One of the reasons I mention the bad habits part is that facilities indeed have their own way of doing things. (In some cases they feel anything BUT their way is “wrong” and that gets old.)
So it’s best not to get caught up in linear workflow being just a gamma issue. It can be more complicated than that. But the workflow is the same.
The point of linear workflow is that you get out of the process what you expected by putting the correct data into it.
Paint in sRGB (perceptual space) -> linearize -> render through LUT -> comp linear passes (or neutralize non-linear ones)
You are most likely going to paint a texture in Photoshop in sRGB space (be sure your Mac is set to gamma 2.2) You then need a linear texture to render with. You can do that in Nuke with a colorspace node or you can save out an EXR from Photoshop which it will linearize for you (floating point is assumed to be linear, but it’s isn’t always. In this case you’re generally safe.)
Use those linearized textures to render. Now, your swatches will be in linear space in Maya. That’s a catch but you’ll get used to it. In most places we don’t have swatches at all.
Render through the correct LUT so you can view it correctly. Render to 16-half EXR.
Comp in Nuke (or whatever) while VIEWING through the LUT but working with linear files.
This is important because there will be cases where your destination colorspace isn’t a straight gamma change. Your primaries etc might be different. With this workflow when you linearize your textures you do so through the inverted LUT. But your workflow is still the same.
If you change packages or renderers your workflow is. . .still the same. On top of that you have a library of linearized files ready to go that are paired with your originals should you make a change.
In case your wondering how this might work, for Hereafter the colorspace was a specific LUT viewed on a Dreamcolor monitor in DCI P3. This meant we were viewing the images “exactly” how they would be viewed on a correctly calibrated movie screen. This way there were no surprises and all our detail would make it to the screen. But we also viewed the images on an HDTV with a Rec. 709 colorspace so we had to take that into account as well. So the same workflow applied but we had to make sure everything looked right depending on where it was going.