Export a DaVinci Resolve Multicam Edit to Premiere Pro

In Summary To move a multicam edit from DaVinci Resolve to Premiere Pro, duplicate the timeline, flatten the multicam clips in the copy, and export the copy as Final Cut Pro 7 XML. In Premiere, choose File > Import, open the .xml and relink any offline clips with File > Link Media. Flattening deletes the unused angles and leaves a single ordinary clip. Blackmagic's manual does not say how an unflattened multicam clip is written to an XML, and the Adobe help cited here does not say how Premiere reads one, so flatten first. If you need switchable angles in Premiere, rebuild the multicam there from the camera files.

The short answer

Flatten, export XML, import, relink. Two details decide whether it works.

• Export Final Cut Pro 7 XML, not FCPXML. Adobe's help says Final Cut Pro X's .fcpxml is a format "that Premiere cannot directly import". Adobe's list of video project formats Premiere supports includes AAF, EDL, Premiere projects and XML ("FCP XML"). It has no OTIO entry.
• Flatten a copy, not your only timeline. Blackmagic's manual says that when you flatten, "All unused angles are deleted". Duplicate the timeline first so the switchable version stays in Resolve.

These steps follow the DaVinci Resolve 21.1 Reference Manual (September 2026) and Adobe's Premiere help, checked on November 9, 2026. The July 2026 Resolve 21 manual has the same text; its page numbers are in the sources.

Pick your route

Step by step in Resolve 21

1. Duplicate the timeline. Select it in the Media Pool and choose Edit > Duplicate Timeline, or right-click it and choose Duplicate Timeline. The copy appears with "copy" added to its name (p. 841). Open the copy.
2. Flatten the multicam clips. Right-click a multicam clip in the Timeline and choose Flatten Multicam Clip. Then select either Copying Multicam Grades, which applies the existing color grade to the flattened angles, or Retaining Grades from Angles, which keeps any grades you made on individual angles. The manual's result: "All unused angles are deleted, the clip becomes shorter if it included black tails because of another unused angle, and you end up with a single ordinary clip in the Timeline" (p. 1044). The manual describes the command on one clip at a time; it does not say whether it works on a multiple selection. Repeat it for each multicam clip. More detail: flatten a multicam clip in DaVinci Resolve.
3. Play the copy through. Check that each cut shows the angle you meant before you export.
4. Export the timeline. Choose File > Export AAF, XML (Shift-Command-O), or right-click the timeline in the Media Pool and choose Timelines > Export > AAF/XML (p. 4161). On p. 4160 the manual gives the File menu path as File > Export > Timeline, with the same shortcut. Choose Final Cut Pro 7 XML as the format, type a name, choose a location and click Save.
5. Bring the media. If Premiere is on another computer, copy the camera media along with the XML, so there is something to relink to.

The manual says you do not need to render first when you built the timeline in Resolve: you "can export any timeline to any format for purposes of project exchange, without the need to render new media (depending on your workflow)" (p. 4159). It names Premiere Pro as one of the applications that can open an exported Final Cut Pro XML (p. 4161).

Blackmagic adds a preference of its own (p. 4160). To move a timeline to another application, export OpenTimelineIO "if supported. If not supported, fall back to using XML or AAF". Adobe's format list for Premiere does not include OTIO, which is why this guide uses XML.

Opening it in Premiere

1. Import the XML. Adobe's steps for importing an XML file: in Premiere, select File > Import, go to the .xml, select it and select Open. If Premiere asks for import options, choose them and select OK. Adobe gives these steps on its page about Final Cut Pro X projects, after the .fcpxml has been converted to a standard XML.
2. Relink offline clips. Select the offline clips in the Project panel and choose File > Link Media. Under Match File Properties, choose properties such as File Name, File Extension, Media Start or Tape Name, then select Locate. Adobe's note: the combination you choose "should uniquely identify each media file".
3. Know when automatic relinking falls short. Adobe's relink page describes how Premiere looks for media that goes offline: the file paths it has stored for that media, then a search of the folder holding the project file and its subfolders, then one level up. Adobe says automatic relinking may not work if files or folders were renamed after import, if the media moved to a folder tree that is not under the project's folder or the folder above it, if the file format changed, or if the drive is unmounted. If you transcoded the media, Adobe suggests unchecking File Extension in Match File Properties.
4. Check the cut. Play the Premiere sequence against the Resolve timeline at a few points, start, middle and end, before you start finishing.

For the general move without multicam, see move a DaVinci Resolve timeline to Premiere Pro. On the Premiere side, import an XML file in Premiere Pro and relink media in Premiere Pro go into more detail.

If you need the grade too

The manual says: "To send a graded project to another application, you need to render the graded clips first using the controls on the Deliver page to render the Timeline as individual source clips" (p. 4159). In this mode, "the reel name and timecode metadata of each rendered clip is mirrored by the exported project file".

Resolve's Deliver page has a Premiere XML preset. The manual describes it for "projects that were sent from Premiere Pro to DaVinci Resolve using XML", for a return trip. It renders individual clips, sets the codec on macOS to Apple ProRes 422 (HQ), sets the output size to the timeline resolution and turns on unique file names. It also writes "an XML of the rendered timeline" next to the media, "with path names that reflect the rendered clips" (p. 4109).

The manual does not describe this preset for a timeline that started in Resolve, and it does not say how it handles multicam clips. Render a short test and open it in Premiere before you render the whole show. In the render settings, Enable flat pass set to Off means Resolve "always applies each clip's grade when rendering"; Always On disables the grade of every clip (p. 4121).

If you want switchable angles in Premiere

A flattened clip has one angle. To switch angles in Premiere, build a multicam there from the camera files. Adobe's steps:

1. Import the camera clips, select them in the Project panel and select Clip > Create Multi-Camera Source Sequence.
2. Choose how to sync: In Points or Out Points, Timecode, Audio or Clip Marker. Then choose the sequence preset, the audio settings and how to name the cameras, and select OK.
3. In the Project panel, right-click the multi-camera source and select New Sequence from Clip.
4. In the Program Monitor's Button Editor, drag Toggle Multi-Camera View to the button bar and turn it on. Play the sequence and press a camera's number key to cut to that camera.

Keep the flattened import open beside it as a guide to where your Resolve cuts were. See multicam editing in Premiere Pro for more.

Where Eddie fits

If the multicam clip already lives in Resolve, Eddie is not a route to switchable angles in Premiere. Eddie's multicam guide says a multicam clip built in Resolve comes into Eddie as one flat clip. The desktop app has Resolve render the clip (or the timeline holding it) into one file, so Eddie's downloadable exports (FCPXML, .drp, Premiere XML, EDL) "place that render, not your camera files". The guide's route back to the original clip for a Resolve multicam is Send timeline to Resolve, which returns the edit to Resolve, not Premiere.

Eddie helps when the cut has not been made yet. Import each camera's files in the same import, plus your sound recorder's audio if you used one, and Eddie groups and syncs them into a multicam group. If it misses a camera, you can ask it to group and sync them. Then direct the cutting in plain language, such as "Cut to whoever's talking". Eddie's Premiere project (.prproj) carries a native multicam clip, with the angle you chose in Eddie playing at each cut. The legacy Premiere .xml, for Premiere 2018 and older, has no native multicam, so there the angles arrive stacked, your chosen angle on top and the alternates below with their audio muted.

Two details from export to your NLE: if you imported through the desktop app, the export points to your original files; if you uploaded on the web or from cloud storage, it points to Eddie's proxy copies. Each timeline export costs 100 credits. See the multicam feature and the Premiere Pro workflow.

What it will not do

• Flattening keeps one angle. The manual says the unused angles are deleted, so work on a duplicate.
• A timeline export does not render the grade. Render graded clips from the Deliver page if Premiere needs the look.
• Premiere does not import .fcpxml directly. Adobe says so. Export Final Cut Pro 7 XML.
• Unflattened multicam clips in XML are not documented. The Resolve manual and the Adobe help cited here do not describe them.
• Eddie's downloadable exports do not carry a Resolve-built multicam's angles. They place the render Resolve made at import.

FAQ

Can Premiere Pro open a DaVinci Resolve multicam clip?

The Resolve manual and the Adobe help pages cited here do not say. Resolve's manual covers flattening and exporting XML, and Adobe's help covers importing XML, but neither describes an unflattened multicam clip in an XML. Flatten first, or rebuild the multicam in Premiere.

Which XML should I export from Resolve for Premiere?

Final Cut Pro 7 XML. Adobe says Premiere cannot directly import .fcpxml, and its list of supported project formats names FCP XML.

Do I have to flatten the multicam before exporting?

The manual has no rule that says so. Flattening is the documented way to turn a multicam clip into "a single ordinary clip", and it deletes the unused angles, so do it on a duplicate timeline.

Will my Resolve grade come through to Premiere?

Not from the timeline export alone. The manual says to render the graded clips first from the Deliver page, as individual source clips, and export the XML that points at them.

Can I send OTIO from Resolve to Premiere?

Blackmagic recommends OTIO when the other application supports it. Adobe's list of formats Premiere imports does not include OTIO, so use Final Cut Pro 7 XML.

Can Eddie move my Resolve multicam to Premiere?

Not as switchable angles. A multicam clip built in Resolve reaches Eddie as one rendered file, and Eddie's downloadable exports place that render. If you import the camera files separately instead, Eddie syncs them and its Premiere project carries a native multicam clip.

Sources

• Blackmagic Design, DaVinci Resolve 21.1 Reference Manual (September 2026): chapter 41 Creating and Working with Timelines, p. 841; chapter 49 Multicam Editing, p. 1044; chapter 187 Rendering Media, pp. 4109, 4121; chapter 190 Exporting Timelines to Other Applications, pp. 4159–4161. Checked 2026-11-09.
• Blackmagic Design, DaVinci Resolve 21 Reference Manual (July 2026): the same sections, pp. 864, 1069, 4191, 4203 and 4241–4243. Checked 2026-11-09.
• Adobe, Import XML files from Final Cut Pro X (updated April 2, 2026). Checked 2026-11-09.
• Adobe, Supported file formats in Premiere (updated September 30, 2026). Checked 2026-11-09.
• Adobe, Relink offline media automatically (updated April 15, 2026) and Locate and link offline files (updated April 8, 2026). Checked 2026-11-09.
• Adobe, Create a multi-camera source sequence (updated January 7, 2026) and Create and edit a multi-camera target sequence (updated August 22, 2025). Checked 2026-11-09.