That works. You can tag stuff as “Scene Linear sRGB” which shares the primaries of rec709. Then pick your viewing lut (ACES to SDR video is the mainstay, I’m also a fan of Alexa Rendering–it’s slightly lower contrast) and anything tagged as “Scene Linear sRGB” will automatically convert the primaries to big ACES and then to rec709 in the viewing lut.
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ah yea that what that was called in flame I get confused between the OCIO naming and flames names sometimes 
I have to agree I do not particularly like the rendering of the SDR ODTs either, its also made for 100NIT viewing which my gui screen certainly isnt even close to
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@finnjaeger I’m with @PlaceYourBetts… I’d prefer that the colourist use ACES. It just makes more sense for a commercial TVC workflow that will be mastered out of Flame. The very last step being ACES to rec709 (or whatever is needed). @finnjaeger I do have a question now you mentioned OCIO… your one of the few people who have good grasp of both flame and nuke. I’ve assumed that the ACES monitoring LUT’s are the same for both Nuke and Flame? ie When working with ACEScg we both are using the same LUT? (assuming calibrated 709 reference monitors ).
Wow the ACES LUT is pretty smart
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Yea basically, flame is using another “layer” of awesomeness for the viewer:
on nuke you can choose between different ODTs , srgb, 709 etc
on flame it chooses the correct one automatically based on what you set as “broadcast” and graphics display colorspace in the settings, so you can have sRGB on the GUI viewer and 709 (or even HDR) on the broadcast output.
Aces viewer luts should be exactly the same across systems, make sure you use the correct version and have a look at what changed during aces versions, the SDR rrt+odt hasnt been touched since version 1.0, but to get a 100% match you want to use the same aces version across systems.
I love this feature it just makes so much sense to me to do this, flame also does this in their “simple linear workflow” (called video: colorimetric) .
It can also apply a ICC profile as a specific ODT so when you have a calibrated profile for your screen it will actually take that and use that as a ODT, which is very cool, I have my gui monitor calibrated to gamma 2.2 using a ICC profile so that works really well for me.
Those are some of the benefits to not beign locked to OCIO.
regarding grading I dont see the point, what comes out is 709 gamma 2.4 , no matter the colormanagement settings so for me , I let them do what they want.
if there is a multi delivery then I would consider it, but honeslty I can make the client pay for another day to do a cinema grade anyhow,
if the grader doesnt like using aces it then Its allright, that might change with HDR , but then there is davinci wide gamut now which feels a lot nicer than working in aces in resolve… (there are some other issues with the aces mode that I really dont like)
For commercials I usually deliver either Web version(gamma 2.2) or Broadcast version(gamma 2.4) , and I can do that no matter what color
management thr grader used .
For longform it is a bit different however, as you usually want to generate aces LMTs you need to start with acesCCt as your base and use the rrt+odt.
It’s not just the ACES lut!
Any of the view transforms (Alexa Rendering, Slog3, etc) are smart enough to convert tagged material into Big ACES, then into whatever colorspace the monitor is expecting.
They can also display linear and log material correctly under the same viewing lut (set the color pref to “any scene linear or log” for that view transform)
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