sRGB - Standard: Lost all information in the sky outside and in dark materials inside, dynamic range is too small.
Filmic - Very low contrast: stores a lot more information in highlights, but still burns some parts of the sky. Could adjust exposure but then shadows were getting too dark and losing information.
Filmic Log - Medium Contrast - Exposure -2.27: Lowered exposure to make sure the brightest point in the sky wasn’t reaching white.
Lower contrast looks exacerbated color artifacts in the browns, and didn’t really add more dynamic range, only reduced the contrasts in shadows.
This is my prefered way to grade in Resolve as well.
Graded in Resolve, adding more saturation to highlights using the Lum Vs Sat curve + other contrasts and temperature adjustments, but no masks or local adjustments, only primary grading.
Something worth noting: Filmic maintains luminance relation. What I mean by that: the sky is still brighter than the interior in the image out of Blender, it’s up to me to do whatever I want during grading, using luminance masks, shadow/mid/highlights wheels…
Photoshop HDR Toning Local adaptation is, as the name says, Local and thus destructive. It will apply different adjustments to different parts of the image, so bright parts of the image like the sky can end up with luminance that are then lower than the interior. You can hardly regrade such an image afterwards.
EDIT: Now, why not using the Tonemap node in Compositing?
Well, unless you want to “burn in a tonemap” into your EXR, which you should really NOT do (please keep your EXR scene-referred information intact), you will want to use it to tonemap from 32bits information to a 8bits format like PNG. Rh Simple is just a different tonemap than Filmic, but it’s also older and probably not at good at maintaining color information in highlights and such. It is also a bit harder to use as it has more settings than Filmic.
There is a reason why we don’t have Rh Simple in the Color Management panel, it’s because Filmic is most likely a better tonemapper.