Proposed post workflow for film out

I have been trawling through the forum reading about workflows and recommendations of others for film out workflows and wanted to confirm my proposed workflow.

Brief scenario:
- Source was F23, SR 4:4:4 and to my knowledge was shot 709 (not using the S-LOG gamma setting)
- Using Kona 3
- Hubble probe to get reading of viewing enviroments
- Using cineSpace colour management for previewing out to projector and reference monitor
- Lab is doing a test frame for cineSpace people to create a LUT which takes into account our viewing environment and the film out process


Our choices:

1. Grade in REC709 with cineSpace profile that compensates for our viewing environment and previewing how the film house converts 709 and prints out.

2. Grade in LOG with cineSpace profile that compensates our viewing environment and taking into account a test frame from the film house.


My questions are:

1. Of the 2 options above thoughts on preferred option, or will either produce the same result assuming accuracy of LUTs and consistancy of film house process?

2. If the source was not shot using the S-LOG gamma setting on the F23 should the online material be acquired as 10bitRGB or 10bitRGB LOG?

(I'm assuming 10bitRGB as there would only be a benefit using 10bitLOG if it was shot with a LOG gamma curve. What I want to confirm is if the 10bitRGB LOG capture would pick up any additional data or is it just going to distribute it LOG vs Linear (which we can do in the post pipe) or is it just going to still distribute it Linear in a LOG wrapper which sounds bad.)

3. Assuming 10bitRGB, in our post workflow if we keep them in this space through compositing maintaining 32bit float I assume we can do a LIN to LOG conversion on output in readiness for grading in LOG distributing the benefit of our 32bitfloat through LOG range (or not if we think the 709 pathway is fine, choice 1 from above and keep in LIN).

4. Output as Quicktime (10bitRGB or 10bitRGB LOG) or convert to DPX at this point?

5. If DPX using GlueTools conform compositing shots output in FCP to send to Color for grading. cineSpace LUT loaded (based on choice 1 or 2).

6. Export LOG DPX sequence from Color for film out. Which if the process has been tight should match our preview environment.

7. Export other versions with LUTs baked for 709 version and so on.



Hopefully I've explained it logically, it is quite a complex thing to document with enough acronyms to do anyone's head in.

Any thoughts, opinions, confirmation, or holes in the workflow would be enormously appreciated.

Cheers,
Grant.