Workflow Editorial Interchange

Workflow — Editorial Interchange

What: Translate a cut from one NLE to another without losing edits, media references, timecode, or rate-conformed proxies.

Skills used

otio-docs, otio-convert, media-mkvtoolnix, media-gpac, ffmpeg-probe, media-mediainfo, ffmpeg-transcode, ffmpeg-hwaccel, ffmpeg-subtitles, ffmpeg-captions, media-exiftool, ffmpeg-metadata, media-batch.

Pipeline

Step 1 — Identify source + target NLE formats

FCP7 XML and FCPXML are DIFFERENT schemas (use fcp_xml vs fcpx_xml OTIO adapters).

Step 2 — Convert through OTIO pivot

Use otio-convert. OTIO is the lossless-enough pivot format. otio-docs has the adapter matrix.

Step 3 — Extract media dependencies

Use OTIO's list-media to get the source-clip manifest with in/out points. Cross-check with ffmpeg-probe for actual stream specs per source.

Step 4 — Verify + conform rates

Mixed-rate timelines are the #1 interchange break. Use media-mediainfo for deep diagnostics. If conform is needed, batch-transcode with ffmpeg-transcode + ffmpeg-hwaccel to a single mezzanine codec (ProRes 422 HQ or DNxHR HQ).

Step 5 — Remap media paths in OTIO

If conformed media moves, use otio-convert's remap-media operation so the target NLE resolves the new paths.

Step 6 — Generate proxies (optional, for offline edit)

Hardware-accelerated H.264 proxies with -r matching source exactly. Link via proxy-suffix convention (<original>-proxy.mov or NLE-specific naming).

Step 7 — Package for target NLE

• Avid — AAF + DNxHR MXF OP-Atom (one file per essence track).
• Resolve — FCPXML or DRP (DRP is opaque; use FCPXML if round-tripping).
• Premiere — FCP7 XML or FCPXML.
• Final Cut Pro X — FCPXML only.

Step 8 — Validate on target

Import, verify: clip count, total duration, transitions, audio track count, levels. Spot-check 3–5 cut points at known timecodes.

Variants

• EDL-only (CMX3600) — legacy/archival. Cuts + basic transitions only. No effects, no subclip data.
• Round-trip sanity check — A → B → A, diff to reveal lossy steps.
• Mixed-rate conform — 29.97 → 23.976 via ffmpeg-ivtc or frame-rate conversion.
• Preserve timecode through conform — ffprobe extract start timecode, pass to encode via -timecode.
• MKV chaptered master — media-mkvtoolnix for chapter split, ffmpeg-captions extract, package per NLE.
• Fragmented MP4 for CMAF — media-gpac with 4000 ms fragments for ABR downstream.

Gotchas

• FCP7 XML ≠ FCPXML. Legacy vs X/10.x schema. Different OTIO adapters (fcp_xml vs fcpx_xml). Mixing loses structure.
• AAF is a container, not a codec. It may wrap MXF essence. Always inspect with media-mediainfo to see what's actually inside.
• Avid MXF is OP-Atom, not OP1a. Each essence track is a separate file. Use -f mxf_opatom.
• OTIO preserves timeline structure, not media. If media moves, remap-media or every clip goes offline.
• Effects don't round-trip. Vendor-specific effects collapse to "unknown". Budget manual re-creation.
• Frame rate determines timecode. 23.976p with 29.97 DF reel numbering is ambiguous — verify via media-mediainfo.
• Drop-frame vs non-drop-frame — 29.97 DF drops 2 frames every minute (except every 10th). 23.976 is non-drop. Conforming across these = offset drift.
• Proxies must be frame-accurate to masters. Wrong proxy rate = editorial cuts land at wrong source timecode. -r <exact-num>/<exact-den> not a rounded decimal.
• Channel layout variations — 2-ch stereo, dual-mono, 5.1 — NLEs merge-down on import inconsistently. Verify with ffprobe.
• FCPXML <media-rep> uses file:// URLs. Bare paths won't link. Every <asset> src must be file:///-prefixed.
• Premiere XML versions 4 and 5 migrated — specify --version explicitly in OTIO adapter.
• Resolve DRP is opaque binary. Round-tripping OTIO → DRP → OTIO loses info. Prefer FCPXML.
• AAF timecode rate must match essence rate. Mismatch = silent clip-offset errors.
• MXF -timecode must be 8-digit HH:MM:SS:FF (01:00:00:00, not 3600).
• Consolidation can break subclip dependencies. /path/cam1/A001_C001.mov#0.5s-3.2s must preserve in/out on conform or edit re-slips.
• Prerendered effects bake in. An editor's color-corrected render IS the source from OTIO's perspective.
• MKVToolNix --split modes — timestamps, parts, chapters, size. Wrong mode = wrong splits.
• GPAC MP4Box exits 0 on some recoverable errors. Check stderr, not just exit code.
• ExifTool overwrites in place by default. Use -o output.jpg or -overwrite_original to confirm intent.

Example — Premiere cut → Resolve for finishing

otio-convert --input premiere.xml --output-format fcpx_xml > resolve.fcpxml. Verify media resolves, batch-transcode mixed-rate clips to ProRes 422 HQ proxies with ffmpeg-transcode + ffmpeg-hwaccel. Re-open in Resolve; spot-check timecode-critical cuts.

Related

• workflow-vod-post-production — for the finishing pass after conform.
• workflow-broadcast-delivery — MXF/IMF delivery from the conformed master.
• workflow-analysis-quality — verify clips conform correctly.