Final cut server watcher never stop to transcode files

Hi, here my problem:
first of all this is my hardware:
1 xserve
1 xride (where are stored proxy files and thumbnails for final cut server) connected to xserve via fiberchannel
2 mac pro connected via 1Gb lan
2 macbook connected via 1Gb lan
1 macbook pro connected via 1Gb lan
1 nas connected via 1Gb lan
this is the software:
compressor installed on all the MACs
final cut server installed on the xserve
we need this system to encode mov files and create flv video for internet streaming content; the FCS watches a folder in the NAS (where we save the mov files) and then creates the video assets and the flv files. the flv file created will then be moved to another folder (still by automations)
the FCS watcher (the automation that creates flv) suddenly starts to transcode all the file already transcoded. to make the situation worse, the FCS job monitor allows to cancel just one job at time... we have thousands of movs in that folder so you can understand how big the problem is , but even if i stop all the transcoding one by one, it restarts to transcode from beginning.
well, thats all
hoping that it will not be more difficult to understand my english than to solve the above issue
thank you a lot

well... yes I want track the file but if in the flv copy response automation I set metadata to something like "Media" I will have two assets of the same file.
I will make an example:
I need to process the file myfile.mov (i remind you is a DV file); so I want to convert it in flv (i will upload it on my website afterwards, using as source the file copied by automation in NAS/FLV folder), successively I will put myfile.mov in my catalogue (with the Copy Response, No conversion, metadata set to "Media") cause what i want to catalogue is just the .mov file and not the .flv.
if I set the metadata in the flv copy response I will get an assets both the flv and mov file, but as told you _I just need the last one.
That's why i asked you if it is the right procedure or there is some other way less costly in terms of time and resources.
I hope you will see what i mean

Similar Messages

  • 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

  • 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.

  • Final Cut Server - XDCAM metadata not appaering in the asset

    Hi Apple community,
    I would like to seek some guidance and help from you guys.
    For Final Cut Server, I wonder why the XDCAM files was unable to show it's metadata for Codec Information as shown below:
    Unlike Prores422, It shows perfectlfy fine:
    Please advice,
    Thanks a lot.
    More Power.
    Monching16

    Hi Apple community,
    I would like to seek some guidance and help from you guys.
    For Final Cut Server, I wonder why the XDCAM files was unable to show it's metadata for Codec Information as shown below:
    Unlike Prores422, It shows perfectlfy fine:
    Please advice,
    Thanks a lot.
    More Power.
    Monching16

  • Respect original media creation date in final cut server ?

    my question is...
    is there any way for final cut server to respect the original finder creation date of the media? I do understand that the file is being newly created in the database and thus will have a creation and modification date of when you put it in, but is there a way to tell the database to change the data.
    Why am i trying to do this?
    I have a bunch of old footage that has a creation date reflecting the actual date the footage was created off the camera. I use this date created to find footage in my database such as all footage from a shoot between 10/2/09 and 10/8/09.
    What i have tried:
    I have tried using the A Better Finder Attributes application to change the date created after i have imported the footage into final cut server. this caused issues with the proxy and thumbnail creation when i went to reanalyze the footage to see what it would do. I saw that final cut server does not look at the file itself to know when it was created and only logs this creation date in its own database without looking to the original file for this information.
    I currently have a field in final cut server to manually enter the date but this is yet another step that someone needs to take when importing footage to server and the less steps the better.
    do i have any options for final cut server 1.5 to respect the finder creation date of the original media? or change it after the import into fcserver?
    What good is the creation date in fcserver if you have amassed years of old footage to be put into your database and find footage based on date it was originally created?
    or what good is the creation date if you are on a shoot and do not get to ingest the footage until you get back, say maybe a few weeks later? how would you know when you shot which footage on what day?
    Thanks for your help

    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 Now SHipping

    Just thought I'd say so.

    The only way I see would be to export each asset's metadata into XML format, then have Final Cut server scan the raw asset graphics files and clips and create it's own assets from it, then figure out some way of having FC Server read back those XML files and apply the metadata to the right files. There is no Artbox device to be had in FC Server that I can see right now, as Artbox had a Xenostore device that you could plug in, scan and get all the metadata.

  • DNxHD footage transcode in Final Cut Server?

    I'm looking at setting up a directory watcher which will automatically transcode footage from HDV to Avid DNxHD.
    Is this possible at all within Final Cut Server? It seems Final Cut support all of the codecs I have installed except that one.

    The codec doesn't show up as a valid codec in the list when I try to make the custom transcode setting.
    I'm doing the following:
    SysPrefs -> Final Cut Server -> Automations -> "plus" -> File System Watcher -> Set up the watcher filter -> Responses -> "plus" -> Copy Response -> Transcode source to -> NO AVID CODEC in list.
    Am I in the right place to be setting this up, or is there somewhere else I can make sure the codec appears?
    We have set the threadsafe bit to see if that made a difference but there is still nothing from Avid in the list.
    It shows up just fine in the other apps on the mac, is it an incompatibility with FCS and that codec?
    Your help is greatly appreciated,
    Chris.
    Message was edited by: witchrinser
    Message was edited by: witchrinser

  • 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.

  • 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 and Compressor / Qmaster serial conflict

    On my Final Cut Server machine, i have Final Cut Server version 1.1.1. On my Mac Pro i have Final Cut Studio 7. I have installed Compressor and Qmaster on my Final Cut Server from the Final Cut Pro DVD, so i can use Qmaster (the version of Qmaster must match exactly on all machines). But the two serials conflict, Final Cut Server will not start due to the following problem:
    "Either the current serial number is not valid or there is another server using the same serial number.
    Check the serial number and then stop and start the server using the Final Cut Server Preferences panel."
    Of course both serials is completely legit. Is it really true that i either need to downgrade Compressor and Qmaster (FCS will work, but Qmaster will not) or buy FCS 1.5? I have paid lots of money for this setup already, it can't be true that i am forced to update to 1.5.
    Please Apple, a solution?

    I have a similar case. Maybe someone knows how to solve it:
    We installed Final Cut Server and on the same MacPro we installed Final Cut Studio.
    After a while we dedicated this machine to Final Cut server and used the Final Cut Studio license on another nachine.
    Now, if I want to change or add a transcode setting in the compressor, I'm getting the error message: 'conflicting serialnumber' or something like it.
    So compressor thinks it's still part of th FinalCutStudio installation. But I don't quite understand, because Final Cut Server has its own compressor, isn't it?
    How can I solve this without loosing the custom transcode settings I've made in compressor.

  • 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

  • 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.

  • 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: 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.

Maybe you are looking for

  • Purchase Order Row UDF for Received Qty

    Hi experts, Can someone please recommend a way to create a row UDF for purchase orders to show the qty received? We cannot use a simple calculation like Qty-Open Qty because if the row is closed manually, the open qty becomes zero. Another problem is

  • Is it possible to write a script for Excel Chart Conversion to an ai file?

    I tried to record a script and it didn't work. I will attempt to explain what I am doing (and why) and maybe you guys can tell me if it can be done or not. We are working with Excel charts and we eventually put them into InDesign for a print magazine

  • CommandLink action not being invoked

    HI: I have a page with panelGrid, which has three inputText and one selectOneMenu, all of which have a validator ( a method in the backing bean). All these are followed by a commandLink button with a 'action' method in the same backing bean. Problem

  • Payroll Infotype

    Hi every1, I need 2 ask u all.......do v need ny configuration for infotype "0580". If Yes den what is tht complete configuration Thks

  • How to pre calculate archive logging?

    Hello, We try to initialize a BI workflow load which fills the table BPMWITSTP. The extractor uses insert and update statements. The table looks like this: MANDT             CLNT     3     0     Mandant SWW_WIID     NUMC     12     0     Workitem-ID