I've made a short film shot on a RED EPIC for my Masters and cut it in FCPX and I have a chance to have it graded at a high end post facility. The grader is asking for a version as a ProRes 444 file with the RED footage kept flat. What's the best workflow for this? When I change the settings using the RED plugin to RedlogFilm and Redcolor3 and export it doesn't seem to be that flat to me and I suspect it's changing it to REC709 in the timeline. What's the best workflow to handover to a grader using this workflow so I have the flattest colour profile for the 444 file? As they're allowing me to use the suite for free I don't think I can get them to conform the footage from the original RED files due to the time that would take them.
Depending on the software used by the high end post facility, I would rather have them grade with the original camera media. You can give them an fcpxml and a guide video output.
Again depending on their software , you could duplicate your timeline and strip the duplicate of all FX to export an easy to translate "fcpxml" they will be able to relink to original camera stock mostly if your TimeCode are unique...
It sounds like they want to simplify it and take one single ProRes 4444 file and have DaVinci to an auto cut detection to create separate clips. This is a totally fine way to do it, although it robs you of some of the flexibility of an xml transfer.
Your clips probably have a LUT auto applied, because as you say it's being interpreted as red log. Select the clips, go to the inspector in the metadata tab "I", make sure you're in "settings" mode in the pull-down window at the bottom, and put the LUTs to "none". From there you should be able to export it as a single ProRes 4444 file and bake the log into it.