ATEM TO FCP

What’s New in Version 1.6

Version 1.6 is a major update, extensively redesigned to handle more advanced production workflows—from independently recorded camera originals and external multitrack audio to long recordings and complex multi-session projects.

Relink to Camera Originals

Keep the live edit. Replace the media.

Replace ATEM ISO recordings with higher-quality camera originals, including internally recorded 4K media, while preserving the camera cuts and timing of the original production.

Choose the synchronization method that fits your setup:

• Shared Timecode
• Independent Sync
• Audio LTC

Replacement recordings can start before the ATEM session, start late, end early, or continue beyond it. ATEM TO FCP calculates the available coverage while keeping the original edit intact.

External Multitrack Audio

Bring your field-recorder audio into the reconstructed project.

Integrate stereo, polyphonic WAV, and BWF recordings from field recorders such as the Zoom F6.

External recordings can be synchronized using the available synchronization workflows and incorporated directly into the Final Cut Pro project.

Select the channels you want to use, exclude an LTC channel from the final mix when applicable, and compensate for a repeatable recording delay when necessary.

Multi-Session Workflow

Multiple ATEM sessions. One organized workflow.

A single DRP can contain several independent recording sessions.

Version 1.6 lets you select the sessions you need and navigate between them directly from the main interface.

Each session keeps its own camera media, Relink configuration, synchronization results, missing-media status, and coverage information—preventing media from one recording from being mixed with another.

When you’re ready, export the selected sessions together as individual FCPXML projects.

Long Recording Support

Continuous productions, even when ATEM splits the ISO files.

During long recordings, ATEM may divide a camera ISO into multiple sequential video files.

ATEM TO FCP identifies valid recording segments using source relationships and timecode continuity, then reconstructs them as continuous camera sources.

Segment changes are handled automatically in both Multicam angles and Flatten master sync clips—even inside projects containing multiple ATEM recording sessions.

Two Ways to Edit

Multicam

Generate a native Final Cut Pro Multicam project with switchable camera angles and available audio sources.

Choose whether to include all recorded cameras, only cameras with available media, or only cameras actually used during the production.

Change camera decisions after the event, access alternate angles, and continue editing with the flexibility of a native multicam workflow.

Flatten

Reconstruct the switched Program directly on the Final Cut Pro primary storyline.

Version 1.6 uses reusable camera master sync clips, so grading, effects, audio adjustments, and other changes applied inside a camera master can be reflected across its occurrences throughout the edit.

Same ATEM production. Two different editing workflows.

More Than Camera Cuts

ATEM TO FCP reconstructs much more than the Program camera sequence.

Supported ATEM events include:

• Media Player graphics and stills
• Color 1, Color 2, and Color Bars
• Upstream and Downstream Keys
• Fade to Black
• Flying Key animations
• Program and key transitions
• Manual T-bar transitions

Flying Key movements are translated into Final Cut Pro transform animation, preserving supported position and scale changes.

When different still images are loaded into the same Media Player during a production, each occurrence retains the graphic that was actually on air at that moment.

Frame-Accurate Reconstruction

The conversion engine preserves the editorial timing and layer relationships recorded during the ATEM production.

Program transitions, USK and DSK events, graphics, and overlapping layers are reconstructed according to their recorded timing.

When an ATEM transition has no direct Final Cut Pro equivalent, its editorial duration and alignment are preserved using the closest supported representation.

ATEM TO FCP supports integer and fractional ATEM frame rates, including 23.976, 29.97, and 59.94, with Drop Frame and Non-Drop Frame handling where applicable.

Sessions that cross midnight are normalized automatically to maintain timeline continuity.

Flexible Audio Mapping

Choose the audio strategy that fits your production:

• ATEM PGM
• AFV Camera ISO
• Mic 1
• Mic 2
• Synchronized External Audio

Multicam projects retain applicable audio angles for additional flexibility during post-production.

Local Processing. Your Media Stays on Your Mac.

Project analysis, media validation, synchronization, LTC processing, and FCPXML generation are performed locally.

ATEM TO FCP operates within the macOS App Sandbox and accesses only files and folders you explicitly select.

Your recordings do not need to be uploaded for conversion.

System Requirements

• macOS 15.0 or later
• Apple Silicon or Intel Mac supported by the application build
• Final Cut Pro with FCPXML 1.13 import support
• Supported ATEM ISO recording session and associated media