A colour on its own cannot be judged
Nobody ships one colour. They ship text on a background, an icon on a button, a placeholder in an input, a caption over an image. Whether any of it can be read is a property of the pair, and no amount of information about either colour individually answers it.
That is why conversion and contrast belong on the same page. The workflow is not convert this colour, it is I have these two colours, will this pass - and if it does not, adjust the lightness until it does. Splitting that across two tools means copying values back and forth for every iteration.
What the ratios actually require
The AA level asks for 4.5 to 1 for normal text and 3 to 1 for large text, where large means roughly 18 point, or 14 point bold. AAA raises those to 7 to 1 and 4.5 to 1. Interface components and meaningful graphics need 3 to 1 against what is next to them, which is the rule that catches thin icons and subtle input borders.
The failures that survive review are predictable: grey placeholder text, a disabled state nobody checked, white text on a mid-tone brand colour that was chosen on a good monitor in a dark room, and a caption over a photograph where the contrast changes depending on which photograph. Each is legible to the person who made it and not to someone reading on a phone in daylight.
Why HSL is the format you want when adjusting
HEX and RGB describe a colour in terms of how much red, green and blue to emit, which is how a screen works and not how anyone thinks. Making a colour slightly lighter in HEX means changing three values at once and hoping the hue survives the trip.
HSL separates hue, saturation and lightness, so making something lighter means changing one number. When a contrast check fails, the fix is almost always a lightness adjustment on one side of the pair, and HSL is the representation in which that is a single edit rather than an experiment.