Export to Premiere, Final Cut, Resolve, Avid & OTIO

What Eddie's NLE export actually contains

When you export a timeline to Premiere, Final Cut, Resolve, Avid, or OTIO, what the file (XML/FCPXML/AAF/OTIO) references depends on how the footage came in:

• Imported through the desktop app — the export references your original files at their real location on your machine (Windows drive paths included), so the NLE reconnects to them directly.
• Uploaded on the web or pulled from cloud storage — the export references Eddie's transcoded proxy media, because there is no local original to point at. The timeline structure, cuts, and effects are built against those proxies.

Why media shows offline or won't relink

For web and cloud imports, because the export points at proxies:

• If you try to relink to your original camera files, your NLE will often reject them or show them as offline. Proxies are typically normalized to a standard frame rate, resolution, and duration that won't exactly match your originals — which is also why FCPX may throw a "media must match frame rate/length" error.
• If you import the XML on a machine where the proxy files themselves aren't downloaded locally, everything shows offline too — the export references proxy file locations, it doesn't embed the media.

The simplest fix: use the proxies

In most cases, don't try to swap in your originals. Instead, make sure the exported proxy media is available at the path/location your NLE expects, and relink to that. This is the fastest way to get a fully connected timeline.

"Param element ignored... interpolation attribute" in FCPX

This is a separate, more specific warning. It comes from Eddie's automatic cinematic motion (push/drift/zoom) keyframes on your clips — see Cinematic motion: the automatic push, drift and zoom. FCPX doesn't support some of the keyframe interpolation types Eddie writes, so it ignores that parameter. This is usually safe to ignore — the clip still works, just without that specific motion detail — but if you need pixel-perfect motion, recreate it manually in FCPX.

Multicam comes across as multicam

If your project uses multicam, the export carries the group rather than a flattened single-angle track: the Premiere .prproj, the Resolve .drp, FCPXML and the desktop app's Send to hand-offs all build a real multicam clip you can keep switching angles on, with the angle you chose in Eddie playing at each cut.

The one exception is the legacy Premiere 2018 or older .xml, which has no native multicam — there the angles arrive as stacked tracks, your chosen angle on top. See Premiere won't import the XML.

Generated audio travels too

Voice-over clips (including dubs) and the music track are placed on their own audio tracks in FCPXML, Premiere and OTIO exports, and you can download all of them at once — Assets → Generated assets (.zip) in All export options — to relink next to the timeline. EDL can't represent extra audio tracks and says so.

Adding graphics after export

If you need to add custom graphics, it's usually faster and more reliable to add them directly in Eddie (kinetic titles, lower-thirds, stat callouts) before exporting, rather than trying to layer them on top of a relinked timeline in your NLE.