How should I spec out a MBP-graphic design,image,video user

I've been preparing to buy a 15" MBP for awhile now, and I'll likely do so in about 6 months. In the mean time, I've just been trying to figure out the best specs for the design work I do (All CS3/4 apps and Final Cut Pro).
I don't have an unlimited budget, and for now, I just want to stick to a laptop not a desktop, and I just wanted to get a feeler for what you guys suggest will benefit me the most:
RAM - I would like 8Gb, but $600 extra to double it, is it worth it? Can Snow Leopard utilize all 8Gb of RAM?
Processor - Hopefully Apple rolls out an i5/7 MBP, but if not, I feel the $300 upgrade to 3.06Ghz is worth it over the top of the line 2.8. Please correct me if I'm wrong.
Hard Drive - I assume a drive spinning faster at 7200rpm compared to 5400rpm would be worth the extra $50, but will I notice it?
Graphics card - Guess I can't change this item, but if I could, would it be worth it to me?
I guess what I'm looking for is real world comparisons between all these different aspects and speed related to them; I haven't found anything to my surprise.
Any input is welcome.

Well as far as the Graphics card, if you buy the low end 2.53, it has the built in shared video 9400, so I'd say get at least the 2.66 so you get the dedicated 9600M card.
If you are thinking of spending 2500+ on a laptop for graphic work, I would look to the 17" the extra screen real estate would be a huge help, especially the extra 300 pixels up and down.
You are correct that the ram is too expensive right now, but it will come down so you should have an intention to expand it at a later date.
The 7200 RPM hard drive is not a bad option, and a cheap enough upgrade that you could go ahead and do that to have it covered under warranty.
Speaking of warranty, you'll want to plan to buy everything together at one time.
I believe applecare covers most accessories purchased with a system such as a mouse, keyboard & router. (And even the 24" display if you choose to get that) If you elect to purchase the 3 year apple care, then it extends coverage of everything.

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like jim says, if you shrink or expand the edit in the nested sequence, it wont automatically shrink or expand the nest in the master timeline. you will have to adjust it manually. so if you cut out a speech, it wont automatically shrink or adjust the sequences on the master timeline.
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I think nobody is understanding what I asked. I'll clarify with an illustration:
Example for Planning Workflow
My Master Real-Time Timeline contains
⋯ blahblah ⋯ [1111112222333333444444555555] ⋯ blahblah ⋯
with several tracks.
Step 1: I want to copy the labeled range (between the [⋯]) to a new timeline, which I'll call Act7ver1. Then, I'll edit it
iii2223334444445ooo
(adding clips for intro and outtro, and cutting parts out of the original),
choose which tracks to switch between and what times,
add any effects.
If this were a nested timeline, it would show up the edited way in the Master as well. Not what I'm asking.
Step 2: Receive additional video clips and add them to the Master, and add a new audio track that cleans up the original audio.
Step 2b: Revisit Act7ver1. Master's changes to source clips would show up in any timeline that uses them, so copy/paste in step 1 would be fine. But adding new tracks that are aligned with the same time range? I'll want to use the new audio track, and decide if I want to cut in any of the new video angles.
Step 3: Copy the same labeled range(between the [⋯]) again to a new timeline, which for sake of the example I'll call Act7ver二.
It will contain the entire unchanged range, not the cut-up version from ver1.
I'll edit it differently, keeping more of the talking between the music, which are exactly those parts cut out of ver1.
Different intro, etc.
Step 4: Some time later, I'll copy a part of the range to a new project. Since this is a tutorial, I'll switch between the different mic, mix, and edited sound tracks to illustrate the difference. That is, all the tracks are available, not just the normal presentation copy used normally. I don't expect to be changing the original anymore, but I like to keep the option of having the various uses see the updated version or keep the original, which is a special case of seeing new tracks present and synced.
If I save over the source file, all uses see the new content.
If I "replace clip", and the replacement is not a complete length of the original (the audio is original is 97 minutes, but I only remix one 8 minute act) it won't line up. Putting the new mix on the Master Real-Time is my solution, especially in light of (4) showing the before/after as part of the script.
So ideally I want the "smart object" I pasted in the first place to see whatever is currently in the Master at the position it refers to, including tracks that were not present before.
Understanding thus far
Simply selecting the original range and turning it into a nested timeline will not do what I want. But, maybe a more advanced use of this feature? ⋯ later: Hmm, maybe it is? Editing the timeline selects pieces of the elements without modifying them. I see a new feature highlight discussing source-edit mode and acting like a copy/paste so all the tracks show up. But I don't know if this is indeed just a cut/paste or a smart object that still allows updates to the definition (of the timeline being nested) to show up in this usage. It sounds difficult to reconcile changes to what's on the various tracks. Anyone explored this new feature and have more than a superficial review posted? (What I've seen just shows that the tracks show up "like a copy/paste" but does not explore changing the referenced timeline or limitations of editing the "pasted" track’s content.)
Adding a track to the Master won't show up in the nested timelines, but there are not a lot of them so if it is straightforward to razor it at the matching places and pop them in explicitly, that's fine.
More Thoughts
What about a script that can generate a new timeline from a marked range, across all tracks that might be present? Then it can be re-run just as easily if the Master changes, and I don't need them to automatically follow any changes: I'll push changes explicitly.
The underlying issue is getting new content into the various projects, synced up at the proper position, even if I have to explicitly grab it while editing the project. The new track has to line up properly with the clips being used.
Ad Interim
For this current project in progress, I can add a dummy track for the future cleaned audio, and get it into the nested timelines from the start. Then saving over the file or a replace-clip can take care of it later.
Intended Workflow
I need to produce a passable first draft of each Act quickly.
Then, do further work on materials that are not necessarily neatly contained within each Act, but cross through them, and are not the exact same start-time and length as any existing clip. It seems natural to do this on a Master Real-Time timeline.
Easily incorporate the new or updated material into the Act timelines, and continue editing the Acts.
then later,
Use the material in other projects (a mundane use of nesting, esp. with the new feature, is fine here for normal uses. The aforementioned video documenting the different steps is a special case.

How should I spec out a MBP-graphic design,image,video user

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