A lot of the time, for most scenes, most people don't notice much difference between 601 and 709. What the difference mainly seems visually from my experience (which isn't that much, not hardly anything works in 601 anymore!) ... is the reds go a bit to the orange and greens tend to desaturate some.
I know a few folks dealing with that who've said precise resetting the white points in Premiere can take care of much of that change. Well, sorta, it can.
For scenes where the red-into-orange is a problem, it's pretty easy to go to the Lumetri Curves tab, and especially if you've got a chip-chart handy to shoot, use the Hue v Hue to remap your color response. Put a control point on the red area, and slide it slightly up or down until they're 'clean' on the Vectorscope, lined up with the Red box.
I do that anyway with all cameras I shoot with. Makes color matching a lot easier.
As to the camera screen ... I work for/with/teach pro colorists. Who have the most accurate displays around, of course.
And they point out that no camera made has an accurate screen for both color & dynamic range, not even the $70,000 Red & Sony rigs. Which is why even with spendy cams, on set they always have a calibrated external monitor for those cams as needed.
I've worked in pro stills for 40 years, video for a decade. Current main cam is a BMPCC4K ... have had Nikon's top DSLR in the past also. Have worked on shoots with Red & Sony cams, Mavic drone ... Canon camcorders. Not a single one ever had an "accurate" image on-cam.
So ... it always comes back to the most accurate color tool you have are your scopes. Unless of course, you have a fully calibrated and profiled Grade 1 Reference monitor (that's a specific class of spendy monitors). And that monitor is fed via a breakout device from BlackMagic or AJ so the signal is not 'touched' by your OS and GPU.
Most of us can't afford that kind of setup though ...
Neil
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