To me it looks like RAW footage shot on a EOS or RED, converted into Rec709 with some kind of brilliant finishing LUT to seal the deal. However, this is just an assumption based on previous experience.
No doubt that a lot of work went into balancing every shot. Most likely there were a few color space conversions ie. the grade was done in a wide gamut for more flexibility.
The reason I asked is there was something about this image that set it apart from the rest. More specifically, I was watching the new Peter Jackson Beatles documentary which was shot on 16mm film, and this digital image looked very similar.
Aside from it being less vibrant, the Colorist did a brilliant job of emulating that 16mm look. So it may be down to a little creative LUT on the last node. which often times really does the trick.
It’s well graded and shot nicely. The cameras likely had some sort of log or similar workflow requirements that could be handled a number of ways including using a LUT. However there is no need to use a LUT if you know how to color space transform in Resolve. I would likely grade this without using a LUT of any description. In fact I often don’t see a need for a LUT in grading. It’s a tool in grading for sure but in doco grades I mostly don’t reach for a LUT. Knowing how and when to use a LUT is something that comes with experience. However it is never mandatory and in fact could be seen as lazy practice