Is the color space conversion needed for optimal uploads to Blurb using the book module automatic?
Just uploaded my first book to Blurb using the module in LR4. Blurb recommendations are to upload sRGB if using their software, or to convert to their cmyk profile if using Indesign or a pdf workflow ( I think).
So, I hope that the proper conversion is done automatically when uploading using the new book module. I uploaded a mix of edited raw nefs, edited tifs, psd's, jpegs which normally I would convert upon export to srgb to use in the stand alone booksmart app with great success color wise. I'll see my new books in a couple of weeks, but I'd like to rest easy till then.
Yes, the direct export sends sRGB to Blurb.
Similar Messages
-
My iTunes is not able to sync the iPhone 4. I'm using windows 7 32bit. At the first step it gets stuck refelcting backing up the phone then nothing happens for ages. I'm using the latest iTUnes version, does anyone have similar prob??? There are no error codes which appear and the iTUNES just gets hanged, is there a solution?
Remove the song in question from the sync list and see if the rectifies the problem.
If it does, then iTunes believes the song no longer exists on your drive and that will need to be corrected. -
Color space conversions to/from XYZ broken?
I have just started writing a plug-in in which I need to convert data from an RGB space to XYZ and back again. For this I am using the sPSColorSpace->Convert16 function.
Unfortunately, it seems that the conversions to and from XYZ are not performed correctly. I do not know exactly what *is* calculated, but XYZ it's not. One of the giveaways is that the result of the conversion depends on the color space of the RGB data, including the gamma. Instead, the XYZ values should be uniquely defined, independent of the source RGB space.
I have since created a work-around, by using the sPSColorSpace->Convert16 function to convert RGB values to Lab, and converting those to XYZ and back again with my own code. In this way, everything works as expected. However, it's unsatisfactory for two reasons: (1) a basic SDK function seems to be broken, and (2) my workaround is very slow, introducing 4(!) redundant nonlinear transforms per pixel.
Does anyone have similar or contrary experiences? And, assuming I haven't messed up, how should one go about notifying Adobe about this? Thanks in advance!
Simon>XYZ is a device independent color space, not a transformation of RGB (like HSB).
That is exactly what I meant. Sorry for expressing myself poorly.
The test I did was as follows. I applied my filter as a smart filter to an RGB smart object. I then *converted* (not assigned) the RGB object to another color space using a relative colorimetric conversion. Because my filter operates in the XYZ space, the (visual) output should be unaffected by the color space conversion. Unfortunately, the output changed.
When I changed my filter to use Convert16 to convert to Lab (instead of XYZ) and back, and manually performed the Lab<->XYZ conversion, the (visual) output was indeed independent of the source color space.
My conclusion is that XYZ as calculated by the Convert16 function *is* a 'transformation of RGB', but, you are correct, it shouldn't be. The conversion does not properly account for the source RGB space.
Simon -
How to find the Color Space name for a PDEElement
Hi
I am trying to find out the color space for each PDEElement in my PDF file. While doing this,
I put some debug statements ( cout stmts ) that print the color_space as integer values. I gave this list
after the code. I belive the color spaces should be something like CMYK, DeviceRGB,DeviceGray..etc.
How can I know the actual color space name coresponding to these numbers printed in Debug statements.
Kindly please help me..
void ProcessElementDetails(PDEElement element)
PDEGraphicState gfx_state;
ASInt32 pdeType = PDEObjectGetType(reinterpret_cast<PDEObject>(element));
ofstream outfile("E:\\temp\\test.txt",ios::app);
outfile<<"ProcessElementDetails\n";
if ( pdeType == kPDEText )
outfile<<"PDE Text type\n";
PDEText pde_text = (PDEText) element;
ASInt32 num_run,i;
num_run = PDETextGetNumRuns(pde_text);
outfile<<"Number of Runs for PDEText :"<<num_run<<"\n";
for (i = 0; i < num_run; i++)
PDETextGetGState(pde_text,kPDETextRun,i,&gfx_state, sizeof (PDEGraphicState));
ASAtom color_space = PDEColorSpaceGetName(gfx_state.fillColorSpec.space);
outfile<<"Color Space :"<<color_space<<"\n";
if (pdeType == kPDEImage )
outfile<<"PDE Image type\n";
PDEElementGetGState(element,&gfx_state,sizeof (PDEGraphicState));
ASAtom color_space = PDEColorSpaceGetName(gfx_state.fillColorSpec.space);
outfile<<"Color Space :"<<color_space<<"\n";
if (pdeType == kPDEContainer)
outfile<<"PDE Container type\n";
PDEContent content = PDEContainerGetContent(reinterpret_cast<PDEContainer>(element));
ASInt32 numElem = PDEContentGetNumElems(content);
for (ASInt32 i = 0; i < numElem; i++)
element = PDEContentGetElem(content, i);
ProcessElementDetails(element);
Debug statements with color numbers:
====================================
ProcessElementDetails
PDE Image type
Color Space :700
ProcessElementDetails
PDE Text type
Number of Runs for PDEText :63
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
ProcessElementDetails
ProcessElementDetails
PDE Text type
Number of Runs for PDEText :38
Color Space :389
Color Space :700
Color Space :390
Color Space :388
Color Space :390
Color Space :388
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :390
Color Space :389
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
Color Space :700
SeparateColorPlates
PDF file exists
Number of Pages:1
Number of Elements:5As you may have noticed, the "numbers" you see are actually of type ASAtom -
which is a type declared in the SDK to represent reused strings. You have to
read the relevant documentation to learn how to use the SDK - there is no
way around it. The Acrobat SDK is very powerful, but also a lot more
complicated than most people expect when they start to work with it. Take
your time to learn how to use it.
In this particular case, you need to call this function to convert the
ASAtom to a string:
const char* ASAtomGetString<http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html#ASAtomGetString135%28%29>
(ASAtom<http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html#ASAtom>atm)
(from
http://livedocs.adobe.com/acrobat_sdk/10/Acrobat10_HTMLHelp/API_References/Acrobat_API_Ref erence/AS_Layer/ASAtom.html
Karl Heinz Kremer
PDF Acrobatics Without a Net
[email protected]
http://www.khkonsulting.com -
Enabling LOG C color space conversion with cLog or sLOG footage.
Hi Gang,
I shoot Sony F3, Canon C100 and Canon 5DMk3 cameras in their respective LOG modes whenever possible. I would like to apply the newly added LOG LUT feature designated for ARRI footage to footage from these cameras. Although LOG C is different than the other LOG modes, it should be a good starting point to color grading.
Unfortunately, I can't seem to get the ARRI Log C toggle option to appear with my footage. Apparently there is a certain Metadata Tag in Alexa footage which must make it possible for the Radio Button to appear. I basically want to trick my FCP-X interface into believing the footage is ARRI Alexa Log-C footage even though it is actually Canon cLog, Sony sLog or Cinestyle. Yes, I know the Alexa Log-C profile is a bit different from the ideal profiles for each of these cameras, but it should be close enough for my needs. I will then fine tune each individual camera's color corrections using the FCP-X color panes. What I want is the Curve effect which is difficult to mimic using the Standard Color Panes. BTW, I've been using a 3rd party effect called Natress Curves for this until now, but would like to start using the built-in LUT feature instead since my company has multiple editbays which lack 3rd party plugins. Also, using the built-in color space conversion looks much simpler than the techniques I've developed for the Natress Plugin.
Can anyone tell me which metadata tag is necessary in order to activate the LOG-C LUT option? Thanks Matt ThomasThanks for the reply BenB. I appreciate your willingness to help with this topic, but I'm not sure you understand what I want to do and why.
I want to use the LUT for its Luma curve in actual color corrections in FCP-X. I am not trying to use it for display of dailies or other uses which are common with LUTs.
LOG space color space is similar, but not identical with many cameras. ARRI LOG-C is also very similar to the color space used in Cineon and DPX film scans which I used to see regularly. The black points may vary, but I can adjust black points in many ways. The general shape of the LUT curve should be very similar to other curves used to correct other LOG spaces. If these curves were dramatically different from eachother, they wouldn't be defined as LOG space. LOG is a mathematical formula for how the bits are arranged and reserved in the file structure which is somewhat similar to how stills photographers manage Zone System exposure indexes There is no magic about the way ARRI defines this. It is a way for ARRI footage to match 35mm scans easily and other cameras using LOG space such as the ones I am using regularly. I would LOVE to have Apple include specific LOG LUT's for each camera which I use, but since they have not done that yet, I would like to experiement with the included one which is designed for ARRI LOG-C.
I am a very experienced professional and understand very well how and why LUT's are being used in many ways across the industry. Yes, I use Resolve for certain tasks and yes, it is the best place to do advanced color work. The new Resolve LOG color correction pane is very useful and superior to all tools I've seen. But I also use and enjoy the convenience of keeping my material within FCP-X as much as possible. And in many cases, FCP-X color correction tools are adequate for my needs. But when using Cinestyle, cLOG or sLOG footage on my cameras, controlling the rolloff of highlights is very difficult to do with the simple 3-way controls. in FCP-X.
Since FCP-X has no Luma or RGB curves tool built-in, I currently use the Nattress Curves plugin in an Adjustment layer over my timelines to provide a basic film look. The downside to this is that not all my editbays have licenses for the 3rd party plugins, and also there are some odd workflow issues which would be much simpler to manage the way that FCP-X does with Arri LOG-C footage.
My question is how to trick FCP-X into thinking the footage is LOG-C so I can use the newly added checkbox to interpret the footage using the LOG-C LUT in an early stage of color correction while the footage is still managed in Floating Point color space.
The LOG-C profile in the Nattress plugin works as a very good starting point for advanced color correction for footage shot by Sony F3, Canon C and Canon Cinestyle cameras. In fact, it is also a fairly good starting point for GoPro Hero3 ProTune footage as well. I am not attempting ot use the LOG-C LUT solely for color correction. Instead, I want to use it for CineGamma tonal correction which is only possible with a proper luma or RGB Curve. I will then use the FCP-X color panes to ad specific modifications to each camera's footage to more closely match what I'm looking for. If I'm dealing with a camera with lower dynamic range, I adjust the FCP-X panes to compensate for that particular camera, then Paste these attributes to all the clips from that camera. This often results in a very good match from camera to camera while using the same LUT for the tonal look. I would like to test this technique using the built-in ARRI LOG-C feature, but unfortunately, cannot until FCP-X allows me to use the LUT on other kinds of footage.
I hope this makes sense. Keep in mind I am a very experienced and technical user and have a long history in the blogosphere and forums about these kinds of topics. I have very specific reasons for why I want to do this, and until Apple provides other LOG correction tools or a bonafide Curves tool, I am seeking to find a way to use the LOG-C as an alternative solution. BenB, it could be that Apple has closed out the LUT from other types of footage because of comments from their close peers which are not exactly helpful to actual real-world users. There are many more cLOG, sLOG and Cinestyle users using FCP-X than there are ARRI users and it is unfortunately they chose to limit their features to exclude these somewhat arbitrarily. My goal is to find a workaround for this odd decision and would love any tips or suggestions if the answer lies in the footage Metadata. -
What Color Space to choose for viewing jpegs on a monitor
After reading many webpages and watching many tutorial videos about which color space to use, I get odd results. I understand that sRGB is more for web applications, and that Adobe RGB 1998 has a wider gamut, and that ProPhoto has the widest gamut of colors, particularly helpful with printing.
However, in LR 4, when I export to jpeg as sRGB, Adobe RGB, and ProPhoto, the differences are very noticeable. sRGB looks the most vibrant, Adobe RGB looks flat, and ProPhoto looks dark with a greenish cast. I expected ProPhoto to look best, or is that only for printing, and I have to process differently?
What am I misunderstanding here? TIA.It depends on three factors:
1. The monitor - normal, which means with a gamut close to sRGB, or "wide gamut" with a gamut that approaches Adobe RGB (and today there are plenty of medium priced "wide gamut" monitors).
2. The viewing application and whether it is color managed. In a nutshell, color management translates the image color numbers to eqivalent color numbers in the monitor's color space.
3. Whether the monitor is calibrated and profiled. In order for color management to work properly the application must know what the image's color space is (embedded profile) and what the monitor's space is (monitor profile). Any display on the monitor is always in the monitor space, but in order for the display to be accurate the translation must be made.
If all three conditions are fulfilled, alll images, no matter what their spaces are, will be displayed more or less the same because they have all been translated to the same display space. I say "more or less" because if the image is in a wide space that needs to be compressed to fit in the monitor space, there may be slight differences in the way colors that are out-of-gamut for the monitor are rendered, but the differences are slight.
Without those three factors, only images in the space closest to your monitor's native space will be properly displayed. So if you have a "normal" monitor, choose sRGB and if you have a "wide gamut" monitor, go with Adobe RGB, but keep in mind that other people with "normal" monitors and without color managed browsers/viewers will not see it properly. -
Possible to get the color space and resolution from the .eps file
Hi all,
We have using the InDesign CS3 5.0.4, windows, javascript. We need to get the color space and resolution of the graphics (.eps) file using scripting.
The properties of the image like (actualPpi and effectivePpi will return the value only for the .tiff. and .jpg etc) but it will not return the .eps file resolution values.
Kindly give me the suggesting for the decrepancies.
Regards,
Nagaraj... open them programmatically in PhotoShop, read out resolution and color space ...
On opening them in Photoshop, it asks you "what resolution shall I use, and what color space shall I apply?"
A single EPS may contain any number of embedded bitmaps, with any horizontal and vertical resolution, and in any color space. You can use only a few of these with Illustrator -- and even only one at a time with Photoshop --, but other programs allow just about every possible combination.
Not to mention procedurally generated bitmaps, also possible with PostScript. -
Color space conversion problem when importing JPEG's
Hi,
I'm currently playing with the trial version of LR. While importing JPEG's with different color spaces (sRGB and Adobe RGB) to LR I've noticed a strange effect: There is a small but noticable difference in color, depending if the JPEG was previously saved in AdobeRGB, or sRGB. All the images I've tested so far should not contain critical colors that exceed normal sRGB. When opened in CS2 both versions of a JPEG, AdobeRGB and sRGB, typically look perceptually identical, no matter if I leave the sRGB image to sRGB, or convert it to the working space (AdobeRGB). Also my color-managed image viewer behaves as it should. So I don't think it's a matter of the different color spaces.
Looking at the imported images in LR I would say that the AdobeRGB image is correctly converted while the sRGB image suffers from a slight reddish cast, most noticable in skin tones. The effect is not as strong as if I would load the sRGB image into CS2 and skip color conversion to my working space (AdobeRGB).
The sRGB versions of the JPEG's were obtained from the AdobeRGB JPEG's using CS2 for conversion.
Anyone else here experienced a similar problem? Is this a bug in the xRGB-to-ProPhotoRGB conversion of LR, or a feature?
/SteffenHi Uli,
thanks for pointing me to your thread. I followed the discussion with great interest. Actually, I think the effect I am describing here is of different nature and a LOT stronger, at least for the type of images I've tested.
I did some more experiments yesterday with interesting results:
1) When I export a processed RAW from LR to JPEG or PSD, no matter what Color Space (I tested AdobeRGB, sRGB and ProphotoRGB), and re-import those JPEG/PSD's to LR, they look absolutely identical to the RAW I started with. Also, at first glance, they look similar when opened in CS2, but only because I tested with color images. I can indeed see small differences when testing with B/W, as you described in your "Color management bug" thread.
2) When I change the color space of an PSD or JPEG inside CS2 (I used the default setting 'relative colorimetric') and save it to JPEG and then import this JPEG to LR, colors are far off. The strength of this mostly reddish color cast depends on the color space of the imported JPEG, strongest for Prophoto, less strong for Adobe and sRGB. Interestingly, when I convert the color space inside CS2 and save the result to PSD, it will display correctly when imported in LR. Another interesting side effect: the thumbnails of LR-exported JPEG's in the "Open" dialogs of CS2 and LR (I guess those are not color-managed) show the typical color-flatness for the Adobe and even more the ProPhoto version. For the CS2-converted JPEG's, all thumbnails look just a colorful as the thumbnail of the sRGB version.
3) Such an image which doesn't display correctly in LR will keep its color cast when exported again to a JPEG (not sure about PSD). So something goes wrong with the color conversion during the import of such CS2-converted images.
My explanation so far is that CS2 uses a slightly different way of coding the colorspace information in the metadata of JPEG's which somehow prevents LR to recognise the color space correctly.
Can you confirm this behaviour?
Steffen -
Is color space conversion destructive?
Is a simple color space conversion from RGB to CMYK, and then back to RGB a destructive process – meaning will image data be altered in a way that makes it different that the original image? Like jpg compression? I’ve been working with multi-spectral image data in 4 bands (channels) that is not recognized by PS in it’s original form (R,G,B,NIR), hence the color space swap in order to manipulate. It is a very kludgy way to work with output from some amazing imagery. If the image is trashed by doing this, it becomes another reason for seeking out a better way to edit them. If it does not negatively effect the data I have a bit more time to find a better way. So far, it’s a tough row to hoe.
Thanks! TLL ( long time no post )The experimental evidence is that the conversion is a lossy process. Take an image & duplicate it. Change one of the images from RGB to CMYK and back.Then change the blend mode to difference and you will see the resulting image is not black, but has low level colored noise - conversion errors.
Paulo -
Hi
I have a problem with color prints from photoshop elements 12. The pictures are too light and with strange colors. I have a Canon pixma mg615I0 printer and use mac os X yosemite. The pictures are taken with a coanon eos 550d in the color space sRGB. I have followed adobes recommendations and have tried both letting the printer respektive photoshop manage the colors. But nothing works. I see that there are different opinions about which is best to do so I tried both. I have the latest printer driver installed. Can anyone help me with this?Do the following:
Print a test page from the printer. Perhaps the print head needs cleaning via its maintenance facility.
Let the printer manage colors, not PSE
Calibrate the monitor -
Color management help needed for adobe CS5 and Epson printer 1400-Prints coming out too dark with re
Color management help needed for adobe CS5 and Epson printer 1400-Prints coming out too dark with reddish cast and loss of detail
System: Windows 7
Adobe CS5
Printer: Epson Stylus Photo 1400
Paper: Inkjet matte presentation paper with slight luster
Installed latest patch for Adobe CS5
Epson driver up to date
After reading solutions online and trying them for my settings for 2 days I am still unable to print what I am seeing on my screen in Adobe CS5. I calibrated my monitor, but am not sure once calibration is saved if I somehow use this setting in Photoshop’s color management.
The files I am printing are photographs of dogs with lots of detail I digitally painted with my Wacom tablet in Photoshop CS5 and then printed with Epson Stylus 1400 on inkjet paper 20lb with slight luster.
My Printed images lose a lot of the detail & come out way to dark with a reddish cast and loss of detail when I used these settings in the printing window:
Color Handling: Photoshop manages color, Color management -ICM, OFF no color adjustment.
When I change to these settings in printer window: Color Handling: Printer manages color. Color management- Color Controls, 1.8 Gamma and choose Epson Standard it prints lighter, but with reddish cast and very little detail and this is the best setting I have used so far.
Based on what I have read on line, I think the issue is mainly to do with what controls are set in the Photoshop Color Settings window and the Epson Printer preferences. I have screen images attached of these windows and would appreciate knowing what you recommend I enter for each choice.
Also I am confused as to what ICM color management system to use with this printer and CS5:
What is the best ICM to use with PS CS5 & the Epson 1400 printer? Should I use the same ICM for both?
Do I embed the ICM I choose into the new files I create?
Do I view all files in the CS5 workspace in this default ICM?
Do I set my monitor setting to the same ICM?
If new file opens in CS5 workspace and it has a different embedded profile than my workspace, do I convert it?
Do I set my printer, Monitor and PS CS5 color settings to the same ICM?
Is using the same ICM for all devices what is called a consistent workflow?
I appreciate any and all advice that can be sent my way on this complicated issue. Thank you in advance for your time and kind help.It may be possible to figure out by watching a Dr.Brown video on the subject of color printing. Adobe tv
I hope this may help............... -
Color space conversion due to transparency ...
Hi there!
Let's assume we have a document that contains two RGB images, one of them is set to 70 % transparency. When printing to PDF, the 70 % transparent RGB image is converted to CMYK, the other one retains its RGB color space ...
I seem to understand that this is due to the current transparency color space setting. I could change that to RGB.
But I wonder: Is there no way to keep the color space here, no matter if it is CMYK or RGB the images are coming with?
Thanks,
KlausKlaus,
To learn what happens with flattening and color, you should refer to this excellent document, "Transparency in Adobe Applications: A Print Production Guide."
http://www.adobe.com/designcenter/creativesuite/articles/cs3ip_printprodtrans.pdf
Here's are relevant section (page 24):
Printing transparency: step-by-step
When printing a page containing live transparency from InDesign CS3 and the Transparency Blend Space is set to Document CMYK, the following steps will take place (steps 3 and 6 may perform color conversions):
1 Transparency is detected on a spread by the Flattener.
2 The Flattener refers to the Transparency Blend Space setting to determine the appropriate color space in which to blend transparent objects. In this example, Document CMYK was selected. The Document CMYK color space is determined by the active color settings (Edit > Color Settings).
3 Any image that is tagged with a color space that differs from the selected blend space is converted to Document CMYK.
4 The Flattener flattens the transparency.
5 The flattened data is passed to the print engine.
6 The print engine compares the color information in the flattened data with the Printer Profile color space set in the Print dialog box. If the color settings dont match, the print engine converts the colors to the color space indicated by the Printer Profile.
7 The color-managed job is printed. -
HT1414 how much disk space is needed for backup and restore.
i want to unlock iphone,for this how much disk space is needed for backup and restore activiti
OK... now subtract the music. That's not part of the iPhone backup. Neither are apps, but in app data is.
Why are you asking? Did you get an error? If so, then clear out some disk space. -
Spyder makes the color space too small
Hello,
I just bought a NEC MultiSync LCD2690WUXi monitor which has a fairly large color space. Then I made a monitor profile for it using the spyder2pro. There is also an original icm profile for the monitor which I downloaded on the NEC website, and this one is distinctly larger than my spyder-made profile. I was looking forward to having a monitor which can display 95% of the Adobe RGB color space, but once I calibrate the monitor the profile doesn't even cover the sRGB space, it's simply too small.
I saw the difference on a website called iccview.de (unfortunately it's in German) where you can upload your profiles and compare them to standard profiles in form of 3D graphics.
Without calibrating the monitor at all I could see a lot of amazing colors, but it was also definitely too saturated and unbalanced, ecpecially in the reds. So does this mean you have the choice between a large color space but colors out of control on the one side - and well-balanced colors but smaller color space on the other? Is the spyder to blame?
I use Windows XP Home and a GeForce 6600 GT.
Thanks in advance for your timeThe color matrix for that device probably doesn't expect to be looking at a wide gamut display and producing issues in measurements. Also, NEC doesn't recommend this instrument (yes I know, the software supports it).
-
How much external disk space is needed for editing HD video?
If I'm using FCE:
1) How much external disk space is needed for editing HD video:
if I downloaded 150mins of HD video? and
do editing with it which will have an output of 120mins.
Now PC, going to a MAC user soon Windows XPHi(bonjour)!
As a rule of thumb for HDV editing, use those numbers:
12 to 15 meg/second for capturing ( your project is 150 minutes long, so 780 meg/minute, or 117 to 125 Gig).
If you do any editing, add transition, video effect, add 12 to 15 meg /second to the total.
As your project will have to be rendered for the print to tape operation, calculate 12 to 15 meg/second for all the length of your final movie. Add this amount to the total. (example: a 60 minutes movie : 49 Gig).
If you want to burn a DVD on your Mac, calculate 3 to 4 meg/second for downconversion to DV material if you check "self-contained" in quicktime export dialog. (example: your finished project is 60 minutes long : 10.8 Gig)
iDVD itself needs 3 to 4 times this amount if you want flawless operation.
Finally, if you use your internal hard disk for all this storage (it's not a good idea to capture on the same drive where Mac OS X belongs), your Mac OS needs some spare room to breath (doing caching, etc), and your hard drive must have a least 25% of free space to avoid file's fragmentation.
As hard drive's price drop, get the maximum size you can afford. 250 Gig is a good choice if you want to do just one project of 90 to 150 minutes at the time.
Michel Boissonneault
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