Test it on your own project
Every converter in this category makes the same promise: your Final Cut timeline arrives in Pro Tools with the tracks named and the audio in place. What tells two of them apart is a real project — yours, with the multicam synced by timecode, the four-microphone rush, the music under the closing shot.
fcp2aaf is free up to five minutes with nothing held back: no watermark, no locked setting, no countdown. Open your project, look at the tracks it plans, listen to a clip, convert five minutes and open the AAF in Pro Tools.
Made for film and TV
fcp2aaf began in a sound studio, on the side that receives the Final Cut turnover.
Since then, colleagues on projects for streaming platforms and for cinema, and editors, mixers and post houses who use it on real deliveries, have contributed ideas and reported issues, and our team has resolved them release by release. Most of what it does today came from a project somebody was really delivering.
The changelog thanks each of them by name, beside the version their idea went into. Read our story.
The material a real shoot brings
A feature, a series or a documentary hands the sound department more than clean stereo. fcp2aaf was built around what it actually brings:
- Four-microphone rushes from P2, XDCAM and Canon XF: each microphone arrives on its own track.
- Multicams synced by timecode: every angle's sound lands where the edit put it.
- J-cuts and L-cuts: the sound keeps the length the editor gave it, music under the closing shot included.
- A microphone the editor switched off arrives at −∞ as clip gain on its own track, ready for the mixer to bring back.
- Material that is not on the drive is named in the report, and the rest of the delivery goes ahead.
Audio cut from your own recordings
fcp2aaf opens your original rushes and cuts exactly the regions the edit uses, with as much handle around each clip as you ask for. Final Cut renders nothing. WAV, BWF, RF64, AIFF, CAF, FLAC, MP3, MP4, MOV and MXF, at any size.
The audio goes inside the AAF or beside it in a folder, your choice. Both carry the original timecode of every recording, so “spot to original timecode” works on the other end.
fcp2aaf goes one way. A Final Cut timeline becomes an AAF. It does not read an AAF and it does not write an FCPXML.