Final Cut Server

Product Overview April 2008
Product Overview Final Cut Server

Contents

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Final Cut Server What Is Final Cut Server? Final Cut Server at a Glance Work the Way You Want to Work Automatic Asset Cataloging Asset Discovery Process Broad Format Support Automatic Proxy and Thumbnail Generation Simultaneous Metadata Capture Individual Asset Uploads Automated Synchronization Rapid Search, Preview, and Access Easy-to-Use Metadata Tools Versatile Production Containers Powerful, Layered Searches Personalized Workspaces Time-Saving Previews Optimized Bandwidth Use Robust Access Controls Seamless Archiving and Retrieval Workow Automation Tools Modular, Event-Based Automation Convenient Workow Templates Basic and Advanced Automation Options Scripts to Control External Systems Intuitive Collaboration Features Check-In/Check-Out Protections Version Management Automated Notications Integrated Review and Approval Tools Final Cut Studio Workows

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Seamless Multiformat Delivery Pristine Encoding and Frame Conversions Broad Format Support Batch Processing Time-Saving Templates Distributed Encoding Delivery to External Systems Flexible Conguration Options Scalable Server Software Cross-Platform Client Software Quick-Start Customer Proles Easy Setups Advanced Administration Features Automated Backups Workow Examples Radical Media FRONTLINE/World Product Details

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Media asset management. Workow automation.
Instantly nd just the video clip you need, whether youre searching through hundreds of les on a local drive or thousands of assets on a set of volumes around the world. Seamlessly orchestrate productions from concept to completion, with email notications and status reports that provide immediate updates to team members. Automatically encode, deliver, and archive a project back at the shop, while you start cutting dailies on location. Final Cut Server is designed to help lm and video production groups work smoothly and eciently. It is media asset management and workow automation software that streamlines production work through: Lightning-fast access to media resourcesincluding everything from shooting scripts to dailies to graphics to nal projects, all with built-in version management. Automated workows, ranging from single-task workows such as automated le transfers, all the way up to customized workows for large-scale production operationscomplete with email notications and review/approval mechanisms. Complete exibility to use as many or as few features as you want. Shape the system to t your workow todayand easily make changes whenever your needs evolve. By reducing the time spent on routine communications and repetitive tasks, Final Cut Server frees up more time to focus on creative workwhether youre producing a 30-second spot, the nightly news, a documentary lm, or a major motion picture. Independent lmmakers, production boutiques, post-production studios, broadcast facilities, and even global news networks can take advantage of the modular feature set in Final Cut Server to shape the perfect solution for their facilities.
What Is Final Cut Server?
Final Cut Server is a scalable client/server system that supports cross-platform workows. The server software can be installed on Macintosh systems running Mac OS X Leopard, ranging from a MacBook Pro to a full Xserve conguration. The product includes client software that works on both Macintosh- and Windows-based computers. Thanks to its open architecture, Final Cut Server can be seamlessly integrated with a variety of external systems. Final Cut Server can send XML or scripted commands to systems such as web servers, broadcast servers, or archive systems.
Final Cut Server at a Glance
No matter how you dene your workow, Final Cut Server has a exible set of options that can streamline ingest, delivery, or anything in between. Key features include: Automatic asset cataloging. A scanning process automatically catalogs production assets in the locations you specifycomplete with metadata in a range of industrystandard formats. At the same time, it creates any necessary proxies, thumbnails, and poster frames. Synchronization options allow users to safely add, modify, or delete assets directly on drives and volumes, without having to use the client software. Rapid search, preview, and access. Work at blazing speeds with easy-to-use metadata tools, personalized workspaces, and Production containers that allow any user to create special-purpose collections of assetssuch as scripts, budgets, graphics, and rough cutswithout copying les. Workow automation tools. Set up schedules or triggers for automated events in minutes. Get started fast with workow templates or create custom setups with a series of simple menu selections. For complete technical control, create scripts for workows that extend to external systems. Intuitive collaboration features. Project check-in/check-out options, intelligent version management, review and approval tools, and a cross-platform client make it easy for multiple users to work on a single production. Seamless multiformat delivery. Use Final Cut Server to automate encoding in a range of formatsfrom H.264 for iPhone and the web, to ProRes 422 for editing, to 2K for Digital Intermediateswith pristine encoding and frame conversions powered by Compressor. Flexible conguration options. Small facilities can get started fast with easy installation and setup tools, while larger shops can tap into a rich set of advanced features to congure sophisticated facilitywide or cross-facility systems.

Work the Way You Want to Work
Final Cut Server is customizable at every levelwith no prescribed workow. You can use just a few time-saving features, establish Final Cut Server as the hub of a multifacility operation, or anything in between. As you expand your sta, increase your shooting ratios, or tap into deeper levels of workow automation, Final Cut Server will grow as your business grows. The software can be used by up to 10 concurrent users for $999 or an unlimited number of concurrent users for $1999.* Its scalable, extensible architecture can easily meet your needs both now and in the future.
Automatic Asset Cataloging
Final Cut Server catalogs your assets as you do other work.
The heart of Final Cut Server is its asset catalog. Metadata associated with each asset is used to pinpoint les during searches, manage multiple versions, track production status, and trigger single or multiple automated tasks. A typical production facility might have thousands of assets stored in hierarchical folder arrangements on a variety of drives, network volumes, and oine archive devices. Final Cut Server can scan all your connected drives and volumes to create a catalog of assets for you, with no need to move or copy les.

Asset Discovery Process

Final Cut Server uses automation to create and maintain an asset catalog. A simple setup process lets you choose the relevant folders or directories on your network drives and volumes. Final Cut Server then scans the content on these le systems to identify asset types, capture supported metadata, create browse proxies and thumbnails, and generate your catalog. There is no need for you to move or copy assets.
You can direct Final Cut Server to point to the les on external volumes or a SAN, or you can elect to copy the les into Final Cut Server. In either case, all the cataloged les are visible and accessible in the Final Cut Server interface, complete with supported metadata associated with the assets. You can also add metadata to each cataloged item. Final Cut Server oers additional convenience when cataloging Final Cut Pro projects. All the assets included in a Final Cut Pro project are automatically added to the catalog when the project is scanned. In addition, the catalog adds a reference for each asset that is used to protect the le when it is included in more than one project. The catalog is updated automatically when the project is checked back in after editing.

Broad Format Support

Final Cut Server supports a wide range of le formats, le systems, and media storage devices. In addition to project and le formats specic to Final Cut Studio, Final Cut Server catalogs video, audio, still image, graphic, and document les in virtually any format. Use Final Cut Server to organize, share, and track all your production documents as well as media assets. Include proposals, budgets, project plans, scripts, storyboards, shot lists, video and audio clips, images, graphics, and more, to ensure that you can nd the correct version of any le you need.

Automatic Proxy and Thumbnail Generation
Because Final Cut Server is designed specically for lm and video production, it automatically generates browse proxies, poster frames, and thumbnails as it catalogs video clips. You can dene the size and format of thumbnails for graphics les as well as the size and format of thumbnails and proxies for video clips. In addition, you can set a preference to have Final Cut Server generate Apple ProRes 422 edit proxies at the same time as the normal browse proxies. Because Final Cut Server automatically associates proxies and reference images with the original asset, you dont have to worry about managing multiple les for your clips.
Simultaneous Metadata Capture
As part of the cataloging process, Final Cut Server extracts and captures a wide range of industry-standard metadata, including QuickTime, IPTC, XMP, and XML data. This can save hours that would otherwise be spent on manual data entry during cataloging. Metadata from dierent sources may use a variety of elds and formats. A powerful mapping algorithm lets you translate metadata from dierent formats to provide consistent information across the catalog. You can also add metadata to each item after it is captured in the catalog.

Individual Asset Uploads

Final Cut Server users can easily add assets directly to the catalog as they work. There are two ways to add les from the client interface: Drag and drop. Drag a le or les from the Finder, the desktop, or from a connected volume to the Assets pane. Drag an asset directly into a Production to add it to the catalog and the Production at the same time. Upload window. Choose Upload File in the Server pop-up menu, select the le or les in the browser, and click Upload. When you add an asset, you can dene where it goes in the hierarchical le system on your drive or volume. You will also be prompted to select a metadata set that is appropriate to the asset or assets. Final Cut Server performs the remaining cataloging steps automatically. Final Cut Pro projects can also be added to the catalog from the client interface. Final Cut Server catalogs all the referenced assets, skipping those that already exist in the catalog.

Production metadata Each Production has its own set of metadata. Use Production-level metadata to track job status, usage rights, exposure details, and other information that you want to apply to all assets in the Production. You can assign custom status elds to the Production to track your project as it moves from preparation, to production, to post-production, to review and approval, and nally to delivery and archiving.
Powerful, Layered Searches
The Final Cut Server interface includes a Spotlight-style search eld that lets you type a text string and choose a simple search type: Contains or Matches Word. For greater precision, you can choose the advanced search option. This option allows you to choose search lters based on metadata elds. The search lters represent various conditions, including Boolean logic. You can search the entire asset catalog or a specic Production, and you can save any search as a Smart Search for repeated use. Final Cut Server administrators can customize the advanced search lters, so all the options you need can be at your ngertips as you search for assets.
Search Devices The Search Devices window allows you to go outside of the Final Cut Server asset catalog to search directly on an attached device. This type of search is particularly useful in cases where the Final Cut Server catalog has access to a drive that a user may not be able to view directly in the desktop le system. You can use the Search Devices list to select assets and add them to the catalog.
Search All Jobs The Search All Jobs window allows you to search automated production jobs for key metadata tags such as Client or Status. You could use Search All Jobs to check the status of a le transfer or a wide range of other operations, including archiving.

Personalized Workspaces

Final Cut Server oers several ways to personalize your workspace so that the items you use most are available at your ngertips: Productions. Create any number of Productions for your personal use or share them with just your team. Smart Search. Save common or repeated searches as Smart Searches in your personal workspace and see the results with a single click. You can save both simple and advanced searches that are targeted at assets or Productions.

Time-Saving Previews

Because Final Cut Server creates low-resolution browse proxies during cataloging, you can screen proxies right from the catalog as you evaluate assets. Viewing a low-resolution proxy is signicantly faster than opening and playing a large, highresolution HD video le.

Optimized Bandwidth Use

Final Cut Server seamlessly adjusts to the bandwidth of your network conguration when delivering les for editing. Caching les If you are editing over a LAN or WAN, Final Cut Server copies all the referenced assets to a cache on the client workstation as a Final Cut Pro project is checked out. Caching allows editors to work at maximum speed when there is not enough bandwidth to work in real time over the network. Edit in Place For creative professionals editing on a high-bandwidth network powered by Xsan, the system avoids caching les. With the Edit in Place setting, editors can drag and drop individual assets or entire Productions from Final Cut Server directly into Final Cut Pro and begin editing without waiting for les to copy to the workstation. Final Cut Server points Final Cut Pro to the referenced assets, allowing editing directly over the highbandwidth network. If you are creating or editing graphics or other relatively small les over a LAN or WAN, you can manually set up any device to Edit in Place. Final Cut Server then allows you to work directly over the network when you are accessing les from that device.

Robust Access Controls

Access controls are a key element in any collaborative production environment. They provide two benets: Faster browsing, by displaying only the materials that are relevant to your work Protection from unauthorized use, by allowing only the right people to see the right assets at the right times Final Cut Server makes it easy to dene a highly specic set of access permissions on an asset or Production basis. Use access controls to limit client access to just the relevant versions or content types, or to restrict access to content for condential projects.
Seamless Archiving and Retrieval
Archiving an asset makes it possible to take the asset oine but still retain a link to it, so the asset can be retrieved in the future. This feature is useful when you have large video les that are not currently being used but are taking up disk space on a device. You can archive assets to anything from a FireWire drive to a large hard disk that you can take oine. Final Cut Server helps you safely archive assets and quickly retrieve them later when they are needed. Archiving protections To protect against archiving an asset that is still in use, Final Cut Server shows a warning message that lists all the Final Cut Pro projects that link to that asset.
Searching and restoring archived assets After an asset is archived, its associated thumbnails, poster frames, proxies, and metadata are retained and fully searchable in the catalog. Metadata elds are used to indicate the name of the drive and its physical location. Restoring the asset is as easy as plug and play. Just reconnect the drive and click the Restore button, then use the asset as you would any other in the catalog.

Workow Automation Tools

Automate repetitive tasks and update team members instantly.
The more time creative professionals spend on repetitive overhead tasks, the less time they have for creative work. Final Cut Server allows you to create a set of automated activities to handle routine chores such as le transfers, encoding, status notications, and even review and approval tracking. Final Cut Server makes it easy to automate processes at any levelfrom a single task to an entire workowwith a choice of convenient workow templates and intuitive task automation tools. Additional power is available through advanced menu selections. You can even use scripts to integrate your workow with external systems.
Modular, Event-Based Automation
Final Cut Server automations are completely modular, so you can easily set up workows that are a perfect t with the way you work. The basic building block of automation in Final Cut Server is a watch and respond sequence. When a change (an event) occurs to a watched, or monitored, element, the system responds with an action or actions. For example, you can direct Final Cut Server to watch an assets status metadata eld. As soon as the eld is changed to Publish, Final Cut Server can make copies, move old content to a backup location, or convert media to an output format and push it to a broadcast server. Types of watched events Final Cut Server monitors three types of events: le system, metadata, and time. File system Metadata Time Identies changes on connected drives and volumes Example: Files are added to a folder. Identies changes in designated metadata elds Example: A Status eld changes to Ready for Review. Schedules tasks at specic times or intervals Example: Scans every ve minutes to update the asset catalog.
Automating a task To automate a task, simply specify the watched event, then indicate what actions should occur in response. Task

event response

Task Automation
Automating workows To automate a workow, just dene a sequence of automated tasks. Large-scale, facilitywide workows can be constructed by chaining together these basic elements. task

Intuitive Collaboration Features
Work seamlessly with team members anywhere, anytime.
Whether youre an independent producer collaborating with a small boutique or you work in a major production facility with hundreds of specialized professionals, coordinating handos is key. When you and your colleagues work in dierent departments, buildings, businesses, and time zones, the challenges of coordination increase exponentially. Final Cut Server is designed to remove these barriers when creative professionals are working on the same productions. Intuitive collaboration tools allow users to communicate with each other asynchronously, receive important notications promptly, and safely divide labor for larger or more complex tasks.
Check-In/Check-Out Protections
Final Cut Server makes it easy to round-trip Final Cut Pro projects, with instant updating of cataloged assets whenever a project is checked back into Final Cut Server. Check out projects in the original format if you wish. Or if youre working in uncompressed HD or a Digital Intermediate format, you may want to check out ProRes 422 edit proxies for faster access.
Checking out a Final Cut Pro project When a Final Cut Pro project is checked out, the project is restricted with a Check Out lock. In addition to the Check Out lock, each of the media assets associated with the project is secured with a Reference lock. The Reference lock prevents other users from changing or deleting an asset that is needed for your project.
Checking out assets You can also check out individual assets. The Resources pane lists all the projects that use each asset, so that you can avoid inadvertently changing an asset that is used in multiple projects.
Checking in a Final Cut Pro project When you check a Final Cut Pro project back into Final Cut Server, you have the option to add comments to indicate what has changed in that version, including notes about work that remains to be done. The catalog entries for the project and all associated assets are updated instantly during check-in.

Version Management

Final Cut Server can track changes made to an asset from one version to the next. You can specify how many versions you would like it to keep. For each version, it captures the name of the person who made the change, the time the project was checked back in, and any comments made for that session. The Versions pane lets you view a listing of every version of the asset except the current one. When you check in an updated version of the asset, the previous version is added to the list. You can use the list to revert to a selected version. You can also create a new asset from a version, with the option of copying it to another device. The Comment eld makes it easy to identify the signicant dierences among the various copies.

Seamless Multiformat Delivery
Deliver at pristine quality in formats ranging from H.264 to 2K.
When youre ready to output les for delivery, Final Cut Server automates a wide variety of encoding, resizing, and retiming tasks. It produces a wide range of industry-standard formats for post-production and broadcast workowsall at pristine qualityby sending commands to Compressor.
Pristine Encoding and Frame Conversions
Compressor, Apples encoding application, is included with Final Cut Server. Compressor uses optical ow technology to analyze media on a frame-by-frame basis and algorithmically produce conversions at astonishing quality. Choose from a wide range of encoding and transformation options in Compressor and then access those settings through Final Cut Server. You can use Final Cut Server to automate format conversions; retiming; scaling, cropping, and padding; video lters, including animated overlays; and metadata integration.
Final Cut Server automates Compressor to encode a range of industry-standard formats, such as MPEG-2, H.264, and various QuickTime formatsincluding Apple ProRes 422 and formats for iPod and Apple TV.
Episode plug-in For even more options, you can add the Episode Pro plug-in from Telestream to encode to VC-1, WMV, GXF, and FLV formats, as well as High Prole H.264 and a number of third-party proprietary broadcast server formats.

Batch Processing

The automation tools in Final Cut Server allow you to simultaneously encode multiple formats from the same source le or even from multiple source les. For example, when a projects status is changed to Publish, Final Cut Server can launch encoding for web delivery and broadcast formats at the same time.

Time-Saving Templates

Set up Compressor to congure sequences of encoding and conversion steps, then save the sequences as templates in Final Cut Server, using easy-to-understand names such as Web Delivery. By representing complicated batch format conversions as a single menu item, templates make it easier to ooad operational work to nontechnical users.

Distributed Encoding

The Qmaster distributed encoding application included in Compressor 3 allows you to use multiple computers and even multiple processors in each computer to optimize the use of computing resources during encoding. Use the AutoCluster feature in Qmaster to quickly dene clusters, then use Final Cut Server to direct specic jobs to the cluster or clusters you select. You can schedule processing-intensive work to occur during o-hours or even use processors in individual workstations on an opt-in basis.

Easy Setups

You can use Final Cut Server System Preferences, accessed through Mac OS X System Preferences, for easy, basic conguration of items such as group permissions, devices, and backup. The Automations pane includes an Automation Setup Assistant that lets you quickly create basic sequences of tasks by making simple menu selections.
Advanced Administration Features
The Administration window of the Final Cut Server client contains detailed settings and congurations covering all aspects of Final Cut Server. Use the Administration window for advanced features related to group and security permissions; devices; metadata, including custom metadata and mapping; transcode settings; and automations.

Automated Backups

You dont have to abandon your existing backup systems when you install Final Cut Server. Any assets stored on your drives or volumes will continue to be protected by your standard backup practices. The only additional step is to back up the Final Cut Server catalog, as well as the Final Cut Server proxies and versions. The proxies and versions may already be stored on volumes you back up, or you can add them to your backup setup. Final Cut Server automatically creates a backup of the catalog database, capturing all the necessary les in various locations. Some shops save the catalog backup on the same volume that stores the proxies and versions, so all three components can be scanned as part of a regular backup routine.

Workow Examples

Easily automate processes in any part of the production pipeline.
No matter how small or large the production, the work is likely to include repetitive tasks and time-sensitive handos among team members. The following real-world examples demonstrate just a few of the many ways that Final Cut Server can be used to save time and coordinate eortfor a single task, a single workow, or an entire pipeline.
Radical Media: Expediting a Global, End-to-End Workow
One of the key challenges for any production is ensuring the smooth ow of media from one team to another. Each group has to deliver material to the next step in the production chain, without delays or errors. Radical Media, a multidisciplinary integrated media company, has the additional challenge of coordinating this type of workow with teams around the world. The production challenge Radical Media is producing a series of broadcast programs designed to celebrate the 2008 summer games in Beijing. Sponsored by Nike, the programs portray athletic activities and related scenes shot in China. Hundreds of hours of material are ingested in China, then sent to New York for editing by non-Chinese speakers. Every clip is translated and subtitled to make it possible for the editors to work without an interpreter in the room. Under normal circumstances, Radical Media would spend hundreds of hours per program coordinating the work of all the dierent teams. The Radical Media workow Radical Media uses Final Cut Server to automate asset cataloging, le delivery, status notications, and even review and approval. This allows the teams to work at maximum eciency in every step of the production pipelinewith a fraction of the coordination eort that would be typical for a project of this type. 1. Ingest the video Almost all of the footage is shot in China, with on-camera interviews and other audio in Mandarin. Teams in China ingest the footage from each DV tape, bring it into Final Cut Pro, and place it into a sequence. The Final Cut Pro projects are saved on a FireWire drive. Each drive has a specied le structure, with folder names coded to indicate the shoot date. At the end of each day, the drives are express-shipped to New York for editorial work.

2. Catalog the clips Once the drives arrive in New York, assistants copy the les and folders to an Xsan volume. Final Cut Server scans the volume and catalogs the Final Cut Pro projects, along with their associated assets. Radical Media has set up Final Cut Server to create H.264 browse proxies, poster frames, and thumbnails for each clip. 3. Organize the assets As it creates the catalog entries, Final Cut Server organizes the projects and their referenced assets into Productions. As part of this process, Final Cut Server captures the original folder names as metadata indicating the shoot date. Assistants then review the assets to add other metadata, such as the city and the names of coaches and players. Editors can later use this metadata to search for specic assets as they work. Finally, Final Cut Server sets the status eld to Ready for Transcription and sends an email message to the transcription team listing the names and locations of the new projects.
People literally had to sneaker-net drives to every transcriber and set them up on an individual basis. In this case, we let Final Cut Server manage an incredibly complicated workow with ease. It acts as a trac copletting each department know what is ready instantly at the critical stages in our workow. Ultimately, it is managing the movement of media throughout the entire process. Randy Main, chief engineer Radical Media and Outpost Digital
4. Translate the soundtracks Mandarin-speaking transcriptionists are standing by to translate the soundtracks into English. Depending on the workload, as many as 10 transcriptionists could be available to begin a new project. The engineers at Radical Media created a custom metadata eld to indicate the priority of each project. Transcriptionists use this eld when they call up a list of available projects, so they can choose the most urgent projects rst. A transcriptionist begins by checking out a Final Cut Pro project. The Check Out and Reference locks protect the project assets and prevent other translators from duplicating eort. Because the workstations are connected to shared Xsan storage, Final Cut Server allows the transcriptionist to begin work without waiting for les to copy. 5. Create subtitles After the Final Cut Pro project is checked out, Final Cut Server exports the project assets as separate clips. The transcriptionist drags the clips into a third-party logging tool used for creating English subtitles linked to timecode. When the subtitles are nished, the transcriptionist exports them as XML les that are saved to a specied folder on an Xsan volume. Final Cut Server periodically scans the volume to identify and catalog the new XML les, adding them to the same Production as the original Final Cut Pro project. 6. Bring the subtitles into Final Cut Pro Next, the transcriptionist imports the XML data into the checked-out Final Cut Pro project. The English subtitles appear as multiple text generators on video track 2. After the transcriptionist checks the Final Cut Pro project back into Final Cut Server, the system generates a status email and sends it to the proofreading team. 7. Proofread the subtitles In the next step, proofreaders check out the nished Final Cut Pro projects and verify that each subtitle is properly translated and timed. They correct any errors directly in Final Cut Pro. When they check the projects back into Final Cut Server, the system automatically tags those projects as Subtitled.

8. Edit the video Assistant editors check out the subtitled projects and compile multiple sequences into composite projects. Then they check the projects back into Final Cut Server and tag them as Ready for Edit. Next, an editor nds the composite projects by using the Ready to Edit status eld to sort the Production assets. The editor checks out a composite project and cuts the footage. Because each sequence contains two tracksone video track and one subtitle trackthe editors can load a sequence into the Viewer, read the subtitles, and edit normally in the Timeline. Finally, the editor exports the completed project as a self-contained QuickTime le that is saved to a folder watched by Final Cut Server. 9. Internal review and approval When Final Cut Server detects a new QuickTime le, it catalogs the asset and sends an email to story producers to let them know that the nished show is ready for review. Producers use the Review and Approve window in Final Cut Server to play the QuickTime le and add shot-by-shot annotations. The review process cycles between the editor and producer until the nal version is approved. 10. Client review At this point the project is ready for client review. When Final Cut Server detects this status change, it compresses the QuickTime le and executes a script that moves it to Radical Medias proprietary web-based review and approval system.
FRONTLINE/World: Streamlining Website Updates
In small workgroups, freeing up time for even one contributor can make an enormous dierence in the overall productivity of the shop. When the production team at FRONTLINE/World began using Final Cut Server to automate a major production task, they freed a web producer to spend more time on creative work. The production challenge Every week, FRONTLINE/World posts video clips for its web series Rough Cuts to its website: www.pbs.org/frontlineworld. The program les arrive from osite producers in a variety of aspect ratios, but the clips for the web need to be presented in a 16:9 aspect ratio. Previously, a web producer had to manually convert clips before the les could be posted to the web, and there was always the risk of human error. The FRONTLINE/World workow Now, FRONTLINE/World uses Final Cut Server along with a custom AppleScript to automate clip management and le conversion. This streamlines the production workow and frees the web producer from spending time on manual le processing tasks. 1. Catalog the content When a program is delivered, a team member copies the les onto a local drive. Final Cut Server regularly scans the drive for new content and adds any new assets to the catalog. The les are labeled with a naming convention that designates the aspect ratio, the story number, and the country proled in the story. All this information is captured as metadata when Final Cut Server catalogs the les. 2. Create clips for web playback The FRONTLINE/World video player is designed to play clips that are about 12 minutes long, so stories longer than that must be divided into chapters. An editor has to view each program and mark the in- and out-points for each chapter. Final Cut Server streamlines this editorial process through a scripted response.

For More Information

For more information about Final Cut Server, visit www.apple.com/nalcutserver.
* Prices are Apple Store prices as of April 8, 2008, do not include taxes or shipping, are subject to change, and are listed in U.S. dollars. 2008 Apple Inc. All rights reserved. Apple, the Apple logo, AppleScript, Apple TV, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, iPod, Leopard, Mac, MacBook, Macintosh, Mac OS, Quartz, QuickTime, Soundtrack, Xsan, and Xserve are trademarks of Apple Inc., registered in the U.S. and other countries. Finder, iPhone, and Spotlight are trademarks of Apple Inc. AppleCare and Apple Store are service marks of Apple Inc., registered in the U.S. and other countries. Intel, Intel Core, and Xeon are trademarks of Intel Corp. in the U.S. and other countries. Java and all Java-based trademarks and logos are trademarks or registered trademarks of Sun Microsystems, Inc. in the U.S. and other countries. PowerPC is a trademark of International Business Machines Corporation, used under license therefrom. Other company and product names mentioned herein may be trademarks of their respective companies. Product specications are subject to change without notice. This material is provided for informational purposes only; Apple assumes no liability related to its use. April 2008 L364938A