Need help with compositing DPX red footage and workflow

Hi Guys...sorry to repost this..I've tried in many other forums, but haven;'t gotten a straight answer yet, I'm hoping anyone on this page can give advice...
Recently, I was asked by a friend to help on a low budget project by doing some roto and paint work, and some simple composites in After Effects. The question I have is regarding the specific workflow when it comes to dealing with Red Footage in AE. Currently, the project, which is very small, is getting it’s fine cut done by the editor, and their post supervisor asked how I would like the plates to be delivered for comping…I requested 4k 10 bit DPX files set to Red Gamma/ Red Log Film color space, which I understand to be standard for ingesting.
The question I have is the best workflow setup for this in AE? Because AE has recently upgraded with CC 2014, there are several new plug ins that I am not familiar with regarding importing DPX or Open EXR files, and the precise color space to work in so I can have a “normalized” project to comp in…..basically Log to Lin, and then exporting Lin to Log.
This is what I have gathered, and again, I’m not sure if this is correct, so please let me know your thoughts on the best way to work with this:
Basically I was told to work in sRGB color space in AE in order to work with my VFX comps and elements in the “normalized” sRGB linear colorspace, so go “Log to Lin"
1. Import the red footage as 10 bit DPX sequence into AE (with a RedLog Film color gamma applied)…the project settings should be set at 32 bit depth and the working space set to sRGB
2. Right Click on the DPX footage and select “Interpret Footage” select “Main” and then go to the “Color Management” Tab
3. At the “Assign Profile” Box, select “Universal Camera Film Printing Density”. This should “normalize” the footage in the RGB colorspace of the project, and I should be able to see a Rec709 (sRGB) image instead of flat Log.
For the Rendered Output from AE for the colorist…..
Best to render out two different formats, one in Log space for the colorist, and one in a 1080 QT linear space for approvals from the Director
1. In the AE Render queue, set up two output modules…go to “Output Module Settings” and select “Color Management” tab, then select the “Output Profile”.
2. Set the profile to “Universal Camera Film Printing Density”, and the file format to DPX…or whichever the colorist requests as the file format (png, Tiff, etc)
3. The second module can be set to sRGB in QT for approvals
Does this make sense? Is there a better way? Am I on point? Thanks so much, I really want to have this nailed down before I continue.

Jason talks about merging clips right a the beginning of the video.
http://tv.adobe.com/watch/cs-55-production-premium-feature-tour-/adobe-creative-suite-55-p roduction-premium-feature-tour-overview/

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