Importing Into FCP

Getting the MOV media into FCP

Now, for you lot driving Final Cut Pro. Getting my timelines into FCP has to be via an EDL. This method of importation certainly worked on Version 6 and 7, but EDLs can’t now directly import into version X (progress?), instead it only uses Apple’s XML Interchange Format. The good news is that there are utilities around which enable you to convert between EDL and XML. Alternatively, import the EDL into FCP 7 and export this as an XML.

Again, I am assuming you have copied the MOV files to a local drive, and that you also have the bunch of EDLs created from my sequences in a known location on your computer. If not, locate them now.

  1. Set up a new project in FCP – ‘DV PAL 48 kHz Anamorphic seemed to work fine.
  2. With the ‘Browser’ open, select ‘Importand navigate to ‘EDL.
  3. Select ‘Import for Reconnect’ with 00 Handle Size and don’t tick ‘Make File Names Unique’.
  4. Click ‘OK’.
  5. Find the EDL you wish to import and hit ‘Choose’. This will create firstly, a folder in your Browser called ‘Master Clips for xxx’ (xxx being the EDL name), and secondly, a sequence with the same EDL
  6. Double clicking that sequence will put the sequence into the timeline but as yet with no media.
  7. Open the recently created ‘Master Clips’ folder and you’ll see the clips that were used in the sequence but with a red line through each of them, indicating the media is offline.
  8. Highlight all the clips, right-click and select ‘Reconnect Media’.
  9. Search in the folder in your computer in which you placed the exercise MOV files. Now with luck, it will find the files it wants, if so hit ‘Choose’.
  10. You’ll probably get a ‘File Attribute Warning’ about start and end timecodes and reel numbers, but this can be ignored and you can hit ‘Continue’.
  11. Back in the ‘Reconnect Files’ window, the files will drop down to the ‘Files Located’ area and you can hit ‘Connect’.
  12. This should have connected the media and brought the timeline to life.

Sadly, the procedure has to be repeated for all the EDLs separately, unless you can find a better batch import method.

Given the fairly crude nature of an EDL import, some of the fine tuning I did to the sequences, like level adjustment and some effects work, will not have been imported. But, remember you have my final versions as separate ‘CUT’ MOV files with fully mixed sound and vision, for viewing.

If you got all the media and timelines into your software, you’ll be able to fiddle with the sequences and examine them more closely. You can admire the moments you like and modify the ones you don’t.


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