Sat May 15, 2021 5:56 pm
ACEScct can have values outside of 0-1 range, if there are (and there usually are) any out-of-gamut colors, so this information will be lost. If you want to use ACEScct, you have to add Gamut Compressor DCTL at first. But it's sometimes better for VFX to have these out-of-gamut colors.
And ACEScc by itself has negative values in the bottom part of it's curve, even without any out-of-gamut colors. Its flare level is below 0 value. So it can't be used with formats like ProRes.
So, I think, the best option is to send your files in source footage color space and OETF, if you have to use ProRes. And then they just open it in Nuke with the corresponding ACES IDT.
But there are two things you should keep in mind:
1. Don't forget to use chromatic adaptation OFX to keep white point the same. As it will be changed if you use Color Space Transform OFX and you don't use Resolve 17.2 (there is a new checkbox for this). And in Resolve 17.2 you can set output to different CSC like Alexa for example.
2. In Resolve 17.1 there is a bug (fixed in 17.2), that doesn't let you go above or below ACEScct range with some of the source formats, if you set Output transform to ACEScct. And you have to set output identical to your timeline color space, which is either ACEScct or ACEScc with ACES color science, if you want to use Color Space Transform OFX for output.
So, in your case, it's probably better to make a duplicate of your timeline and just switch color science to a regular DaVinci YRGB for exports to VFX.