Quicktime Export Components in Final Cut Server

Our company has purchased a number of Elgato h264 encoders and we're loving them. They reduce our h264 compression times on average from 15-20 mins down to 2-3 mins. It usually compresses our videos faster than real time. Which as a news organization is great for us. These encoders work great on all our Macbook Pros & Mac Pro systems. I've now installed one onto our final cut server and set up a custom compressor setting. Under the 'encoder' tab the file format had to be set to "Quicktime Export Components" instead of "Quicktime Movie" to use the Elgato. And it works great when I send a single file threw compressor. BUT I can't get this custom preset to show up or work inside Final Cut Server. I have other custom settings that do show up and work (but they are all "Quicktime Movie" file formats). I've rebooted multiple times and looked under multiple Responses transcode settings, but the new one I've created to use the Elgato never shows up.
Is it possible to use Quicktime Export Components in Final Cut Server?
I couldn't find any mention of this in the FCS admin manual or any other posts in the forums regarding this.

I have seen on MediaSilo.com a tip to get Elgato H.264 working with Compressor, but I can't seem to be able to find it. Basically, the trick was to create a duplicate setting in Compressor that Final Cut Server is able to read ( not as Quicktime Export Component), associate it with a Final Cut Server's compression setting and later reassign that setting in Compressor to Elgato.
I will keep diggin' for this tip, it was actually a screen recording.

Similar Messages

Final Cut Server Metadata will not transfer to FCP

Hello,
I am new to Final Cut Server and am encountering a couple of issues. A big one is that the metadata from quicktime clips stored into final cut server will not transfer when I put these same clips from the server into FCP.
Any idea why? The metadata is with each asset in the server but won't transfer when the clips are transferred into FCP.
Any suggestion would be great!
Thanks.

FCP only supports specific types of metadata. What specific metadata fields are you looking to export with the clip? Also, "how" are you getting these clips from FCSvr to FCP?

TS2865 when i export movie from final cut pro to quicktime , something happened. it says error quicktime -50. please help.

when i export movie from final cut pro to quicktime , something happened. it says error quicktime -50. please help.
i need to submit this movie for uni project tomorrow.
any help/advice will help . thanks.

According to Crash Analyzer
-50 (QuickTime)
This error occurs when there is corrupt or invalid media in your timeline. Check that the codec used by the file is recommended for use in your editing application.
good luck

After installing Final cut server client on OSX 10.6.8 error: Apple QuickTime or the QuickTime Java component is not installed.

After installing Final cut server client on OSX 10.6.8 error: Apple QuickTime or the QuickTime Java component is not installed.
I know this error on windows machines but cannot get a solution for OSX.

I have fixed this by installing the latest combo update

QT Error -8961 generated when exporting from Final Cut Server

Not sure about this one. We have a user that is trying to export a clip through quick time via Final Cut Server, but they are getting error -8961.
Has any one heard of this error before?

Yes, go into the Admin window in the Java client (as opposed to the System Preferences pane) and go to Transcode Settings. FInd the setting you wish to be able to export with, double click to open it, and add the "Export" device to its list of destination devices. Save and close. You may need to log out and back into FCSvr to see the changes reflected in your Export window.

Final cut server / export to avid

hi,
someone has already some experience with final cut server and exporting assets and final cut projects to an avid system?

Probably not.
But I'd presume you need automatic duck to send an FCP project file to an avid. http://www.automaticduck.com
Jerry

Long HDV and XDCAM clips through Final Cut Server

Hi,
I know that I could post this in Compressor and/or Quicktime and/or Leopard/Tiger Forums, but as this problem it`s causing my Final Cut Server to not working well, I think it makes sense to post here.
To resume: HDV and XDCAM clips (all on original codec, only xdcam transferred to mov in xdcam transfer) with file size bigger than exactly 4GB always FAILS in "Final Cut Server"/"Compressor alone in ANY machine installed from scratch"/"Anything that uses Quicktime". Source and Destination being localy or networked. DV or DV50 can get bigger than that, I`ve never seen this error with DV`s codecs.
I had seen this problem before I bought final cut server. When I was transcoding our interviews for transcription. We always worked with BETA SP and captured in DV or DV50. We were starting to go to HDV and now to XDCAM and this error has started to appear.
I have a "proxy" made a year ago from a HDV and it`s original has 8GB. I tried this file again and as I expected didn`t work. In ANY computer with any installations with only the latest updates. I`ve remembered that I was using Tiger at this time, and Quicktime/Tiger/ProApps had a old version.
My two cents are that some update from Tiger/Leopard/QuickTime/ProApps made this happen.
So ANY HDV/XDCAM file bigger than 4GB it`s FAILING in ANY system. (Tiger or Leopard, With or without FCP and QT PRO, Installed from scratch and updated every thing).
Some tests I`ve made:
-Compressor works with this two codecs to lower res in TIGER and with QuickTime Version 7.4.0 and LOWER. (had to be tested, but I think that was my version of QT when I managed to make the proxy of this two codecs).
-Compressor doesn`t work on any system with QT above 7.4.0.
-CATDV (http://www.squarebox.co.uk/) version 6 can make proxy versions of this two codecs in TIGER ONLY! They already know of this problem and CATDV 7 works on both.
-Compressing in compressor with H.264 (same codec as the FCSvr proxy) BUT without changing the resolution, size and etc. Works OK in both Tiger and Leopard.
-Exporting through QT works in ANY system BUT I loose TC, so it`s not an option (and I can`t input this workflow in FCSvr without using compressor).
-Exporting from FCP as QuickTime Movie with H.264 doesn`t work on Both (Tiger and Leopard).
-Exporting fro FCP as QuickTime Conversion with H.264 works but as exporting from QT I loose TC and can`t input this into FCSvr workflow.
Error message are always: "QuickTime error = -50" or "QuickTime error: corrupted data" (and of course it`s not corrupted because it`s used - even in FCP to edit - and opened viewed, catdv can do proxy and everything).
I`m surprised not to see anyone freaking out about this issue... I don`t think that It`s only me.
This is some problems that I came across while trying to find a solution:
http://www.paulescandon.com/blog/?p=39
http://discussions.apple.com/thread.jspa?messageID=4912265&#4912265
http://www.squarebox.co.uk/faq155.html
http://discussions.apple.com/thread.jspa?messageID=5513003&#5513003
http://discussions.apple.com/thread.jspa?threadID=1903644&tstart=0
http://discussions.apple.com/thread.jspa?threadID=1780228
http://discussions.apple.com/thread.jspa?threadID=1853507
As you can see this is not the first time I`ve posted about this issue.
I`m sending a bug report as well.
Thank You all in advance.
Regards

Hi Chará!
We should, but I think the others will be disappointed eheheheh.
It doesn`t matter what version of Leopard I`m using (right know I`m using Leopard Server 10.5.6, but this issue has happened even with 10.4 if QT is updated and all updates of 10.5 up, as I`
ve mentioned above).
What file size are those clips that are longer than 10min?
I really don`t get, how it`s possible that just the two of us has HDV and XDCAM files with file size longer than usual? Maybe people that do interviews don`t like to record the entire interview and when capturing those clips would be under this file size limit? Or maybe we are the only ones in the whole world that transcode longer HDV and XDCAM clips (it`s funny that it doesn`t even need to be FCSrv, with only ONE machine and compressor this issue happens all the time).
I`m convinced that I have to install a Tiger version in a virtual machine with compressor and doesn`t update anything to test this further on. But I`m certain that with TIGER and CATDV this works ok! And I think that CATDV uses QT engine to do this transcodes.
This is too much of a mystery to me. Maybe it`s time to spend 24+ hours with apple in a international call and probably not getting anywhere.
I`m only posting this here in FCSrv forum because this issue it`s must worse when you have hundreds of clips with this issue and if you bought the package it doen`t matter if it`s a problem with QT+OSX or whatever, apple has to solve it for FCSrv use.
Do you reckon?
Let`s get in touch through email: lucas at rwcine.com.br
(at = @ and delete spaces).
Regards

Red Footage and Final Cut Server

Aloha gang-
I am still testing FCS in our studio and enjoy many of the features in this product. I love being able to search for footage and pull it into my FCP project with no waiting (using edit-in-place). But I am looking for some advice and knowledge regarding Red Footage.
My scenerio is this:
We render all our red footage to offline files that we will use in the post production process. I want to tag all those files with appropriate metadata so our edit team can search and retrieve files as they need it. But with red there are 7 files (in our workflow) that correspond to the same thing. Basically there is the original R3D file which can not be used in FCP, there are the 4 quicktime proxies that the camera generates and live in the same folder as the R3D, and these are the files I want to get back to after the production is through and archived. There is the offline quicktime we generate to edit with which we need to tag. There is a log and transfer quicktime we can log and transfer all this data to FCS (but it doubles the data size so I am not looking to use this one and edit performance is okay at best), and finally there is the folder that the 4 proxies and original red file live in.
All of these files should be search able by the same metadata. Imagine the shot is of a blue bird. When I type blue bird I would want all of these files to show up (obviously I could limit my search so I only get the version I need for what I am doing i.e. offline, proxie, etc. I have made metadata lookups for this so this is not the challenge.)
The challenge is I only want to log 1 of these files and have the metadata applied to all of them. They all have almost identical names. The offline, R3D, and folder file have the exact same name. The proxies are identical but with _F, _H, _M, and _P behind them. For the catalog process I only want to transcode proxies for the _M (The _F, _H take way too long and the proxies look the same as _M and the _P is too small
I could make them a bundle but that does not help too much as the offline lives in a different place as the footage.
Any ideas would be greatful. My easiest solution is to tag the files twice, once for the production and once for the archive, but this seems like a waste of time that I could have a computer do instead
P.S. anyone successful in getting the metadata out of the red file, I see the red metadata set, and have it in place, but can not get it to show anything no matter which file I upload.
Any ideas, or help would be great
mahalo
scott

Thank you for your replies. I guess my question is not really answered because of the conundrum associated with red footage
But my workflow to get through this will be as follows: (In case anyone is interested)
Set a scan to bring in the offline quicktimes as they are rendered and have someone tag them with meaningful tags to help us search during the production. I will send those to archive when we are done.
After the project is completed and the files are removed from Final Cut Server I will set a scan to import all the _M files (they transcode faster and quality is not an issue since it is making proxies) and tag them as best I can for the long haul (archive) I can either leave the media on the drive or back it up, depending on the immediate use of the files. This works very well if the media is still there as I can just drag the _M into Clipfinder and render the shot I need as I need it.
I am storing these clips in folders labeled CC_LTOXXX (where XXX is the number for the LTO tape which increases by one for each tape I use. When I import them into Final Cut Server from the LTO folder I have a direct line to which LTO tape the file lives on. It's not easy to get the files back (so with files used frequently I will also keep a copy on an external drive I can just plug in) from an LTO, but it is doable.
If anyone has an easy way to pull a list of files from an LTO tape that would be great, and even better if it could be a list Final Cut Server made, or if Final Cut Server could just pull the files. My LTO is a network drive so I would have to access it through an IP address, but if I could do that I would be golden.
Anyway I know this will all evolve and this is just where I am right now, any ideas would be appreciated.
Mahalo
scott

Hardware Configurations for Final Cut Server

I am a small video production shop, currently running 2 standalone FCP stations; one Intel tower FCP7 with about 3T of firewire 800 Raid 1 storage, and one PPC G5 tower FCP6, on a gigibit ethernet network with a central NAS. I am adding a 3d station and a new employee. The problem we have run into is that many assets seem to always reside on the wrong system, and duplicate projects become impossible to resolve and archive effectively. We shoot exclusively on HDV.
This is the setup I am considering....
Convert the Intel Mac Pro tower to Final Cut Server
Buy 3 27"iMacs for edit stations
My plan would be to have all projects reside on the FCPServer and edit on 422 Proxy versions on the iMacs. I understand that each iMac would need a copy of FCP. Would they all need to be FCP7 to work on the same project at different times?
Other questions:
Would working on a gigabit ethernet network be a bottleneck?
Could I ingest video directly to the server? Is there a way to capture 422 video onto the server or would that require a separate copy of FCP on the server to capture from tape? If so could I use the older FCP6 copy withot upgrading just for capture? Alternately could I use a copy of FCExpress on the server just to create a project and capture on the server then open and convert to FCP7?
Any suggestions for what to do with the Dual 2.5G PowerPC Tower?

ProRes wil be much faster for rendering on the client and transcoding on any machine, and will also allow for more realtime effects vs native HDV in FCP. "Full-rez" is a misnomer here, since ProRes Proxy does not sacrifice any resolution and indeed has a higher bitrate than native HDV. You might find that your HDV source looks just as good in ProRes Proxy (it is very high quality, just not as pristine as the higher quality versions of ProRes).
Remember, ProRes 422 Proxy is still a 4:2:2 10-bit codec. I think you'd need to look awfully close to see a qualitative difference. You can choose to use ProRes Proxy at lower resolutions than your source media, but you don't need to. It is designed to work all the way up to 2K and maintain all the color fidelity of a 10-bit codec.
When you check in a project that you are cutting locally with Edit Proxies, FCSvr relinks the project to the original media, but it does not render anything. You would need to open the project on the FCSvr host with FCP to create an flattened QuickTime against the original media (in your case native HDV).
You can recapture, but when you have FCSvr cataloging your clips, you do not want to recapture the same media and duplicate the asset. If you are careful and recapture the clips that were disposed of to the exact same location with the exact same filename as before, FCSvr will re-link the media to the asset automatically. However, that workflow is very human-error-prone and I strongly recommend you not adopt it. Keep your source HDV tapes as a worst-case backup, but if you are going to use FCSvr, use its archive capability to RAID-1 external drives and only go back to the tapes if all else fails. And you'll need to be very careful to match you prior ingest if you do.
Of course, you can always delete an asset altogether when you're done with its media and later recapture the footage from tape and treat it as a new asset. It depends on how interested you are in keeping your asset records and their proxies intact for media you plan to remove from storage.
I'd take a good long look at ProRes Proxy vs HDV for quality. If you can't see a difference, capture to ProRes Proxy and make that your online format. Then you won't be eating up all your storage on the server keeping both the HDV original and a ProRes Proxy for edit proxies. If you don't enable edit proxies, FCSvr just hands out the original media.

Best practices for Edit Proxies in Final Cut Server?

We just bought Final Cut Server, and for the most part are pretty happy with the product. We are a small production facility, and primarily work with DVCPro HD footage at 720P. One feature we'd like to use would be the edit proxies feature in FCS, but they don't seem to be working for us.
_Hosting Computer_
We're using a mac mini server with snow leopard server and final cut server 1.5.
Problem
Whenever we specify in the Administrator Pane of FCS, Under Preferences and Analyze, we'd like to use a custom transcode setting for the edit proxies, keeping Frame Size, TC, and Frame rate the same, but changing the codec to h264 least quality, the effects are a different compression than expected. We tested out the compression settings using Compressor on the server, and we get the desired results:
Input: DVCPro HD 720P Quicktime 960X720 (1248 x 702) 23.98 fps
Output: H264 Quicktime 960X720 (1248 x 702) 23.98 fps
Also did the same outputs using Apple Prorez, Photo Jpeg and got the following outputs:
Output: Apple Prorez Quicktime 960X720 (1248 x 702) 23.98 fps
Output: Photo Jpeg Quicktime 960X720 (1248 x 702) 23.98 fps
(We also made new transcode settings for these compressor settings and we not able to control the compressions through FCS with these settings as well. Our target codec is H264.)
After connecting the new compression settings on the Mac Mini Server to a new transcode setting in the FCS Admin Pane, we restarted the Java Client, logged in to FCS as an FCSadmin, opened the Admin Pane, and under preferences/analyze change the edit proxy setting to the New H264 setting that worked perfectly when using Compressor. After uploading a final cut project, with one associated media file (DVCPro HD 720P Quicktime 960X720 (1248 x 702) 23.98 fps), the resulting edit proxy did not match the specification: 384 x 216, 23.98fps, TC matches source.
Also did not dynamically connect when checking out the project from FCS and selecting edit proxies and keep media with project and saving to the desktop.
Question 1:
Does anyone have any best practice transcode setting(s) to create for DVCPro HD 720P using edit proxies that dynamically connect and are smaller size than the original? H264? Photo Jpeg?
Question 2:
Why is Final Cut Server's Compressor giving a different output, when the same settings work well with just Compressor?
Question 3:
Does H264 work in creating dynamically linking edit proxies (ie, no need to reconnect)?
I can imagine this information to be very useful to the community, so any input or solutions will be greatly appreciated.
Thank you.

H.264 is a puzzling choice of codec for edit proxies. H.264 is not an edit-friendly codec since it is a complex long-GOP structure and will require a ton of rendering just to play back the timeline. ProRES 422 Proxy would be a much better choice for editing. I'm afraid I can't account for the differences between Compressor and FCServer in this case, but my gut tells me the non-I-frame codec you are trying to use for edit proxies might have something to do with it. Maybe for an edit-proxy workflow to operate properly on the server-side the codec must be I-frame? Is there any reason you do not want to use ProRES 422 Proxy? They are about 1/3 the footprint of 720p24 DVCPRO-HD, which is already very efficient. For that frame rate and frame size they would be roughly half the heft of good ol' DV25.
So my answer to all three questions would be to try ProRES 422 Proxy for your edit proxies and see if everything lines up.

Final Cut (Server) as an application server for web-video ??

Hi,
we are currently evaluating different solutions to automatically postprocess video files, which are uploaded to a web-server.
The video files are flash-videos (flv) uploaded from the public internet to our web-server. Each uploaded video has to be postprocessed, (applying some slight color grading and processing the audio with audio-units plugins) and finally converted to a h264 video file. The Webserver and the workstation are connected by ethernet or a fast internet connection.
Is this possible with the Final Cut (Server) automation features?
Any feedbacks, ideas or alternatives are welcome.
Thanks in advance fom Berlin, Gemany,
Manfred

Final Cut Server's video processing is limited to what Compressor can be set up to do with a file. The rest of the automation potential lies with communication among teams of users and file movement. FLV is not readable by default (via QuickTime), so you would still need the Episode Engine plugin to be able to process FLV inputs. Final Cut Server does not script the comings and goings of the applications in the Final Cut Studio suite, it is a tool for managing multiple artists and editors all batting work around to each other and feeding it to producers for approval and feedback.

Final Cut Server Edit Proxy

Hi,
I need to do remote editing (with FCP7) over small bandwith WAN (1Mbps) therefore I configure Final Cut Server (V1.5.1) Edit Proxy to use a Quicktime H.264 codec with the following parameters:
File Extension: mov
Estimated size: unknown
Audio Encoder
AAC, Stereo (L R), 48.000 kHz
Video Encoder
Format: QT
Width: (100% of source)
Height: (100% of source)
Pixel aspect ratio: Default
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls: Automatically selected: Off
Codec Type: H.264
Multi-pass: Off, frame reorder: On
Pixel depth: 24
Spatial quality: 0
Min. Spatial quality: 25
Temporal quality: 50
Min. temporal quality: 25
The workflow is:
The remote editor choose on Final Cut Server the FCP project he has to work on, do a Check Out of the project on his Final cut Pro 7 local station by selecting "use: edit proxy" and "keep media with project". Project and associated footage are then uploaded from the server to the remote FCP7 station with no problem.
When the upload is complete, the editor simply open the project file to start editing on his station. This workflow was working allright till january: when opening the project the FCP7 doesn't reconnect the media with an error message:
"one or more of the updates requested by Final Cut Server could not be applied. (one or more replacement (s) had unexpected track setting.)" and media files are Offline! When trying to reconnect manually by indicating the proper path for the missing files, I have to uncheck "Matched Name and reel only" to select the edit proxy files. It looks like it was still linked with the original media...
Looking at the project file, the paths for the proxy files are the proper ones...
<!DOCTYPE plist PUBLIC "-//Apple//DTD PLIST 1.0//EN" "http://www.apple.com/DTDs/PropertyList-1.0.dtd">
<plist version="1.0">
<dict>
<key>fileSubs</key>
<array>
<dict>
<key>newurl</key>
<string>file://localhost/Users/XXXXX/Desktop/testbdw10/media/_FCS__XXX.XXX.XXX.XXX/dev/3/1670_179_004301.mov</string>
<key>originalurl</key>
<string>file://localhost/Macintosh%20HD/Users/XXXXX/Documents/Final%20Cut%20Pro%20Docume nts/Capture%20Scratch/Untitled%20Project%201/179004301.mov</string>
</dict>
<dict>
<key>newurl</key>
<string>file://localhost/Users/XXXXX/Desktop/testbdw10/media/_FCS__xxx.xxx.xxx.xxx/dev/3/1674_179_003601.mov</string>
<key>originalurl</key>
<string>file://localhost/Macintosh%20HD/Users/XXXX/Documents/Final%20Cut%20Pro%20Documen ts/Capture%20Scratch/Untitled%20Project%201/179003601.mov</string>
</dict>
</array>
<key>version</key>
<integer>0</integer>
<key>versionMin</key>
<integer>0</integer>
</dict>
</plist>
If I change the Edit Proxy setting for ProRes 422 (Proxy) on Final Cut Server edit proxy setting then the reconnection is working OK. I cannot use this workaround as the files are then far too big to be tranferred over a 1Mbps WAN.
The setup with the Quicktime H.264 edit proxy was working fine after, it seems, the installation of Pro applications update 2009-01 issued end of october 2009, but since january 2010 it does not work anymore.
Final Cut Server is version 1.5.1 with Mac Os X server is 10.5.8
Editing station are running Final Cut Pro 7.0.1 and Mac Os X 10.5.8
What could be wrong ? Does anybody encountered this type of problem?
Any suggestions welcomed!
Thanks.

I'm dealing with this issue right now (FCSv 1.5.1 latest pro app updates, 10.6.2, FCP7). I was under the impression that you could make edit proxies that were 25% resolution (as opposed to just using an efficient codec), but Final Cut Pro is having a rough time getting it right. I too am only getting success with ProRes-Proxy, audio passthrough, and 100% res/everything else. I tried using Apple Intermediate Codec with default "100%" settings and audio passthrough but had no luck. It's way heavier than ProRes Proxy anyways.
The only suggestion I can make is try your h264 solution with audio passthrough (or Linear PCM) instead of AAC. If that makes a difference we're on to something. Some people started having this issue after an iTunes update, so maybe AAC is the source of the problem.
The edit proxy workflow really needs tweaking from Apple to cater to internet-based solutions rather than fiber/SAN environments where bandwidth is a non-issue.
I'll report back later after some more testing.

Open Source Final Cut Server

It would make sense to open source Final Cut Server instead of discontinuing it. Many depend on it and have massive asset libraries and workflows that will not be moving any time and need support. QuickTime/Darwin Streaming Server is open source and thriving. Final Cut Server should be given that chance as it still has many uses and a lot of potential in areas that Apple hasn't explored.
Apple please give back to community of loyal users and pro's around the world by open sourcing Final Cut Server and not letting it sit on the shelf like Shake collecting dust when it could be so much more!

I agree with this. We have invested too much to simply abandon our infrastructure and explore other options. Open source would be in everyone's best interest. I encourage you to visit the FCSvr feedback page and recommend this. http://www.apple.com/feedback/finalcutserver.html. Please be constructive - there has been enough temper tantrums and gripes about FCSvr being killed and the new way the FCPX works. Please be detailed about how you use FCSvr, any customization you've done, especially if they involve using the command line tools and scripting in any form. I personally have invested countless hours pouring over bash scripts, scouring the 43 "px" tables in the postgres database looking for ways to improve our setup, and writing libraries of functions to make scripting easy. I figured out how to customize our distribution to make it do what we need it to do, to serve our business and our clients. If the road ends here, was that all for nothing? FCSvr is a great product. I know that it doesn't jive with FCPX new ways of thinking. I know FCPX has range keywording and metadata capabilities. But what of a notification system? What of a transcoding server? What of subscription/responses triggering actions like archiving to tape? What about support for changing metadata with third party solutions? What about publishing the catalog to online services like MediaSilo? There are countless functions that have become part of the workflow of professional production companies. FCSvr has totally changed the way we work and think about our assets. I was just beginning to get somewhere with our producers and editors, and I really don't want to stop now. Open sourcing FCSvr would give developers the opportunity to write their own modules for FCSvr, we could see support for all kinds of functionality. It's not going to happen though if you don't tell them you need it. Send your feedback using the feedback page. Talk to the vendor you bought FCSvr from or the person who installed it in your organization and encourage them to have this discussion with the people at Apple who can make a difference. Please take action, don't just gripe and make broad stroke suggestions here on the forum. Thanks for your time.

Final Cut Server 1.1.1 & Pro Apps Update

Many of you have been experiencing various issues with the Compressor & Qmaster process crashing and needing to resort to the only resolution to fix this issue:
- Stop FCSvr, reinstall the QMaster Node.pkg, start FCSvr, and stop FCSvr services to get the issue fixed.
Many others have wished for Final Cut Server would recognize all the metadata for video clips capture via:
- FCP Log and Transfer
- Capturing from a Sony XDCAM HD source
- P2
without using the very time consuming approach of dynamic metadata mapping.
Many other have yearned for Final Cut Server to recognize EXIF metadata from images
Well wait not longer.
Download, Install, and Test the updates released today via Apple Software Update or by manually downloading them from:
http://www.apple.com/support/finalcutserver/
I must personally say thanks to the Mac OS X team, Pro Apps Team, and Final Cut Server team for resolving these issues.
The product is very great and will only be better with stability and reliability update like these.
Shame to everyone that has posted on the Final Cut Server discssion list complaining about these issues. Software development is no easy task, bug take careful time to fix and test before being released into the wild. We need to thank Apple more often for creating careers and a market place for everyone that is creative professional, systems administators, or technology consultants like myself.
Enough said.

I have one thing to say. The team that writes and maintains FCSvr could probably fit around a dinner table. It's a complex app to say the least.
http://bugreporter.apple.com/(Free ADC account needed) should be the place where we direct all bugs and feature requests. Don't assume they know about it. Also, if you do use this, please follow the guidelines in submitting a report.
It's a bit of work, but the developers appreciate a well written feature request and/or bug report. If we as the "soldiers in the trenches" give our feedback this can only get better.
http://developer.apple.com/bugreporter/bugbestpractices.html
http://stevenf.com/archive/reporting-bugs-in-mac-os-x-apps.php
All that said, all the latest updates seem to be fairing well so far (touch wood). Even QuickTime!
Chris

Final Cut Server and FileMaker Pro

Has anyone tried to import FileMaker Pro data into Final Cut Server? I have an FMP database with photos, video and audio files that I'd like to export to Final Cut Server along with the meta data and I'd be interested to hear if anyone has any experience with this.

It needs to be filled with RAM, and when running Pro Apps, in the faster graphics processor mode. Mail, etc. will likely run fine along side them. I'd not play games when rendering though.
When they don't run, they don't affect anything but disk space 60 gigs for it all including Templates... RAM is the key to running multiple apps on any given Mac.
Nice Mac too. I just saw one the other day for the first time. I love that new trackpad the most. It's likely a lot faster than my 2.3 laptop, and I can run all the apps at the same time no problem with it. But ya need to fill up the RAM. I like that it's so green.
Jerry

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