I'm coming from the still side of video with the 5Dmk2 and am wrestling with some workflow issues for Adobe After Effects (Mac with Dreamcolor APS calibration system) and color management in video. Please forgive any common mistakes with the following questions.
At this point I'm correcting clips from the 5D and rendering to Pro Res LT. The clips are sent to an editor for final editing of the video in FCP to be used on the web. There are possible future uses for the footage, but that's it for now.
I capture in A1998, render in NeoScene to ProRes LT (High Quality), import to After Effects, manipulate (No noise/sharpening corrections), export to ProRes LT and then ship the footage. I'd appreciate any suggestions or critiques.
I'm familiar with color management in my still work, using the LZ2480 Adobe1998 space. After spending some time on researching CMS for video, in particular with the DreamColor, my question is this:
Does is make any sense for me to change from the monitor's A1998 space to the Rec 709 space while working in After Effects?
From what I understand, A1998 is a larger gamut than Rec709. If I properly use AE's CMS, there shouldn't be an issue with the monitor space staying in A1998 while I work on files AE.
Or is there something about my assumptions, or the LZ2480/APS in particular, that is incorrect.
In theory you're right. But personally I find the AE colour management and proofing to be a bit untransparent.
If you want to view your material in Rec709, why not just switch the Dreamcolor to Rec709?
On another note, your workflow has two stages of compression: you compress to Prores twice. Maybe for your web-purposes it's no big deal but I would normally avoid that.
What I do myself if I have to work with 5D material is import the H264 directly into After Effects, do chroma-reconstruction using the DeArtifter that's in the Red Giant Key Correct plugin-bundle and then apply Neat Video for noise treatment. And then render.