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Supports: MXF
MXF is the SMPTE broadcast container that Sony XDCAM, Panasonic P2, Canon XF, and ARRI cameras record to; MTS is the AVCHD file that consumer camcorders and editors like iMovie, PlayMemories, and PMB auto-detect. This converter rewraps your broadcast footage into an H.264 + AC-3 AVCHD stream that drops straight into a consumer camcorder workflow — uploaded over an encrypted connection, processed on our servers, no sign-up and no watermark. Note this is a lossy-to-lossy re-encode: MTS is an AVCHD-class delivery format, so it won't restore detail an MXF master already has. If you only need broad playback or web sharing, convert MXF to MP4 instead — it's the better target for almost everyone.
| Property | MXF | MTS (AVCHD) |
|---|---|---|
| Standard | SMPTE 377M / ST 377-1 (2004) | AVCHD, Sony + Panasonic (2006) |
| Role | Broadcast / post-production master | Consumer camcorder recording |
| Common video codecs | XDCAM HD, XAVC, AVC-Intra, DNxHD/HR, MPEG-2 | H.264 / MPEG-4 AVC |
| Audio | PCM, often several mono tracks | Dolby AC-3 or LPCM, stereo / 5.1 |
| Structure | KLV-wrapped, OP1a or OP-Atom patterns | MPEG-2 transport stream |
| Typical resolution | Up to 4K / UHD pro masters | 1080i / 1080p / 720p |
| Auto-detected by consumer NLEs | Rarely | Yes (iMovie, PlayMemories, Premiere) |
| Best for | Editing, archive, broadcast playout | Camcorder workflows, AVCHD devices |
The most likely cause is an OP-Atom MXF that holds only video. Some broadcast workflows — Avid is the classic example — split each clip into separate companion files, one for video and one (or more) per audio track. If you upload the video-only file on its own, there's no audio stream to carry into the MTS, so the output is silent. Upload the matching audio MXF alongside it, or start from an OP1a (single-file) MXF that already muxes video and audio together.
Probably not as separate tracks. Broadcast MXF commonly carries several discrete mono channels (for example dialog, music, and effects on their own tracks). AVCHD/MTS is built around a stereo or 5.1 program, so multiple mono tracks are typically folded down to a single stereo mix rather than kept individually. If you need every track preserved for a mix, keep the file in MXF or convert MXF to MP4, which has broader multi-channel support.
Some, because it's a lossy-to-lossy re-encode and MTS can't recover detail. Your MXF is likely a high-bitrate XDCAM / AVC-Intra / DNxHD-class master; MTS is an AVCHD delivery format topping out around 1080p, so a 4K or high-bitrate source is constrained to AVCHD-class targets. For a master you'll keep editing, leave it in MXF. Convert to MTS only when a specific AVCHD device or camcorder workflow needs the .mts file. In our testing, a 1080p MXF re-encoded to MTS at the Very High preset was visually close to the source on a normal monitor, but a 4K master downscaled to 1080p loses the extra resolution permanently.
For almost everyone, MP4 is the right target — it plays on phones, browsers, smart TVs, and every editor, so convert MXF to MP4 unless you specifically need .mts. Choose MTS only when a tool or device expects AVCHD: some Sony/Panasonic camcorder import paths, certain AVCHD-only editors, or a Blu-ray authoring workflow that ingests AVCHD streams. Going the other way — bringing an AVCHD clip back into a broadcast container — use MTS to MXF.
Files are uploaded over an encrypted connection, processed on our servers, and deleted automatically a few hours after conversion — no sign-up, no watermark, never shared or made public. There's no file count limit; the real constraint on a large broadcast master is upload size and connection speed, since MXF camera files can run to many gigabytes.