This question is regarding Phantom Flex4K .Cine files and making proxies - or new masters - from them with the same color space.
Recently we have been working more and more with a production team that shoots on Phantom, providing us with raw .cine files that we then transfer to our sister company that specializes in color grading. Since this other company is not in our country we use an FTP with a fast ethernet connection for the transfer, but we have consistently been getting horrendous transfer times that are not workable with our deadlines.
Because of this we have experimented with making ProRes4444 masters from the .cine files, but these seem to be taking the default timeline color space of Rec.709 Gamma 2.4.
After looking further I have changed the color science to DaVinci YRGB Color Managed and set the Input Color Space to Bypass with the Timeline color space and the output color space set to DJI D-Gamut/D-log, but I am not sure this is simply keeping the new ProRes masters the same color space as the source .cine files.
When importing the .cine files into DaVinci Resolve, they seem to be shown in a Rec.709 space, though no LUT has been manually applied.
I know that these things can be tricky. Please let me know if you have advice or suggestions on how to simply keep the same color space with the new files.