That’s odd. Not sure why it’s not working. Mine works fine. Maybe try download mine and see what happens.
Regarding the rest of your manual management setup. ACEScct primaries are AP1 not AP0. You also don’t really need to use separate color space and gamma because you aren’t deviating from the default primaries+transferfunction combinations anyway.
I’d put anything that is part of your global look on the timeline level so it’s not copied over and over again. Just for simplicity and ease of adjustability.
I wouldn’t go to tone mapped Rec.709 first and then back to log through a different display transform. If you want to use cineon film luts it’s probably best to only use a CST to go from AP1/ACEScct to Rec.709/CineonFilmLog, then LUT, then output transform unless the LUT itself was already converting to Rec.709/Gamma 2.4 like the default PFE LUTs that come with Resolve.
I guess you mean before or after? If the intent of the LUT you use is film print emulation it’s a process that happens at the last stage of the image pipeline. So in that case it makes sense to place it at the end and grade underneath.
Also keep in mind that your intent is to grade in your chosen working space. If that’s ACEScct then stick to that if you want your color space aware operators to remain accurate. It wouldn’t make sense to convert to cineon from the get go unless you’d change your timeline working space to it.