From that post, it's clear that you don't understand how these tools work together. Which is fine, as of course, they're pretty new tools, and most users don't have enough experience yet with them to really understand what, how, and why they work like they do.
And how and when to use them, or ... not.
Using either auto detect log or auto tonemap without the other cripples each of them. They work together. That's how they are designed to be used. Not either or, except in rare and specific cases.
Auto detect log tells Premiere to check the media for log-encoding, as Premiere has many log forms now set with specific mathematical algorithms ... not LUTs! ... that it then can apply to the image. IF the image is log, and you have auto-tonemap set, Premiere can use the appropriate algorithm to remap the log image to linear display space, either say HLG or Rec.709.
While the effect may look similar to a LUT based process, it ain't even close. LUTs ... while useful, have drastic limitations and no computational process whatever. Algorithms can be far more complex and do include actual computational subroutines. They tend to be a lot safer way to get your pixels from one space to another. Without clippling or crushing.
I've tested a ton of clips from other users, who needed it because they insisted that 'their' clip couldn't be made to work within the new Adobe system in 24.x. I've only had two, one from a Fuji, and one from a Sony As something or other, that I couldn't get behaving easily.
I was therefore able to help the vast majority of them just get to work, with suggestions ... and the other two, file bugs on those formats with the appropriate people.
The one Sony was from camera that had what, three options I think? ... and two of the three worked fine. The third camera media setting option did need to skip Adobe's normalization process, and be done manually. But once testing it, well ... that was still a savable Lumetri that could be simply dropped on all clips of that specific media.
Past that, the explanation I've been given in detail is that Premiere always takes the 'original' pixel data, translates that mathematically into 32 bit float. Color correction changes are applied to that data in 32 bit float. The tonal range/color space changes are then applied to the display process, along with the display gamma setting, and of course then to the export process, after the corrections are applied to the clip data.
I would love to get a correction if that isn't spot on by any staffer. But over the last 8 months, I've posted that in several places where staffers were participating. And haven't been corrected yet.
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