Final Cut Server on edit suite?

We're thinking about purchasing Final Cut Server, but I'm not clear about whether we'll need to put it on a dedicated system or if we could run it on an edit suite. We're rarely going to have more than 3 users at a time using it, and probably 75% of the media is already on one Mac Pro in a combination of internal and external drives and an Xsan. It would be a big advantage in terms of both cost and convenience to be able to run Final Cut Server on that computer, but is that a reasonable thing to do? Would it have a significant impact on editing? Would it use up too much CPU time and memory?

FCS uses a lot of processing power when you add things to the library because it is doing several things at once. I've maxed out a 4 core 2.6GHZ easily, especially when there are errors. The whole thing will redline. We're actually thinking about using an 8 core instead. we're also offloading a lot of the compression to the server to free up the editing machines.

Similar Messages

  • 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 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.

  • Final Cut Server (FCSvr) missing the Edit Proxies Device in the Advanced Administration Pane.

    Final Cut Server (FCSvr) missing the Edit Proxies Device in the Advanced Administration Pane.
    If for any reason an Admin has mistakenly or purposely deleted the Edit Proxies device
    from the FCSvr Java Admin, and you'd like to restore connective to it following the instructions below.
    Note verify these symptoms, open the FCSvr Java Admin, Go to Preferences and the Proxies Pane and inspect
    If the field and drop down for Edit Proxies is missing please backup your FCSvr DB manually and following the steps below to restore connectivity.
    1. From the Terminal from the following command
              cd /Library/Application\ Support/Final\ Cut\ Server/Final\ Cut\ Server.bundle/Contents/MacOS/
    2. Next run the following command
               ./fcsvr_client getmd --xml /prefs/0 > ~/Desktop/prefs0.xml
    This will output a XML file containing the Final Cut Server Global Preferences to the Desktop folder of the currently logged in user.
    3. Using for favorite XML Text Editor (mine is TextMate) open the file that was output
    4. Notice the XML element and attribute values between lines 29 and 31
      <value id="PROXY_CLIP_EDIT_DEVICE">
       <address>/dev/3</address>
      </value>
    5. From the command line run the following command to determine the Device ID for you Edit Proxies device
    ./fcsvr_client search /dev
    You should get an output similar to what's below.
    Address        DEVICE_NAME                   DEVICE_TYPE                  
    /dev/20        Edit Proxies                  contentbase                  
    /dev/9         MEDIA                         filesystem                        
    /dev/1         Proxies                       contentbase                  
    /dev/2         Version                       contentbase 
    Record the new Device id for the Edit Proxies device.
    6. Open up the file /Desktop/prefs0.xml and XML attribute in line 29
       <address>/dev/20</address>
    to the value of the Edit Proxies from step 6.
    7. Save the /Desktop/prefs0.xml
    8. From the command line run the following command
    sudo ./fcsvr_client setmd /prefs/0 --xml  ~/Desktop/prefs0.xml
    enter you admin password if prompted.
    9. Close and reopen the FCSvr Java Admin, Go to Preferences and Proxies and inspect
    The field and dropdown should reappear.
    If for some reason this didn't work, feel free to contact me offline.
    Nicholas Stokes
    [email protected]

    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 is for video and photo archiving?

    Too many products in the last few years. I used to use iPhoto to archive both photos and video and edit them. Now I have moved to the professional line but it gets more confusing.
    Aperture2: archiving and cataloguing thousands of pictures with minor edits
    Adobe CS4: major edits to my pictures
    FCP6: video edit but with no archiving and/or metadata capability
    Final Cut Server: for what? Can it archive/metadata all my video and all my Aperture files and work
    seamlessly between all these four programs?
    Please help. I am considering buying Final Cut Server. I am both a photographer as well as a videographer running many different cameras over many different kinds of shoots. And I am trying to simplify my work process.
    Thanks,
    Brian

    We were in a similar situation as well.
    We use Adobe products for photo and desktop stuff
    and FCP Suite for video.
    We ingest images with Bridge and add keywords.
    The raw files are backed up and the corrected images
    are processed (Photoshop/Image Processor) and dropped
    into a Final Cut Server watch folder.
    This action automatically adds the files to FCS for
    easy access as well as backs up the images to an
    external FTP in our desktop publishing office across
    town. Desktop has its own version of FCS that adds
    the new files and makes them available for designers.
    When we shoot video we shoot mainly with Sony EX3
    camcorders with SxS media. Footage is downloaded
    and tagged in XDCAM Transfer. The folder that is
    labeled "Import" in the utility is also a watch
    folder which added the files to FCS.
    So in other words Final Cut Server has us organized
    and working together much better than we were before.

  • 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

  • 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?

  • Storage issues for Proxies using Final Cut Server

    Hi there,
    we have a fairly high amount of material that is just being put into Final Cut Server to be archived again.
    I dont mind the Xserve being busy to create these proxy files, but they tie up too much space!
    (Maths: 500 GB / 40 h of DVCAM footage result in more than 100 GB proxy files).
    We have those 40 h running though more than once a month plus a whole LOT of material from the last 2 years - and our Xsan is only 7 TB in size.
    Although we could theoretically buy another fiber raid this solution is not really future proof - it just pushes the time when we have to buy the next one a couple of months forward.. on top of that I cannot afford to have expensive, fast fiber channel storage used for proxies of files that are long archived and have only very limited use (and IF we need them, stick in the archive device and done).
    Any ideas how to get rid of proxy files from archived assets?
    I dont really want to take pen and paper and delete the proxies of the files by hand from the bundle.. dont think FCSvr will like this either.
    thanks for any advice
    tobi

    So I'm not sure how your math is adding 100GB of proxy files
    Are you creating VersionS and/or Edit Proxies of everything?
    I ask because using the default Clip Proxy setting gives you file sizes similar to the ones below. These numbers aren't accurate because the default Transcode setting uses Variable Bit Rate (VBR) encoding for both video and audio, but assuming you had a relative constant 800kbps stream here's how large your Proxies.bundle file should be
    800kbps * 30secs = 2.4mb
    800kbps * 60secs = 4.8mb
    800kbps * 60secs * 60min = 280.8mb per hour
    280.8mb per hours * 40= 11.2GB
    Also note, that deleting an asset from FCSvr doesn't delete the proxy files so you could have a lot of proxies left over from a few historical scans.

  • 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.

  • 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 1.x and Final Cut Pro 7

    Are there any compatibility issues with Final Cut Pro 7 (Final Cut Studio (2009) and Final Cut Server 1.x?

    FCSvr 1.5 has the ability to process FCP 7 project files and well as leverage ProRes Proxy Edit Proxy workflows.
    FCSvr 1.5 is recommended for FCP 7.
    I've heard about problem with FCSvr 1.1.1 and FCP 7.
    Are you experiencing anything in particular?
    Let me know
    Nicholas Stokes
    XPlatform Consulting

  • Final Cut Server: Cannot connect to Java Web Start with a web browser

    I get this exact error http://support.apple.com/kb/TS1610, but their steps do not fix it.
    sudo cp /etc/apache2/sites/0000any_80.conf.default /etc/apache2/sites/0000any_80.conf
    has me validate and then goes back to the prompt the other:
    Xserve:~ admin$ sudo /Library/Application\ Support/Final\ Cut\ Server/Final\ Cut\ Server.bundle/Contents/Resources/sbin/post-install.sh
    Stopping Final Cut Server services ...
    launchctl: Error unloading: com.apple.FinalCutServer.fcsvr_ldsd
    launchctl: Error unloading: com.apple.FinalCutServer.fcsvr_stored
    Starting postgresql ...
    Initializing database ...
    could not connect to server: No such file or directory
    Is the server running locally and accepting
    connections on Unix domain socket "/tmp/.s.PGSQL.8820"?
    connection failed, retrying (1) ...
    -- updating: pxtraitclass
    -- updating: pxperm
    -- updating: pxgroup
    -- updating: pxschema
    -- updating: pxentitylinktype
    -- updating: pxenum
    -- updating: pxenumentry
    -- updating: pxmdfield
    -- updating: pxtrait
    -- updating: pxmdgroup
    -- updating: pxmdgrouphasfield
    -- updating: pxeventstatus
    -- initializing config package: base
    -- updating: enum
    -- updating: enumentry
    -- updating: mdfield
    -- updating: mdgroup
    -- updating: mdgrouphasfield
    -- updating: mdmap
    Settings plist already present, not overwriting.
    Starting Final Cut Server services ...
    Configuring webstart for OS X Server on default site ...
    web:Modules:array_id:php5module:enabled = yes
    web:Modules:array_id:userdirmodule:enabled = yes
    web:Modules:array_id:apple_userdirmodule:enabled = yes
    web:Sites:array_id:*:80_:IfModule:_array_id:mod_rewrite.c:RewriteCond:_arrayindex:0 = "%{REQUEST_METHOD} ^TRACE"
    web:Sites:array_id:*:80_:IfModule:_array_id:modrewrite.c:RewriteEngine = yes
    web:Sites:array_id:*:80_:IfModule:_array_id:mod_rewrite.c:RewriteRule:_arrayindex:0 = ".* - [F]"
    web:Sites:array_id:*:80_:IfModule:_array_id:mod_rewrite.c:RewriteRule:_arrayindex:1 = "^/FinalCutServer$ /~fcsvr/Sites/webstart/index.php [NC,L]"
    service: This command still works, but it is deprecated. Please use launchctl(8) instead.
    service: This command still works, but it is deprecated. Please use launchctl(8) instead.
    Xserve:~ admin$
    Help? I should point out this is my first experience with OSXserver and I am not exactly an advanced user.
    Message was edited by: otterholt

    Hi, this dind't help.
    I can resolve host name, so it looks like DNS works:
    If I typed: <IP address> or localhost or localhostname.local or hostname I stiil get the default OS X web page with services, but no service is available not I can't connect to FCS web start page.
    I didn't change DNS records - it is default as it was after installation of system and FCs.

  • How do I Remotely Access Final Cut Server?

    I set up Final Cut Server on a Mac mini at work and uploaded some Final Cut Pro projects into it. Now I want to be able to log into the server from home "check out" the .fcp file, work on it and then check it back in again.
    I really don't know how to go about doing that though. What address should I be using to do this? Do I need to install anything on my remote computer first before trying to connect.
    Also, when I check out the .fcp file remotely will it also download all the proxy files, as well. This is my first time setting FCS up so I'm pretty clueless about this.
    Any ideas would be much appreciated.
    Ray

    We're doing the same thing at my company and it's working really well. We're a small post production house and our editors like the flexibility of logging on to the server from their homes and checking out the projects and the media, without needing to come into the office. Great for companies that want to engage in green practices, or cut down on commute times, if you need any good points to bring to your staff. Here's how we do it:
    1.) Enable VPN access for our editors.
    2.) Create compressor settings for our edit proxies that are h264 and small enough to travel over the web, or smaller internet connections.
    3.) Editor logs in over VPN and downloads the FCS Java Client.
    4.) Editor checks out project and allows the edit proxies to cache overnight.
    5.) We use a lot of Apple's out the box Review and Approval options, and with a little configuration, they work great.
    6.) When the editor is done with the project, they check in the lower rez versions and it "auto-magically" connects to the uprez media.
    We color correct in-house, and it's just nice to have the added flexibility to send the time intensive offline out of house.

  • Final Cut Server Petition

    I have started the above pet it ion at: www.pet it ion online.com (no spaces)
    Search for Final Cut Server or FCS. Please sign it, I would love to get this product back.

    I'm finding the promotional material confusing. Apparently you do not have simultaneous read-write capabilities, you check out media dn then check it back in. But it can be located anywhere, on any machine, on any server.
    Max, are you at NAB and seeing the demos?
    This is from the marketing page:
    Use Final Cut Server to automatically catalog your media in any format and in any location. Powerful layered search tools let you find any asset fast, whether you’re in the studio or on the road. Browse thumbnails, poster frames, and proxies generated by Final Cut Server in formats you specify.
    Final Cut Server extracts and reports industry-standard metadata, including IPTC, XMP, and XML data types, so you won’t have to waste time reentering data. Final Cut Server is a seamless extension of the editing workflow in Final Cut Pro. Drag assets from Final Cut Server to any of the Final Cut Studio applications. Use Final Cut Server to organize Productions—including any combination of Final Cut Pro projects, rough cut sequences, media assets, and production documents. Or create a Final Cut Pro project in Final Cut Server and check it out to begin editing; when you check it back in, the catalog updates automatically.
    It all sounds too good to be true.
    We use Canto Cumulus to handle our digital still assets (and much more) but it is beyond "too good to be true." Cumulus is a chimera masquerading as a nightmare.
    bogiesan

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