Ok Ive finally worked out how to post to this forum, having equally been on Twitter with Adobe Care and just getting off the phone with a lovely chap in India per this case 0188873856 : Deepak K S
Yet still, not really getting any definitive answers to my questions. In that firstly I think it was the Camera Raw update locking out its use when selecting the 32 bit option, open in Camera Raw, via the HDR Pro script. The reason for needing this workflow is so the bit depth and a bigger colour-space retains ALL the colour over the bracketed RAW images, their primary intent 3D application for HDRI Renderer global illumination as a stitched 360 map. Yet still being able to normalise exposure etc via way of a camera raw profile across all the HDR set ready for stitching into a 360 map and to downrez, for an app like Recap/Remake to be able to pull 3D Mesh data from the images yet have enough exposure definition to be able to do all its point matching.
Obviously unless the HDR Pro script resulted combined bracketed images (initially just 3-1/3 for testing, then full 7-1 step once workflow sorted, 4K each raw image within Adobe 1998 in Camera setting) is within a bigger colour space and ideally as big a bit depth as possible, all that additional colour information will be lost. Looking at a previous PSD from when Cam Raw option was not switched off and bringing this in, it tells me it placed such in the Prophoto RGB (Linear RGB Profile space), for having set my working profile space as Adobe 1998 but with the perceptual option selected than the default relatively colourithimic, to allow for gamut shape anomalies (this might have been the real solution to why Cam Raw was switched off in this mode).
The real question is, is Camera Raw going into a 32bit mode and in the same colourspace as the HDR Pro image created, to act as a proper filter, as if this is not the case it explains the why (its this I could not get an answer too).
The other relates to creating HDR by going into Bridge and via Camera Raw, and again even though a 16 bit file can be created allowing for an adujustment preset to be used across images, the resulting image is not in a proper wider gamut colour space for HDR and the DNG file created when opened in Photoshop does not allow it to be saved in a HDR compatible format. This same principle then applies to say a 16 bit down conversion, when testing the setting file handling presets, aka [Use Adobe Raw to covert documents from 32bit to 16/8bit] which becomes rather useless if one cannot start in 32bit mode with camera raw in the first place & not being properly awaire of what colourspace things are within in Camera raw, per like a previous HDR Pro within a PSD file I tested, if it was not for testing the darn thing and it telling me if I wanted to convert to my default colour space. Be nice to have colour space shown like bit depth (like when in CYMK) in Photoshop and Camera raw for other colourspaces not only CYMK, and it clear what both is especially in Camera Raw.
To sum up when dealing with HDR Pro native space I need it to be just that and know what colour space I end up within out of the bat and that Cam Raw is also in that space at the right bitdepth. That when in a HDR space images can be saved in HDR formats properly whichever method is use. Lastly that down conversion in my case to use the same images for use to create 3D Meshes with texture overlay in Recap, Remake or such reflect the perceptual adjustments as closely as possible too, as in my case its about dual use, and everything matching as closely as possible, because then the global HDR environment map will add the added lighting data back to the 3D mesh data and texture. In fact I will look at a way to replace the texture map with higher res/HDR images if possible too.
I one last thing thats also Vitally important is that the integrity of the HDR Pro data (via that import method) and colour-space is retained when stitching it all together into a 360 image.
Hopefully that covers everything, now for some answers and solutions please.