Information Technology Reference
In-Depth Information
The second scenario involves using a straight Final Cut Pro upload process through Final
Cut Server. In this scenario, Final Cut Server does not scan the capture scratch device,
but instead waits for the editors to finish ingesting and logging all of their clips, save their
project, and then upload it to Final Cut Server. This copies the files from the local Capture
Scratch folder to whatever destination device was specified during the upload process. If
the original files resided on an edit-in-place device, they would not be copied, but instead
added to the catalog in their current location. This approach has the advantage of track-
ing all the media together with a project file, but relies on the editor to upload the project.
Otherwise, the media won't be seen in Final Cut Server.
The main advantage you gain with this scenario is the ability to manage your ingested
material as a Final Cut Pro project file. It also gives you the ability to maintain version
control over your Final Cut Pro projects, to enable the use of edit proxies if you require an
offline workflow, and to tag your project file and assets with custom metadata that goes
above what is presented in Log and Transfer.
USER
Yo u' l l b e g i n b y r e a s s i g n i n g t h e F i n a l C u t P r o s c r a t c h d i s k a w a y f r o m t h e d e v i c e s e t t o
automatically scan. You'll then create a new Final Cut Pro project, transfer some addi-
tional clips using log and transfer, and finally upload the project into Final Cut Server
to be managed with some custom metadata.
1
Make sure the
Panasonic P2 Ducati.dmg
file is still mounted on your system. (You
can verify by checking the Finder.) If you don't see it, double-click the disk image to
mount the P2 material again.
2
Open Final Cut Pro.
3
Choose Final Cut Pro > System Settings.
