Best LX3 workflow?

Just got my LX3 and have come up with the following Aperture workflow and was wondering if there's any obvious improvements or better ways to do it (until OS X supports LX3 RAWs):
1. Shoot RAW + JPEG.
2. When finished, drag and drop the 100_PANA folder from my SD card into Aperture, dropping it onto the 'Library' folder in the Project pane. This causes the JPEGS and the .RW2 files to be imported.
3. For any image that I'd like to process as a RAW, right-click and 'Export master' to a hot folder, configured to open any file dropped into it with Adobe's DNG convertor.
4. Choose to save the converted DNG to another hot folder, configured to open the DNG in Photoshop.
5. Edit the DNG in PS, then save the file as a TIFF to an Aperture hot folder and import back into your original folder.
If you want to work on the original JPEG, select the image in Aperture and select 'New Version from Master JPEG' from the images menu (you might choose to do this with all images).
Is there a way to combine steps 3 & 4?
Bit convoluted, but I've only had the camera 6 hours,
Steve

I have the Leica D-Lux 4, which is essentially a rebranded LX3. One difference between the Panasonic and Leica versions is the bundled software (Silkypix on Panasonic and CaptureOne on Leica). While I have not tried it myself, I believe that your workflow has one critical flaw. The LX3/D-Lux 4 share what will likely be more and more common as the transition from film to digital evolves, and that is using digital image processing to correct lens distortion. The LX3/D-Lux 4 have a compact lens capable of wide angle photography with a wide aperture (f 2 to 2.8), which is astounding for a compact camera. The compact lens design prevented some lens distortions from being corrected within the lens without increasing the lens size or decreasing the lens speed. The LX3/D-Lux 4 designers were forward thinking, in that they realized all lens distortion no longer need to be fully corrected in the lens, as the image processing software can easily do this, if the distortions are well characterized. Only one lens is used on this point-and-shoot, so it was straightforward to design distortion correction algorithms. These algorithms are included in the Silkypix and CaptureOne apps. I believe that the new ACR and LR also include these algorithms, although I have not tested them. Aperture does not yet support image distortion algorithms, although I fully expect this in the 3.0 release, otherwise Apple will lose its professional user base (image distortion algorithms is already included in many camera manufacturer's RAW software bundles). The point of this whole description, is to say that the DNG produced of the LX3/D-Lux 4 RAW files does NOT include the image distortion correction. The result will be images that are unusable, especially when using the wide angle setting on the lens. We just have to wait for the update to the Apple RAW converter, which I expect with Snow Leopard and Aperture 3.0.

Similar Messages

Best (PAL) workflow to convert HDV interlaced to DV progressive?

Question - What is the best (PAL) workflow to convert HDV interlaced to DV progressive?
Software: Pr, En and Ae - all CS4.
My Camera: (Sony Z1) shoots HDV 1080i.
When capturing and editing, I keep everything HDV and interlaced.
Premiere Pro:
Capture HDV - mpeg 1440 x 1080 (1.3333)
Sequence - 1440 x 1080 (1.3333) HD Anamorphic 1080 (1.333) Upper Field First - (HDV 1080i25 Preset)
Once edit is complete, I dynamically link sequences into Encore.
Question - Should I dynamically link to Encore or export sequence from Pro?
If you aren't a fan of dynamically linking the sequences and believe exporting the sequences from Premiere Pro is the way to go, please advise of best export settings. I assume during the export (from Pr) is when the converting from HDV interlaced to DV progressive takes place?
At present, I dynamically link the sequences into Encore. This means Encore handles the conversion to DV progressive.
Question - What are the best (Encore) transcode settings to transcode HDV 1080i25 to DV progressive widescreen?
I've tried numerous workflows but as yet, I've not been 100% happy with any of them.
I'm finding it quite a challenge to take HDV 1080i and produce a good looking DVD i.e minimal artifacts and no interlaced jaggies.
I used to downconvert to DV in-camera during the capture process, but I'm finding I'm getting much better results by editing in HDV and downconverting during post. This is what my post is really all about i.e. finding the best workflow to do this.
I would be very keen to hear of how others are shooting and editing in HDV to then produce best/high quality DVDs.
Thanks for reading

Hi DaveMD,
Thank you so much for your Q&A post. It is so helpfull for me. I will test it right now. Unfortunatly for you, I reply your post with no answer, just a feedback..Sorry
Nevertheless, my details are :
Software: Pr, En and Ae - all CS4.
My Camera: (Sony FX-1000) shoots HDV 1080i.
Premiere Pro:
Capture HDV - mpeg 1440 x 1080 (1.3333)
Sequence - 1440 x 1080 (1.3333) HD Anamorphic 1080 (1.333) Upper Field First - (HDV 1080i25 Preset)
I have exported the media in DVD MPG (.m2v) from Premiere and Build the final DVD from that .m2v into Encore.
I have to say that I am not very happy with the final result when I convert into PAL Widescreen.
I can see little artefacts, flikers and jaggies...
- Do you think that this "double" DVD MPG export could lower the quality?
- Could it be the FullHD screen (1080x1920) on which I display the final result (PAL 720x572) that interprates the video?
Thank you for your lights !
Appia

How to organise the library best for workflows?

I need some help to set up my library propperly. I'm using Aperture for a year now and the organisation of my first major project was a bit of a mess and I lost control. I had a folder as top level, then a Project (box) containing folders and smart folders. I wanted to work with keywords only but that didn't work out.
Now I have an even more complex project and I want to go back to a workflow based structure. But it seems that the boxes, folders and albums aren't quite designed for this kind of organisation. This is what I actually want to do:
– Top level Project name e.g. Seasons
– Sub-projects /divisions e.g. Spring, Summer, Autumn, Winter (note that a photo can only be in one category)
– Workflow sections where photos are moved according to their state of progress, e.g. Import, Editing, Review, Published (again a photo can only be/show in one location)
This is how I would have liked to do it:
1. A folder or box as top level called Seasons
2. Four boxes or albums as sub-divisions for the seasons
3. Give every step of the workflow an album or folder (like sections to move through)
Now this is the obstacle I'm facing:
1. I can't put boxes in boxes
2. I can't put photos in folders
3. I can't move photos from one album to another (they need to be deleted separately in the old folder)
I have read about how these elements are designed in the other threads. But I havent yet found a way how to use them the best way for my purpose. The best thing I can think of at the moment is to use folders in the top two levels and boxes for the workflow.
Is there anyone who tried to organise a project like this before?

Hi,
of course you have to find your own way.
I just recommend (I first did something similar to what you plan to do, so who am I, to tell that you shouldn't),
to start not with Folders as the top level organizer.
In my opinion you have to think not of files but of pictures.
So the pictures are organized in PROJECTS and are always ORIGINALS because it is different to Bridge or LR
not files that you are working with (it takes a while to think this over, I guess).
So the pictures are now organized inside these folders into ALBUMS with different "workflow states" like
the originals ( I would name them more: base-pictures or shooting or whatever)
You pick your stars from 1 to 5 (and 9 to delete) to create kind of a choice from the shoot.
Out of your choice you create an album for your EDITS and immediatly delete those pictures from the SHOOT-ALBUM ( they are still chosen and still you can make them visible via cmd/F and choose all pictures with 1 star and more- go to PICTURES-DELETE FROM ALBUM).
So now you have every picture only one time inside your PROJECT and still only one time in only one ALBUM.
Now you feel free to create some intelligent albums if you need, for checking which ones were taken to a lab for printing or send via email or whatever. For me personally these intelligent albums don't work but this depends on the workflow and your clients.
The advantage is in my case, I export PROJECTS as so called MEDIATHEK (another AP LIBRARY) to an
Ext HD, so I have all the adjustments and the order, in case AP starts to work not as I want it ( I had these
issues a few times in the past and had, what is discussed in this forum as well, thousands of pictures two, and more times without knowing what I did wrong after repairing ).
Hope this helps
Uwe

Best Professional Workflow for Storyboarding?

Hi, I'm new to FCP: after drawing storyboards in Photoshop...
Would it be best to import each Photoshop file into Motion, to animate pans and zooms and such, then, import into FCP the entire storyboard segment created in Motion as one layer?
Then combine the next storyboard segment/scene imported from Motion as another layer...and so on?
Or should each scene/storyboard segment be a separate clip but placed in the same layer as other storyboard segments?
Is the Photoshop > Motion > FCP workflow most common?
Thanks

That's what I'm here for, generating interesting takes.
rarely provide enhancements. Unless the operators are capable of realizing the potential of advanced technologies they just get in the way. As an example, replicators in Motion are so obtuse they don't really exist for me. How many of you can use the table of contents and footnoting features of Word? Or would use the drawing functions in Word to produce the elements for a storyboard project?
The original post was about workflow, not opinions about creation of the elements. I must apologize for the distraction.
Would it be best to import each Photoshop file into Motion, to animate pans and zooms and such,
then, import into FCP the entire storyboard segment created in Motion as one layer?
Probably not. But this depends on your need for editing the storyboards.
I don't think your "storyboards" require Motion although they may need motion tab effects in FCP. If you are doing more advanced animatics that includes simulating effects and parallax in camera moves, then, yes, you want to work up your layers in Motion. Then you get into the fact that your production must have a (usually overly complex) naming convention to keep track of the massive changes enabled in electronic editing. Storyboarding, as opposed to animatics, is traditionally fairly static. One reason the portmanteau contains "board" is the individual drawings were pinned to a bulletin board and could be easily shuffled around. But there is no movement.
Or should each scene/storyboard segment be a separate clip but placed in the same layer as other
storyboard segments?
If you are carrying the historical storyboard paradigm into the present, you want each of your storyboard scenes available as separate clips, fully rendered media, carefully identified with superimposed text. This is unbelievably useful when things start to change.
Let's say your scene consists of five shots and the shots have been created by a combination of twenty or more individual, but reusable, clipart elements. You compose each shot in Motion by carefully layering the diverse foreground and background elements, moving them, lighting them, and simulating focus, framing, and camera movement. You have carefully named each of the shots according to the script you were handed. Your director decides to alter the sequence and to add two new shots. Now, how do you reconcile your clip names with the new order of the shots?
That's why naming conventions are necessary. They're not supposed to indicate the order in which they appear in the finished product, they merely uniquely identify each clip.
bogiesan

What is the best practices workflow from illustrator to flash in cs 6?

Hello- question from an illustrator to flash workflow n00b.
I'm creating a flash experience with animated characters.
I'm building my art assets in illustrator.
I've found it relatively easy & straightforward to import assets from illustrator into flash.
I can conveniently import my layers and symbols from illustrator as separate layers and symbols in flash and manipulate them.
However, let's say after import I want to change something with an asset using illustrator. For example, I have a character with facial features, including eyes. I want to change the eyes in illustrator and have those changes then be propogated in some way- automagically or manually- in flash.
What is the right way to do this? Are there best practices for being able to go back and forth between flash and illustrator?
Thank you!
~ sae

Thanks for the reply Suhas.
I guess the answer to my question is that there is no good way. In the photoshop/illustrator workflow, I can paste a document from illustrator into photoshop and then double-click it in photoshop to open it back up in illustrator and edit the original. I have seen posts on people doing this between Flash and Illustrator with the now-discontinued Flash Catalyst- a process that was apparently called round-tripping. Ideally, this is the functionality I'd like to have between Flash and Illustrator but I take it from your reply that the answer is 'Does not exist.'
~ sae

Best practices / workflow for importing images?

Is there a recommended workflow or best practices for importing images into the library? Specifically, I want to know -
1.) Is it better to import /store the Masters right into the Aperture Library
or
2.) Is it better to move / store the Masters into a folder you specify and reference them?
Even more specific, is there any advantage in storing the Masters in the Aperture library?
As I'm determining how I want to do my workflow, (New Aperture user, so I want to design my workflow from the start) I am thinking that the later would be the way to go, storing them not in the library, but in a folder as a referenced image. My reasoning is as follows
* Images more readily available for other applications, without having to do an export
* Library database remains small, storing only the versions (less chance of corruption perhaps?)
* Eliminate any issues with Time Machine - TM would backup the folder where the Masters are stored, and only need to update when new files are imported there. Also thinking that TM would have less issues backing up the Aperture library.
So can someone either confirm my reasoning or tell me I'm way off base and should store the masters in the library, and why.
Thanks in Advance!

This link has a pretty good summary of the pros and cons of each method. Neither one is perfect of course. Otherwise this question would be easy to answer!
http://www.bagelturf.com/aparticles/qanda/files/8992c352f4d1429747200b3e06c215fe -42.php

Best color workflow with hdv source material?

Hi,
I am wondering about the best workflow for working with hdv material in color?
My first Color experience, I sent a AIC timeline (hdv source) to color, made my corrections, clicked NO when sending back to fcp when asked if I wanted the rendered timeline to be conformed to color render settings (apple pro-res) as I wanted the same sequence settings back in fcp.
I then tried to off/online back to my source hdv capture files, and therein arose the problems. Because color had renamed the files, the new names came up in the re-connect media window, not the hdv source. When ignoring these and locating the hdv source, the corrections were not attached.
After advice, tried onlining the original, locked edit, opening in color - files came up red (offline?), but could not apply the grades from the previous project anyway, as the whole program crashed before I could do anything?
Thoughts on workflow, theories on what I may have done wrong greatly appreciated.
Lastly, a lot of noise appeared in some clips I adjusted in color, which did not occur when making similar corrections to the same clips using the 3-way color corrector within fcp itself.
How come?
Thanks for listening,
-Tom

Hi Tom, agree 100% with all of JP OWENS comments on this thread. This is very good advice.
Myself, coming from the dark side of a SONY HDV (HVR-Z1P) and DUMPING the SONY for a Panasonic DVCPROHD HVX-200 iFRAME HD format 66mbs and 110Mbs DVCPROHD 4:2:2 CODEC was primarily because when using COLOR on the HDV it was as dreadful as JP OWENS says it is.
As as has been mentioned in this thread, for working with HDV and trying to perform any reasonable grading using color.app you would indeed move it all to  PRORES422 by either:
• ingesting it as proposed from the source as APPLE PRORES 422 or
• ingesting and then BATCH CONVERTING in FCP (or go via a COMPRESSOR.app DROPLET - a favourite of mine) and THEN importing that into FCP.
It gives you these workflow advantages (again pointed out by Mr Owens):
• iFRAME format editing in FCP is "faster" (not GoPs to play with in 25Mbs MPEG2 HDV)) and
• workflow transcoding is faster. (many threads in these forums concerning exporting from an HDV timeline).
However to roughly quote Stu Maschwitz (his DV REBEL book) "+..converting DV to a near loss-less codec is a bit like carrying a golf ball around in a streamer trunk+".. applying this to HDV as well simply meaning that there is also NOT much colour information to work with in grading.correction applications like color.app.
Thus there is NO colour benefit from working in prores 422 from HDV source.
IN short, work in PRORES422 from your HDV source and your workflow will improve and efficiencies will be seen.
hth
w

Best "Capture" workflow for projects mixing HDV tape and XDCAM footage

I'm trying to determine the best workflow for projects that combine XDCAM and HDV footage.
I'd obviously do the editing in a project designed for XDCAM, as that's the higher quality footage,
and render the HDV clips in the XDCAM timeline...ending up with an XDCAM end product.
I'd use SONY'S XDCAM TRANSFER to get the clips into FCP.
My question concerns capturing the HDV footage in this scenario. I've never been able to get
the Log and Capture feature for HDV footage to work, unless I've created an HDV project and am capturing into that HDV project.
So, generally, I create an HDV project, open the log and capture utility which is now set to capture HDV, and then capture the footage. I then close that project and create a new project, designed for XDCAM footage. I use XDCAM Transfer to get the XDCAM footage into the project, and I import
the previously captured HDV footage into that browser and start editing, rendering the HDV in the XDCAM timeline.
My question...do I really have to open, what is essentially a "fake" HDV project just to capture that HDV footage? You don't seem to have the option of capturing HDV footage (out of a camera or HDV tape deck) directly into an XDCAM project. If I try to change the capture or audio video settings of the XDCAM project to HDV, you get messages saying you can't do it.
Is there something I'm missing or a more streamlined way of doing this?
Thanks in advance for any input.

No need to jump through these hoops. Just set yourself up with a universal Easy Setup that will handle both. Choose your regular XDCAM HD Easy Setup then open the Audio / Video Settings window and change the Capture Preset to "HDV" and the Device Control Preset to "HDV Firewire" ... then click the "Create Easy Setup" button and save it for recall whenever needed.
Regarding the overall workflow, I'd seriously question the idea of creating XDCAM HD masters. No real benefit to that unless you need to export to XDCAM HD. Much better would be export your final master as Apple ProRes 422.
Best
Andy

Best camera workflow with FCE???

I am in the market to buy a new camera. I really like the new Sony PMW EX3, but you need some sort of 3rd party software to trasnfer the files to Final Cut Express.
My question is this...what is the best camera that you've found to do workflow with FCE HD? I would like something that doesn't take long to download (captures on hard drive) and is HD with preferably 1080. Any suggestions???

If you want to keep things simple and get reasonable quality you need an HDV or AVCHD camera.
Remember that if you want to make Hi-def DVDs you will need to buy a Blu-ray burner for hundreds of dollars and everyone who wants to view your DVDs will need a Blu-ray player or a PS3 (again hundreds of dollars) and an HDTV. Plus every disc will cost many dollars instead of a few cents.
All this extra stuff will cost as much as many cameras.
P.S. This was written over an hour ago before I knew what that camera was. (I couldn't send my reply then because my internet connection went down!)
Message was edited by: Ian R. Brown

Best oracle workflow training institute in Bangalore

I am looking for a good training institute in Bangalore for Oracle Workflows ( Release 11i).
I work as Oracle HRMS system Administrator and have a strong background of PL/SQL and HRMS development ( Core HR and Payroll).
I am more keen on classroom coaching.

Oracle Workflow is a de-supported product (except in EBS ) - so Oracle Education will not offer any training in this area. You will have to look for other private firms that can offer such training.
HTH
Srini

Best h264 workflow for editing multicam 1080p 24fps

I have had reasonable success in editing footage from my Canon 5D mkii in CS5 multicam on my quad-core win 7 machine. I'm finding though that the exported encoded footage (uncompressed AVI) seems to have lost some of its colour rendition (I haven't ventured into colour grading as yet). Is there a preferred workflow for lossless editing of h264 footage or should I convert it before importing into CS5? Any suggestions?

It sounds like your offline-online protocol is not what it should be.
Make dv versions of your media. Do not change the names of the clips. Be sure you are carrying over the proper timecode to the dv versions.
Do your edit with the dv versions.
Highlight the converted DV clips in the browser and make off line. Do not make the clips in the sequence offline.
Then reconnect the clips, but point instead at the HD clips. Everything should repopulate-- sequences, etc.
Does this not work?

Best practices/workflow in syncing multiple audio tracks to a clip

Hello
Master Collecition CS5
I have a couple of webisides that I'm editing.
Each actor had their own wirless lav microphone recording to an external audio system that recorded wav files.
And the camera was also recording audio.
We also had a clapboard that marked each scene. The camera and the external audio recording system all captured the clapboard information.
I am replacing the camera audio with the wav tracks from each lav microphone. For the most part when Actor "A" speaks I use Actor "A"''s lav wav. amd when Actor "B" talks I use Actor "B"''s wav file.
The timeline is already fine tuned and I don't want to have to extend the beginning of each video clip on the timeline so that I can sync it with the clapboard.
I've tried a number of tricks including a separate sequence just for syncing up sound. But it doesn't seem really practical or time efficient.
I was thinking that maybe I should be syncing up the clips in soundbooth. I see that when I right-click on an audio trick I am given the option to "Edit in Soundbooth".
Would incorporating Soundbooth into my work flow speed up the audio syncing.
I hope I am being clear!
Thanks
Rowby

I personally wouldn't mess around with copying and pasting timecodes. Yes, that'll work, but it's going to take more time than is really necessary to accomplish what you need. This is how I'd do this, though note that it's going to require some manual effort, no matter what:
In your sequence, move the CTI to the in point of your clip's audio portion; make sure the track that that clip is on is targeted. Hit the M key, which will match frame the clip and load it into the Source Monitor. Don't double-click the sequence clip to load it; you need an independent reference (e.g. the original master clip) for "measurement" purposes.
In the source monitor, press O to mark an out point before you move the CTI. Now, move earlier in the clip until you get to the clapboard, and park the CTI on the frame where the "clap" happens. You could also toggle over to waveform view to make this easier (I've actually mapped Composite Video to F3 and Audio Waveform to F4 on my keyboard to make this a quick and easy toggle). Mark an in point (I key), and take note of the in-out duration in the lower-right corner of the source monitor; it's the white numbers. For this example, let's say those numbers read (for a 29.97fps clip) 00;00;05;00, or five seconds.
With that number in mind, load up the matching audio-only clip into the source monitor, and move the CTI to the "clap" which you should see pretty clearly in the waveform. Once the CTI is postioned, you need to move the CTI forward the number of frames/seconds that you noted above... minus one frame. So, on your numeric keypad, type a "plus" (+) and the digits 429, or 4 seconds 29 frames (obviously this will depend on your sequence/source frame rate; one second less one frame in a 23.976 timebase is 23 frames, etc.). Once the CTI is positioned, hit the I key to mark an in point, and then drag the audio to the sequence; hold the Alt key and drop it onto the audio portion of the clip you're replacing. This will map the original audio's in point to the replacement audio's in point, and maintain the duration of the original sequence clip.
The reason you need to go one frame less is because when you mark an out point on a clip, you're actually placing it at the "end" of the current frame you are viewing, not the "beginning." You can see this in action if you park the CTI at a given frame and mark both an in point and an out point without moving the CTI; you end up with a selection duration of 1 frame. As such, you need to offset this duration when backtiming and then applying the duration to the replacement clip. It'll make sense after you do it once.
I know that sounds like a lot, but I was just trying to be as detailed as possible. Hope it helps...

Whats the best solution/workflow, iTunes & NAS?

I have struggled with my decision on what the next step is for itunes storage, here are some of the items of consideration:
*Managing the library*, break up or keep it all together?. Ideas that are being discussed: lag in large itunes libraries, breaking out files on to externals, removing files and only importing when required, storing movies on Apple TV (Gen1).
*AppleTV, Gen1 vs. Gen2*, AS the 2nd Gen rolls out what has changed?; Full streaming, no storage, transfer speed, resolution, advantages of the new box...
*Storage on a USB/Firewire external*, So many choices?; Size, connection type, sound, reliability, speed requirements for streaming (audio vs video).
*Storage on a NAS*, requirements?; raid or not to raid?, 3rd party software support for Itunes library, SMB vs AFP?, is this the right solution?; should Mac mini (with or without server os?) with external firewire be considered first?, will the future of itunes support different library configuration?.
Right now i'm leaning towards a Mac mini server with attached Promise SmartStor (firewire 800) and more then likely with the Gen2 Apple TV.
+(I haven't decided if i'm going to bypass appleTV and directly connect the MAC mini to the TV yet... there seems like there are more advantages to this then not.. and if i really wanted to, i could partition and boot as a appleTV... with all that said, my entertainments centre would look a lot cleaner with just a little black box tucked away somewhere...)+
Thoughts?, Advise?, Experiences?, Predictions? are all welcomed!...

Goosh, Too much thinking here need more research, eh?
"storing movies on Apple TV (Gen1)." Bad idea. If ATV1 is ever pointed to an itunes library then all that storage is LOST.
I have a huge itunes library with no lag. I have a fast Mac Pro, lots of ram and fast hard drives. What do you have?
ATV2- frame rate is higher 30/fps I like ATV1 with hard drive. I travel and take it with me leaving computer home.
"speed requirements for streaming (audio vs video)." You need to focus on network robustness. Wireless about 6M/sec and ethernet wired 11.3 M/sec Your choice. I do wired. No lag.
external device....do not use usb too slow , slower than FW 400. Use FW 800 I use Nexstar MX raid enclosure, two 2 terabyte hard drives set in jbod, not raided. Never a problem of connection.
itunes and NAS one mac at a time on this one and slow to transfer files, especially large volume.
Mac mini...I'd like to go that way because of the 1080 resolution to ATV but my hesitation is if no 5.1 channel sound then forget it. The ATV1 does 5.1 channel sound.

Best workflow practices for iBooks Author re Enhanced Books?

Hi
I have already published one Enhanced iBook in iTunes (The Wandering Gorillas) about my research in Rwanda. I am now working on several others which will contain much more interactive media - photos and video.
I have vast amounts of unique photos and video - which would be useful for education purposes. So, 'where fools rush in...' I began to creat a new Enhanced iBook with lots of rich media.
However, I immediately started to have serious problems as the fille sizes grew very large - due to the many images and especially because iBooks Author creates versions etc. Thanks to solutions provided on another post by Pondini & Linc Davis these problems have now been resolved and I have regained my 'lost' 100 GB - which had been gobbled up into the folder DocumentREvisions and private/var - you can read their solutions here
https://discussions.apple.com/message/22800295#22800295
Now, I wish to avoid the same problems - and try to get the best possible workflow to use when creating Enhanced iBooks - which contain lots of rich media files such as photos and video.
And so I am asking advice form anyone who has created such iBooks using iBooks author - or who is an expert in the finer workings of this software.
First - Since Apple restrict the final iBook size to 2 Gb (and recommen smaller) I am considering creating my new iBook via separetly published chapters - so that each will be less than the max 2GB. Obvioulsy these will have to have some 'stand alone' usefulness!
But, is this a good practice? has anyone done this? Is there any way for the separate chapters to be later combined - by the user - in order to have a complete, coherent book?
Second, re image file sizes. For best quality on their new Retina Display iPads Apple suggest images of (No larger than ) 5000 x 5000. I used this - and it produced image file sizes of 20 -30 MB. I did some other trials - using images of 1024 x 1024 max - and on my iPad 2 (non Retina) my failing eyes could not see any difference? Their file size was reduced to 2- 300 KB
Would the difference be obvious on a Retina Display though? Should we use the largest possible resolution (and file size) - but this has serious implications for the eventual overall iBook file size.
What is the best compromise?
Third, I have an iMac with an i7 250 Gb Flash drive and a separate 1TB hard drive. All my 'media assets' are on the 1TB hard drive. The still images are exported from my various Aperture libraries - as jpegs of the size mentioned above (and into a newly created folder) . Same with video - to Apple's recommendations for video replay on iPads.
So far I have kept and used the actual iBook Author file - for the new book - on the desktop of my 250GB i7 Flash Drive.
But, as I reported in the other post, this soon caused me huge problems as my disk space was rapidly 'eaten up' by duplicate versions etc.
I am now considering using a separate, 1Tb Firewire External drive for the actual iBook Author file (with backup copies onto another 1TB drive) I am certain this will be slower than using my internal flash drive - but is this 'good practice?' Can it avoid the problems of all 'lost' storage space which caused me such hassles when using my flash drive? Or, will this be minimised if I create separate iBooks from separate chapters?
And, delete uneccessary versions of course!
I do feel that this is an emerging issue which many will face - as we incorporate more and more rich media into our iBooks.
Any help or suggestions are gratefull received!

Thunderstorm played havoc with box from my ISP - and I am ruuning on a reserve and internet access flaky!
but, here goes with one reply. Will have to wait later re tests for your other suggestions when weather calmed down
Re 'as Apple suggessted' I should have said - no larger than 5000 x 5000 pixels (the 3240 was my vertical proportional dimension from choosing 5000 horizintal dimension)
this is from Ibooks Author help
Add and edit photos and other images
You can add a photo or other image (in a supported file type) to a page in your book by dragging the photo from theMedia Browser, the Finder, or another application.
After adding a photo to your book and positioning it on the page, you can use the tools in iBooks Author to mask (crop) the photo; change its brightness, contrast, and other image qualities; or erase its background.
Important: When you export your book for distribution outside the iBookstore, images are automatically scaled to a width of 2048 pixels, which is optimized for iPad with Retina display. Readers can view these images on other iPad models, but the viewing experience might be slower. You can improve the viewing experience on iPad models without Retina display by using images no wider than 1024 pixels.
ShowMask (crop) a photo
ShowChange a photo’s brightness, contrast, and other settings
ShowRemove the background or unwanted elements from a photo
Important: Images can’t be larger than 25 megapixels (5000 x 5000 pixels) or 50 MB.
SEE ALSO
Add an accessibility description to an object
Add a title, label, or caption to an object
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Best Workflow for Dvd studio Pro

I am looking to get the best possible workflow for dvd output. I currently just export my FCE HD project as quicktime movie NOT self contained. I then pull it into DVD Studio Pro 3 and after i do all the menus I build and burn the dvd. The image quality is good, but after reading alot of posts here it seems alot of people put their projects through compression before dvd studio pro builds the project. Should i be doing this?
Thanks.

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