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Xsan, the proxy files in Final Cut Server, and the Final Cut
Pro project files relate to each other, all following agreed
upon standard organizational and naming conventions.
All the names for these bins and clips need to match
for producers and editors to be able to spend less time
searching for things.
AUTOMATION WITH FINAL CUT SERVER
Final Cut Server is a good organizational tool, but in addition
to this, it has also significantly helped our post
workflow with its ability to automate processes.
Our digital content lead, Bryce Bagwill, has scripted
several automation processes. One is for proxy files to be
created as soon as an editor checks a project into FCS.
All of the low-resolution compression rendering takes
place on a cluster of three Xserves processing together
using the Apple Qmaster system. Final Cut Server then
automates notification to anyone who needs access to
the footage, such as producers creating content, myself
as senior producer, or executives who are reviewing and
approving.
We have 90 complete programs on our website at
any given time, so web encoding is also a big part of
what do every day. Final Cut Server also helps automate
this process for our web encoder, so that we can schedule
the heaviest rendering for nighttime. In addition to
our Xserve rendering cluster, we can also call upon unused
cores within the other Mac Pros that are in the central
machine room, using that processing power at night
Above: 16 Mac Pros in the Central Machine Room. Apple
Final Cut Server takes advantage of unused cores at
night to assist the Xserve rendering cluster. Below,
some of the machine room wiring, including fibre and
KVM cabling.
while our editors aren’t working.
Automations in FCS helps our proof and approval
processes. Editors send low res proxies of projects in process
to producers who can watch everything from a full
half-hour program to a small promo segment, or even an
individual clip. The team can leave comments or annotations,
contribute photos, modify storyboards, pass along
copies of scripts, or even web links. Final Cut Server automatically
sends notifications to keep the team aware of
the status of individual items within the workflow.
Once programs or segments are complete, final
approval can happen in various ways — using Final Cut
Server, or via iDisk, or even old fashioned DVDs. But for
me nothing is better than watching the segment or program
in the edit suite with the editor and producer if at
all possible.
CLOSED CAPTIONING
Another major improvement that Final Cut Server affords
us is the automation of our closed captioning workflow.
This may not sound like a very big deal, but when you
post six programs per week, edited into nine different
versions, the numbers add up fast.
The process begins when an editor drops a finished
sequence onto a drop folder. Final Cut Server then compresses
that sequence into a manageable size, and FTPs
(is this a verb now?) it to our closed captioning provider,
Aberdeen Captioning. Once they’ve done the work on
their end, they send a closed captioning file back to us.
Final Cut Server then notifies the editor that it is available,
and ready for import. Automating this has saved a lot of
money for us over previous tape-based workflows.
Another interesting HD wrinkle has been how HD
captioning gets to the XDCAM disc. Rather than the ana-
log “Line 21” (EIA-608) transport, the CEA-708 standard
embeds the captioning straight into the HD-SDI stream
for recording, whether to tape, or in our case, back to XD-
CAM disc.
DUPLICATION AND DISTRIBUTION
Once a program is mastered to disc, our in-house duplication
department makes the air dubs and ships them
out. It seems we send out tapes in every known format
to meet all the different network and station requirements.
With HD, this has only become more complicated.
Currently only a handful of networks we work with accept
high definition masters, and even in that small
group, there are many different formats required. Because
of this, Up/Down/Cross conversion of our media
has become an important part of what our duplication
team does. AJA FS-1 and Link HDC-925 up/down/cross
converters play a vital role in the central machine room.
Other than the handful of stations airing direct from
DVD, everything we deliver is on tape. We are in preliminary
discussions with a couple of networks on FTP distribution.
However those talks are only in the investigative
stages. Over 100 radio stations are already connecting to
our FTP to download weekly programs which has been
very successful. We have a high interest in doing this with
television as well, and using Final Cut Server.
SCRATCHING THE SURFACE
At Joyce Meyer Ministries, everything we do is done in an
atmosphere of collaboration and teamwork. In that spirit,
as a broadcast team, we feel that we are only scratching
the surface of what we can eventually build with digital
asset management and a file-based workflow.
Going forward, we recognize and understand the
media we create will not only help to preserve the legacy
of the ministry, but will also help build its future. As new
technologies continue to emerge, we hope to discover
even better ways to use a data centric workflow to enhance
our media and broadcast team’s ability to collaborate,
gain increased efficiencies and reduce cost.
As a nonprofit, throughout the ministry, we are extremely
conscious of stewardship issues and strive to
maintain the highest quality, both creatively and technically,
while also being good stewards of both donations
and resources by keeping costs and expenses as low as
possible. Any time we can increase efficiencies or reduce
costs using technology automation means allows those
critical resources to be used to feed, house or help one
more person —and, for all of us at JMM, that is what it is
all about.
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18 The Asset Management and Distribution Issue — Creative COW Magazine
Creative COW Magazine — The Asset Management and Distribution Issue 19