I took some Canon 5D H264 files (lord knows what true color space these are, of course) and imported them into each app. In MC, I exported them as ProRes in every combination of RGB, 709, no gamma correction and automatic gamma correction. I brought these files into FCP and split screened them against the native H264 camera files, as well as ProRes conversions of these files. There was no combination that matched levels seamlessly.
Several combinations gave me a close match on peak whites (within about 5 IRE), but blacks where darker by about 10-20 IRE. So this confirms my conclusion that FCP maintains "sort of" 709 mapping, however, I believe it sets a different black point internally. Probably 0 and not 16. In the case of Avid, the RGB/709 toggle is valid for graphics in/out, but it probably isn't valid for a lot of video files. At least not exactly, if we are talking QuickTime.
In my little codec test, which I posted yesterday, I can "roundtrip" a digital still photo through MC (RGB in and out) and FCP (source gamma) and export an uncompressed file from each. These will match levels almost perfectly when you create a "difference" composite in Photoshop. I'm not sure that holds true for other types of video files.
- Oliver
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