I have worked as a colorist on around 30 featurefilms. Many of them graded in Lineear (more correctly Rec 709) colorspace and others in Log space through a Truelight or Cinespace colourmanagement system using a film lookuptable for the grading preview. The difference in the way the material behaves in the grading between rec709 and log in those cases was huge. Since you view everything through your filmstock emulation, already at base grade colors look very natural and i spent much less time fiddling with the secondaries trying to get a filmic look. Also the way the shadows and highlights have a more natural rolloff in the grading process is very nice. On my last featurefilm as DOP we graded on baselight with truelight colormanagement We baked the filmlut into the dcp and it really looked amazing. Even in highly saturated scenes, where colors and skintones graded in rec 709 or p3 would have quickly the tendency to look a bit artificial and videoish, the filmlog grade looked really good. Lars von Triers "Antichrist" was my first film where i graded Red material in Log.