I'm having to guess a bit, but is that exported clip, brought back into Premiere, showing the same as the sequence it was exported from? If so, Premiere is being consistent.
I work both in Premiere and Resolve. I'm on a PC and have a highly calibrated and profiled system, so I know exactly what my reference monitor is doing. Premiere and Resolve will show identical images of standard Rec.709 media. Visually and on the scopes.
I can export from one, and get an identical image in the other. Doesn't matter which way I go.
With log-encoded media, and with RAW media, those media formats will not track exactly. As every app will have a slightly different application of transforms and such while 'normalizing' log media, or doing the processing of RAW media.
My main RAW is BRAW from my BMPCC4K. I use the Autokroma plugin in Premiere as it is both far more stable than the BM plugin and has more options. The 'default' of course does not exactly match the BM plugin's default. I wouldn't expect it to. Similar, but not identical.
And processing the same clips in Resolve gets of course a different look than either the BM plugin or the Autokroma plugin in Premiere. But then, with all of them I've choices of which color science generation to apply and a ton of other things.
I am a contributing author over at MixingLight, a pro colorists teaching website. My 'beat' is teaching colorists based (mostly) in Resolve how to work color in Premiere when they have to. Some of the colorists are based in Baselight though, and that very high-end app will have a slightly different 'look' with log & RAW media than Resolve.
So the two most used grading apps will do slightly different 'normalization' of log-encoded media and processing to visuals for RAW clips. I know this doesn't fit with your basic assumption, but it is the reality of things.
Because the image in log-encoded media and RAW clips is NOT an exact 'thing' ... it's data that will look one way or another depending on the normalization used (log-encoded), and the processing steps used to create visual media (RAW clips). Every app I know with built-in tranforms/normalization for log media has several options ... to be used with the same media.
And of course, they all will change depending on the overall color management process chosen. In Resolve, you can do manual, "Davinci color managed", and ACES color managed. All will give a slightly different look. Making such choices a huge part of doing colorist work.
Within that one applicaction, a professional grading application, and all are high-end professional color management operations.
This doesn't even 'touch' the unfortunate issue that was caused when Apple chose to apply only the camera-transform section of the Rec.709 video standard and not apply the display transform also required as part of the Rec.709 standard.
So you have the Mac ColorSync color management system applying a gamma of 1.96 to Rec.709 media. The professional standard is actually 2.4, which Premiere follows. As does Resolve and Baselight ... unless you as the user override the default.
So a properly crafted file within Premiere on a Mac, with "display color management" enabled within Premiere, will look as it should 1) when re-imported into Premiere and 2) when displayed on a calibrated system with proper Rec.709 settings such as a colorist would have. And on my system, with the laborious, careful calibration and profiling I've done.
However, outside of Premiere on a Mac, that same file will be too light and appear low in saturation. This is caused by the Apple CM decision, not by Premiere. You can't show the same file in two different gammas and get the same view.
Color management is a massive rabbit hole. Very little actually works in the way it seems most people assume it does. And it's a right royal pain for colorists to explain why what people see is what they're getting. When they expect something else.
Neil
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