Inaccurate FCP Canvas Color Preview

I am getting FCP 7 this afternoon but I am not sure that it will address the problem I have been having in FCP 6 at all.
I have a NEC LCD3090WQXi and a 2690WQXi as my primary desktop displays. I have a AJA Kona3 outputting to a HI-5 SDI to HDMI converter box which shoots a signal to a 37" Samsung 1080P LCD. I also have the Kona3 outputting to a JVC DT-V24L3DY 24" Professional Broadcast LCD.
Here is the situation. The 37" Samsung looks quite similar to the JVC Studio monitor, as close as I would expect since the Samsung is a consumer monitor that I use to evaluate how video will look on a typical LCD/Plasma purchased from Best Buy or wherever. The JVC is perfect, true 1 for 1 pixel monitoring, built-in waveform, timecode displays, a great display that is very accurate.
Here is the PROBLEM. The NEC monitors are wide gamut, and display a much wider range of color than the typical Cinema Display (I have two 30" Cinema Displays so I know this for certain). The NEC's basically have a gamut that is identical to AdobeRGB 1998. I calibrate and profile the NEC monitors using the Spectraview II software and dedicated sensor so they are dead on. The problem is that FCP displays the video as super saturated, because it is not correctly using a system monitor profile to accurately display video (or stills). The external monitors are fine like I said, since they are not system color managed, but it is rather ridiculous that FCP does not recognize the display profile and correctly compensate the Canvas viewer within the application. Programs like After Effects and Photoshop handle all of these display profiles correctly, but it appears that FCP is doing absolutely nothing and that my only choice is to calibrate my wide gamut monitors to sRGB (the closest match to the HD standard of 709-5. This is a dreadful and pathetic work around.
I have read a couple of people converting images to AppleRGB for proper display in FCP, this is insane,AppleRGB is a gamma 1.8 colorspace with a gamut not matching HD video anywhere near the match that sRGB provides.
Any help here?

This is an incredibly frustrating topic because there are so many variables, but after a lot of lost hair, I have found these rules to work:
1. FCP, Color treat video as if it was a gamma of 2.2, and shift it on the fly to display correctly on a properly calibrated computer monitor ( I'm using 2 Sony Trinitrons, Eye1 calibrator), with ITU 601 for Standard Definition, and ITU 709 for HD, and the results are fine. Color correction with Color works just as expected. NOTE that the calibration is a little odd, as I am using the ITU color space definitions with a gamma of 1.8.
2. Quicktime, Photo to Movie, and most other video programs, display using whatever the monitor is calibrated to, so if you want to judge color there, you need a calibration run at gamma 2.2.
3. Quicktime has a switch that will force it to display video the same way FCP, Motion, and Color do. Make sure you know where that switch is set in the preferences.
4. FCP, AE, and others give you a choice of what gamma to use to interpret still photographs with. You need to make them match your workflow.
My workflow is to do all image editing in Adobe 1998 color space with a gamma of 2.2. My monitor is using a 2.2 profile.
When working with any FCP app, I use a icc gamma calibration of 1.8, and the appropriate color space. I set all imported stills to be interpreted with a gamma of 2.2.
Using an accurate spectrophotometer and test patterns, I have traced this from Photoshop to Quicktime to FCP display out to a well calibrated home theatre HD display. The results on all the test patches are within a dE of 3, which is well within the the band where the eye can detect differences.
When evaluating video in Quicktime, different codecs appear to be handled differently. I haven't cracked the code heve, and simply use FCP with a monitor gamma of 1.8 for critical evaluation

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