Matt Stratton turned me on to Clicky Stats awhile ago, and through Clicky, I’m able to see what web searches come up with my blog as a result. I also see when these searches lead them to my blog – but then they leave because they didn’t find the answer. I thought since the search engines think I already have it on my site, perhaps I should.   Below is a sampling of the search queries that my website supposedly already has the answers for.  So, I present to you:

It came from the Searches, Volume 1.

dnx-36 firewire 400 and bandwidth requirements DNX36
Yes, DNxHD36  (aka DNx36) can certainly work through a firewire400 pipe. DNxHD36 runs at a 36mbps, while firewire400 has a theoretical max of 400mbps. This makes firewire400 a fine choice as a transport for DNx36 offline workflows.

29.97 and dnx36
This is a source of confusion for many Avid users, and I’m in the process of authoring a blog on this. DNxHD36 is a “family” according to Avid. While the “36″ label refers to the data rate for 23.976 material, the DNxHD36 “family” codec can be applied to 29.97 material. This would be technically known as DNxHD45 (45mbps as opposed to 36mbps).

“episode engine” cpu restriction
This is kind of vague. Within Episode, you can assign priority of encodes and cpu usage. Quicktime already is pretty poor with processor usage to begin with, however.

Metafuze Lossy?
Yes. After all, you’re transcoding from one codec to another – there will always be quality loss. In addition, DNxHD is a lossy codec – so, yes.

edit room day rate
This varies wildly. Depends what gear is in the room, what the room is used for (editorial, audio, finishing, color, etc.) your experience, and geographical location – and hell, what your rent is! Normally a reputable rental rate at a good facility would be a couple hundred bucks per hour or even much more.   As a side note / soap box,  don’t sell out the rest of the industry by undercutting other facilities.  Talent and experience are worth the money.  That’s a majority of what the client is paying for – not the gear.  By undercutting everyone else, the industry is forced to adopt your lower rate as a standard, then everyone has to drop their prices.  And the cycle continues. You’re shooting yourself in the foot.

Does clipster support facilis
Clipster runs on Windows XP 64bit, which Facilis has a client for. Fibre is the best choice (Ethernet won’t deliver the bandwidth needed), and it should be a recent version of Facilis software to enable file locking – volume locking will cause organization issues, but can be done.

convert red footage cluster setup
I wish I could do it better than these guys have:
http://www.kenstone.net/fcp_homepage/compressor_multi_cores_stitzer.html
http://www.fcsoutlet.com/home/Studio_Outlet/Entries/2008/9/1_Virtual_Clusters_-_Compressor.html

fcserver script
Good luck. Most everything is manual at this point. Try CATDV as a more GUI based alternative.

QIO-PCIE sonnet tech
The QIO comes with either a PCIE host card or a E34 (Express slot) host card. Unveiled at NAB 2009, and finally shipping now! Mac only support for now. List Price is about $1000.

FTP, KiPro
Well, once the KiPro encodes to ProRes, you can certainly FTP the file – although it’s gonna be huge. Your best bet is to offload it to a portable drive for transport or use a transfer solution like StorageDNA.

share msm database avid
I can only assume you’d like two or more machines to access the same Avid Database at the same time, in order to share media. Nope – the functionality you are attempting to do is achieved through Avid Unity, ISIS, and Interplay.

final cut server frontend
Final Cut Server (FCSvr) clients have a front-end based in Java; it looks the same on Mac or PC – and the administrator can restrict what functions a client can have. A popular alternative is creating a web page interface which ties into the database and media of FCSvr. The functions on thew web page are usually limited and typically only used for “review and approval” functionality. Several companies out there can create a custom web based interface – although it is far from cheap.

episode pro pro res 422
Yes, If Episode is running on a Mac, you can encode and decode into any of the flavors of “ProRes” (1 word). Decoding is only available (currently) on the Windows version.

So, we’ve already built the logic which determines the parameters for the encode(s) via the web browser interface, and delivered that to the encoder.  But now we need to get the files to be transcoded to the encoder.  If you’re on a LAN (internal network) then it’s time to call the I.T. nerd, and have them map the path from your encoding solution to your computer.  This creates a link to the encoding solution and your computer which houses the media.  Both systems now “see” one another, and given the proper permissions, they can read and write each others files.  A user can now move the files to be transcoded (sometimes as easy as drag and drop) into the appropriate folders on the encoder.  At this point, the encoder utilizes the settings from the web interface, applies them to the files, which the user has just moved and WHAMMO – encoding begins.

Further automation is very possible, including setting up watch folders on the encoding solution to make copying of files easier for the end user.  Instead of having to navigate to a specific and oddly named folder, a user cpuld drop the file on an easy to read and locate network folder.  Since the encoding solution is constantly watching this folder, it’s as if the files were deposited directly on the encoder.  Many solutions can also send emails on the status of the encodes, and can even do their own housekeeping – moving and deleting files to maintain free space and organization.

To streamline the process further, solutions like StorageDNA have the ability to copy files over your network faster than a traditional drag and drop.  Add that feature to delta synchronization, encryption, and a host of other features, and now you have a pretty efficient solution.

This solution is perfect for several users needing to access the encoder on a private, local network.  And guess what?  Short of LAN acceleration, some solutions actually already do all of this.  Which is why this workflow doesn’t stop here.

Let’s say you’re remote.  Or – better yet – you want to start a business for encoding for the teeming millions out there?

That presents a bit of a problem.  How do we get the media to the Encoder?  How to we marry the logic based encode parameters to the media?  And most importantly, how do we bill for it?

With DAM.  Digital Asset Management.

DAM solutions are best suited for their own tech column post (forthcoming) but essentially, it’s a piece of software that organizes all types of data – media or otherwise.  It catalogs every conceivable piece of data about the file (metadata), and enables a user to search across all of the fields – including custom ones.  By depositing the web based encode parameters into the DAM, we now have a record of the user, their encode parameters, and a place for the uploaded media to reside where it can be referenced by the DAM.  All of this data can then be dished off to the encoder, where the machine chugs away.  The encoded media is then returned to the DAM, where information like “encoding time” is cataloged and organized.  A report can then be generated for the client.  Client’s can then be billed for the encode time.  Some DAMs, like CatDV and Final Cut Server are extensive enough to allow for backend coding to allow for a review and approval process.  (See my last entry on FCServer.) This would allow a client to, say, watch several versions of their encoded file (with a watermark, natch), pick which file best suits them, and then download.  Oh, and pay.

Storage DNA also falls into this nicely.  It offers the same benefits on a LAN as it does a WAN.  Faster transfer times, resuming broken connections, and even a web interface to track the files.

I know that’s quite a bunch of tasks and features for these puzzle pieces to “automatically” do.  While the basic framework (“hooks”) for this workflow is built into many DAM solutions, don’t kid yourself – this will require some forethought and engineering time.  But it is possible.

The last and final step is to optimize your encoding solution.  For high volume batches, consider using software that scales.  That is, software that can distribute the encoding work to other machines to get the trancoding done quicker.  Telestream’s Episode Engine family is excellent at this.  Apple’s Compressor can also accomplish this – albeit with limited format support.

Here is our finished workflow.  Pat yourself on the back.

Completed workflow. (Click to enlarge)

How can one little piece of relatively inexpensive software be such a challenge?  Of the multitude of solutions I deal with, none in recent history has caused as many inquisitive looks as this $999 piece of software.

Why?

1. Naming.  Although it has fantastic functionality with Final Cut Pro, it is not limited to use with Final Cut Pro.  This misnomer of being a Final Cut only solution is incorrect and misleading.
2. Shock and Awe factor.  When a user launches Motion, plays with an iPhone, or opens Photobooth, the user experiences instantaneous fun and graphics.  FCServer is a management accessory and doesn’t have the sheen so many Apple enthusiasts are accustomed too.  Function over Form, to the nth degree.
3. Imagine being given a crate of nuts and bolts and being told to build something, not knowing what is what or how it went together.  FCServer, on it’s own, is daunting like that.  It’s hard to get a grasp on the product and it’s functionality as a whole.

Once you can get past that, FCServer can do some really interesting things.

At it’s core, FSCerver is an Asset Management System.  Elaboration: any file deposited into FCServers database can be tracked and indexed.  Versions, attachments, moves, copies, and user check in / check out.  This means searchable databases of file names and metadata, as well as preview of most media files from anywhere.

This is much better than calling your assistant editor up and asking where file “test_file_1.mov” is…or just what the hell it IS.  Or worse yet, when the client paying several hundred dollars an hour is behind you asking for a rev of a graphic you did 3 weeks ago.

When it comes to Final Cut Pro, that’s where the increased functionality really shines.  All of the data contained within a Final Cut Pro project can be parsed by Final Cut Server and utilized.

Huh?

By simply dragging and dropping your FCP project into FCServer, the project (timeline, media, bins) are indexed and processed by FCServer.   This means a user can view all media contained within that project.  Mark clips, ins and out, annotate, comment on, and add multitudes of metadata.  Fantastic for producers and others who cannot be in the edit room during editorial.  Or viewing graphics without relying on FTP or email.

Like FCPro, Compressor is the backend, and many of the chores FCServer performs rely on compressing.  For remote viewing and commentary, FCServer can encode all indexed media (again, from simply adding the FCP Project to the database) and create low res proxies for easy viewing over the web.  In addition, FCServer keeps the links to the high res media, allowing remote personnel the ability to “check out” the project, edit with the low res proxies on their system, and upload the project file back to FCServer – and it reconnects with the high res proxies.  No more shipping Hard Drives with media or emailing XML files back and forth and bloating your project size.  True collaboration.

The Compressor backend also increases it’s functionality by adding what FCServer calls “Subscriptions”.  For example, this can be a change in a Watch Folder (media dropped into a folder is then automatically encoded or file relocation actions can be executed), Metadata (do action “xyz” when the metadata in a clip changes).  This allows for backend processes to be completed sans user intervention and automating what used to be a many click and drag operation.

But wait, there’s more!

Any good tracking software relies on more than just a filename.  Metadata makes the tapeless workflow world go ’round.  FCServer is no different.  Every bit of data is not only indexed and tracked, but also has the ability to have new data associated with it.  Maybe the client name.  Maybe the editor.  Maybe the edit bay.  Maybe the billing code.  Maybe what beer the producer likes.   All of these fields can be customized, added, or removed by the admin.

Custom Metadata is a huge portion of the tracking, and so it is extraordinarily important to mandate that whoever is utilizing FCServer for indexing of these files spend a few extra minutes entering the data – otherwise the benefits of FCServer are lost.

FCServer has an infrastructure, which allows for 3rd party applications to tie into FCServer, as well as allow for administrators to script the metadata fields.  I’ll discuss the more later, but this is where the integration and consulting make FCServer really show it’s teeth.

Directory access for facilities already utilizing an XSAN or other user based management systems can also tie into FCServer.  This means the need for creating users from scratch is eliminated.  Your existing network permission translates to FCServer for easier integration and adoption.

Support and functionality for 3rd party “hooks” are also present.  Telestream’s Episode Family allows for Compressor plug-in can be used; a Compressor droplet containing commands to outsource the Compressor submitted encode to Episode, yet still track and handle the file handoff and writing.  FCServer queries Compressor to encode, who uses an Episode product for an increased feature set for encodes.  Ruby on Rails, an open source web framework, allows FCServer to pass it’s metadata and functionality to a web portal, allowing even more users to have access to the FCP project or any of your other files.

Best of all?  The interface looks the same on a Mac and on a PC.  And the lightweight application can be installed from any computer on the web in under 3 minutes.

So, how does this all work?  It’s not a scroll wheel, unfortunately.

A $999 piece of software will require many, many hours and thousands of dollars to integrate properly.  There is no wizard; there is no easy set-up.  This is a completely customizable product that has thousands of features out of the box, but cannot implement them without professional intervention.

As of this writing, FCServer is still in version 1.1.1. Big things are coming.  Apple was able to gleam loads of functionality from Proximity’s Artbox product, but it remains a product best suited for professionals.  In fact, most of the people best suited to deploy your FCServer implementation have been with the product since it’s former life as Artbox.

I’ve implemented several custom workflows, and here are several popular workflow ideas (I can’t do everything for you) to help in brainstorming about how FCServer can help your facility.

1.  FCServer for auto logging dailies during ingest, and publishing them for review and approval.

FCServer monitoring a FCPro Capture Scratch Folder, once files are captured, they are auto indexed by FCServer, low res proxies are created, and given a “review” metadata tag, which then triggers an email notification for selected people to view the dailies and comment on them.  Maybe Ruby on Rails (hint, hint) could be utilized to publish these to a web server with a simplified GUI interface, eliminating the FCServer interface and advanced functionality for producers….

2.  Review and Approval process for fine, rough, and final cuts.

FCServer monitors a watch folder, which is only for QT Refs exported out of your NLE.  Provided FCServer can see the same volumes your NLE can see, the QT Ref (which took seconds to output) could then be encoded by FCServer to various formats, including web based, and then pushed out for review and approval, with email notifications.

3.  Pre Encodes / Transcodes for non QT based NLEs with Notifications

Yes, I speak of Avid.  Although the several week old v3.5 allows for AMA Volumes, older systems and as yet unsupported file formats need to have media files flipped to MXF wrapped media.  Having a watch folder monitor for external drives, and then transcode that media into MXF format, without tying up the Edit Bay.  The Editor an/or the Assistant Editor then gets an email saying the clips are ready for Fast Import, thereby eliminating costly time wasted in an expensive bay…have I mentioned they would also be in FCServer for playback and approval?

So, you want to deploy this yourself?  Really?  Good Luck.  You’ll need it.  Here are some tips I can share:

As far as tips, I can offer a few:

1. Roll out FCServer in Phases.  Add features in an ongoing basis.  Too many features, too soon is not only a deterrent for successful user adoption, but also a pain to troubleshoot.
2. On the first go around, do not tie in your facilities Open Directory.  That can be a nightmare in and of itself.  Start with local users, and then implement your facility directory.
3. Speaking of, most deployments go well when rolled out as a proof of concept on a small scale – then go company wide on a project once the kinks are worked out.
4. Use a dedicated machine, like an XServe, to run FCServer and store it’s databases.  Multitasking the machine – especially when encoding is happening in the background – will slow down the system.
5. Compressor nodes are never a bad idea.  Even virtual clustering shows remarkable speed performance enhancements.  Have FCserver use these.
6. Backup your databases.
7. Admins: be frugal with permissions.  Uber easy to uber mess things up.
8. When users are adding materials to FCServer, do not be afraid about making fields mandatory for these users.  This is one of the most important tips I can give.  30 seconds on the front end to allow better indexing (that cannot be ignored in interests of immediacy) and organization can save you hours later.
9. Learn to love Edit In Place.  This feature allows non-local drives to be used as local drives (i.e. non removable).  This prevents FCServer from copying media locally before working with the media.  This saves time and disk space.
10. When using Edit in Place, or even watch folders, FCServer MUST have R/W ability to the drive.  Although polling a watch folder for media technically doesn’t need Write ability  – FCServer does.  This would be a problem when dealing with Volume locking SAN solutions, i.e. Facilis…at least until Q3 2009.  SMB shares are a good alternative.

Gotchas:

It’s java based, and sometimes finicky.  Hit the “Search” button at the top right if it appears nothing has been refreshed in the main window to cause a window refresh.

Stop and Start FCServer in your system preferences when things go wrong.  Like rebooting the computer, this can fix many ills.

This product is 1.1.1.  There is going to be some issues.  But at this price point and with the ability the product has to be a huge benefit to any facility, I expect it to take off in the next year.