Ive been doing a lot of experimentation with BlackmagicRaw and all that and there are massive issues in my opinion to how resolve handles their own colourspace stuff.
But the first thing you need to understand is that ‘Going back to original debayer’. could mean literally anything , for any raw format out there. For BM that depends on what was set in camera, what resolve version and camera firmware used e.t.c as you can see you have a million different options in the Raw debayer settings, the flat image it shows you by default might be totally different given another resolve version.
Then for the 12K camera specific it will usually default to ‘gen 5 colorscience’ which resolve does not even have a colourspace transform option for, and thats a different gamma ! and as you found out , the whole naming between raw debayer and CST nodes is very inconsistent and confusing. So you can debayer straight into aces but there is simply no way to get back to the Gen5-blackgicFilmLog/BlackmagicWidegamut (or whatever that is supposed to be called.)
Gen 5 left , Gen4 right. there is also some other fun buttons like “gamut compression”…
Also even when you use the gen4 settings throughout, I was never able to match that to a ACES debayer in resolve perfectly, so something is inconsistent… I think its mostly due to those settings but honestly I stopped bothering trying to find out, just use Alexa LogC/ AWG and all is well.
I think for that reason Blackmagic has just enabled to “Debayer” (we aren’t really demosaicing braw… isn’t that raw… its basically just a DCT compressed image like pores or jpeg… but thats a different topic) straight into LogC/Alexa Wide gamut, so you can adhere to a more solid workflow. But that needs to be decided and communicated. also when you choose Alexa LogC to debayer into the “gamma controls” magically dissapear. because that would be ridiculous to use.
Luckily the new 12K doesn’t even shoot prores anymore. so that problem is gone now.
But now you are dealing with a client that thinks when he drags a braw clip on his timeline thats the 'flat camera original" I mean there even is a comparison like that on Blackmagic’s own website…
so client has made a LUT based on a image you can’t go back to, you know what , just match it by hand, get a DPX of the export and go full-ninja , I have to do this a lot even on big studio shows, as CDLs get lost in translations, wrong LUTs get send to me e.t.c . all just to make their dailies -running-avid people happy (rant over , its just a simple lookup table, no magic fairy dust, and most likely its for dailies only and not for final output so go nuts, nothing wrong with it.
Completely reminds me of how crazy all the RED stuff was before IPP2… really baffles me that Blackmagic can’t get their act together , I have had some talks with BM people about this, but it seems like one hand doesn’t know what the other hand is doing …