@kontrakatze - Yes, Protune, Cinestyle, ProLost, MarvelsCine, ACES 1.0 (cc, cg, proxy etc) and other colorspaces are coming in the next update. The transfer functions are fairly simple but it takes a little time and some tricky matrix math when it comes to finding the colorspace of baked profiles - but it's nearly ready and looking good

@bengibb & @QuickHitRecord - Without having R12 to play with, my best guess would be that the new per-clip colorspace inputs are based on ACES 1.0 (using IDTs) but work in Resolve's YRGB workspace. We do the same thing with OCIO in our ACR version of Cinelog-C. It will not affect a Cinelog workflow as Cinelog is mainly about getting raw images into a defined colorspace for transcoding but it will help multi-cam timelines come together quicker. If you transform Cinelog-C to one of the supported colorspace input presets you should get good results - it basically means you can use the same Resolve output transform (rec709, rec202 etc) for any footage, regardless of it's colorspace - sound familiar?

When Peter Chamberlain talks about "genuine mathematical transforms" he simply means that the internal transformations in Resolve are using the actual formulae and chromaticity (RGB) of each colorspace (and possibly additional color correction matrices) - this is what we also do. We work with the exact same math then bake the transforms into high precision 1D+3D shaper luts. Luts have inherent rounding errors but the precision of Cinelog-C luts is so high that you will not get visible artifacts. We're working on a GPU accelerated OFX plugin solution too

To sum up, it's a useful addition to Resolve and will work great with Cinelog-C but the new shot match function will probably be more useful to end users.