At Technicolor they did quite a bit of on set QC before cameras even rolled with their color consultants, often to the point of fighting with the directors. That said, the things you listed aren't trivial. A lot of the magic is in the camera and printing hardware. The film negative was just black and white, and the prints were the inks printed onto a blank. Just look at a documentary done on a three strip camera to see how the camera and dye process affected images in a unique way on their own, without on set tinkering. If you're trying to replicate that look on digital cameras you won't get there with grading, LUTs or other post manipulation. Digital cameras just don't see a wide enough spectrum at the sensor level. You can play with the grade to try to make the image more colorful, but ultimately the colors you capture are tied to each other. Think of the image your sensor creates as a piece of fabric. You can stretch that fabric to a point, to make it bigger, but when you pull the edge hard enough the center moves too, or eventually tears. With film stock you can get closer, but will still run into the same issue.
Background: I studied this for years and eventually developed (with my partner) hardware and a workflow to allow modern cameras to film in the three strip spectrum. We call it Optical Radiance. We have lots of examples at opticalradiance.com and on our Instagram.
Other people may chime in and point to the work done on "The Aviator" or David Mullen's wonderful work on "The Love Witch". I think both films are great, but neither looks like three strip. In fairness I don't think "The Love Witch" ever claimed they were trying to look like three strip, it was people reviewing it that kept using the phrase. And for "Aviator" Scorsese has said he was looking to evoke his own memory of what it looked like, he wasn't after being accurate.