Legal and Full range outputs

I've tried to understand how this works. DaVinci works in RGB Full range natively as I understand. But when I change the settings to "unscaled legal" then does that really mean 16-235?
Right now, it doesn't seem to matter what output I choose regardless of workflow within DaVinci. If I choose "Auto", "Full range" or "Unscaled Legal", when looking at the outputed footage in any NLE it shows full range 0-255. The only way I get it truly legal is to export as full range RGB and then import it into let's say Avid with RGB full range selected at the import. In that way Avid creates a file that is true 16-235 legal.

But I don't understand why the output is full range regardless of of the output settings? Shouldn't I be able to get a 16-235 file directly out of DaVinci?
This issue created some trouble with a client who imported it wrong and it's super important to get it right. What is the standard way of working with this or is it a bug?

The monitor scaling and working space within DaVinci is unscaled legal. And I've tried all settings for the rendering (Auto, Unscaled Legal and Full Range) and no one of those works when importing into Avid with 16-235 settings selected for import. It should be correct if I render out as Unscaled Legal and import it into Avid as 16-235, but it's not. It should look correct in the waveform, but it's not. Everything is out of range 0-255 if I import it as 16-235 in Avid, which means that every output from DaVinci is full range no matter the settings. If I render out at Full Range and import it as RGB Full in i Avid then Avid change it to correct video levels.

So all this works when I'm doing my own online, but I cannot garantuee that my clients knows this and they might assume it's 16-235 instead of 0-255.

What codec are you rendering out?

I've tried DPX, TIFF, Uncompressed (BM), DNxHD etc.
Doesn't matter really, not when looking at the scopes in NLE's after it's rendered out.

So all this works when I'm doing my own online, but I cannot guarantee that my clients knows this and they might assume it's 16-235 instead of 0-255.

Educate your client

This is pretty much a constant of anybody work. The files should be (unless otherwise specified) [0-1023] with the data mapped on [0-1023]: what we refer as "full range"

when you monitor, that has to be coherent with your viewing environment: tipically you map the full range video in to the [16-235 / 64-940 ] video range, Yuv legal and showed in the monitor. This will make your monitor behave as it should and your scopes will be coherent.

when you do a quicktime, if you are using a 422 codec the machine should do a [16-235] coding, when you do a picture the box should do the [0-1023] and if you do a 444 codec you should force [video level] if is for video and [full range] if is intended as filetransfer.

however i found out that a lot of editors do not load the material correctly in Avid/FCP even when the material is right.

Thing is that, yes, I get it right if I manage my own import of RGB full range in Avid, then it's correct. But I never get 16-235 video levels when rendering out of Resolve, whatever codec or filetype. It's always Full range within the NLE. Naturally, if I export at video levels the file should be a 16-235 video level file and when imported in Avid with 16-235 selected as import settings, it should be correct, but it's always blown out and handled like it was a full range file.

So, it doesn't matter what settings I use for output of Resolve, it's always the same. If I'm delivering to broadcast, what are the best export settings and how "should" that behave?