Apple Pro Res use in PRemiere for expanded color specturm

I heard that using Apple Pro Res in Premiere and AE is good for being able to use the expanded color specturm of the clips. Is this true and and necessary.
Thanks
On a Mac, CS5.5 , os 10.6.8

Perform the following test:
1. Transcode your footage into ProRes (measure transcoding time) and import both of them into AE
2. Set project to 32 bit colour space and tick Linearize Working Space checkbox
3. Drop both source footage and the transcoded one into a composition and set upper layer blending mode to 'Difference' - you'll notice artifacts, which indicate there are some data shift (i.e. loss in quality) happened during transcodung (visually unnoticeable though; uncheck Linearize Working Space, and you'll get solid black screen)
4. Temporarily disable eyeball for your transcoded footage layer, pull a key or/and apply some significant colour correction and/or a retiming effect onto your source footage. Measure the time for rendering RAM preview.
5. Copy effects and paste them onto your transcoded footage, enable the layer eyeball - you'll notice artifacts, probably, worser than you had had before you started your grading work.
6. Disable your source footage layer eyeball and measure how much does it take to render RAM preview for your graded transcoded footage. In my particular spec the difference between rendering RAM preview for graded AVCHD source footage and the transcoded one is about 16%.
7. Render lossless (or about lossless) intermediates out of your graded source footage and the transcoded one in turn, measure the render time. In my particular spec the difference between a single render is about 25-30%. If I take into account time for transcoding, the difference decreases to about 16%. Bear in mind that influence of transcoding time diminishes if one needs more than a single render.
8. Reimport your rendered intermediates into AE project and drop them into the same composition above existing layers. Set blending modes of both layers to 'Difference'.
9. Enable eyeballs just for your rendered intermediates layers - you'll notice artifacts.
10. Now compare like with like: enable eyeballs of your graded source footage and the intermediate rendered out of your graded source footage, then disable them and enable eyeballs of graded transcoded footage and the intermediate rendered out of it - you'll probably notice similar slite artifacts in both cases.
What does all the above mean?
1. Transcoding a source footage doesn't give one any advantages in terms of quality for colour grading. Resulting quality is consistent in both cases, but some quality loss happen during transcoding.
2. Transcoding yields savings on render time, which may be important in some workflows.

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Sorry, I am not following.
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This is the clip:
This is the sequence:
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Did it work before?
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x

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hi everyone!
I've been working with FCP 7 since 2008 and at the same time I started working with Canon T2 from 2 years ago and I haven't had any problems with my FCP workflow files, editing and output used to be H. 264 based files until I started to have problems with my hd DSRL projects. Recently when editing the audio went out of sync and I was suggested to change the Quicktime video settings from FCP 7 to imovie (which is th application I commonly use to create chapters and share to iDVD) this worked perfectly. It was the first time I which I had to change the Quictime Settings to Apple Pro Res 422 The Out of sync problem was resolved but the space consumed by the file was enourmosly ncreased instead. ie. A 5 min project usually would take like a 500 mbs quicktime file and now using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs!! And also the exporting process is taking forever!! For instance I'm working with a 30 min project and the Quicktime conversion never ends. It's taking about 12 hrs and is not taking more than the 20% of the process. Is there something I'm doing wrong? I need help in a extremely urgent way! Thank you all guys! And best regards from Mexico!!
Mac Pro early 2008
Processor 2.8 GHz Quad-Core Intel Xeon
Memory 10 GB 800 MHz DDR2 FB-DIMM
Graphics ATI Radeon HD 2600 XT 256 MB
Software OS X 10.8.4 (12E55)

>using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs
That's about right for a ProRes 422 file. High quality video takes a lot of space. It's sufficient to use the lighter ProRes LT for the footage from your T2 by the way. Your MacPro can also have up to 4 hard drives for plenty of storage.
Why are you using QuickTime Conversion?
Exporting to QuickTime with current settings and self contained is the better way. Then you use Compressor to make your delivery format from that master. Compressor is faster because it can take advantage of multiple cores - FCP doesn't. It will also give you far more control and choice over the encoding.

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A few clips have been transcoded. I open up the original file and the Pro Res HQ file and compare them side by side on my Mac Book Pro. I would like to attach the screenshot but don't think I can do it that here. Anyway, the Pro Res clip is slightly smaller when opened with Quicktime 7 and 10. Also, the colors seem to be darker and the clip a lot muddier than before.
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My clips do experience a slight color shift but nothing nominal. However, I have no problems converting my files using the preset and opening them up in FCP 7. When I open them in QTX they appear the same size as their original. Have you checked the inspector pane on your MBP? I have had issues where QTX will not open a video full size due to screen resolution limitations and would always downsize instead. That could be your issue since the MBP cannot display a 1080p file at full resolution.

Apple Pro Res use in PRemiere for expanded color specturm

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