My NAB 2010 Hit List

Once a year, us posties flock to our mecca, and plant ourselves within the bowels of sin city to suckle from the geek teet, and bask in all it’s acronym run glory.  We spend too much on cheap food.  We spend way more on alcohol, and desperately try and find which one of the vendors will have the best afterparty.  Walking each hall and floor tenderizes our feet as if Rocky Balboa was in training.  We hoard swag in the several free branded bags slung over both shoulders.  We shout over the tens of thousands of other people asking the same questions, and demand specifications about balsawood products that won’t ship until next year.  We play business card roulette and find out who is where.  We reminisce about older, bulkier and more expensive technological solutions, the same way we’ll chuckle over this years offerings in 10 years.

Aren’t you psyched?  I’ve been packed since Thanksgiving.

I’m lucky enough to be a part of many of the vendor meetings (yes, I still feel lucky) to hear some behind the scenes and roadmap information.  This year, I even get the added bonus to be a special corresspondant for the Digital Production BuZZ; the official (and on the show floor) podcast of NAB.  With this impending information overload, I’ve made a short list of the biggies I need to be sure to check out.

AJA: PCIe cards with 3G.  That would be friggin’ sweet.  Imagine your Kona 3 having two 3G outputs.  This kind of bandwidth would allow for for Dual Link 4:4:4 and perhaps even full frame Left and Right Eye 3D – at resolutions at or above 2K.  Michael likey.  I’m also hoping to see a more enhanced KiPro; perhaps a more robust web interface for metadata, extra storage, and *maybe* other codecs.  

Avid: Of course.  With Apple (still) not having a booth, that leaves Avid as the sole NLE juggernaut on the floor.  Due to NDA, I have to dance around the Media Composer 5.0 offerings, but I am excited about what will be shown.  Several game changers, in terms of media usage, management, and viewing.  Avid is really making a push, across the board, to be a bit more open.  Kudos.  I’d love to see Metafuze become (easily) cluster-able, and be a bit more efficient – if that is, indeed, how Avid will continue to utilize 3D.  The smell of a Unity revamp is in the air, and I can only imagine an ISIS / Unity / Cuisinart hybrid.

Blackmagic: DaVinci.  Lots of rumors about what the product is being morphed into since the purchase.  What will Resolve become?   

NewTek: TriCaster, natch.  The Standard Definition units and now the XD300 are some of the few products in the past few years that have really knocked my nerd socks off.  We lost 3 baseband inputs when the jump was made to HD – but I completely understand the limits of technology.  To do all TriCaster does – in real time – hey, ya gotta make some sacrifices.  A guy can hope that a unit with more inputs will be available.  I’d also love to see an easier way to make 3D sets; much like the old Virtual Set Constructor NewTek had.  However, perhaps an app that allowed for HD virtual set construction with user defined areas for super imposition / PIP, as well as reflections – like their pre-baked sets have.  Creating these without Lightwave would be a huge benefit. 

Cineform: I am totally in love with Neo3D for stereoscopic monitoring in Final Cut Pro.  I’m hoping for a more reliable way to reconform, rather than just pulling timecode from the “paired” file.  I’d also love to see distributed encoding into the cineform codec, so we can flip files faster.  Perhaps the ability to have different views between the Canvas and the video hardware I/O output.  Maybe more editing ability – like the 3D Stereo Tool box plug-in has.  

Root6: I’ve been jonesin’ for the ability to have web based interaction with Content Agent.  I’m also hoping to see some abilities to utilize more P2 based file formats that we use here in the States, but hasn’t taken off in the UK.   I’d also like to see the incorporation of Digital Rapids 3.x software into the fold.  Stream 3.0 introduced a host of features, and Content Agent is still utilizing Stream 2.5.x.

CatDV: Another piece of enabling software that is part DAM/MAM and part friggin’ awesome.  I don’t expect anything more than further ass kicking.   Automatic Duck:  Wes has always been finding new and creative ways for project and media interchange.  I can only hope that he’s been a bloodhound on the Avid 5.0 scent and will be ready to rock and roll.  (If not – Wes, call me Monday at 9.01am.  I have some ideas.  We’ll make MILLION$).  

Telestream: Can’t say much.  Just go to the booth.  Game changer(s).

Apple: Yes, I know you don’t have a booth, but you WILL be there…in some suite.  A shiny one, I bet.  Lurking.  Taunting.  iPadding.  I’d love to nibble on the cheese in the mousetrap of Final Cut Pro and Final Cut Server.  Who am I kidding?  It won’t happen.  But I can hope that maybe after the 5th or 6th round of Apple martinis, something will slip.  And if that fails, there’s always roofies and knifepoint.

Autodesk: SMAC – Smoke 2010 for Mac OS X – is generating a ton of buzz.  I’m hoping more modules will be written, and enhanced codec support.

Facilis: File Level locking is here!  Hooray!  But not for everyone.  Mac 64 bit, and a few other choice configs – not so much.  What say you, Facilis?

Assimilate: Lucas Wilson is the MAN.  When he and Tony get together, stars align.  Plus, their boss is named Taco… ;)   How can that trifecta be ignored?  I’m gonna be looking for additional hardware options and configs for Scratch, and perhaps a wee bit more editorial options and project interchange.  Howabout more efficient use of the Red Rocket card and hey RED, howabout stability on a Mac?

Other Hot Topics I’ll be sniffing out:

Easier and less expensive Blu-ray authoring for Mac and PC.

Larger Stereoscopic monitors at lower price points, both in Active and Passive varieties.

Anyone who wants to buy me a drink.

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It Came From The Searches Volume 2

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 I can decipher from cryptic keyword searches) that my website supposedly already has the answers for.  So, I present to you:

It came from the Searches, Volume 2.

March 10th, 2010 – March 18th, 2010.

optimum use of cores on macpro using redrushes
As many as humanly possible. Unfortunately, Red Rushes is not as optimized as it could be, so there will be plenty of horsepower left over, even when red rushes is chugging away. We have to wait for Red to enable distributed transcoding, or, use another encoding solution.

FinalCutServer Slows down
What is slow? The transcoding? Check in / check out? Network traffic will slow check in / check out. Background processes and concurrent users will slow down Final Cut Server – especially if transcoding is happening in the background.

“Prores Avid Import” , “importing FCP into Avid MC” , “convert DNXhd to pro res 422” , “how to import mac prores into avid”
Right here: http://michaelkammes.com/editorial/getting-final-cut-pro-projects-andor-media-into-avid-media-composer/

P2 or DNxHD?
What flavor of P2? You can edit more tracks within Media Composer in real time with DNxHD. You also have more latitude when color grading and compositing, but files sizes are traditionally larger (assuming DNxHD 145 or greater).

unity nab rumours
Yeah, sorry. NDA.

avid dnxhd convert to prores
I assume you are on a PC. Windows cannot encode into ProRes – Apples limitations. If you’re on a Mac, you can export to ProRes from the Export menu, and change your codec / compression to ProRes.

Avid-qualified Windows-based with quad core processors
http://www.avid.com/products/Media-Composer-Software/system-requirements.asp
I will caution that if this a single quad (and not a dual quad) then only the newest Nehalem based Processors (HP z400, for example) can handle DNxHD encoding in RT.

Avid Mass Storage
Avid has several flavors of their own storage –VideoRaid SR (local) and Unity (shared) and ISIS (enterprise shared). However, Avid can use just about any storage that your OS can understand. I recommend firewire400 at the bare minimum (no USB) and esata, infiniband, or fibre if you can afford it.

“michael kammes”, “mkdc”, “micahel kammes”, “Michael Kammes Burbank”
Why yes, that’s me. Whats up? Say hi to your mother for me.

“DNxHD PE codecs IN FCP 6” , “quicktime output avid media composer for final cut hq“
Ya gotta download them.
http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545
FCP can export to any codec QuickTime understands…so, once you download the codec you’re golden. Keep in mind , this will export a DNxHD .mov file, NOT a DNxHD .mov in an MXF wrapper, which is what Avid needs to understand a file without transcoding or a quick import.

getting broadcast quality for fcp mov
That’s tough. ProRes is not a SMPTE standard, therefore, delivering a ProRes file will never be required for a broadcast deliverable. So, you can either A) lay it off to tape or B) transcode to a SMPTE compliant file. DNxHD, for example, is a SMPTE standard. DNxHD 145 closest in quality to ProRes 422.

“”final cut” network storage best practice” , “final cut server edit in place”
Permanent storage, like fibre. FCSvr does not like storage to go offline. Ever. Thus, get permanent storage, and set it as an “Edit in Place”, so FCSvr does not need to copy media to and from it to do conversions. EiP tells FCSvr that the storage is permanent. I recommend a RAID and several spindles, A) for speed B) for redundancy and C) faster performance for multiple users.

inexpensive final cut pro server
Buy a new, base level Xserve. Buy a 10 seat FCSvr license, buy a small RAID5 array, and buy Matt Geller’s book “Getting Started with Final Cut Server.” For anything more advanced, you’ll probably have to contract out.

the best fibre storage for final cut server
How much do you need? I’ve always been a fan of Sonnet or G-Tech.

better than final cut server
CATDV, in most cases. http://www.squarebox.co.uk/

edit in place final cut server rights share
If I understand this correctly…. Yes, you need to have Read AND Write permission to any volumes FCSvr will use. Yes – even if you don’t intend on writing to the volume, you still need that ability. It’s a limitation of FCSvr.

mxf wrap dnxhd
High(er) end encoding solutions can handle it, like most of Telestreams product line.

do stereoscopic 3d mxf files take up more storage space
Nope. Avid dumps half of the picture information to get to signals (left eye and right eye) into 1 HD Frame size. The remaining 2 halves, when combines, equal one regular frame. Thus, same file size.

“avid media” samba share
Nope, can’t do it – if you’re trying to share an OMFI or MXF folder within Avid.

Mac Pro 8 Core 2.93 Nehalem install red rocket
Red Rocket is not entirely stable on Mac, and the workflow is kluge. Wait a little bit.

difference between pro res 422 & pro res 422HQ
Higher bitrate. Both are 10bit, but HQ has the ability for higher quality because of less compression.

quality loss transcode to 220x?
What was the original source? If uncompressed, you should see no difference on the scopes.

“Ruby on rails and final cut server” , “final cut server Web-Based Review and Approval issues”
One of my favorite “wow!”s during a demo. Ruby on Rails released a “module” for FCSvr which gives basic functionality and framework for a web based review and approval process. It’s buggy and kinda unreliable, but gives people a GUI concept of what FCSvr can do.

dnx36 file format
Great Avid Offline Codec. Not broadcast quality, but looks great. DNxHD36 is for 23.976fps material, DNxHD45 is for 29.97fps material – but both belong to the DNX36 family.

optimum compressor config for final cut server
Use those virtual clusters!
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

Hum in Avid sdi Mojo analog audio signals
Sounds like (ha!) you have unbalanced audio going into your Mojo SDI. This is common – with no ground, hums (60Hz, usually) often occur because of dirty power and/or a power cable being to close to your audio gear. Put a ground lift on your AC plugs or power-strips

encode red r3d episode engine
As long as you have the codecs on your machine, yes. However, it’s the Wavelet extraction only, at 2K.

final cut pro and avid unity bugs
Decreased performance for starters. But that’s been known. Expect a 20-30% speed drop-off when using FCP on Unity.

p2 versus xdcam HD in Avid MC 4.0.5 2010
What flavor of P2? I like how XDCAM HD 35mbit looks compared to DV100. However, I like the way AVC based P2 Media looks, but it needs transcoding (for now)

“Macbook Pro”+”dual boot”+Avid+FCP
Yes! I do it on my laptop. You need to blow your HDD and OS away, and partition the drive off into at least 2 partitions, and install an OS on each one. Then, install FCP on one partition and Avid on the other. I do this so I can independently update my OSes without hosing up the other. Hold down the Apple key on boot to select which partition to boot into.

HD AT dnx36 broadcast quality
No. DNxHD145 is the baseline for broadcast quality. Yes, you can transcode DNX36 material to DNX145, but while that may meet the deliverable spec, it won’t look good.

final cut server metadata dnxhd
If it’s DNxHD in an MXF wrapper – no. Final Cut Server cannot parse all of the metadata in an MXF wrapper –currently.

“mac mini” NLE
Yikes. Holy horsepower Batman. You’re gonna need it, and the mini doesn’t have it. I’m not even sure FCP will install.

edit dnxhd in fcp
Not natively. Downlaod the DNxHD codecs, and put the timeline in unlimited. Or, pre-render into Pro Res for an easier time editing.

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It came from the Searches Volume 1

I’m on a plane from Vegas – after nerding out at the Digital Signage Expo.  It’s a full circle, having been christened into Digital Signage around 2002 with GraybowGlasfire (3M’s Vikuiti), if any of you remember.  In any event, this short 50 minute jaunt from Vegas to Burbank gives me time to write a quick blog.

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.

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Final Cut Server and You: Overview, Workflows, Plusses & Pitfalls

Final Cut Server - Great App in an Unsuspecting Box

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.

Final Cut Server Interface

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.

Final Cut Server Welcome Screen

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.

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