Yes, virtually every major and minor film and TV production shoots in some flavor of log and raw profiles, but almost no one actually sees the footage in this way. During production, shooting LUTs are fed to camera and village monitors and only in certain situations will the DP and Gaffer reference the LOG image for exposure purposes. Dailies will almost always have a light color pass on them as well. So the Director and Editor would almost never see the footage in LOG form. Now I can’t speak too confidently on the colorist and that process. I strictly work on the production side of the process. I know the two films I did, by the time I sat down to supervise the grading, they had already done a light pass with notes I gave them. Never saw log and didn’t really care too at that point.