I have read about issues getting a PRORES 444 QT out of AVID without it shifting gamma and thought I followed the correct formula....but to no avail.....this is simply appalling software engineering from someone somewhere.....
Apple ProRes 444 QT AMA linked AVID sequence.
After trying a couple of methods I decided on balance the best workflow for me would be to simply export an Apple ProRes 444 QT from AVID and use scene cut detection - it is a cuts only one track feature film - no pic in pics, no dissolves or wipes - frankly perfect for this. There are a few speed effects and repositions etc so I preferred this over an EDL style workflow and AAF seems problematic for a few reasons.
Straight export of an Apple ProRess 444 QT SHOULD require no transcoding of the video - just a straight data copy of each frame contained in my sequence.
Why then when I compare the export to the camera originals is it darker?
I tried various methods including consolidating to Pro Res 444 MXF in my sequence prior to making the export - no change. I have tried all the setting I can find in the export options ( RGB, rec 701, use same as source (which does not make it same as source!!!!)
I'm not a workflow ideologue by any means but one of the great strengths of Resolve is the ability to work with the source camera footage. Anytime you conform in another system that is then reliant upon quicktime to create an intermediary quicktime to then do final color on you are going to run into these problems.
Perhaps v10 will bridge the gap and do away with a good few of Resolves conform short comings. Your conform seems fairly straight forward in terms of Resolves conform tools. If speed changes are the only missing piece what I like to do is conform to camera original in Resolve and then export out clips that need speed FX outside of Resolve. I can hack through After Effects well enough for speed FX so I choose to use DPX frames since both Resolve and AE can read/write them. I then bring the AE speed FX back in as a top layer over the camera original in Resolve. I've never had a gamma/color shift using this workflow. In that way Resolve is the hub and is doing all the transcoding if there is any.
Plenty of ways to do it I know, but as a colorist first and foremost this is just my 2 cents as far as coloring from camera original.