editors

SpotOn in Premiere Pro, Final Cut Pro and DaVinci Resolve.

Every delivered spot also comes as an editor package: the same footage, voice, music, captions, end card and supers, laid out on a real timeline you can open in the editor you already use. Take our finished master, or take the pieces and finish it your way.

Premiere ProFinal Cut ProDaVinci ResolveOpenTimelineIO (.otio)Final Cut XML (.fcpxml)

what you get

Every delivered spot has an editor package sitting next to its render.

timeline.otio

An OpenTimelineIO file — open this one in Premiere Pro or DaVinci Resolve.

timeline.fcpxml

A Final Cut Pro XML file — open this one in Final Cut Pro, or in Resolve if that's your shop's habit.

Per-shot clips

Every scene as its own file, so a re-cut or a swap doesn't mean re-rendering the whole spot.

Voice, music and effects stems

Separate tracks, not one baked-in mix — remix the bed in your own editor.

Captions

A sidecar caption file, timed to the final cut.

The end card and supers

The on-screen text and closing card as their own layer, already positioned.

A manifest and a README

What every file is, and the open-in-your-editor steps below in plain text — so the folder stands alone.

Nothing in the package is a lesser copy of the delivered spot — it is the same material, laid out so an editor can pick it back up.

how to open it

Three editors, two files.

Adobe Premiere Pro

timeline.otio

File → Import (or the Media Browser), then pick timeline.otio. No plugin needed — Adobe added this natively.

Final Cut Pro

timeline.fcpxml

File → Import → XML…, then pick timeline.fcpxml. Final Cut Pro's import path is XML, not OTIO — that's Apple's own choice.

DaVinci Resolve

timeline.otio or timeline.fcpxml

File → Import Timeline → pick a file, either one. Use whichever your shop already round-trips.

Premiere Pro shipped native OpenTimelineIO import and export (first in Premiere Pro Beta, now in the general release) — in Adobe's own words: “Premiere Pro … has support for Open Timeline IO interchange format (OTIO). Our current implementation includes the basic information for interchange with other products that support the OTIO standard” — names, the cutlist in order, source in/out, durations, timecode, frame rate, multiple tracks and track names, and sequence markers. One honest limit, in Adobe's own words: “When importing OTIO files created outside of Premiere Pro, some sequence settings may not transfer automatically and will require manual adjustment” — expect to confirm a couple of sequence settings on first open, never lost footage or cuts. Source — Adobe Community.

your ai agent inside premiere pro

Order it, wait for it, lay it on the timeline — without leaving the editor.

The editor package gets your footage onto your timeline. A separate, optional piece lets an AI agent running inside Premiere Pro order the spot in the first place, watch it through delivery, and hand back the package — if that agent is connected to two things at once: an MCP server that can drive Premiere Pro's own timeline, and SpotOn's MCP server.

Connecting SpotOn's MCP server

  1. In the studio: Station → Connections → API access. Mint a key, scoped to at least spots.
  2. Point your MCP client at SpotOn's remote MCP endpoint with your key as a Bearer token — full connection steps are on the developer docs page.
  3. Once connected, the agent can call spoton_project_editor_package_build to order the package for a delivered spot, and spoton_project_editor_package to fetch it once it's ready — the same two calls behind POST /projects/:id/editor-package and GET /projects/:id/editor-package.

Three things you could ask it

"Order a :30 spot for Riverside Auto from
riversideauto.com, wait for it to finish, then
lay the editor package onto a new sequence."

"Pull the editor package for the spot we just
approved and drop the voice and music stems onto
separate tracks so I can remix the bed."

"Once that spot is delivered, bring in the
per-shot clips so I can re-cut scene 3 with our
own B-roll."

The agent still waits on SpotOn's own delivery — Fidelity Review, broadcast conform, the whole pipeline — before there is a finished spot to lay onto your timeline. Nothing about this shortcuts that.

which premiere mcp

SpotOn's MCP server is one connector. Driving Premiere Pro's own timeline needs a second one.

We don't bundle or audit any of them — a station's IT should review whichever one it picks before installing it, the same as any other Premiere plugin.

Adobe's own connector

Account-scoped to your Creative Cloud login, but its video tools today are Adobe Express–level reformat and quick-cut tools — video_resize, video_create_quick_cut. No tool in it opens or edits a Premiere Pro project.

Community servers

Free and open source, such as premiere-pro-mcp. A local server plus a plugin bridge running inside Premiere Pro — no cloud account, several hundred timeline, effects and export tools. Independent, not affiliated with Adobe.

Packaged, paid

BuzzRolls Studio is a Premiere Pro plugin with its own MCP server built in — a curated set of editing tools, connecting to Claude and other AI assistants, on a monthly subscription.

what spoton does not do

No headless Premiere. No server-side timeline control.

SpotOn does not run or control Premiere Pro itself. There is no headless Premiere on our side, and no server-side timeline manipulation in our infrastructure — the editor package is a set of files, laid out to open cleanly, and the two MCP servers above are how an agent moves those files onto your timeline for you. Our own finishing pass (loudness, captions, broadcast conform, the delivered master) still runs on ffmpeg, unchanged.

faq

A few honest questions.

Do I need the MCP setup to use the editor package?

No. Every delivered spot's editor package is a plain download — open timeline.otio or timeline.fcpxml by hand, same as any other project file. The MCP agent setup is only for ordering and fetching spots without leaving your editor.

Does this replace SpotOn's own delivered master?

No. You still get the broadcast-conformed master that passed Fidelity Review. The editor package is an additional way to reach the same material if you want to finish it yourself.

Will my re-cut still be broadcast-ready?

Only if you run it back through SpotOn, or your own equivalent broadcast conform and loudness pass. A re-cut made entirely in your own editor is your file, on your own conform.

Why doesn't Final Cut Pro just take the .otio file?

Final Cut Pro's own import path is built around XML, not OpenTimelineIO — that's Apple's choice, not ours. The .fcpxml file carries the same cut.

Make a spot. Open it in your own editor.

Make a spot freeRead the developer docs