Optimizing Live Stream Visuals with In-Camera LUTs

I recently experimented with baking in a custom LUT directly into the camera feed for a live corporate interview stream, rather than relying solely on the live switcher's rudimentary color correction. The goal was to achieve a more polished, 'filmic' look right out of the gate without adding a dedicated color grading station or significant post-production. What I tried was loading a custom Rec.709-optimized LUT (specifically a slightly desaturated, contrast-boosted look I often use for deliverables) directly into a Sony FX9, which then fed into our ATEM Mini Extreme ISO. What worked surprisingly well was the consistency; the look was applied before any compression artifacts from the stream encoder, and it freed up the switcher operator to focus on cuts and graphics rather than tweaking color profiles on the fly. What didn't work perfectly was the black point, it sometimes felt a touch too crushed in shadows, even after adjustments, making it harder to recover details if the lighting wasn't absolutely perfect on set. It felt like baking it in removed a layer of flexibility I'd typically have in a more robust post-workflow, even for a 'live to tape' scenario. Have any of you found a sweet spot for in-camera LUTs in live streaming, especially regarding dynamic range preservation?