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.

Similar Messages

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

Final Cut Server and FileMaker Pro

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

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

Final Cut Server + Media Manager Best Practices

Is anyone using Final Cut Server to organize FCP Media Manager?
I don`t want MM and it`s individual contains cataloged by FCS, only a "bundle" from the directory of MM (that has the project and a sub-directory called Media with all medias from that project).
I`ve tried different solutions but always get stuck in some way.
1- Get the directory from MM and put on a Device being watched by a scan production. A production with the name from the directory is created and the project and medias are catalogued as well.
But I don`t want those medias and projects catalogued by FCS. I`ve tried to set the recursion limit to 0 or 1 but the production is not created, neither the bundle (from the directory) asset. Nevertheless you can`t archive productions (with MatrixStore you can), so a workaround would be to archive only the bundle inside the production (if you managed to get only the directory as a bundle inside the production). But to get worse, if you update the directory as a bundle (regardless if it`s inside a production or not) and your archive device is a FTP device it says "ERROR: E_NOTSUPP Sorry, copying a bundle to an ftp server is not supported".
2- Zip with "ditto" (because the 2GB problem with normal zip) the MM directory and put on a device being watched. This won`t be scanned by a scan production to create a production with the name of it contents because it`s not a directory it`s a zip file and even if I forget about productions and only uploads the zip files to get each MM directory created as a zip takes too long and much cpu power so it`s not possible with many MM directories (the case). And to get things worse (always murphy), before I`ve deleted those directories I checked the integrity of zip files and to my surprise some of them were ruined. So I don`t trust compressing anything for my backup. I`ve tried Tar, ditto, archive from finder (that`s the same as ditto) but it takes too long or break the file.
The bottom line: I just want a MM as directory bundle in FCS (preferentially inside a production automatically created) AND being able to archive it to a FTP device.
Thanks in advance

Well it sounds like you have two problems: getting a successful scan production to work and archiving. I think I can help with the first one.
When you set up your device make sure that it is one directory level up from each folder you want turned into a production. So for example - XSAN/Show1/MM/ - if you make XSAN the device and set the recursion limit to 0, Show1 will become a production and Show2, Show3, etc for example. Set the recursion limit to 1 and MM becomes a production - Show2/MM/ and Show3/MM, etc for example.
Here's what I would do. Device 1 = XSAN/Show1 with recursion = 0. In the production info section of the scan production response set the title = Show1_[0]. The [0] will automatically fill in the name of the directory, ie - MM. This way each folder within Show1 becomes a production and the name is preceded by Show1 for easy sorting. This way you can isolate your MM folder and treat it differently.
That should get your productions scanning correctly. I'm not sure about archiving to an FTP device, zipping bundles, or automatically adding bundled assets to productions with a scan. As far as I know, the only way to add a bundled asset is to manually upload a folder. I might be wrong about this though.
Hope this helps even a little.
Message was edited by: Franbot

Does Final Cut Server is reconnected how media?

Does Final Cut Server is reconnected how media?

Yes, I too would like to start this discussion. We have a highly customized distribution, and have come to rely on FCSvr for our workflow. As people find other solutions, or stick with FCSvr, it would be great to know their thinking and how they'll implement the new or the old. If Apple open sources it, there are a number of people who would love to start developing it more I'm sure.

Where can I get replacement media or download for final cut 3?

where can I get replacement media or download for final cut 3?

There is no download for any install of Final Cut Pro before version X.
For physical media, try contacting Apple Care support. Otherwise, ebay or alternative resellers is your only recourse for acquiring install discs.
x
edit: If you want Final Cut Pro 3, you'll need a PowerPC computer that can run OS9. If you mean Final Cut Studio 3 (aka FCS 2009) you'll have better luck finding something out there that will run on contemporary machinery.

Final Cut Server release date?

Hey guys
Any ideas? The last press release in April 17 said Final Cut Server was going to be released in May... but there's been no press releases since?
Does anyone have any insider info?
We are being fed conflicting reports in Oz from the Resellers.
Cheers
Julie

If you sign up for apple's news and events, you'll be emailed when it's released.
http://www.apple.com/finalcutserver/signup/
Jerry

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

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!

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

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 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.

Backup Final Cut Server Asset Library

Hi,
I like to find out the correct procedure to backup and restore the Final Cut Server Asset Library, and able to link up the catalog correctly.
There are instructions to backup and restore the FC Server catalog, proxies, etc, but I'm unable to find instructions for the asset library.
It's possible that the FC Server hardware goes down or Mac OS X gets corrupted, with the instructions available, it's possible to get the FC Server back working.
It's also possible that the storage hardware of asset library will fail, so I like to find out the procedure so the FC Server catalog " does not" to see the restored asset as "new".
Cheers,
Ben

Ok, nothing until now, that`s probably a tough one.
More news:
1- Recover don`t do anything, any point in time doesn`t change this problem.
2- Installing FCSrv from DVD doesn`t do anything as well the 1.1.1 update.
3- installed fresh FCSrv on another machine for tests and of course those fields are there in this new install. Compared thoroughly each ASSET_SEARCH, PAGRPASSET, ASSETTILESVIEW, ASSETINFOVIEW, ASSETTHUMBNAILVIEW, Metadata Groups between two FCsrv (the good one -fresh - and the old one) with no difference.
4- Just to clarify: I had lots of .mov files WITH all ok (with this fields appearing) on the old FCSrv, suddenly it vanished and the only thing that appears is the title (just the title not the "title:"). It doesn`t matter if upload, scan or anything. It doesn`t matter if it`s a photo (.jpeg) or .mov or anything. It doesn`t matter if it`s inside a production.
5- Just to rule out the possibility of FCSrv ruining Mime Type from the original files, I`ve uploaded from OLD-FCSRV MEDIA device to the new one and all it`s ok like the second image (that I`ve found on the FCSrv online manual).
I`ll nonetheless install FCSrv fresh on this machine anyway, but I just want to know what triggered this strange, odd and bizarre behavior if it happens again in the future.
Thank you very much for any help or comments
Regards

Re-install of Final Cut Server

I need to setup Final Cut Server 1.5 on a different server. When using the installation media, I get the following screen:
I am running on a Dual 2.8 ghz Quad-Core Mac Pro. The graphics card is a nVidia GeForce 8800 GT. Any help on this would be appreciated. Thanks!

Did you have it plugged in when the MacPro was started up or after?
Because I have tried with xServes and MacPros to attach monitor after it gives warning
with no luck.
In fact you CANNOT install with remote desktop in data center w/out KVM. Stupid.
http://support.apple.com/kb/TS1455

Respect original media creation date in final cut server ?

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