Move a Premiere Pro project to DaVinci Resolve

The .prproj becomes a native Resolve project or an XML timeline in your browser, with what carried and what needs attention stated per project. Tested on 18 real Premiere project files. Nothing is uploaded.

Start with your project file

Two routes, written from the same reading of the .prproj. Pick the one your Resolve workflow wants.

Native Resolve project (.drp) →

Every sequence as a timeline, media pool populated. File > Import Project in Resolve.

XML timeline →

One sequence into an existing Resolve project. File > Import > Timeline.

A short project converts free. Above the free cap: $5 for this project up to 50 MB, $15 up to 500 MB, any format of it for 24 hours. Ongoing handoffs: Studio, $19/month or $190/year for files up to 500 MB, or Pro at $9/month or $90/year up to 50 MB. All options →

How it works

Drop the .prproj. Use the project file itself; review any source-version or compatibility warnings. It is read in your browser and never uploaded. You see each sequence with its tracks and clips before anything is written.
Read the kept and changed line. Before you convert, the page states what this route keeps and what changes, per feature. Anything it cannot carry is named, not silently dropped.
Convert and import. Download the .drp and use File > Import Project in Resolve, or download XML and use File > Import > Timeline. Relink the original media, then check cuts, picture and sound before delivery.

Before you move it: get your producer's notes in the cut

If the project is going to Resolve for finishing, the arguments about order and length usually happen first. Share the sequence as a review cut and your producer rearranges and shortens the video you rendered, without your media. The changes you accept come back into your .prproj with their comments as markers, and the move to Resolve starts from the agreed cut. See the Premiere review cut guide.

The projects it was tested on

Corpus run on 2026-09-10, including related course-project saves and editor samples: 18 files, 13 edited sequences, 251 clips and 30 transitions. Each was read by the converter, written as a Resolve project and as XML, and the Resolve project was read back and compared with decoded source metadata. Checks cover sequence rate, size and start timecode; clip names, media references, positions, source trims and constant speed; marker text and timing; and transition type and timing. Numeric comparisons use a 0.0001 tolerance; frame positions are in frames. Unspecified source values are not treated as decoded facts. Effects, pixel appearance and audio are not tested by read-back. The clip and transition totals describe the source, not confirmed transfers. Empty projects and conversion failures are separate outcomes. These are 18 files, not 18 independent customer workflows.

Project file	KB	fps	Tracks	Source clips	Source transitions	Metadata read-back	Resolve import	Needs attention
Course project, build a sequence (save 1)	558	—	—	—	—	no edited sequence, reported	—
Course project, build a sequence (save 2)	567	23.98	3V / 3A	6	—	checked metadata matched	Imported, saved, reopened and rendered; scoped content check passed	2 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Course project, transitions	2055	23.98	5V / 4A	41	3	4 metadata differences Clip source out point durationFrames	Not verified for this output	16 warnings · 0 notes a source colour profile is outside the verified subset Bezier keyframes are sampled synthetic media (Black Video, colour matte) has no file to relink prproj-audio-routing Premiere effects are listed by name and not converted Going Home / Track 1 / Walkway.mp4 at frame 261: not written to native DRP: effects: Lumetri Color. keyframe curves become linear segments Going Home / Track 1 / Houses from above.mp4 at frame 1008: not written to native DRP: effects: Warp Stabilizer. Going Home / Track 2 / Temple stop motion.mp4 at frame 432: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Temple stop motion.mp4 at frame 444: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Great vista.mp4 at frame 1260: not written to native DRP: effects: Track Matte Key, Gaussian Blur. Going Home / Track 3 / Adobe Mayan Art.png: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. static Text+ styles and alignment are retained; animation, justification and font metrics require review Going Home / Track 8 / Going Home - VO.mp3: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles titles arrive as basic text on the XML route
Course project, visual effects	2058	23.98	5V / 4A	41	6	12 metadata differences Clip source out point Item count startFrames endFrames cutFrames Transition type durationFrames	Not verified for this output	19 warnings · 0 notes a source colour profile is outside the verified subset Bezier keyframes are sampled synthetic media (Black Video, colour matte) has no file to relink prproj-audio-routing Premiere effects are listed by name and not converted Going Home / Track 1: transition "Dip to White" at frame 577 becomes a cut: the incoming clip has no source handles before its in point; Premiere hides the missing frames behind the dip colour, Resolve needs them, so the dip becomes a cut. Going Home / Track 1: transition "Dip to White" at frame 905 becomes a cut: the incoming clip has no source handles before its in point; Premiere hides the missing frames behind the dip colour, Resolve needs them, so the dip becomes a cut. Going Home / Track 1 / Walkway.mp4 at frame 261: not written to native DRP: effects: Lumetri Color. keyframe curves become linear segments Going Home / Track 1 / Houses from above.mp4 at frame 1008: not written to native DRP: effects: Warp Stabilizer. Going Home / Track 2 / Temple stop motion.mp4 at frame 432: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Temple stop motion.mp4 at frame 444: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Great vista.mp4 at frame 1260: not written to native DRP: effects: Track Matte Key, Gaussian Blur. Going Home / Track 3 / Adobe Mayan Art.png: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. static Text+ styles and alignment are retained; animation, justification and font metrics require review Going Home / Track 8 / Going Home - VO.mp3: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. a transition on a retimed clip needs checking on the XML route XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles titles arrive as basic text on the XML route
Course project, stabilised clip	2067	23.98	5V / 4A	41	6	12 metadata differences Clip source out point Item count startFrames endFrames cutFrames Transition type durationFrames	Not verified for this output	19 warnings · 0 notes a source colour profile is outside the verified subset Bezier keyframes are sampled synthetic media (Black Video, colour matte) has no file to relink prproj-audio-routing Premiere effects are listed by name and not converted Going Home / Track 1: transition "Dip to White" at frame 577 becomes a cut: the incoming clip has no source handles before its in point; Premiere hides the missing frames behind the dip colour, Resolve needs them, so the dip becomes a cut. Going Home / Track 1: transition "Dip to White" at frame 905 becomes a cut: the incoming clip has no source handles before its in point; Premiere hides the missing frames behind the dip colour, Resolve needs them, so the dip becomes a cut. Going Home / Track 1 / Walkway.mp4 at frame 261: not written to native DRP: effects: Lumetri Color. keyframe curves become linear segments Going Home / Track 1 / Houses from above.mp4 at frame 1008: not written to native DRP: effects: Warp Stabilizer. Going Home / Track 2 / Temple stop motion.mp4 at frame 432: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Temple stop motion.mp4 at frame 444: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Great vista.mp4 at frame 1260: not written to native DRP: effects: Track Matte Key, Gaussian Blur. Going Home / Track 3 / Adobe Mayan Art.png: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. static Text+ styles and alignment are retained; animation, justification and font metrics require review Going Home / Track 8 / Going Home - VO.mp3: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. a transition on a retimed clip needs checking on the XML route XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles titles arrive as basic text on the XML route
Course project, effect presets	2059	23.98	5V / 4A	41	6	12 metadata differences Clip source out point Item count startFrames endFrames cutFrames Transition type durationFrames	Not verified for this output	19 warnings · 0 notes a source colour profile is outside the verified subset Bezier keyframes are sampled synthetic media (Black Video, colour matte) has no file to relink prproj-audio-routing Premiere effects are listed by name and not converted Going Home / Track 1: transition "Dip to White" at frame 577 becomes a cut: the incoming clip has no source handles before its in point; Premiere hides the missing frames behind the dip colour, Resolve needs them, so the dip becomes a cut. Going Home / Track 1: transition "Dip to White" at frame 905 becomes a cut: the incoming clip has no source handles before its in point; Premiere hides the missing frames behind the dip colour, Resolve needs them, so the dip becomes a cut. Going Home / Track 1 / Walkway.mp4 at frame 261: not written to native DRP: effects: Lumetri Color. keyframe curves become linear segments Going Home / Track 1 / Houses from above.mp4 at frame 1008: not written to native DRP: effects: Warp Stabilizer. Going Home / Track 2 / Temple stop motion.mp4 at frame 432: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Temple stop motion.mp4 at frame 444: not written to native DRP: effects: Track Matte Key. Going Home / Track 2 / Great vista.mp4 at frame 1260: not written to native DRP: effects: Track Matte Key, Gaussian Blur. Going Home / Track 3 / Adobe Mayan Art.png: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. static Text+ styles and alignment are retained; animation, justification and font metrics require review Going Home / Track 8 / Going Home - VO.mp3: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. a transition on a retimed clip needs checking on the XML route XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles titles arrive as basic text on the XML route
Course project, single camera card (save 1)	599	23.98	3V / 3A	9	—	checked metadata matched	Not verified for this output	2 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Course project, single camera card (save 2)	670	23.98	3V / 3A	17	3	checked metadata matched	Not verified for this output	2 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Course project, colour, 59.94 fps	837	59.94	3V / 3A	5	—	checked metadata matched	Not verified for this output	2 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Course project, transitions, 59.94 fps	780	59.94	3V / 3A	5	—	checked metadata matched	Not verified for this output	2 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Editor's project, no edited sequence	23	—	—	—	—	no edited sequence, reported	—
Course project, import media (step 1)	639	23.98	3V / 3A	12	3	checked metadata matched	Not verified for this output	3 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing Master Sequence / Track 5 / Going Home - VO.mp3: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Course project, import media (step 2)	639	23.98	3V / 3A	12	3	checked metadata matched	Not verified for this output	3 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing Master Sequence / Track 5 / Going Home - VO.mp3: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Course project, import media (step 3), bins only	500	—	—	—	—	no edited sequence, reported	—
Course project, import media (step 4), bins only	505	—	—	—	—	no edited sequence, reported	—
Shared sample project, no edited sequence	57	—	—	—	—	no edited sequence, reported	—
Editor's project, 29.97 fps, four audio tracks	37	29.97	2V / 4A	3	—	checked metadata matched	Not verified for this output	5 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. a source colour profile is outside the verified subset prproj-audio-routing an adjustment layer is kept as a placeholder an adjustment layer is kept as a placeholder on the XML route XML source timing or retimed animation needs native review; consider the DRP route for its tested timing profiles
Editor's supercut, 18 web-video clips	711	24	3V / 3A	18	—	checked metadata matched	Imported, saved and reopened; playback not checked	9 warnings · 1 notes Source start timecode was not decoded; the DRP supplies Resolve’s default one-hour start. Start-timecode parity is not verified. prproj-audio-routing test_supercut / Track 1 / Cosmos Laundromat - First Cycle. Official Blender Foundation release. (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. test_supercut / Track 1 / Agent 327_ Operation Barbershop (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. test_supercut / Track 1 / Spring - Blender Open Movie (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. test_supercut / Track 2 / Spring - Blender Open Movie (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. test_supercut / Track 4 / Cosmos Laundromat - First Cycle. Official Blender Foundation release. (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. test_supercut / Track 4 / Agent 327_ Operation Barbershop (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. test_supercut / Track 4 / Spring - Blender Open Movie (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery. test_supercut / Track 5 / Spring - Blender Open Movie (858p_24fps_VP9-128kbit_Opus).webm: this media container has not been validated for direct DRP playback. Verify it in Resolve before delivery.

Direct .drp import, save, reopen and render have been validated in Resolve 21 on macOS on controlled picture and audio cases. The table reports native checks for each exact output separately. One six-clip example was relinked to recovered Adobe exercise media and rendered: all 422 frames passed a reduced-resolution source-content comparison, and stereo content matched with a one-sample offset after the first cut. Other corpus playback remains unverified. This does not establish full-resolution pixel parity or sample-identical audio. Undecoded source start timecode and Resolve’s default one-hour start are disclosed separately; effects exercises also show source-out and transition metadata changes. Read-back differences need review and are not silently treated as passes.

What the real projects contained, and what happened to each

These are the converter's assessments of decoded features. Individual instances have not been verified by this count check. A matching total cannot establish that the right transition, text or animation values survived. Animation counts refer to parameters, not individual keys.

Covers decoded top-level transitions, clip opacity, scale, rotation and volume animation, and title properties. Nested contents, position paths, channel/track animation and undecoded features are not assessed.

Run 2026-09-10T23:11:20.788Z · complete · converter 31bc013f8e68 · source snapshot edb7abcf445e.

In the projects	Found	Kept	Approximated	Not carried	Instance verification	Why, when not kept
Linear keyframes	4	4	—	—	Not checked
Sampled curve	16	—	16	—	Not checked	Adobe Mayan Art.png: scale curve is written as linear samples on Resolve's frame grid; its value handles or timing are outside the native easing record. (8); Graphic: scale curve is written as linear samples on Resolve's frame grid; its value handles or timing are outside the native easing record. (4); Black Video: opacity curve is written as linear samples on Resolve's frame grid; its value handles or timing are outside the native easing record. (4)
Plain title	16	16	—	—	Not checked
Audio crossfade	3	3	—	—	Not checked
Cross dissolve	18	18	—	—	Not checked
Dip to colour	9	3	—	6	Not checked	the incoming clip has no source handles before its in point; Premiere hides the missing frames behind the dip colour, Resolve needs them, so the dip becomes a cut (6)

Separate check: counts in the written project

Each check compares one family's expected total with the Resolve reader's total for one project. Title layers count once even when several title properties are assessed above. Empty projects are excluded. These checks do not verify individual omissions, values or playback.

Family	Project checks	Equal counts
transitions	7	7
keyframes	4	4
titles	4	4

Read the not-carried column before you convert: on this route a dissolve that touches a title or a generator becomes a cut, and every dip becomes a cut. The converter says the same for your own file, per instance, after it runs.

What carries, and what needs attention

Kept on the Resolve project route: frame-accurate timing, media paths / reels, multiple tracks / channels, bins and folders, media frame rates and sizes, track locks and mutes.

Clip boundaries: an edit shorter than one frame of the Resolve timeline has no place on its grid and is left out
Clip names: Native clip-name overrides retain edit names across ordinary video/audio, embedded movie audio, constant audio retimes, Text+, solid colours and compounds in Resolve 20.3.3. Native-editor insertion and splitting retain their names through save/reopen. Adjustment Clip retains the source label as metadata with an explicit fixed-display-name warning. Other Resolve versions and generator types require separate acceptance.
Transitions: video cross dissolves, named linear black/white dips and constant-power audio crossfades retain custom cuts, positive constant retimes and source handles; same-rate compounds, overlapping adjacent dissolves and video edge fades are supported; single-sided title-generator fades are supported; interior title transitions and unsupported speed maps remain cuts
Adjustment layers: top-level native video adjustment clips retain timing, enabled state and supported intrinsic controls; proprietary effects, retiming and adjustment layers inside flattened nests are not mapped
Other effects (colour, filters, variable speed): Lumetri parameter records and bypass state survive in native Media Pool Comments for manual recovery; no colour-page grade or executable plug-in is applied
Markers: timeline and clip markers retain positions, names, notes, ranges and native colors on Resolve’s native In clock, including markers outside ordinary visible trims; positive constant retimes shift the virtual origin to retain earlier source markers, with source recovery for clocks outside the native range; Resolve 21 interprets point markers as one-frame ranges even when raw zero survives resave; Magenta maps explicitly to Fuchsia without claiming RGB identity; duplicate frame positions collapse, and other unsupported colors become Blue
Motion and opacity keyframes: Hold/Constant steps become editable clip sections; original keyframe controls become cut boundaries
Clip volume and level keyframes: a sound fade from or to silence where another clip meets the faded edge is written as the clip's volume keys, since a Resolve transition there is a crossfade
Constant speed changes: positive constant speeds use native time maps with source trims; direct picture clips with decoded continuous linear/cubic speed maps and no animated controls, markers or transitions keep one editable native map, including reverse/freeze sections and Bezier handles. Strict Bezier delivery stops on unsupported profiles; frame sampling evaluates at most 16,384 frames and retains up to 16,385 points. Unknown profiles, discontinuous holds and optical flow require recreation; native cross-editor frame selection remains qualified
Nested sequences / compound clips: inactive camera/Selector sources become named editable timelines ending in [source]; native switching controls and selection linkage are not recreated
Audio channel layout and routing: static AAF linear mono pan becomes explicit Left/Right source-channel levels with its centre attenuation; the editable native pan control is replaced by channel gains; destination rendering remains separately verified
Titles (text graphics): editable static Text+ layers retain text, font, color, size, position, Character Level Styling runs and left/center/right alignment; justified paragraphs, animation, installed fonts and exact font metrics require review

These are the limits of the route, stated so you can judge the risk before converting. The converter names each one for your specific file in the kept and changed line.

FAQ

Do I need Premiere Pro installed?

No. The converter reads the .prproj file itself, including projects saved by a newer Premiere than you have. That is the point: rescuing a timeline from a project you cannot open is where "export XML from Premiere" fails.

What does "tested on real projects" mean here?

Every real Premiere project file we hold, course projects and editors' own, was read by the converter, written as a Resolve project and as XML, and the Resolve project was read back and compared with decoded source metadata, including individual clip positions and trims. Differences are reported separately from failed conversions and empty projects. The table lists each file and what it flagged. Direct .drp import, save, reopen and render have been validated in Resolve 21 on macOS on controlled cases; the table records native import checks separately for the exact converted files. One six-clip example was relinked to recovered Adobe exercise media and passed a scoped render content check. Other corpus playback remains unverified.

What carries over, and what does not?

Sequences become timelines with their tracks, cuts, clip names, media paths, markers, dissolves and crossfades, and supported keyframes. Titles arrive as basic text, Premiere effects are listed by name rather than converted, Bezier curves are sampled, and media in containers Resolve playback has not been validated for is flagged for relinking. The preview describes route declarations. After conversion, the report separates detected instances, inspected handling and unverified aspects.

What does it cost?

A short project converts free. Above the free cap a project is $5, paid once, up to 50 MB, or $15 between 50 MB and 500 MB, and that file converts to any format for 24 hours. Regular handoffs are covered by Pro at $9 a month or $90 a year up to 50 MB, and Studio at $19 a month or $190 a year up to 500 MB.

Which should I pick, the Resolve project or XML?

The .drp when you want the whole project to arrive at once, every sequence as a timeline, media pool populated. XML when you want to add one timeline to an existing Resolve project. Both are written from the same reading of your file.

Does this work with free DaVinci Resolve?

Yes. Free Resolve imports both .drp projects and FCP7 XML timelines. No Studio licence is required.