Hi!
I might not have an advice on the saturation issue but I just might write a post anyway. We shoot a lot with the URSA Mini Pro 4,6K at our studio and we recently started to use BRAW. In Resolve when using BRAW the IDT comes from the RAW developer so it is not necessary to set IDT:s for all of the files. It will make no difference. In the RAW developer there are some settings that we have stumbled on recently, we are not experts yet… If you use the Resolve default settings the image will look super bright and really bad but the highlight is recoverable. When using the metadata from the camera, the image will look good although with high contrast. For now there seems not to be any possibilities of fine tuning the de mosaic process as the controls are greyed out, and I will ask Blackmagic about this. Here there should be possibilities to work with the saturation I would hope.
Concerning AP1, this is not the full ACES gamut but more or less rec2020, the way I get it. The grading will be done on AP1 in ACEScc/cct, which is a log version more suitable for this. The math, however should be done using the AP0 gamut.
From my perspective I would say that ACES grading is less forgiving than Log grading since the tone mapping has to be done manually. I would say that you have to work harder to get the desired results. I really prefer working in ACES though as this is a scene referred color space which brings more opportunities.
At our studio we have developed a pipeline purely on ACES.
All the best and get back to me for a discussion. I think ACES needs to be discussed back and forth. It´s a simple theory but when it comes to implementation it becomes more tricky and it´s easy to do things wrong.
K