We already explained in other threads that all the world (including cinema productions) monitors in REC-709 while filming in Log or RAW. You keep assuming that all we have the same problems you think to have with your Sony.
BTW Among the countless professionals I follow, no one films in "HDR." They all film in RAW or Log with camera capable of real 14 stops of Dynamic Range and 10 bits (at a minimum). The most important thing is that in RAW you film in 4:4:4 i.e., you do not have chroma subsampling. At that point, in post production it is a matter of "preserving" this information during delivery. Hence HDR.
But again, they all, ALL monitor images in REC-709.
https://www.quora.com/Are-movies-shot-at-HDR-or-is-HDR-added-later
https://www.canon-europe.com/pro/stories/cinema-raw-light/
https://en.m.wikipedia.org/wiki/Chroma_subsampling
Regarding monitor weight: on my pocket, 900$ against 4K$ worths the hassle of some buoyancy compensation. If 3K$ makes no difference to you, that's fine but don't draw universal rules from it.
You are resuming a discussion from April 5.
What has not been clear since the last warning about personal attacks given by Tim & Chris?