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One of the main reasons to use a PrPro/SpeegGrade "Direct Link" (only in the CC versions, not available in the older CS6) is the wide range of codecs that PrPro supports without transcoding, versus the much narrower list of codecs that Sg can handle. If you have footage in PrPro, then use the "Send direct to SpeedGrade" option to do a Direct Link (DL) path, it doesn't matter what your footage is, if PrPro can handle it, using that PrPro project file ... Sg can now handle it also. AVI? Mp4? Most anything, works just fine in the DL workflow.
Within that process you create a project in PrPro, navigate to your footage in the Media browser, select & right-click "Import", then from the Project panel choose a clip to drop onto the empty timeline/sequence area ... PrPro creates a sequence for that footage, you add/trim clips as desired. Then select "send to Sg" ... do your work in Sg. Save the project through either the "save" icon or clicking the "PR" icon at the top left of Sg, then back in PrPro, continue working.
Especially for as much correction as you're going to need, you'd want to be in Sg and not using PrPro's "Fast" or "3 Way Corrector" color controls ... they're very basic and the scopes aren't nearly as good as in Sg. A bit of warning here ... mp4 and other well-compressed codecs (including mov) don't grade to quite the extremes that say RAW footage will go. You simply don't have the data depth and range in a "cooked" codec compared to the RAW and Log files. This is where unfortunately losing that red filter will cause some consternation as you work.
I think I'd suggest going to the Overall tab first, and getting your clip as good for top to bottom range without spilling "out" the scopes for light to dark ... then go to the " + " icon circled in red ...
click the Curves item and from the opened list, choose "HueSatCurve" which will then open both the control panel for that and put a new layer on your layer's stack.
You'll see this ... down where the color wheels were. You can click anywhere on that line and "set a point" and anywhere else to set another one.
Then if you click & drag in-between them you increase or decrease the saturation of the colors on that area. What isn't necessarily obvious is you can work both ends ... together? Watch what that line does when I set a point by clicking on the left side of the line on the edge of the yellow area, and on the right side of the screen near the magenta/red boundary, then drag up down anywhere between the two points ... and up anywhere outside those two points.
The two points identified as 1 were where I clicked to set points that would then hold the line there. I then clicked to the right ... the 2 or blue dot area, and lifted the reds saturation. Note that it lifted the reddish tones on the OTHER end of the line also. Then I went to the middle, and clicked & dragged down, lowering the non-reddish tone saturation. The reason the blue #2 dot is blue ... is that was where the mouse cursor was hovering when I took the screen grab.
You'll want to get a "base exposure/contrast setting first as noted about ... then come to this and hit it pretty good some color up & the rest down ... work your selection points for best effect, and you can make totally vertical lines if you wish!
Then I'd re-check the luma/contrast controls, and work the input/output saturation some. I don't normally mess with input sat, but you'll probably want to up your input to give you enough data to change your output enough. When you've got sat about as much as you can get, then I'd to go the color wheels or sliders of the main corrections panel, and adjust color balance and tint and color push/pull using all the controls available to ... whatever you can get.
Neil
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