EDL to CSV your cut list as a spreadsheet, ready for Excel.
Convert an EDL, a Premiere XML or a Final Cut FCPXML into a cut list: event, clip, reel, track, transition, source and record in and out points, and duration in timecode and seconds. Sort the table, download a CSV for Excel or copy it straight into Google Sheets.
Free, no sign-up- Events
- Timeline length
- Clips used
Click a column title to sort.
Paper edit from the transcript: we transcribe your footage and, on Studio and Agency, build the timeline. See how
How to convert an EDL to a spreadsheet
- 01
Export the timeline
Premiere: File > Export > EDL or Final Cut Pro XML. DaVinci: Timelines > Export. Final Cut: File > Export XML.
- 02
Paste or drop the file
We detect the format and frame rate. EDLs don't store the rate, so check the one we suggest.
- 03
Download or copy
A comma or semicolon CSV for Excel, depending on your locale. For Google Sheets, copy and paste.
How to export an EDL or XML from Premiere, DaVinci and Final Cut
In Premiere Pro, select the sequence and go to File > Export > EDL. Choose CMX 3600, pick the tracks you want listed and save. The XML, under File > Export > Final Cut Pro XML, is more complete: it keeps the frame rate, file names, source timecode, transitions and titles, and lists every video track, while an EDL covers one video track per file.
In DaVinci Resolve, right-click the timeline in the Media Pool and choose Timelines > Export > AAF, XML, EDL, then pick EDL or FCP 7 XML. In Final Cut Pro, use File > Export XML, version 1.8 or newer. If you get a .fcpxmld package, right-click it, choose Show Package Contents and use the Info.fcpxml inside.
- CMX 3600 EDL (.edl): Premiere, DaVinci Resolve and Avid
- Premiere XML (.xml): Premiere Pro and DaVinci Resolve
- FCPXML 1.8 or newer (.fcpxml): Final Cut Pro
What each column of the cut list shows
Each row is one event on the timeline. Source is the part of the raw file used in the edit, in camera timecode, and record is where it sits in the sequence. Duration comes in timecode and in seconds, which you can sum in Excel. Transition shows C for a straight cut or the dissolve's name and length in frames. Comments collect markers, effects, speed changes and the outgoing clip of a dissolve.
Above the table you get the totals: number of events, timeline length from first to last frame and how many different clips were used (black and titles don't count). Click any column title to sort, for example by the longest shots or by file name.
| # | Clip | Source in | Record in | Duration |
|---|---|---|---|---|
| 1 | CAM_A_0012.MP4 | 00:12:10;04 | 00:00:00;00 | 00:00:15;14 |
| 3 | CAM_B_0003.MP4 | 01:02:10;12 | 00:00:15;14 | 00:00:30;00 |
| 4 | drone_church.mov | 00:00:05;00 | 00:00:45;14 | 00:00:05;00 |
Comma or semicolon, and which frame rate to use
Excel reads CSV files using your system's list separator. In the US and UK that is a comma; in much of Europe and Latin America, where the comma is the decimal mark, it is a semicolon. If every row lands in one column, download again with the other separator. The seconds column follows along: a period with commas, a comma with semicolons. The file is UTF-8 with a BOM, so Excel shows accented names correctly.
An EDL doesn't store its frame rate. We estimate it from the highest frame number in the timecodes and from the FCM line, which says whether it is drop frame, but 24 and 23.976, or 30 and 29.97, write the same labels. If your timeline uses another rate, pick it and the seconds are recalculated. For Google Sheets, the copy button takes the table as tab-separated text: paste it into cell A1.
From cut list to paper edit
A cut list is how you check what made it into the film, clear stock footage and music, or hand the edit to finishing and color. The paper edit comes first: going through hours of raw footage to pull the lines worth keeping.
That is where we help. We transcribe your footage word by word, with the time and speaker of every line, and you mark the moments in the text. On Studio and Agency, your selection exports as a timeline for Premiere, DaVinci or Final Cut, linked to the original files. Later, if you want the cut list of that edit, export the EDL and come back here.
More than an EDL converter. Your edit starts from the transcript.
See also
Frequently asked questions
How do I convert an EDL to an Excel spreadsheet?
Paste or drop the EDL here, check the frame rate and click Make cut list. The table shows on the page, and Download CSV gives you a file Excel opens directly, with accents and columns in place. For Google Sheets, use the copy button and paste into A1.
How do I export an EDL from Premiere Pro?
Select the sequence and go to File > Export > EDL. Choose CMX 3600 and the tracks to include. If the timeline has several video tracks, use File > Export > Final Cut Pro XML instead: it carries every track, the frame rate and the file names.
My CSV opens in a single column. What now?
It is the separator. Excel expects the list separator of your system: a comma in English locales, a semicolon where the comma is the decimal mark. Pick the other separator and download again, or use Data > Text to Columns in Excel.
What is the difference between source and record timecode?
Source is the time inside the raw file, usually the timecode the camera recorded: it tells you which part of the footage was used. Record is where that part sits in the edited sequence. With both, you can find a shot in the raw footage and in the film.
Does it read Premiere XML and Final Cut FCPXML?
Yes. We read the XML that Premiere and DaVinci export (the FCP 7 format) and Final Cut's FCPXML, version 1.8 onward. Both carry the frame rate, file names, transitions and titles, and FCPXML includes connected clips.
Why does an EDL need a frame rate?
Because an EDL stores only timecodes, not the frame rate. To turn durations into seconds we need the fps. We estimate it from the highest frame number and the drop frame flag, and you can change it if your timeline uses another rate.
A paper edit from the transcript, without rewatching everything. We transcribe and build the timeline.
Upload your raw footage or paste a YouTube link. We transcribe it with times and speakers, you pick the lines in the text and, on Studio and Agency, download the timeline for Premiere, DaVinci or Final Cut.
See the result on your own recording before adding a card.