PSD Files during check-in on final cut server...

Anyone had issues checking projects in that contain PSD files? We're seeing this happen.

Yes, you can see them and check them in or out. They appear as a generic document, no special icon or thumbnail. Unlike FCP projects, the assets do not automatically come with the project when it's checked in or out so you'll want to put them all in the same Production with the project file -- which is good practice anyway.

Similar Messages

  • One or more of the updates requested by Final Cut Server could not be...

    We are getting the warning " One or more of the updates requested by Final Cut Server could not be applied. (one or more replacement file(s) had unexpected track settings.)" when a FCPv6.06 (possibly also FCPv7.0) project file is checked-out of Final Cut Server v1.5.1. The assets linked to the project are cached down successfully (this in not an XSAN environment) but opening the project alerts to some offline media files (not all) and we need to manually relink them to the assets in the Final Cut Server cache. All is good again until the project file is checked-out of FCSvr to another workstation.
    Having a look at the path of the offline files it is referencing the path of the assets as they were on the previous editor's (different) workstation. None of our workstations have the same path to the Final Cut Server cache.
    My understanding and experience is that FCSvr manages the paths for FCP linked assets and modifies the checked-out file's path to point to the workstation's FCSvr cache?
    Can you tell me how I can resolve this issue?

    I may have resolved this issue today or I'm at a stage where I can't replicate it. The problem may have been propagating from a within a template FCP project file we use to start our productions. I assume it was a corruption of the FCP file that FCSvr didn't recognise?

  • Final Cut Server: Files not importing...

    Hello,
    We have the strangest thing happening in Final Cut Server.
    Here's the process:
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    2. We sometimes import/link local files from the local system into the project
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    Any ideas?

    After running tons of tests, still only happening for one person. We haven't been able to replicate it for more than that one person. I ran even more tests today and not seeing the issue. Must be something that person is doing incorrectly. The same person went through 2 computers with two totally different installs and had the same issue, however - Every other system/person I try this with it works without issue. I'm gonna close this discussion as I can't replicate it.

  • Soundtrack Pro and Final Cut Server....can you check-in/check-out?

    Hello!
    Just curious how the workflow is with Soundtrack Pro and Final Cut Server. We haven't used Soundtrack Pro, but have been thinking about it for Surround Sound projects.

    You can check in anything into FCSvr, any type of project file or media file. Unlike checking in/out a Final Cut Pro project, with any other application, you'll need to check out the project file for that app, and manually check out all the media associated with it. Many folks will simply set up the STP, or Motion, or InDesign, or Illustrator project and it's associated media all into the same folder on their workstation. Then check in/out that folder as a "bundled asset". This makes a zip file in FCSvr that holds all of those needed files together. When you check it out, it's unzipped and places on your local workstation. When you check back in, FCSvr re-zips it and replaces the original on it's RAID storage drive.

  • Following Media Files Are Not Optimized For Final Cut Pro

    I'm sure you've seen this before and I've tried to search for a thread on it here and fell asleep, so sorry if this is a repeat.
    I have edited projects in Premiere Pro (on my PC) and I have tried to transfer them in FCP. It worked with the exception of two things:
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    2. the quality *****! watching it on the playback in FCP it looks great, but then when I burn it to Disc it's pixelated in spots and generally has a lower quality picture.
    I know that it's Standard Def. and can't expect the best, but I've done it before (once or twice) and it didn't seem this bad.
    Can someone suggest anything to help the quality? Should I run my AVIs through MPEG Steamclip to make it a QT file and if so what is the best format in that since there are many to choose from and most I'm not familiar with?
    Thank you,
    Crayton

    I did compress them to DV NTSC then burned it to DVD and the result was no bueno.
    I thought what I would do is try compressing them again before I send them on over to DVDSPRO. Here is a simplified break down of the situation:
    - I have edited the raw footage in Premiere Pro on my PC. They were recorded and captured as SD.
    - I rendered them in Premiere, then transfered the rendered AVI file to FCP.
    - When went to place the files in FCP, I received the warning message; "Following Media Files Are Not Optimized For Final Cut Pro" but I went forward anyways and it allowed me to do so.
    - Originally I went ahead and compressed them from FCP to QT Movie as a DV NTSC, which ended up poorly.
    - Therefore my question is, should I compress them using another file type (other then DV NTSC)? Which leads me to another program that I have called MPEG Streamclip, which offers tons of file types of which I am unfamiliar with most. I want the best quality of course but don't know what file type is the highest going from AVI to a format that can be accepted by FCP and ultimately DVDSPRO. Keeping in mind that I only have FCP5 and do not have Prores.
    Did that make sense?
    Thank you again,
    Crayton

  • How can i check if a Final Cut Studio licence has been used or not?

    Hello there,
    How can i check if my 'Final Cut Studio 3 Retail' set has a usuable licence or they have been used allready? It is second hand and i no longer have a Mac and wish to sell the product. In the box it has 2 of the same serials so i gather it can be used twice?
    Any help would greatly be appreciated
    Kind Regards
    Tim

    If your serial is printed on the official sticker you will have no problems and should the new owner register it, any previous registrations will be deleted.
    Officially you can only use it on one Desktop and one Laptop but there is no physical limit to the number of computers you can install it on.

  • Can I share files from other programs or just Adobe apps files. I work with Final Cut and Premiere X

    Can I share files from other programs or just Adobe apps files. I work with Final Cut and Premiere X.? Need to share files up to 6GB.
    I need to know if the 20 gb limit is about all that I share, or if it's just about whatis in the clouds. If I take, recover my limit?
    The speed of upload e download is good?

    The Creative Cloud file storage could be used for video assets but speed and performance might vary based on location. I would suggest you testing it out yourself using your Adobe ID before subscribing. Performance would not change after you joined.
    -Dave

  • Has anyone migrated existing file libraries into Final Cut Server?

    My company currently uses Virage to archive thousands of video clips. Currently we only archive proxies and keep a corresponding tape on the shelf -- it's a big library. We want to move away from tape and keep all the clips on a centralized server but we need to be able to move all the existing files over to FCS via an automated process. The clips we keep in Virage has 5 or 6 fields that we would need to migrate over and the thumbnails are mpg2. Has anyone had any experience migrating huge chunks of data over to Final Cut Server? We ditched our Avids and Unity and purchased FCP. Final Cut Server makes sense. (By the way...for what we paid for Virage, I could have purchased Final Cut Server and a Porsche to drive it to the office.)

    My company is implementing FCSrv as a video database. Moral of the story: I did everything from scratch. I took the time to log and digitize all the tapes, creating a file folder structure that corresponds to the tape label. I can say from my experience, you need to organize and have all of your original media ready on the drives that you want the files to live on and THEN upload to FCSrv. I left those drives as Edit In Place devices, created FCSrv assets, and then turned the drives off. The drives only come back on when I want to copy over any of the source files. Also, FCSrv wants to create everything from scratch - its own proxies, thumbnails, and poster frames. Currently I believe the only metadata you could map / migrate over would be fields associated with FCP Log and Transfer media. Another workflow hint I have is to find media that has the same (or most similar) metadata and upload those at the same time (choosing create individual assets). Also, there is a great workflow on the forum for bulk metadata changes that helped me out a lot : http://discussions.apple.com/thread.jspa?messageID=7522555
    Every time I call Apple anymore they try to sell me on purchasing the custom workflow services from an engineer so you could look into that for specific help with your current metadata fields. Otherwise, I'd suggest hiring some interns
    Good luck!

  • 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

  • How import mts file from sony nx5 in final cut pro

    how import mts file from sony nx5 in final cut pro

    LOG AND TRANSFER.  I have the full workflow here:
    http://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
    Make sure you are running FCP 7.0.3.  That version deals with files from the NX5 the best.  If you are on a previous version, like FCP 6....you will need to use CLIPWRAP2 from Divergentmedia.com.  As the specific AVCHD format the NX5 uses is something that FCP 6 cannot really deal with. 
    Gotta love new camera formats.

  • Is Final Cut Server is the right software for our company?

    I need a software that catalogs and keeps organize our media. Our company is using Final Cut Pro 2 and want to keep stock footage. Apparently, were not doing a good job of organizing our media and files. I'm researching a software that can organize and catalog media and files. Does Final Cut Server is software can do that?
    Thank you
    Luis

    Yes and no.
    I know that's not the best answer, but final cut server is a very powerful organizational tool, but you also need to very organized in what you put into it and especially during initial setup.
    For example, you say your company is apparently not doing a very good job organizing right now, so lets say you had 300 quick times labeled documentary1.mov, then documentary2.mov and so on, having a piece of software catalogue footage in that manner will not do you any favours in the long run.
    However, if you were to say establish a production, "PBS Documentary" and then ensure that all clips are labeled very specifically, then keeping them and being able to search them as a part of a stock footage library could be very useful, as you are not only able to locate clips based on key words, but also preview the footage to make sure it is something you would want to use, and determine the current location of that file.
    I suggest you check out apple's videos on FCserver, they will give you a pretty good idea of what the software is designed to do.

  • 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.

  • 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

  • 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.

  • 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.

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