The short and unsatisfying answer is, "It depends!"
You may find exactly what you want by looking for demos on Youtube. You might also obtain the book Lessons from the Masters, edited by Robert Gendler and available from Springer Verlag. Many topics are covered, but there are chapters by Adam Block, Johannes Schedler, and Steve Mazlin, each describing their respective workflows -- which are all different. Pixinsight is not covered in this book. It didn't have the popularity that it has now when the book was published.
Also, back in 2010 through 2013, Astronomy magazine ran a monthly column by Tony Hallas where he described his procedures. He yanks up on the curve, saves, reloads, yanks up again, etc., with occasional forays into Levels to adjust the black point and bring down the white point. He continues to do this until the image is stretched to his liking. Luminance and RGB are processed separately until he's satisfied and it's time to combine them as layers. Tony also put out some DVDs to show his procedures (EZ CCD DVD, vols. 1, 2, & 3). Tony's Astronomy column was followed by a series by Adam Block, which ran until his situation at Mt. Lemmon changed. There also comes a point when they run out of "basic" topics that can be fitted into a short magazine column. Both Tony's and Adam's articles assumed Photoshop.
I took Adam Block's workshop several years ago, and I follow his procedures. Adam uses CCDStack for calibration and stacking. Then the files are taken into Photoshop as 16-bit tiffs. The luminance is already scaled when it comes out of CCDStack, although at that point its appearance is somewhat subdued. The RGB is not scaled in CCDStack. When it's brought into Photoshop, Adam's first step is to go into Levels and bring down the white point arrow until it's just above the data, which is all crowded into a tall black line on the left side of the Levels window. Then he expands a bit with curves, increases the saturation, and then he uses Shadows-Highlights (under Adjustments) to dramatically increase the color. Sometimes more than one iteration of these steps is required. Adam does this while the luminance layer is on top of the RGB layer (blended in "luminosity" mode), so he can monitor the effect.
This is greatly simplified, and there's much, much more to it than I can take time to explain here. Other people here will have their own preferred procedures. Please look at the Lessons book mentioned above. You might also invest in one of Adam's video tutorials (they come on thumb drives), which include his actual data taken with a 32-inch scope, so you can try his procedures for yourself on his data.
Edited by Calypte, 14 September 2017 - 12:44 AM.