HDR PQ for shooting underwater video?

Hello to all HDR-Pros!

After fighting with inaccurate manual white balance on my GH5 for more than 6 years my workhorse got damaged on the last trip and know I am thinking of returning back to Canon because of the superb underwater colors.
I am also thinking about an easier shooting/editing workflow but don't know if this will work. So this is why am asking here...

In the years with my GH5 I just tried to get color as warm as possible (WB set to 10.000K and some bits of artificial light did the job). I also used V-Log and ALL-I and color corrected the footage later in FCP X.
This worked ok, but maybe there is a better way in the future when I will be using Canon again?
I am planing the following workflow on Canon EOS R7 and/or R50 and FCP X:

1. Manual WB depending on the depth
2. Shooting in HDR PQ
3. Converting HDR PQ in FCP X to Rec.709
4. Color correction if needed

Shooting in HDR PQ would allow me to see the footage out of the box "as good as possible" underwater and on the dive boat without struggling with LUTs or a flat profil. Also it would allow to set ISO below 800.

5 years ago I tried HLG on my GH5 but found it hard to correct afterwards. But maybe my underwater color correction abilities weren't just good enough to handle mixed up GH5 colors and HLG at the same time...
So... Before I jump into a new HDR-adventure...
Does anyone here use HDR PQ for shooting video underwater? Any experiences? Can I hear anyone shouting "NONONO DON'T DO THIS!"? :-)

Thanks a lot for any tips, hints or tricks!
Andreas

You can use HDR-PQ from vlog of your GH5 it is a better option than HLG that has all sort of issue

https://interceptor121.com/2020/05/17/the-definitive-guide-to-hdr-with-the-panasonic-gh5-s1-in-final-cut-pro-x/

When it comes to HDR the issue is both in the capture and in the output

1. HDR comes from log. HDR-PQ is a logarithmic curve it fits well with log that is also logarithic

2. You need to identify a good starting point so that colors stay in gamut

3., you need to deliver separately HDR and SDR

Upon consideration and years of trial I have decided that underwater video except near surface has low contrast and therefore there is no specific need for dynamic range. SNR matters more than DR

Now am shooting a Sony A1 in Slog3.cine2 and planning to only deliver SDR