Premiere 2026 Color Management is a lie

Premiere 2026 Color Management is a lie  S-Log3 is hard-clipping and acting like trash 8-bit footage  I am shooting 10-bit S-Log3 on Sony cameras for maximum dynamic range, but Premiere Pro 2026 is completely destroying the data before I can even touch it. Adobe claims "native log support," but the current color management pipeline is an absolute joke.  When I pull down the Exposure slider in Lumetri to recover highlights, nothing rolls back in. The highlights are permanently baked-in and clipped, exactly like I'm editing compressed 8-bit smartphone footage.  Even if I try to adjust exposure at the Source level, use "Interpret Footage" overrides, or stack Lumetri instances, Premiere’s backend automatic tone mapping forces a destructive Rec.709 conversion FIRST in the rendering order, clamping the highlights and holding my 10-bit sensor data hostage.  If your "automatic color management" clips the data before the exposure sliders can access the raw log curves, it isn't color management—it's data destruction.  Stop treating professional log footage like standard Rec.709 clips. Fix the pipeline order so Lumetri sliders actually adjust the raw log data before the sequence clamps it. Right now, your S-Log3 support is a flat-out lie.