Canon, Sony??

From this helpful board, decided to buy a new camcorder after Dec 25. I am moving from 8mm to miniDV. Although, I was hoping by now that HD would do the job. My little pea brain says it should, but the collective wisdom of the Apple boards (and David Pogue) says, go TAPE, TAPE, TAPE. Also, I have had some 5-6 SONY 8mm over the years. But it looks like Canon is more popular with Apple. For whatever reason.
Thinking low to Med price: $300-500.
Costco has deal online on a Canon Vixia HV100, High Def. $559.
First, will HIGH DEF work with iMovie 5? Or, do I need to stay with pre- high def?
And, anyone have experience with that camera. Also, to save a few bucks, looking also at Canon ZR 950, about $240. Seems like that would do the job too.
Using mostly for family events, piano recitals, sports, camping, etc.
Thx for opinions.
JON

i have an older powerbook g4 with 512mb
That isn't enough for HD.
http://support.apple.com/kb/TA24911?viewlocale=en_US
"1 GHz G4 or faster required to use HD features of iMovie HD"
"512 MB RAM required to use HD features of iMovie HD."
after you burn your dvd, can you then delete the movie to free up that space (re: 40-50 GBS/hour).
Yes, of course.
after you burn your dvd
A DVD is always SD (standard definition). You can save yourself a lot of trouble by importing your HD or SD footage as SD. Most cameras allow SD importing of HD footage.
Later, when you get a more powerful Mac and a BluRay burner, you can re-import (and re-edit) the HD footage and make a HD BluRay disc.

Similar Messages

Trouble Connecting Canon, Sony Cameras

I am a teacher and I have a new batch of G5 iMacs for my Yearbook class. Unfortunately, I am having a problem with Mac OS recognizing the cameras when they are connected. Usually a camera will show up like a disk icon when attached via USB and powered on. This works fine with my Casio Exilim camera.
However, I have some students with Canon and Sony cameras that will not be recognized by Mac. I figured out that some cameras will be recognized only when you open iPhoto and the camera appears in the Source window.
I am a long-time Mac user and I love Mac, but I hate iPhoto. We use Photoshop to correct photos and having to use the iPhoto interface for importing/archiving is a pain. I just want the students to open the camera, copy their jpegs onto the hard drive and edit in Photoshop.
Am I missing a Setting or Preference that is making it so that my camera will only be seen in iPhoto? Why would this be the case for some cameras, and not others? Thank you for your feedback.

Jason:
Canon cameras never have been able to mount on the desktop as removable media. As already been mentioned, if iPhoto won't recognize it you can use Image Capture to manually view and upload the photos to the desktop and then go from the desktop into iPhoto. Image Capture will allow the students to upload only those photos the want.
As far as the Sony, check in the various menus on the camera for the option that PhillyPhan mentioned. In some Sony cameras it's under Setup 2 menu and the item is USB Connect and the options are Normal, PTP and PictBridge. I think you want to choose PTP.
Do you Twango?
TIP: For insurance against the iPhoto database corruption that many users have experienced I recommend making a backup copy of the Library6.iPhoto database file and keep it current. If problems crop up where iPhoto suddenly can't see any photos or thinks there are no photos in the library, replacing the working Library6.iPhoto file with the backup will often get the library back. By keeping it current I mean backup after each import and/or any serious editing or work on books, slideshows, calendars, cards, etc. That insures that if a problem pops up and you do need to replace the database file, you'll retain all those efforts. It doesn't take long to make the backup and it's good insurance.

Canon, Sony, JVC -compatibility-what works for the family guy?

I want to buy a minidv camera that connects by firewire and is the most compatible to make movies and edit them on my mac in Imovie HD then archive them to a dvd that I will burn on the imac. It's that simple or is it? What do you guys say? I'm tring to keep the costs down on the camera. I'm not a pro. There is a lot of compatiblity issues out there. It's very discouraging. I don't want headaches just fun!

I do own a Sony for years, TRV14... and my first "laptop" was an Apple Powerbook 100 - manufactured by <tadaaa> Sony...
... back to topic:
you really believe, a 8cm disk contains 30min of 800kPix/30fps? .. that 800kPix fullfill any video standards as NTSC/PAL...? that a lossy compressor as mp2 allows ANY quality with such a bitrate....(which defines pic quality on a disk, not what getting onto a ccd....)?
mpegs are just editable within the GOPs... any frame-precisions needs an "estimation" of content, due to the nature of this playback-codec....
... sorry, pal, the technique behind a dvd-recorder is a little more complex then any marketing-dept allows to write in any ad...
and that "immidiately" thing, in a thread a while ago, we remembered that endless evenings in the dark with our Dads, showing zillions of "un-edited"(=selected) slides... even after 20 years of doing homerecording, I will NEVER ever show unedited footage to anyone...
final word:
"don't like" is not enough, has to be "hate" (in capitals)? ... what a world....

Can I use a Canon Lens profile if there isn't a Sony profile ?

I just bought the Tamron SP 90 2.8 DI MACRO USD and LR lens profiles only lists this lens for Canon (F004E) and Nikon (F004N). There is no profile for Sony (F004S) ! Any drawback if I use F004E or N ? Or better use a the profile of the older Model of that lens where there is a Sony profile ?
Thanks for answers !

kleinjn wrote:
One could ask why are there versions of the same profile for Nikon, Canon, Sony and may be others ?
Good question.
My guesses:
* The lens description is not guaranteed to be unique across all camera models, so having camera model in the mix assures the correct lens is unambiguously chosen.
* Adobe wants to reserve the right to do things differently based on camera model, for the reasons hinted at in my previous post (e.g. data may be registered differently in the lens depending on camera model).
It's kinda like camera calibration profiles - there is a separate Adobe Standard profile for every camera, and in many cases, it's identical to that for other cameras, but in some cases, it's different.
PS - I think Eric Chan is the only person likely to give you a definitive answer here, but maybe some other savvy user knows..
Cheers,
Rob

Unable to locate timecode in batch capture

Hi there, I have been working on this problem for a while and would really appreciate some help.
I have a documentary project I have been working on for some time and have completed the EDL. I am now trying to batch capture the footage again in full res and am having problems with a couple of the tapes.
First the specs:
The video was shot on a Sony HDR-HC1 in HDV(1080) mode.
I am using this camera to capture the footage.
I am trying to recapture the footage in a sequence with the easy setting on HDV1080i50.
I had originally captured the footage in SD on an older version of final cut pro (I am now working with FCP6) and didn't realise that my 16:9 footage was actually all 4:3 letterboxed. To fix this problem I used the media manager to export and then in the new project batch capture all the footage again from the tape. The project uses 18 tapes, 16 of which were batch digitised with only minor troubleshooting required. However 2 of the tapes are proving to be very problematic. It seems that whatever clip I select on the tape it gives me a message saying "unable to locate timecode".
I have tried setting the tape to the exact location of the clip before selecting the batch capture, but the computer always seems to look for a spot which is 2-3 mins out of sync with the clip. For example, if the in point is 00:10:00:00 the computer will roll the tape to around the 00:12:00:00 mark and start jogging around there for about 30 seconds until eventually giving me the "unable to locate timecode" message. Looking in the information in the bins, the in and out points are accurate, its just that when I try to capture, the computer rolls the tape to the wrong position.
If anyone knows a workaround for this that will help me avoid having to edit the footage all over again I will be extremely grateful.
Thanks
Liam

HI I have the same problem, the capture window says: Waiting for time code, the device must set in vcr mode and then This operation could not be complete as there is no video, the F!#!%$$ problem is very illogical ,at this mooring I do batch capture without a problem but since the second tape this problem starting, I update to FCP 6.0.4 and,. @@#%#@%#$ the first tape capture but the second not capture and the problem starting againd, note that IMOVIE capture the tape and work very well, iI replace fire wire, camera VCR and , I trayu with Canon, Sony, JVC and the problem persist , I have quicktime 7.4.5, FCO 6.0.4, note that I have two Macs with the same problem in both macs IMOVIE work like a PRO edition Software but FCP is very bad, I have with this problem a long time, I formated Mac, reinstall FCS2 many timers and the problem persist. IS not a problem whit easy setup or wherever , I download the FireWire SDK from Apple and test all connection with the applications of sdk and in all case , the camera and the fire wire are OK, the problem is with quicktime and FCP, If any one is working OK with FCP and DV NTSC devices and JVC PRO HD devices, please tell us HOW DO. I'm working with FCP since 2000 and in this month FCP makes me very UNHAPPY.

Final Cut No Go After 5.1.2 upgrade

Hi Guys & Girls
To make it short... I upgraded to FCP 5.0...
ok..so far so good
Then I upgraded to Tiger 10.4 and upgraded off the net the apple updates to make it 10.4.8
again..so far so good.. I thought until I opened FCP to finish some work
FCP would not Log & Capture ... so I checked and changed capture settings etc, etc, etc ...
I then upgraded to FCP 5.1 and then opened it ...still no Log & Capture
Then I updated to, off the net, 5.1.2
Now, the whole bloody thing won't open !!!
It starts, then quits when it gets to the G4 Excellerator?
Does anyone know what the go is ?
Tiger seems to be ok .....all other apps open and work
Soundtrack, LiveType, Cinema Tools, DVD Studio Pro & All Adobe products open and run
If I go back to FCP 5.1, I still can't Log & Capture (due to missing camera files)
FCP 5.1 has the same problem... the update from apple says........
((Final Cut Pro Update 5.1.2 provides important bug fixes and compatibility updates for certain Canon, Sony, JVC and Panasonic devices. This update is recommended for all Final Cut Pro 5.1 and Final Cut Pro 5.1.1 customers)).
I have run permissions in Disc Utilities and All are OK
Another college was happily working when he decided to update to 5.1.2 and guess what !!!!!
He went home with the SHTS
So ?? Are we all screwed ?? or is it just a simple fix ??
Reguards to all
Mark

Deal Silal
thank you for your information
the capture problem has been fixed with the deletion and download of Q/time 7as stated in the link you directed me to.
As I already had pro, it stayed and is working fine
Dear Maxplanar
As for FCP quiting.....
tried dumping the preferences, but no effect ..
I looked into the lead messege about FCP quiting after start up ... when I have time to try it I will (dumping non-apple Q/Time files)
Yeah ...Q/Time again ...
But thank you for your input ... you never know if you never try these things
Thanks guys

Final Cut Not Recognizing Camera/Devices Connected Via FireWire

I have a Macbook and a Macbook Pro and I'm having the exact same issue with both of them. I'm trying to capture DV footage into Final Cut Pro 5 via a Sony Digital Video Cassette Recorder GV-D1000 NTSC, I've also tried capturing into iMovie with the firewire device not being recognized there either.
Device control is "FireWire NTSC Basic" and Capture/Input is "DV NTSC 48 khz" I've captured footage plenty of times and never had a problem until now. I've tried just about every audio/video setting there is including anamorphic as I saw suggested in a similar thread and nothing has changed. I've also tried different firewire cables, different devices including canon/sony and a panasonic cameras. When I connect a new device it shows "vtr ok" for a few seconds and then switches to "no communication". I've tried trashing my preferences and repairing permissions. I've updated quicktime/restarted the macs/unplugged the devices etc. I've also tried playing the tape on the sony box first and then opening FCP and attempting to capture, the footage stops playing and I get an error message that "video is not available". I'm capturing to a 500gb external harddrive that I've used before with no problems and is connected via usb. At one point it did allow me to start the capture now process, but it kept dropping a million frames and aborting, now it won't even let me get that far. I'm literally pulling my hair out, can some one PLEASE, PLEASE HELP ME??!!?

Exactly what version of QT are you running now?...and FCP5.?
Have you tried the Guiness solution yet?..shut everything down and unplug, wait 15 minutes, plug all back in, then turn on camera/deck first.
Confirm that System Profiler recognizes the camera/deck and the deck is set in VTR mode (not camera mode), then open FCP.
Could be a bad FW port (have you tried other ports on the mac?)
Or, could be QT incompatibility...
http://www.digitalrebellion.com/blog/cats/28/index2.html
http://www.digitalrebellion.com/blog/posts/listof_quicktimedownloads.html
K

I do video productions for a small local TV station. I use Final Cut Express to edit. I need a new video camera but am at a loss as to what to buy. I know I will get a digital camera but do not know the difference between just digital and digital HD.

I do video productions for a small local TV station. I use Final Cut Express to edit. I need a new video camera but am at a loss as to what to buy. I know I will get a digital camera but do not know the difference between just digital and digital HD. Also, I can not afford an expensive camera and need some advice on which of the available cameras would be best and also work well with a Mac. One last issue, I currently use a Panasonic #CCD camera that takes a tape. When I load video to Final Cut the audio and video are out of sinc. Go figure. Can anyone help with these questions. Karen

Hello Karen,
If you are using Final Cut Express, then look for camcorders that are AVCHD camcorders. Look especially for the AVCHD logo and specific mention of AVCHD in the specs. Most of the major manufacturers produce good quality camdcorders - Canon, Sony, etc.
Also, be aware that there are a lot of "not quite AVCHD" camcorders on the market (sometimes they say they record video as MPEG4-H.264/AVC) - buyer beware!
Most everything you are going to find on the market today is HD, which stands for "high-def".
Regarding your question about the Panasonic camcorder, it's best if you post that as a separate question, and please identify the specific model camcorder and the Easy Setup you are using in FCE.

Files not FTP'ing in ASCII (CS4)

Hi all.....we are FTPing files to UNIX, and although the config file shows ASCII, our log shows they are going up as BINARY.....I followed the steps found here:
http://kb2.adobe.com/cps/135/tn_13548.html
This worked for the file I was working on, however the last 2 steps indicate that this is to be done for every file........we have 100's of files.....is there any way to do this globally one time (affecting every page) instead of applying the final two steps for every single file?
Thanks - Steve

We (unfortunately) get a lot of conference work to do and (lo and behold) some of the material we get is done on DVD cameras . Canon, Sony, etc they all seem to have their own way of screwing up with the DVD standards. When you load in Premiere, the footage will skip and burn. Some of it will half-load, some of it will skip, none of it will work or very rarely will...
So what we do here is to install a free plug in called PremiereAVSPlugin-v1.95 and DGIndex. This method is painless once you figure out how it works and will work 110% of the time, guaranteed. It doesn't re-render the files, it just reinterprets them, so you will have your high quality, original DVD files intact.
Easy tutorial here: http://www.wrigleyvideo.com/forum/index.php?showtopic=22869

COMPATIBLE CAMCORDER & EXTERNAL HARDRIVE FOR MacBook WITHOUT FIREWIRE PORT.

Good Evening Ladies & Gentleman,
I have a MacBook(13" Aluminum 2008 version) that does NOT have a firewire port, just USB.
- As far as CAMCORDERS go, What Model and Brand is best compatible with it?
- Also, as far as EXTERNAL HARDRIVES goes, which ones will be most compatible with the MacBook 13" Aluminum version 2008?
- SUGGESTIONS WILL BE MUCH, MUCH APPRECIATED. THANKS.

Hey,
As for camcorders - I don't really think that there is any limitation caused by your Macbook. Perhaps every single model by all the wide-known manufacturers as Canon, Sony, Panasonic, etc. has a USB port, so you don't have to worry about firewire.
As for external hard drives - You can find a huge number of external hard drives that are 100% compatible with all Macs for sure, on the Apple Online Store.
http://store.apple.com/us/browse/home/shopmac/macaccessories/storage?mco=MTM3NjUyMDQ
Message was edited by: Martin Cervenansky
Message was edited by: Martin Cervenansky

Lens Profile Downloader Feedback

I'm curious to know what people think about Adobe's Lens Profile Downloader. Are people using it? What do you think of it? Are people even aware of it?
I think it has great potential. Adobe's been trying to play catch-up after releasing the Profiler (profiles are time-consuming to make, and there was no clear or easy way to request profiles from Adobe or the larger community).
However, it definitely feels a little half-baked. The need for selecting a profile based on the camera model is was built with is slim (if I am a D300 owner, I am equally interested in profiles created with the D90 or D300s, as well as the D7000 and so on). More importantly, there's no field for LENS MAKE. Hello? This means that if Nikon/Canon/Sony, Sigma, Tokina, and Tamron all decide to make a 12-24mm f/4 lens, there's no easy way to figure out which one the listed profile is actually for. More oddities: Apple listed under Camera Make? And a random half of the brands' names in full uppercase?
Here's the info we need when selecting a lens profile for RAW conversion:
Camera Make
Lens Make
Lens Model
Crop Factor
RAW or JPEG (do people use lens profiles for JPEG correction?)
Camera Model (only necessary for JPEGs or if crop factor is unknown)
Profile Creator
Profile Creation Date
User Rating & Comments
Cheers,
Cory
coryschoolland.com

The reason there is no selection for Lens Make is that, until very recently, it was not a standard EXIF field. Even with EXIF 2.3, manufacturers are generally not filling in the field. So there's nothing to search for, unfortunately.
Apple is listed because of the iPhone models.

Do I need an external raw editor with Aperture?

Sorry for the simple question - I'm an unsophisticated photographer just dipping toes in RAW stuff
Does Aperture have the same functionality as the external RAW editors like Sony Image Data Converter and the various Canon tools etc?
What I am asking is - do I need to install these and use them as external editors or can I achieve mostly the same thing in Aperture on the raw/arw images?
I don't agonise over the detail but I would like to tinker and experiment, but having an extra tool is a bit annoying.
Cheers, Z

Aperture is a generic third party raw converter, like Lightroom, Aftershot, DxO, Capture 1, and several others.
Canon DPP, Sony IDC, etc are specific converters for their own brand of cameras only. As such they offers features that make use of manufacturer knowledge about the raw, the sensors, the lenses, the camera settings and so forth.
The third party solutions like Aperture compete pretty well in terms of the basic raw conversion, but only have limited access to some of the camera specifics, so can't fully compete when it comes to some of the cameras advanced processing options (for example diffraction compensation offered in some recent cameras)
Where third party solutions compete is in their ability to support raw from multiple brands of camera and by providing a much larger set of additional features.
Aperture provides excellent features to support the entire workflow process from initial capture to final publishing.
Its raw conversions are generally excellent in terms of the detail/noise balance. Colour and tone is usually a bit neutral or flat and needs adjusting to taste to make them pop, but the use of presets can make this fast and semi-automatic (contrast this with Lightroom which applies a profile that gives a much punchier default conversion). However, specific results will usually vary by camera; Canon, Sony and Olympus and Fuji conversions are usually well regarded, while Nikon users seem to be the most vocal about apertures flat conversions.
The use of in camera settings (tricks) designed to extend dynamic range can impact the raw processing. Where Aperture can read and understand the settings (like Fuji's DRx00% settings) it does a good job, but I see occasional issues reported from Nikon users about issues when using its ADL feature.
So whether you will need an additional raw tool will ultimately be down to what cameras and lenses you use and you own impressions of what you think of Apertures conversions for that equipment.
Unfortunately, there is no longer a demo version for you to try for yourself, although I've seen some comments here about purchasing and then asking for a refund if you are not happy, but I doubt that is official policy but perhaps contact App store support and ask.
When I bought the wrong Bourne movie in iTunes, at first I thought they'd given me the wrong one and complained. Then I realised it was my mistake so told them to forget the complaint. They emailed back saying they had refunded my purchase as it wasn't what I intended to buy. I've had several other dealings along related lines and I have to say I've never been on the wrong end of one their decisions, they have always played very fair with me.
Andy

No Pentax Listed in LR 3.3

When I go the lens profile panel and choose camera make I don't see Pentax listed. I see Apple, Nikon, Canon, Sony and others but no Pentax. Any suggestions?
Thanks,
Robert

I don't see such a profile for Pentax lenses. I have both Lightroom 3.3 and Photoshop 12.0.2 / ACR 6.3 on my computer, so the lens profiles could have come from either of them.
Here is what I see under my lens profiles for Pentax:
C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Pentax>dir
Volume in drive C has no label.
Volume Serial Number is 80E8-66AF
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Pentax
12/07/2010 07:58 AM
12/07/2010 07:58 AM
11/18/2010 10:44 AM           121,095 PENTAX (smc PENTAX-D FA645 55mmF2.8AL[IF] SDM AW) - RAW.lcp
11/18/2010 10:44 AM           185,664 PENTAX (smc PENTAX-DA 15mm F4 ED AL Limited).lcp
11/18/2010 10:44 AM         1,089,166 PENTAX (smc PENTAX-DA 16-50mm F2.8 ED AL SDM).lcp
11/18/2010 10:44 AM           218,200 PENTAX (smc PENTAX-DA 200mm F2.8 ED SDM).lcp
11/18/2010 10:44 AM           216,492 PENTAX (smc PENTAX-DA 21mm F3.2 AL Limited).lcp
11/18/2010 10:44 AM           216,075 PENTAX (smc PENTAX-DA 300mm F4 ED SDM).lcp
11/18/2010 10:44 AM           217,119 PENTAX (smc PENTAX-DA 35mm F2.8 Macro Limited).lcp
11/18/2010 10:44 AM           216,099 PENTAX (smc PENTAX-DA 40mm F2.8 Limited).lcp
11/18/2010 10:44 AM         1,088,004 PENTAX (smc PENTAX-DA 50-135mm F2.8 ED SDM).lcp
11/18/2010 10:44 AM           444,011 PENTAX (smc PENTAX-DA 55mm F1.4 SDM).lcp
11/18/2010 10:44 AM         1,086,411 PENTAX (smc PENTAX-DA 60-250mm F4 ED SDM).lcp
11/18/2010 10:44 AM           246,983 PENTAX (smc PENTAX-DA 70mm F2.4 Limited).lcp
11/18/2010 10:44 AM           377,431 PENTAX (smc PENTAX-FA 31mm F1.8AL Limited).lcp
11/18/2010 10:44 AM           339,111 PENTAX (smc PENTAX-FA 43mm F1.9 Limited).lcp
11/18/2010 10:44 AM           339,034 PENTAX (smc PENTAX-FA 77mm F1.8 Limited).lcp
11/18/2010 10:44 AM           603,433 PENTAX (smc PENTAX-FA645 150-300mmF5.6ED[IF]) - RAW.lcp
11/18/2010 10:44 AM           120,234 PENTAX (smc PENTAX-FA645 150mmF2.8[IF]) - RAW.lcp
11/18/2010 10:44 AM           120,044 PENTAX (smc PENTAX-FA645 200mmF4[IF]) - RAW.lcp
11/18/2010 10:44 AM           120,166 PENTAX (smc PENTAX-FA645 300mmF4ED[IF]) - RAW.lcp
11/18/2010 10:44 AM           120,690 PENTAX (smc PENTAX-FA645 300mmF5.6ED[IF]) - RAW.lcp
11/18/2010 10:44 AM           598,214 PENTAX (smc PENTAX-FA645 33-55mmF4.5AL) - RAW.lcp
11/18/2010 10:44 AM           136,806 PENTAX (smc PENTAX-FA645 35mmF3.5AL[IF]) - RAW.lcp
11/18/2010 10:44 AM           120,882 PENTAX (smc PENTAX-FA645 400mmF5.6ED[IF]) - RAW.lcp
11/18/2010 10:44 AM           596,906 PENTAX (smc PENTAX-FA645 45-85mmF4.5) - RAW.lcp
11/18/2010 10:44 AM           119,456 PENTAX (smc PENTAX-FA645 45mmF2.8) - RAW.lcp
11/18/2010 10:44 AM           358,805 PENTAX (smc PENTAX-FA645 55-110mmF5.6) - RAW.lcp
11/18/2010 10:44 AM           119,468 PENTAX (smc PENTAX-FA645 75mmF2.8) - RAW.lcp
11/18/2010 10:44 AM           597,932 PENTAX (smc PENTAX-FA645 80-160mmF4.5) - RAW.lcp
11/18/2010 10:44 AM           383,085 PENTAX (smc PENTAX-FA645 MACRO 120mmF4) - RAW.lcp
              29 File(s)     10,517,016 bytes
The 18-250 is a common consumer lens so you might try one of the other brands of it. Here are all the 18-250s I have, including both a Sigma 18-250 and a Tamron 18-250 on Pentax cameras:
C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0>dir 18250*.lcp /s
Volume in drive C has no label.
Volume Serial Number is 80E8-66AF
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Sigma\Canon
11/18/2010 10:44 AM           800,899 Canon (Sigma_18-250mm_F3.5-6.3_DC_OS_HSM ) - RAW.lcp
               1 File(s)        800,899 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Sigma\Nikon
11/18/2010 10:44 AM           810,339 NIKON CORPORATION (Sigma_18-250mm_F3.5-6.3_DC_OS_HSM ) - RAW.lcp
               1 File(s)        810,339 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Sigma\Pentax
11/18/2010 10:44 AM           780,099 PENTAX (Sigma_18-250mm_F3.5-6.3_DC_OS_HSM ) - RAW.lcp
               1 File(s)        780,099 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Sigma\Sigma
11/18/2010 10:44 AM           769,859 SIGMA (Sigma_18-250mm_F3.5-6.3_DC_OS_HSM ) - RAW.lcp
               1 File(s)        769,859 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Sigma\Sony
11/18/2010 10:44 AM           769,379 SONY (Sigma_18-250mm_F3.5-6.3_DC_OS_HSM ) - RAW.lcp
               1 File(s)        769,379 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Tamron\Canon
11/18/2010 10:44 AM         1,702,431 Canon (TAMRON 18-250mm F3.5-6.3 DiII A18E) - RAW.lcp
               1 File(s)      1,702,431 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Tamron\Nikon
11/18/2010 10:44 AM         1,715,931 NIKON CORPORATION (TAMRON 18-250mm F3.5-6.3 DiII A18N) - RAW.lcp
               1 File(s)      1,715,931 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Tamron\Pentax
11/18/2010 10:44 AM         1,734,007 PENTAX (TAMRON 18-250mm F3.5-6.3 DiII A18P) - RAW.lcp
               1 File(s)      1,734,007 bytes
Directory of C:\ProgramData\Adobe\CameraRaw\LensProfiles\1.0\Tamron\Sony
11/18/2010 10:44 AM         1,645,297 SONY (TAMRON 18-250mm F3.5-6.3 DiII A18S) - RAW.lcp
               1 File(s)      1,645,297 bytes
     Total Files Listed:
               9 File(s)     10,728,241 bytes
How does your list of profiles compare with what I have?

Raw file support for D600

I cannot open raw files for new D600 in CS5

The D600 has only been out less than a week.
None of the camera manufacturers share the details of their formats , ex NEF, CR2 etc.
Each single model has a slightly different version of their proprietary file formats. So the NEF from a D600 is different from the NEF of the D700, D4, D800 and so on. The same with Canon, Sony, etc.
It takes time for Adobe to reverse engineer the NEF for the D600. They usually release new versions of ACR that support the newest cameras every 3-4 months.
Until then you can download the latest DNG converter and convert your NEF to DNG that can then be read by any version of ACR.
For Mac: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5388
For Windows: http://www.adobe.com/support/downloads/detail.jsp?ftpID=5389
But be aware that the newest version of ACR when it is released will only work with CS6
If you have CS5 or earlier, you need to continue with the DNG workaround or upgade to CS6.
You could also get Lightroom which is cheaper. But neither PS or Lightroom can directly open the D600 at this moment. Patience grasshopper!

Does Photoshop Elements11 with Camera Raw process Pentax KIIs Raw files?

Does Photoshop Elements11 with the provided Camera Raw version process Pentax KIIs Raw files? If not, is there another Adobe plug-in that would handle Pentx KIIs Raw?

MichelBParis wrote:
From the specifications I have read, your Pentax camera can shoot in the Adobe DNG raw format. There should be no problem with Pentax DSLRs.
This thread has been confusing. With due respect, you are using the right terms in the wrong places.
"RAW" is a generic term for unprocessed photo from a camera. No camera that I know of makes files like "filename.raw". Each camera brand that shoots RAW photos has their own file name. I think for a Nikon it is "filename.nef". For my Sony, it is "filename.arw".
As cameras are introduced, Adobe get the file structure information from the camera manufacturer and weaves it into their products via Adobe Camera Raw or "ACR". Think of it as a translator that can make unprocessed camera data as viewable. ACR marches through version numbers as new cameras are produced. Until a camera model is included in an ACR version, its RAW files are unusable in Adobe products.
There is some concern in the photo world that specific cameras brands may go out of business and their RAW format will become "unsupported". Adobe has tried to answer that by introducing a "generic" RAW format called "DNG" and free Adobe software called "Digital Negative Converter" that uses the same structure as ACR. The purpose is to convert any camera manufacturer's format to the generic format. In a perfect world that is only focused on the user, the entire world would adopt DNG like happened to .jpg. In other words, life would be easier if all cameras shot .dng files like they do .jpg.
If the Pentax KIIs shoots .dng files, I am impressed. I've not heard of any other brand doing that. Nikon, Canon, Sony and Panasonic have not gone there.

Canon, Sony??

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