DVP

Whatabout the 007 aspect ratio? Cinematic no matter what you're shooting:

@Mako Sports inverted cinemascope ratio lol

Yes, its an estimated continuation of the 'fringe' data. All of the gamut (and theoretical gamut) continue from the known edge of the sample cloud. In this way, even cameras with a wider range and gamut than the original intended can be used sans clipping

There is no gamut compression; the key is that log formats are the 'data' format to HDR's 'display' format. Before displays could show a wide gamut and intense brightness, cameras were able to capture this data, which is stored in a log format.

Suck it up and get your own copy for $179 more.  $299 for what it does is worth it.  Plus, so far I haven't had to pay for any further program updates. 

Granted everything's set up for monitoring in HLG, and you want to deliver in that format, that would be the base. It would be used following the LogC variation (just as one would with ordinary LogC). The timeline would be set to work in HLG, so that the grading tools operate contoured to HLG

You'll want those Resolve CM settings at default; the entirety of the data is accessible. One can think of the input and output settings in Resolve CM as a 'global CST', so to speak. For 2020, one could then use Arri's 2020 from their generator after the converted LogC. Granted, accurate post monitoring workflows can be challenging to set up.
https://www.arri.com/en/learn-help/learn-help-camera-system/tools/lut-generator

The HLG Pre maintains the entirety of the captured gamut, converted to VLog (and then to LogC; log profiles are wide gamut):
Hlg

Pre to VLog

EC LogC