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You are trying to build the house from the roof.
First and foremost you need a story.
No story, no movie.
It will be the story that answers all of your questions: how many actors? How many Sets? How big of a Crew? Which Camera? What Grip needed?
What you need to prioritize?
The story.I think you have to put this question into perspective.
All productions are not the same and we are all at different stages in our working lives.
The workflow is not the same with a famous DP who worked on a big production with a famous colorist who is also on set than a small DP who has no connection with grading process and no one is gonna bother asking anything on post production.
So in my opinion to answer your question, it depends.
In a perfect world all DPs should know how to shoot on camera for a final look and all colorists should know how interpret DPs and directors ideas to convey the message of the story with their grading.
Personally I’m far of being a DP on big productions so I encounter this same issue you mention more often than not. To make sure production follows what I think is the look the story needs I do heavy camera reports where I specify all details about exposure, WB, power windows and as much details as I can as I rarely know who the colorist will be. But the reality I face more often than not is no one reads or listens what I have to say. Name it budget-time constrictions, colorists having no idea what they doing or my thoughts being discarded because they are bad.
At my stage I rarely have any control of what I shoot once I left the set. Only on passion projects I can contribute and dialogue keeps going back and forth. It’s a shame that’s like that but this is what I’ve encountered at my level.
