The problem with the clef change is that even if you transpose the cello cue up 1, or even 2 octaves, it still stays in bass clef. Also, it doesn’t make sense, and Dorico does such a good job of “making sense” it’s rather flawed. In other words, if a cue would force the main voice to change clef, that is not a good idea, ever. Instead, a floating clef in parentheses for the cue, or auto-transposition (with option to disable) would be the way I would expect Dorico to go. Perhaps the essential difference is that the cue feature was designed for use primarily in rests? Then this behavior makes sense. But if it is over music (and this is obviously allowed), then the most logical way of displaying the cue should change. I am pointing this out because it renders the cue pretty useless, as it is just as much work, if not more, to try to un-mangle the cue as it is to simply copy/paste into a new voice at that moment.
When I was rehearsing this piece for the premiere, I watched the violinist pencil in these cues exactly as I would have Dorico make them. It would save rehearsal time and practice time, which as we know, is gold. The less time it takes to read a part and put it together, the more chance of getting that premiere and the all-important repeat performances (assuming the piece is good on its own merits)
There is another very real bug that I mentioned in the first post, but neglected in my hastily put-together example. See this screenshot:
Note that the stems go down in the first bar. In the second bar, with the exact same pitches, the stems suddenly go up, clashing with the cue.