That is indeed a consideration you have to make in a project.
Where it gets tricky is if you have to deal with client colors that need to have a very good match. I recently did a project where we were placing product packages in Arri footage and we ended up just rendering in linsrgb and placed it on top of the final grade only matching exposure afterwards. The reason was that the RRT was shifting the client colors too much and even if we didn’t use the RRT+ODT but went back to Arri log the resulting grade would also create too much deviations.
In the context where you’d render entire scenes with complex lighting and are not that restricted to nail specific colors it can be a lot more beneficial to use ACES as ODT because it gives nicer tonemapping than most integrated in renders or having to use funky stuff like HDR Highlight compression in AE.
With proper passes it’s also still quite easy to tune colors in comp where needed ofcourse.
Again if you really want to use that hybrid workflow you have to know how you are rendering when it’s going from linsrgb into the ACES RRT+ODT so the use of OCIO in your render view is just mandatory.
If you’re interested, here is the Blender filmic config with the ACES srgb output injected in it. This is not at all something official. I created this with that friend of mine for his specific needs and is purely to know how his standard linear srgb render would translate through ACES.