FCPXML vs XML (XMEML)
Understand the differences between the two export formats to choose the right one for your workflow.
FCPXML
Final Cut Pro XML (FCPXML 1.9)
Modern format designed for Final Cut Pro X and DaVinci Resolve. Rich metadata support and better clip fidelity.
XML (XMEML)
XML Interchange Format (XMEML / FCP7 XML)
Legacy format originally from Final Cut Pro 7. Broad compatibility with older NLEs and workflows.
The four formats, what each is for and where each stops
Two native formats and two interchange formats. Native files hold the whole project but open only in their own application; interchange files open everywhere but leave part of the edit behind.
| Format | Usage | Compatibility | Limits |
|---|---|---|---|
| .prprojNative | The Adobe Premiere Pro project file. It holds the entire edit: tracks, clips, effects, transitions, markers and the audio mix. Technically it is a gzip-compressed XML document. | Adobe Premiere Pro only. No other editing application opens it. | Contains no picture at all, only references to your media. A project saved in a recent version refuses to open in an older Premiere. |
| .drpNative | The DaVinci Resolve project file. It is an archive describing the timeline, the media pool and the bin hierarchy. | DaVinci Resolve, imported directly. It is the only format that skips the interchange step entirely. | Specific to Resolve. Its internal structure is not publicly documented, which is why no generic tool produces it. |
| .fcpxmlInterchange | The modern interchange format, created for Final Cut Pro X. Rich metadata, audio roles and nested sequences. | DaVinci Resolve 17 and later, Final Cut Pro X. | On import, Resolve merges audio tracks whose clips do not overlap: a layout separating dialogue, music and effects does not survive as it was. |
| .xmlInterchange | The legacy Final Cut Pro 7 interchange format, also called XMEML. Classic multi-track structure, no roles. | DaVinci Resolve, Premiere Pro, Avid, Vegas Pro and most older applications. | More verbose than FCPXML, and less precise about effects. |
One rule settles most cases: if the destination application can read its own project format, use that, because no interchange format will do better. Interchange formats are for when no native route exists.
| Feature | FCPXML | XML (XMEML) |
|---|---|---|
| Compatibility | DaVinci Resolve 17+, Final Cut Pro X | DaVinci Resolve, Premiere Pro, Avid, Vegas Pro, older NLEs |
| Multi-track video | Full support | Full support |
| Audio tracks | Audio roles (tracks may be merged by DaVinci) | Preserved multi-track layout |
| Effects & transforms | Position, scale, rotation, opacity | Position, scale, rotation, opacity |
| Markers | Exported but may not be correctly interpreted by DaVinci Resolve | Fully preserved with names and in/out points |
| Nested sequences | Supported | Supported |
| Track roles / names | Automatic roles (V1, A1...) | Original track names preserved |
| File size | Compact | Larger (more verbose XML) |
Which format should I choose?
If you're importing into DaVinci Resolve, the native .drp keeps the most (track names, markers, fades, audio routing). Between the two interchange formats, FCPXML gives the best fidelity.
If you're importing into Final Cut Pro X, use FCPXML.
If you're working with older software (Premiere Pro import, Avid, Vegas), XML (XMEML) offers wider compatibility.
Not sure? Tick both .fcpxml and .xml to get both files and test which works best in your workflow.
Pro tip: get the best of both formats
When importing an FCPXML into DaVinci Resolve, audio tracks that don't have overlapping clips are automatically merged into a single track. This can disrupt your audio layout if you carefully organized your tracks in Premiere Pro (e.g. dialogue, music, SFX on separate tracks). The native .drp avoids this: each audio track arrives as it was.
Recommended workflow for DaVinci Resolve
- 1
Tick both .fcpxml and .xml before converting to get the two files.
- 2
Import the FCPXML into DaVinci Resolve - this gives you the best video fidelity (effects, etc.).
- 3
Import the XML (XMEML) into a second timeline - audio tracks are preserved as-is with their original layout.
- 4
Copy the audio tracks from the XML timeline and paste them into the FCPXML timeline, replacing the merged audio.
- 5
You now have the most complete timeline: FCPXML video quality + original audio track layout.
Why does this happen?
FCPXML uses audio "roles" instead of numbered tracks. DaVinci Resolve interprets these roles and consolidates non-overlapping clips. XMEML preserves the traditional multi-track structure that Premiere Pro uses, keeping each track separate regardless of overlap.