The music or sound design is done in Live, and the picture lives in Premiere. Premiere can’t read a Live Set — but it imports XML cleanly, and that’s what AAF Bridge writes.
Premiere’s two exchange doors aren’t symmetrical: its AAF export is the way out of Premiere, and its XML import (the Final Cut 7 dialect) is the reliable way in. So AAF Bridge writes exactly that XML from your Live Set — with real stereo tracks and real transitions, not a mono approximation.
Freeze/flatten anything that must be heard — instruments, plugins, sends don’t travel through any exchange format.
The free demo writes the first 120 seconds — enough to check the import in Premiere.
Choose Premiere XML and set the frame rate to match your Premiere sequence — this format is frame-based.
Click Export XML; the file and a plain-text report land next to your Live Set.
File → Import, pick the .xml — the sequence appears with stereo tracks, transitions and clip gain.
The honest limits of this format: placement is frame-quantized (Final Cut 7 XML is frame-based), it carries no pan, and moving volume automation is left out rather than averaged to some invented value — constant clip gain stays. If automation matters, hand an AAF to a DAW instead.
Because Premiere’s import dialect (Final Cut 7 XML) is frame-based — every exchange into Premiere over XML has this property. For sample-accuracy, deliver an AAF to a DAW like Pro Tools instead.
Premiere’s XML dialect can’t express Live’s moving volume rides, so AAF Bridge leaves them out rather than averaging them into a wrong constant. Constant clip gain does carry.
Premiere treats AAF as its export door (towards audio post); its dependable import door is XML. That’s why this direction uses XML — and the reverse direction uses Premiere’s AAF.
The free demo is the full app — it converts the first 120 seconds of any timeline, so you can check the result before spending anything. $49 one-time, no subscription, runs offline. macOS & Windows.
Download the free demo Back to the overview