Thanks for the video. The advice on three point stabilisation is useful. I have a problem with handheld in that 30 years ago, in the foolishness of my youth, I snapped my leg and that slight imbalance plays havoc. I can see how handheld may have more relevance in a setting where you do not have full control over the environment but where you can fully control what is happening, a more sophisticated set up may be better. I can see in Matthia's work with weddings how useful handheld is as they won't be willing to stop what they are doing to wait for him.
It seems that the stabilisation in DaVinci Resolve is one of the million things that I haven't found yet.
It is rather. We must assume that he is after look regarding colours after. He seems to have wanted to keep things as simple as possible and you may have well blown his mind. There is a Hateful 8 LUT. https://triunestore.com/products/triune-color-western-luts and several Dunkirk inspired LUTs.
Can I pick your brains? In the Hateful 8 LUT promo video, the guy tweaks the image before applying the LUT. Does that screw up what the LUT is expecting as an input?
The Sedona LUT does look quite nice. What input does it take?
A LUT is probably as good as it gets. Assuming that you are using software like Davinci Resolve, the LUT file is put in the LUT directory so that you can then apply it to a clip. That will transform from your source image A to your target image B but for that to give you the result you want, you have to be quite specific what A is. If the LUT assumes that you have a flat log image or a Rec 709 then that is what you must give it. My personal favourite group of LUTs are a set that takes Cinestyle flat video from my Canon camera and emulates two types of Fuji film stock and two of Kodak.
It does sound (and maybe is) very daunting and there's clever folks here tutting at my rather Neanderthal methods but Resolve is free and many of the LUTs are too.
http://www.cineplus.ch/vistalut.html They claim "VistaLUT doesn't pretend to replicate a film size... but it represents the 70mm color timing culture." Strangely, I didn't like their example videos. I thought skin tones were too bright but that might be just me.
Basing your colour grading around a film emulation LUT may be the way to go. Also NFS had an article a while back that had a giveaway of LUTs that matched the looks of certain films. https://nofilmschool.com/2015/08/7-free-luts-based-iconic-movie-looks-pl...
For M42 lenses like the Helios 44 on cropped sensors there are often focal reducers to squeeze all the full frame image onto the sensor gained f stop and reducing focal distance.