Export discoloration

Hello! I am using Premiere Pro to edit, and DaVinci to color. I have my sequence edited in Premiere, and am looking to color in DaVinci, and then send it back to Premiere for export. The only problem is, when I send the file back to Premiere [from DaVinci], there is a slight color change. I'm not sure what exactly it is.

So I'm going to attach a before and after screenshot of what the footage looks like when I send it back to Premiere from DaVinci. SIDE NOTE: I have NOT done anything to the footage in DaVinci, as I am just trying to get down the workflow.

Camera: RED

Here's the workflow I am currently using:
PREMIERE:
1) File - Export
Format: Quicktime
Codec: Apple ProRes 422 HQ
Render at Max Depth
Max Render Quality

2) Export - EDL

DAVINCI
1) Import video
2)Change settings for video
3) Go to, "Edit" tab
4) Right click - Timelines - Import - Pre-conformed EDL
(Color)
5) "Deliver" tab
6) [check] Individual source clips
Format: Quicktime
Code: Apple ProRes 422 HQ
[check] Unique file names
7) Render
8) Go to "Edit" tab
9) File - Export - AAF, XML
10) Export XML file

PREMIERE:
1) Import XML

Thank you! Hope this is easy to understand!

Hi!

There's only one 'proper' way to find out what might be wrong with your roundtrip, and that is to do it all again with color bars and perhaps a ramp, and then compare the before/after signals on the scopes you can find in both Premiere and Resolve.

If you find it difficult to interpret the results, feel free to post some pictures of the scopes and we'll try to help.

As a a rule of thumb I only ever do 32-bit ProRes 4444 in and out of premiere/ae/resolve.

ProRes 422 is inherently limited as it is a 422 codec. If you are working with red footage you are throwing the baby out with the bathwater with this workflow. I believe the shift you are seeing is likely a video vs data range issue. 422 files are interpreted by most apps as video range and 444 files are usually interpreted at data range. I don't know what is going on specifically, but I'd try repeating your steps with a single short clip using prores 4444 or 4444 XQ as your intermediate codec. Like the other poster suggested, take some screenshots of the scopes and put a frame of colorbars and a ramp in the clip.

Personally, i'd only use 422 as a master delivery, not suitable for grading raw camera data.

Another thing to consider is that the viewer in resolve is not an accurate viewer and is subject to color management, which means it will likely look different than say premiere or quicktime. That is one of the reasons you need to view on an external monitor. If you use Resolve's grab still function, you can take a "screengrab" of the footage and circumvent the viewer color management. Then you put that still and your resolve export into premiere and observe the differences or non-differences. Ideally, everything looks 99.9% the same. Source | Still | Graded Clip