Please read this first. THIS IS NOT A GAMMA ISSUE! I am well aware of the difference between RGB v YUV & 0-255 v 16-235. It is not a RGB v YUV problem or a 0-255 v 16-235.
I am experiencing a noticeable color shift within highly saturated files. I am specifically noticing a difference in REDs. At least witin my current project.
Files are Alexa C-Log. Edited within FCP. Graded by BaseLight within FCP. Comped within NUKE. Titles added within AE. Sent back to FCP timeline.
Here is what I cannot explain. I can roundtrip the file within Nuke. I can Read a ProRes4444 file which I can then render out as multiple formats, i.e. QT ProRes4444, EXR, TIFF, DPX. I can bring those files back in and create a difference matte which produces pure black (well close enough, small differences in gamma when elevated astronomically). So apples to apples, color space matches, gamma matches.
Now when I bring these rendered files into AE the image sequences display a different color than the ProRes4444 QTs. ALL the image sequences match and ALL the ProRes4444 match. I have tried creating a project with an unmanaged color space as well as a traditional rec709 project color space. I have also tried intrepreting the PR4444 files different color profiles. NO amount of variation will allow the PR4444 files to match the image sequences. I am partial to image sequences, BUT, ProRes files have become standard file types and I would like to resolve this issue.
Any thoughts?
I have tried this:
http://blogs.adobe.com/aftereffects/2009/12/prores-4444-colors-and-gam ma-s.html
and this:
http://blogs.adobe.com/aftereffects/2010/05/prores-4444-and-prores-422 -in.html
Please observe . . . .
TIA
-M