I'd suggest you don't punt those decisions to the colorist because when you convert to ProRes you're baking in a specific gamma or color space. That look cannot be easily pulled out especially if you've picked the wrong ones. If the colorist will be going back to the R3D files, they can choose the settings again but by then the director will have already gotten used to the way things look on your ProRes files- which takes away from the original intent of the cinematography. Best to discuss with the DP to determine which settings they used on the camera and match those on your conversions- i.e. was it shot REDspace, REC709, etc.
(Not to toss out a totally shameless plug but the book I mention in my signature was designed for exactly this situation- where an editor gets a RED project without a lot of warning.)
Noah
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