Hi Troy and welcome to ACESCentral.
As far as VFX and the question about “linear” color spaces, I think Jim has exaustively told everything. As any VFX/animation software is confident working in linear-to-light encodings (sometimes also referred to as “photometrically-linear” or “gamma 1.0”), using ACES2065-1 or ACEScg color-spaces should be pretty straightforward for any workflow. As Jim said, bear in mind their color-primaries and be sure that footage is never “watched” directly encoded in an ACES color space without using an Output Transform (RRT+ODT) first, that maps images to some display-referred encoding
As for harmonizing ACES with a printing process, parametrized Output Device Transforms (ODTs) would be created, in principle, as depedning on different, separate factors, like:
- the print-referred color-space encoding (RGB is still 3-dimensional; CMYK is a 4-dimensional one; using additional inks of specific pigments for, say, metallic or glossy colors, would add dimensionality), which employ a color-subtractive model;
- the spectral response to a standard reference illuminant (D50?) for every used ink(s) above;
- the paper composition and reflectance characteristics.
Not only, as Jim said, printed-paper dynamic range is far inferior to that of contemporary HDR displays; you could have very narrow gamuts using standard-ink color-spaces than you would, for example, by employing separate high-saturation ink(s) to the process.
Just think, as an example, to adding an azure-sky, a fluorescent green, and/or matte red-brick cartridge(s) for reaching cerain colors. The resulting ODT would map to a very different (and wider) gamut than that of most consumer CMYK inkjet printers.
The Output Transform made by the RRT followed by one of such ODTs would translate the ACES2065-1 colorimetry in a “print-referred” encoding.
There could be also second-order issues related to representing some of those printed-paper colors in SDR video encodings used by graphic designers in the desktop publishign phase: those Out-of-Gamut colors (OoG) would need be handled in, say, sRGB encoding of their monitors.
I think there is a part of ACESNext devoted to implementing ACES using ICC profiles, which would perhaps be ideal as related to the cross-profiling of monitors and printers. Maybe you can dig more as regards this part of ACES.
Siad that, I think ACES is perfect for harmonizing video, print and production processes, as it very agnostic and based on the physics of light. Besides, once you have profiled print-referred ODTs for your deliverables (including catalogs for web and PDFs), which might have a longer startup time, you would have less-to-none trouble directly-checking and making sure color is consistent across production, print and video.