If it's a project that I care for, this does not happen to often. Most clients does not have the money time or interest. So most of times i do not bother.
Normally we get 10 bit DPX files form Resolve and finnish in Flame. This to me is not really the best way to get things done. Grading and online should be a combined process. And I find it quite amazing that people think that they can create a better grade in resolve then in flame. That is nonsense, I find flame superior to any grading toolset. There is simply so much more thing that you can do in a flame and the colors are all the same. This is something clients will get their head around soon but now still people thing the grading tools are sharper for grading than the compositing tools. Thats wrong. I think it comes from the time when we still used film and the clients DP's etc got amazed over how the colorist could tweak the colors in the scanner, now they are still quite amazed and they think it's the balls in the grading suite that's the trick... But if People do not leaner then I will not teach..
So I let them do their grading with the colorist, here in sweden it's depending on budget, if the budget is good they take the plane to london to get a "good grade" if they do not have that money then they do it at The Chimney Pot or Stockholm Post Production, if they do not have that money then they do it some where else... I actually think it's quite nice to get a disk with dpx files to do the online and efx from. the grading discussion can be a rather long one and most times i find it better to stay out of it, and do my composites etc and take the money and leave.
But then there are the projects I do care about, then I do this.
I bring in the DPX files from their resolve session with a XML. Then I use the same XML and reformat it in flame so the XML points at the r3d and conform from them as well.
Later in flame I make containers for each clip holding both the r3d and the HD 10bit DPX. Then I have all the options in the world, I can tell the flame to chew on the 5k r3d or look at the pre graded dpx files for any given clip. If I do green screen and such I can use the native source and make a key-inline pass that is from a different iso /whitbalance etc. I can also make sure I know that the highlights info in the graded shot is all thats there etc.
I can also use the flame color match functions to perfectly match and save the colorist grade. This I find quite amusing... it's like... thanks super expansive london colorist.... I just snagged your grade :)...
And while working as above Im quite supriced how sloppy they are in the grading sessions and how little they know about colors. Some try to grade bluscreen material and then to help me out they key back the blue in the screen so that I should be able to key it... thats nuts. They also zoom and crop and such because they think that it's better done in the grading toolset than in compositing... ( this is something left from the time when there was a film strip in the scanner, and people naturally did pan in scan to get as much out of the SD signal as possible) today it's a different story... zooming into and panning in a alexa frame before online only does one thing... it ruins it for 3D tracking...
So to me I think the future will be the following.
Grading will be advanced lut's and metadata that is forwarded to the online sessions together with the raw files.
Flame can do this allready, I only have flame 2012 so I did not get Gamma3 and such just yet. But I can actually choose the redlinexpro seting for each clip or camera seting or flame seting or make a mix of the 3 etc. And thats how it should be.
I would like to have resolve just creating r3d meta data. If there is advanced layering and such that should Im sorry be done in composting I think. But I guess some splines etc could go through in future metadata swell.
For me I get happy every time when I see a r3d node in one end of my compositing tree and an "final output node" in the other...
WE master all in 10bit uncompressed Quicktime files. So in the end we are not raw anyway. I think that is good enough, 16bit is only for things that later should go through extreme grading or keying processes.
that how we role. :)
Sure, you can "snag" the grade with the color match features on flame. What about the multiple power windows intersecting with keys/mattes/shapes/wipes? That won't work with your approach. All you can hope to snag is a palette, not the full intent.