The ISO rating of a film is only a manufacturer's suggestion. Some are more optimistic than others.
We can fine tune it the way we want the image to look...overexposure/underdevelopment to lower contrast; underexposure/overdevelopment to increase contrast... Special and hotter soup if you must push [essentially underexposure but adding back some chemical fog in prolonged or hotter processing].
Colour film processing is more restrictive, both in time and temperature, we cannot do much.
Before there was light meter, we use the sunny 16 rule [only applicable in daylight] to start...but for any geographic location and any date, ever wonder why?
Later, we have light meters. We set them according to what the film box says or what we had experience in...whether the meter is hand held, built into the camera, or automatic [in exposure cut off...in time or aperture].
The light meter does not and cannot know if you lied.
Digital is no different. There is a native ISO. Many camera makers mark it as a somewhat pessimistic ISO 200, so that users have less chance to blow out the high light...and let the shadows fall as they may [within the bit depth in the tail end, just like transparency films]. Post-processing can boost the shadow details if you choose, but not much beyond 3 or 4 stops or electronic noise will become visible.
Auto-levelling is the generic term. You can of course print from the DNG files straight...if your exposures were correct.
In using this back-to-basics digital back, first learn the basics…didn’t all Leica aficionados? 😉