Hello Jake, that's a super interesting question you're asking -- superwhites tone mapping on S-Cinetone which is already Rec 709 to a different Rec 709 color space. Tone mapping is typically used when mapping values from one (larger) color space to another (smaller) color space like Rec 2100 HLG to Rec 709.
That's not something Premiere currently does with our tone mappers. I'll pass the request on to the rest of the team. In the meantime, I have a strategy I use that's easier than going clip by clip when needed to do this kind of operation.
You could consider creating a LUT that pulled your superwhites down into a more conservative highlight range in Lumetri. Then export that as a LUT and apply it to the source clips in your project. This is obviously not the same as an algorithmic strategy since superwhite values may vary. But for a group of shots from the same location and time, (I have a ton of clips from a bright day at a skatepark for example) it actually works really well.
Let me know what you think.
Best,
Eric
Eric Escobar
Product Manager, Pro Video Workflows
Adobe
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