to it until nothing is missing.
  • The window says where it is reading from, and the delivery report writes it down: which folder was swapped for which, and how many files came from it.
Shipped

26.8.19

BETA

18 August 2026

  • Steadier. Fixed an issue that could close the application.
  • Stopping a conversion no longer throws away what it had already done. Stop one to change a setting, start it again, and every region that was already decoded is reused instead of decoded a second time.
  • Silenced microphones travel in multitrack, synced, multicam and compound clips. The switch that decides whether they travel is obeyed the same way in all four.
  • The report says more. A crossfade the converter cannot carry across is now named in it, with its position, instead of going unmentioned. The cut is delivered as it was and the audio either side is untouched — what changed is that you know.
  • Clearer wording in the settings panel, so each option says exactly what it does. The list of clip kinds is now headed Works with, which is what it always was: only one of its rows ever travelled no matter what.
Shipped

26.8.18

BETA

17 August 2026

  • Anything that arrives silent now arrives at −∞ instead of −96 dB, which is how Final Cut writes it too. A number on a clip leaves the mixer wondering whether somebody chose that level; −∞ can only mean off.
  • A clip you muted in Final Cut reaches Pro Tools muted, and reads as a mute rather than as a level in figures.
  • Fades and volume curves are untouched. They keep their real numbers, so nothing that was meant to be heard becomes silent.
Shipped

26.8.17

BETA

17 August 2026

  • The microphones you silenced in Final Cut now come with the delivery. If you mute three microphones to leave only the lavalier live, for example, the AAF still carries the boom and the other lavaliers, each on its own track and silent. The mixer receives every microphone that was recorded, not only the ones the editor chose to hear.
  • Everything that arrives silent arrives at −96 dB. Pro Tools shows that on the clip, and the recording is there in full the moment anyone raises it. Nothing plays that you did not ask for, and nothing is lost on the way.
  • Clips you switched off still stay behind unless you ask for them. When you do, they arrive after the programme on tracks marked (OFF).
  • The settings are now in three parts instead of one long list: what to include, what was silenced in Final Cut, and what always travels.
Shipped

26.8.16

BETA

17 August 2026

  • The app looks for a new version when it opens, rather than at some point on a clock. It says nothing when there is nothing to say, and it will not interrupt you in the middle of a conversion.
  • An update is never installed without telling you first. A new version always announces itself and waits for you to decide.
Shipped

26.8.15

BETA

16 August 2026

  • Projects with drop-frame timecode are now labelled the way Final Cut and Pro Tools label them: with a semicolon, and skipping the numbers a drop-frame counter does not use.
Shipped

26.8.14

BETA

14 August 2026

  • The summary above the track list now shows the timecode the session starts at and the timecode it ends at, in the same size as the counts beside them — the two figures a DAW will agree with to the frame.
Shipped

26.8.13

BETA

14 August 2026

  • More precise start timecode. The audio lands exactly where Final Cut has it.
  • The start timecode is a proper timecode field now. It takes digits only, they arrive from the right as they do in Pro Tools, and you can double-click one section to change just the minutes or just the frames. Type 75 seconds and it becomes a minute and fifteen.
  • The window no longer opens with the timecode field selected, so what you type first no longer lands in it.
Shipped

26.8.12

BETA

14 August 2026

  • Convert again without opening the project a second time. When a conversion finishes, or when you stop one, the window offers Convert again, so you can change a setting and hand over another version. Nothing is replaced: every delivery goes into a new folder of its own, and the name suggested is one that is free where you are saving.
  • The settings panel stays open. It can no longer be hidden or dragged shut, so what your delivery is going to be is always on screen.
  • Changing the language takes effect straight away, without reopening the app.
  • The button that stops a conversion is red while there is a conversion to stop.
Shipped

26.8.11

BETA

14 August 2026

  • The panel that asks where the delivery goes now opens on your Desktop, instead of inside the folder you opened the project from. After your first delivery it opens wherever you last saved one, and you can always choose anywhere else.
Shipped

26.8.10

BETA

14 August 2026

  • Fixed and improved: the cache paths, the paths a project is read from, and the paths the AAF is written to.
Shipped

26.8.08

BETA

14 August 2026

  • Temporary audio no longer lands on your startup disk. It now stays on the same disk you are delivering to, and is emptied when you quit. Working from one external drive to another no longer quietly fills up your Mac.
  • Deliveries with referenced media take half the space and write far faster, with the audio on the same disk as the delivery.
  • Better management of disk space.
  • New Storage section in Settings › Advanced. Automatic needs no setting up. Manual lets you choose which disk the temporary audio lives on, when it is emptied (when the app closes, after a number of days, or never) and a size limit with an automatic value suited to your disk.
  • Your licence button always opens on General, where your plan is, rather than on whichever tab you last left open.
  • Fixes to the cleanup of temporary files. Nothing is removed while a conversion is running, and what a stopped conversion had already decoded is kept for the next attempt.
Shipped

26.8.07

BETA

13 August 2026

  • Settings is now three tabs (General, Interface and Advanced) instead of one long column. Everything is still reachable in any order.
Shipped

26.8.06

BETA

13 August 2026

  • Conversions are much faster.
  • Sequences at 29.97 and 23.976 land on the exact frame.
  • Volume automation arrives exactly as you drew it, on material carrying its own timecode too.
  • Multitrack recordings convert the same wherever they are used along the timeline.
  • The status bar always says where things stand, and quitting during a conversion asks first.
  • Every label in the window reads in your own language.
Shipped

26.8.04

BETA

13 August 2026

  • The first public release.
  • Signed and notarised by Apple, so it installs like any other Mac application.
  • Updates from inside the app: it checks for a newer version and installs it, and the signature means an update can only come from us.