You lost me there on We all do have the same luminance settings. 110, 120, 150. How do these not majorly affect output density if we manipulate images visually.
There are two processes here. One is getting the screen to match the print. That means they have to be very nearby (otherwise how do you know they match? Running into and out of rooms doesn't count).
The numbers one uses to hit the calibration targets vary just as the ambient light and control, the setup of the print viewing conditions, down to the color of the carpet, all play a role.
Then there's the idea of multiple people seeing the same thing, meaning you build a reference environment and carefully spec all the parameters for each site (I'm actually doing this now with a big client). What the client sees in room 206 and what someone on the other side of the world see match. Both are in this reference environment with specified viewing and calibration target values.
YOU can build a suite of such settings. Proofing under your own light box, which matches client A who will view both a proof and final press run, like you, under the same viewing conditions is the key. Another client might use a different viewing condition which you need to attempt to simulate (or get them set to match you).
Someone at the press site will pull both a contract proof and a press proof and view them under some controlled and hopefully specified condition of which you can also view that printed output (and of course, match to your display).
There isn't a single, correct setting for anything but TRC Gamma IMHO. That leaves of course luminance and white point.