A comparison of three popular workflows in DaVinci Resolve: ACES, RCM/DaVinci Wide Gamut Intermediate and RED IPP2. We see a lot of unusual color/contrast in YouTube videos comparing the RED Komodo to other cameras, and one of the contributors to this is improper color management. In DaVinci Resolve, it’s preferable to (1) maintain an end-to-end workflow in the original R3D RAW files, not proxies; (2) on the Camera RAW page of Project Settings, select full resolution, 16-bit. Working in half-res disables chroma noise reduction and results in less detailed footage and; (3) take advantage of RED’s IPP2 workflow using a transform LUT created in REDCINE-X Pro and set the timeline color space to REDWideGamutRGB/Log3G10.
The Daejeon Chronicles 
One of the nice things with ACES is that the HDR SCOPE becomes full size and much nicer to use.