Anyone using XDCAM-EX with Final Cut Server?

I'm drawing a blank on the right way to setup our xdcam workflow. We have a drive full of online projects with BPAV folders (everything off the xdcam's media). What's the right way to get it into FCS? All my other files were prores mov files, so I just created devices that represented those drives and voila. For the arcane xdcam file structure however...
Any suggestions or light for the end of the tunnel?
Thanks,
Eric.

In the meantime I discovered the proper way to use the XDCAM Transfer application to re-encapsulate the MP4 files as MOV files, so the looks like the way to go. It's a little counter intuitive that the transfer application has an "import" button that exports the files as mov files, unless you launch it from within FCP, in which case the import button imports the files into final cut pro project...
We're planning on doing a batch conversion and then ingesting them as we did all the other assets.

Similar Messages

Is it possible to use Speech Recognition with Final Cut Studio?

Is it possible to use Speech Recognition with Final Cut Studio?
Using either Speech, AppleScript, Automator or a 3rd party app
like iListen, can I enable Final Cut Studio apps to respond
to voice commands?
(e.g. I say "I" in Final Cut Pro and it sets an in point)
thanks

Yes, I wish "Make it really good" and "Fix my rough cut"
were commmands too
I did hear from the folks at iListen that
they are planning on releasing a ScriptPak
for Final Cut Studio next year which could be
cool
and that yes, iListen has some capability to
integrate Speech Recognition with Final Cut,
guess I need to give it a try for a test ride

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

Help using m2t files with Final Cut! :D

Hey everyone! I trying to work with a .m2t file of HD footage I've downloaded, I can't seem to open it with Final Cut or Motion, what will I need to do to access this file? Can anyone help!? Thank you

Use MPEG Streamclip to demux/convert the m2t file(s) into whatever format matches your FCP Sequence settings.
-DH

Using Vado HD with Final Cut Express

I am aware that the VADO HD is not compatible with iMovie, but is it compatible with Final Cut Express? If so, during setup of FCE what option should I use for setup? HD, NTSC, PAL, Apple Intermediate Codec, or DV/Panasonic and then under "use" which option should I use?
thanks for ALL of the help!
tom

crap.
Ok, maybe you can answer a follow up question. So, I'm new at this.... but I understand that I will have to convert the video then. In that case, is there an optimal video conversion type that I should use so that I lose the least quality? I am using MPEG Streamclip as my conversion tool.

Using still images with Final Cut (and the apple suite in general)

I have had a re-occuring and long term problem that has caused me many lost hours of head scratching and work arounds, and as of yet I have not been able to come up with a good solution.
Its to do with integrating still images with the Final Cut suite.
If I receive a high quality image from a client to use in their video and I then try importing it into Final Cut and animating it, it always ends up looking like a pile of ahem. Often I will get "swimming" lines appear across fine detail on the image, and parts of it will flicker as it moves across the screen. For instance, if I have a picture of some blinds or other fine detail (especially horizontal and vertical lines), when I add a grow and throw movement to it the detail will become very noisy - buzzing and flickering like mad.
I have found I can counter this by resizing the image in photoshop to a resolution closer to SD video (700w or 500h) - but I always end up losing detail, and the flickering and noise is only reduced, not eliminated. Other things that have helped are blur effects applied at a very low level, like 0.5 blur, so its not noticeable visually, but Final Cut seems to treat it differently and quieten the noise and flicker down.
However, all of these workarounds are ultimately still giving a reduced quality product.
Also, this problem is not necessarily constrained to Final Cut, I am currently fighting DVD Studio Pro because it is murdering the text quality in a stills slideshow I am creating - and in this situation there is no animation being applied. No matter what file type (psd, jpeg, tiff, png...) or size I output the text and images from Photoshop in, the moment DVD studio pro gets hold of it, it turns to cripe.
For a while I was putting it down to the fact that I usually edit in SD (PAL) formats, and there just wasn't the resolution available to reproduce fine detail. However, I do often see other people achieving pin-sharp fine detail on still images and text in SD formats (the Apple templates are a good example)
So, my question to you, oh great and high boffins, if you are dealing with still images and text, how do you do it? How do you work around any noise problems you have, and how do you produce those pin-sharp images (both moving and still) I see in other professional productions?
Quad G5 Mac OS X (10.4.8)

still images with too high a resolution will always cause problems. this is due to the detail of the image being finer than the scanline of the tv can display ... obviously this will caise the image to flicker as these details alternately appear and disappear as and when the scanline can display them. as you have discovered, the answer is to apply a very small blur, the effect being that the detail is spread by the blur such that the scanline can dislay it correctly.
text issues are often rooted in the same problem ... unless the text is placed very carefully (whole even number on the y axis) then the quality may be impaired due to the resulting interlacing/scanline issues

A Case Study Question in the Use of Stills with Final Cut Pro

Believe it or not, for the last week I have been reading endlessly about pixels, resolution, aspect ratio, Photoshop resizing, the bloody battle over the usefulness of the term "dpi" in video discussions, and generally about what one should do in order to use still images in a film edited in Final Cut Pro. And yet, though I have a PhD from an Ivy League university, and can understand a lot of things, I am sorry to say I am still at a loss.
Much of the discussions of photos on forums like this one are either quite technical or broadly philosophical. But my questions are completely practical and specific. I am not a photographer or a printer, nor am I an experienced editor. I am just a fairly smart person trying to use photos in his film. So I am going to ask some specific questions and hope for specific answers, without any philosophical waffling or technical mumbo jumbo.
I have one of those HP all in one printer/fax/scanner machines. I am told this device, while not fancy, is perfectly adequate to the task. Some of my photos I scan with this device from prints. Some of them I get from other people. (I have stopped downloading photos from the web, as the quality is nearly always poor.) I have Photoshop Essentials (not Photoshop). I am making a 90-minute HDV documentary, 16x9. The doc is mostly HDV footage with a still here and there. I want to be able to move on the photos (zoom, pan, etc.). I want, obviously, for them to look good. My sense is that the work flow is: (a) scan the photo (or obtain from some source as a digital file); alter the photo in some way in Photoshop; and (b) import the photo into your FCP project.
Question #1: If I have a 6x8 print, what settings should I scan it in with -- is it possible there really is no difference between scanning in it at 72dpi and 300dpi? Is it really all about the dimensions of the image? Isn't a photo whose dimensions are enlarged in Photoshop to make it available for panning and zooming in my sequence going to look fuzzier and more pixelated if it was originally scanned at 72dpi than at 300dpi? Also: Does it matter if I save it as a jpeg or tiff? Bottom line: What settings do I use in my scanning software when I scan a photo for this purpose?
Question #2: Once I have the image file on my hard drive, I suppose I now have to load it into Photoshop Elements and do something to it. What is it exactly I am using this program for? I'm going to take a wild guess. I use PS Elements to (1) crop the photo so that it has a 16x9 aspect ratio, and (2) resize it so that I can do pans and other Ken Burnsy moves on it in FCP. Bottom line: What exactly do I do in PSE to the photo and what settings do I use to both (a) make it available for moves and (b) not injure the quality of the photo by increasing its dimensions?
(In passing, I will say that I have done experiments that show that if I increase a photo's dimensions to, say, 4000 pixels by 2000 pixels, the photo's quality definitely and obviously suffers. I don't understand how a picture can be increased in size without losing sharpness. So, what am I doing wrong? Is this a function of it having been scanned in improperly to begin with?)
Question #3: If I am obtaining a photo from an outside source -- say, a professional photographer -- what are the specifications I ask for in both a hard print and a photo file? If the former, what dimensions do I ask for? If the latter, do I specify resolution and dimensions and file type?
These are my questions. At this point, I really don't want to know WHY any of this is the way it is. I just want someone to say: "Do this; do this; and then do this."
Thank you very much.

Studio X is absolutely correct; while DPI has no meaning in the video world, it often has significant meaning in scanning (and, of course, printing). If your scanning program only allows image size adjustments in DPI, then you'll have to adapt to that ... keeping in mind that the scanner's DPI setting directly relates to pixel resolution. And it is pixel resolution (not DPI) that will make all the difference in the world for images used in video. You can test this yourself by scanning an image at 1000 x 1200 @ 72 DPI and again at 1000 x 1200 at 300 DPI. They will look identical on TV or projection as long as the pixel resolution remains the same.
As an example, my Epson scanning software allows me to adjust image size by DPI or pixel resolution. Wanting to maintain the correct aspect ratio for the image area that I'm scanning, I adjust the DPI setting which in turn adjusts the pixel resolution automatically. But it doesn't work the other way around; if I adjust the pixel resolution settings manually, the DPI setting does not change. Your software may vary.
As Jim Cookman suggested, a scan setting of 300 DPI works well for most images ranging from 3 x 5 to 4 x 6 (typical snapshot size) in a DV Sequence. I may scan smaller images at 400 or 600 DPI and larger images (8 x 10 and up) at 150 DPI. Other size images fall in between those numbers. But I'm constantly watching the pixel resolution numbers to make sure I'm getting what I'll need to support the animation I intend to apply to the images once in FCP. Also bear in mind that I don't always scan the entire image. I only scan the area of an image that I intend to use in my program.
So the answer is that it all depends on your scanner's software and how far you plan to push into an image once in FCP. Do a few experiments ... you're a bright fellow so it shouldn't take long for you to find the formula that suits your purposes.
I haven't edited an HD Sequence using images yet, so I cannot offer definitive pixel resolutions for you there.
On to your specific questions:
1. See above. There is no one correct answer It all depends on what you intend to do with the image once it's in FCP. If you only plan to push in about 10%, you won't need much higher resolution than the equivalent of your FCP Sequence resolution. If you plan to push in further, you'll need a higher resolution to support that move.
2. I've been doing these for many years (SD Sequences only) and I've never loaded them into Photoshop first. I import the entire folder into FCP and drop it on the Timeline so I can see what the images look like on TV; unless your program is for CD-ROM or web delivery, that's where it counts. When you place them on the Timeline, FCP will automatically scale to your Sequence settings and pixel aspect ratio. If I see that some of them need adjustment using an external editor such as Photoshop, then and only then do I use that program. And by the way, if you have a vertical image and a 16 x 9 aspect ratio in FCP, how do you propose to crop it to fit? Perhaps you meant another term instead of "crop."
3. If it's a print, it won't matter what size they supply because you'll control the image size when scanning. If it's a file ... once again, the size (pixel resolution) depends on what you intend to do with the image once in FCP.
I really don't want to know WHY any of this is the way it is. I just want someone to say: "Do this; do this; and then do this."<<</div>
With that attitude, how did you ever earn a PhD from an Ivy League university? But if that is truly all you want, you might consider hiring an experienced editor to do it for you.
-DH

Recording master back to XDCam disc with Final Cut

Hello there
Sorry for the vague question- I work at a TV station using XDCam for shooting/editing (a mixture of SD and HD)... but they haven't worked out how to archive material... eg where to keep masters of finished programs, compilations of b-roll likely to be needed again etc.
Can the XDCam decks (we have PDW-F30 models) be used to record back onto? Is there anyone using them in this way- eg to generate master copies of programs or segments?
This station can't afford a server-based archive, and we can't archive onto digital tape so would this work? Could we make compilation discs of b-roll and slowly fill them up on XDCam? (Then we could re-use discs for shooting and save some more money).
I have previously worked in environments where DigiBeta was the standard and everything could be kept on tape, from finished programs to b-roll- can XDCam be used in the same way?

Export > Sony XDCAM works just fine, however it is mind bogglingly slow in practice. If this is going to be something you're doing a lot then you'd be better off getting an F75 or similar and laying back to disc via HD-SDI.

CAN ANYONE HELP? ERROR With FINAL CUT PRO 6 Book by Diana Weynard

I purchased the book book Final Cut Pro 6 by Diana Weynard and it is a basics book overview of FCP However it comes with CD and I have downloaded the CD to my hard drive and when i open the files in
FINAL CUT PRO 6 it says:
FILES FORMAT IS TOO NEW FOR THIS VERSION OF THE APPLICATION.
I did go to the website and download the updates.
PLEASE HELP ME/___sbsstatic___/migration-images/migration-img-not-avail.png/___sbsstatic___ /migration-images/migration-img-not-avail.png/___sbsstatic___/migration-images/m igration-img-not-avail.png/___sbsstatic___/migration-images/migration-img-not-av ail.png/___sbsstatic___/migration-images/migration-img-not-avail.png/___sbsstati c___/migration-images/migration-img-not-avail.png I SPENT SO MUCH MONEY ON THIS STUFF AND I AM STUCK

What version of FCP are you running?
Well 6.0.4
version of QT?
What came with my apps (I never made that 32.00 purchase or whatever it is)
version of OSX?
10.5.5
I am so confused? I dont get it? I just downloaded 10.5.5 of OXS and I opened up the files that came from the CD and it is still not working? WHats going on?

Using 'Auto-Tune' with Final Cut Express HD...

Is it possible to use the program 'Auto Tune' (or a similar program) to correct the pitch imperfections on an audio track of an AIFF file - then re-import it into the audio track of a Final Cut Express HD project?
Thanks,
Jim

I have never used such a program, but it stands to reason that this should work as long as you export it from the program to a FCE-friendly format.

Codec error from photoshop using fade in with final cut pro

I'm trying to render a video, but i get the error "codec error"
The clips are actually still layers coming from photoshop cs2.
The rendering 'breaks' when i try to add a video transition- fade in.
It still doesn't allow rendering even if i use the motion tab to mimic a 'fade in' by increasing the opacity from 0% to 100%

It is possible and very, very simple.
Just mark in and out on the still, allowing for enough extra frames (handles) to make the transitions.
Let's say that you edit a psd, or any still image for that matter, into your Timeline.
You initially decide on a hard cut in and out, with a duration of 5 seconds.
Now you decide to dissolve in and out of the same still instead but you need extra frames for the transition duration:
Double click the still, so that it appears in the Viewer. Click the box at top left that shows 00:00:05:00.
Change it to a duration that will include enough handles. Add your transitions.

Integrating Final Cut Server 1.5 with Active Directory

Following the directions in the Final Cut Server Setup Guide and I am running into errors. Fun with Final Cut Server. Fun with Kerberos.
Final Cut Server v.1.5 is running on an Intel Xserve running 10.5.6 Server, joined to AD. Active Directory is running on a Windows Server 2008 setup.
I dropped the ini files on the domain controllers, as directed by Apple KB (http://support.apple.com/kb/HT3688) and I ran the commands directed in the setup guide.
The adprincadd command should be run literally, of course, but there's a mistake straight-away when it should read "./adprincadd.pl", the ".pl" is missing. Also it says "fcsvr/fqdn of fcsvr", so naturally I replaced the fqdn, but the "fcsvr" prefixed threw me off. It gave me errors until I opened Kerberos.app and notcied that the kerb ticket was in ldap/, then the command worked for me. At least no errors, until I checked the ticket and it said I had no permissions and that the keytab entry was invalid. Wheeee.
1. First I tried:
(some info redacted)
node09:sbin root# ./adprincadd.pl -dc dc01.example.com. fcs.example.com.
Getting kerberos principal for computer account
Kerberos principal is ---
Getting computer id...---
Getting AD Domain...---
Base DN is dc=example,dc=com
getting kerb ticket using [email protected] got ticket
SASL-bind to dc01.example.com. successful
Computer record is at CN=---,CN=Computers,DC=example,DC=com
Checking to see if ---.--.---. exists...000020B5: AtrErr: DSID-031529F7, #1:
0: 000020B5: DSID-031529F7, problem 1005 (CONSTRAINTATTTYPE), data 0, Att 90303 (servicePrincipalName)
at ./adprincadd.pl line 165
2. Then I noticed the /ldap in Kerberos.app and changed the adprinadd command:
Everything ran well, with no errors...
Finding kvno...2
Reading /etc/krb5.keytab...done.
Creating new keytab file...done.
Writing out temporary keytab...done.
Making backup of old keytab and moving new keytab into place...done.
Operation Completed. You can verify with "kinit <ad user>; kvno -k /etc/krb5.keytab ldap/---.example.com"
3. Verifying with kinit gave me the keytab errors:
kinit matx; kvno -k /etc/krb5.keytab ldap/fcs.example.com
Please enter the password for [email protected]:
ldap/[email protected]: kvno = 2, keytab entry invalid
kvno: Permission denied while decrypting ticket for 'ldap/[email protected]'
Thoughts?

Hello, I'm having issues with the client login after AD integration. I followed the steps from http://support.apple.com/kb/HT3818 and the Terminal output reported a success.
I'm able to add AD groups in Final Cut Server Group Permissions. However, when I try logging in on the FCServer client using credentials associated with AD group I've added, I'm getting an error message from the client stating:
"Please re-enter the username and password or contact the server administrator. Please note that the username and password are case-sensitive."
The FQDN is correct in the Server field of the client.
I'm able to log into the client using locally created user accounts that I've created on the server so I know the client is communicating correctly.
The only thing I can find in the Console for the client machine is this:
11/25/09 10:50:12 AM /Users/*/Desktop/Final Cut Server.app/Contents/MacOS/Final Cut Server[1773] Warning: accessing obsolete X509Anchors.
In the server Console, this is a suspect message: /Library/Application Support/Final Cut Server/Final Cut Server.bundle/Contents/MacOS/fcsvr_stored[77891] pps proxy error: dsDoDirNodeAuth = -14091
Not finding much info out there regarding this. Any guidance is appreciated.

Buying a mac book pro to use with final cut pro

does anyone have know what specifications I should be sure of before purchasing a laptop? I will be using it extensively with Final Cut Pro HD as well as many other programs
thank you all as always...

In addition to what Jerry and David said, if you have Final Cut Pro HD (4.5), you'll need to crossgrade to get the full benefits of your macbook pro.
http://www.apple.com/universal/crossgrade/

Final Cut Server on Apples Promise or Isilon

Two questions:
One: Where can I go to learn about these two types of drives and comparisons?
Two: Does anyone have any insight as to which system is better/more dependable?
I work with one arm of a very large organization that edits various material. We currently work in SD but are planning to be all HD by January. We have purchased the Final Cut Server to replace Artbox which we currently use. We are trying to decide between Apple's Promise Xsan drives and Isilon. I am hearing that Isilon might be a bit slower????
Any advise, thoughts would be much appreciated. Better yet, if you know a place where I can go and get some good unbiased information - so I can educate myself, that would be great!!
Thanks in advance,
Ken

It's true that both solutions are not very well documented online with respect to more than their basic specs. What you need is some contextual advice that will weigh the pros and cons of each solution against your business requirements. You need a good consultant that is not trying to sell you either solution. A tall order, I know.
Maybe if I share the considerations I used to chose between the two it will help:
I chose Xsan/StorNext because I knew I wanted to take advantage of its ability to span disk and tape. LTO is still unmatched for price and performance for nearline storage. Disk is catching up, but you can't take a disk out of an array and put it in a vault like you can with an LTO. The reason I was so focused on having tape as well as disk is because I knew that eventually we'd fill our disk and still want to keep mot or all of the data somehow. You can't just add disk forever, so having a tape tier to migrate data onto is key. Bandwidth is also very good for the disk side of Xsan, but you still need to make sure you have enough disk aggregated to support however many editors cutting however many streams of whatever format. An Apple sales engineer can help you figure that. Fibrechannel storage like Xsan is unmatched for video editing due to its extremely low latency and high bandwidth.
The downside of Xsan/StorNext when you start using Storage Manager for backup and tiered storage is the support requirements. You simply must have a good admin on staff. The system is like a racecar- it is very sophisticated and finely tuned so it needs constant attention from the mechanics. But look how fast it goes!
If you only want disk and don't need to keep your data forever, Isilon is a less-fussy solution. It is truly redundant disk (unlike Xsan) and it expands more easily than Xsan. You also don't need to buy client licenses to connect to it. Even laptop and iMac users could get at it (unlike Xsan). It can provide enough bandwidth for all but the most grueling applications, but it is a lot more expensive per TB than Xsan. Several major cable networks use Isilon for editing and play-to-air storage. It is no slouch. Just make sure your format fits though a 1 Gb pipe because that's the maximum bandwidth to each client (Xsan can do 4 Gb).
So the bottom line in comparing the two really depends on your workload, format, number of clients, budget, and data management priorities. Both will work just fine with Final Cut Server.

Final Cut Server Usage Question...

I have just started researching this product and confused a little about it. I am the IT dept at a small advertising agency that does quite bit of video work.
Mostly all of the workstation in the office are PowerMac G5's that clock in at dual 2.2GHz or above with 4GB of RAM
We also have an Xserve G5 (Dual) with 4GB of RAM a 2GB fibre card installed and an apple RAID system as well. The office is all wired with 10/100.
With final cut server - will they be able to actullay edit video over the network on the RAID through the Xserve. Is that what this software is for? Sorry for such a lame question. If not is this basically like Adobe's Bridge application?
Let me know.

Yes it does do basically what your saying, You can leave the source media on the server and just edit from your local machine. You can also download proxies (lower res version of the source media) and edit on a laptop or with a PC without having to move the large source files.
I cant imagine any reason why any company or small business using more than one editing machine wouldn't go for this solution
Does that answer your question?

Anyone using XDCAM-EX with Final Cut Server?

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