I want my color to like it does in the preview window without display color management when I export

[PatrckBergn]

I'm working on a Mac, not with HDR footage, and have tried various approaches to correct for the gamma shift that happens during exports. I'm not well informed about the more technical processes of the premiere, so I've tried matching sequence settings between preview and export, encoding into different file types, using luts, troubleshooting in the dark, and no matter what colors have (slightly) less vibrancy then shown in the preview window.

Is it possible to tune the settings to match the colors shown in the preview when the display color management is off? 

If the issue is Apple's playback what should I do to ensure my export looks the best for non-Apple screens and then come to terms with the less vibrant colors when watching back on my Mac?

Is it worth it when the presumed final destination is YouTube? 

Any feedback or pointing me in the right direction would be appreciated. Thank you!
 
Reference example:

The top left is the preview window in Premiere without display color management.

The top right is export without a lut (what colors look like with display color management is on).

The bottom two are exports with a lut and different viewer gamma settings, 2.4 Broadcast, and 1.96 Quicktime. 
I like the range of color and the contrast that doesn't black out the finer details of the 480p footage in the preview window.

Am I being too nitpicky with my color or can I get an export that matches my preview window?
Using Premiere 24.6.4 (Build 3)

[R Neil Haugen]

I work for/with/teach pro colorists, and work nearly as much in Resolve as Premiere. So I can go way, way down this rabbit hole. I'll try for informative but succinct.

First, lose the idea there is some uniform color on screens everyone will see. That is technically and physically impossible. Every screen out there ... even two identical monitors, calibrated with the same gear, fed the identical signal, will not visually be identical.

Now throw in different room lighting brightness, different makers, delivery methods, it's a jungle.

The goal for profesional colorists is never to control what everyone else will see. You can't. It is to get something that, on any one screen, will look similar to other professionally produced media *on that screen*, in relative terms.

You have never, ever,seen exactly what the colorists saw. Doesn't matter if in a theater, over broadcast TV, or streaming. So given the above ... you have choices as to what matters most to you.

For Rec.709/SDR media, there is the gamma 2.4 display transform, used by all devices from broadcast to Android and PCs and TV. Including all Macs with Reference modes set to HDTV.

Then there is the odd gamma 1.96 display transform, used only by Macs without Reference modes.

Which also don't do a proper color space conversion for the sRGB Rec.709 uses, to the P3 color space of those Retina monitors. So both saturation and the actual white point are also a bit off.

1) Where your media will be seen ... perhaps internet on YouTube? On iPhone, or computers, tablets, or TVs?

2) If computers and devices, do you care more about how things look on Macs without Reference modes, or on everything else?

With the understanding that those are wide variant categories.

Tell me that, and I can help with your settings.