Short answer: yes — the usual, reliable path is to export a 3D LUT (.cube) from DaVinci Resolve and load that LUT into Lumetri (Premiere) or the Lumetri effect in After Effects. But — important — you must match color-management and input transforms (camera LOG → working space) on the Premiere/AE side, and understand the limits: some Resolve operations (OpenFX, temporal/noise reduction, or certain node types) don’t survive LUT export, and LUTs can’t carry camera raw/debayer differences or per-clip metadata. Below I give a practical step-by-step, what to watch for, and a couple of alternate approaches/plugins.

Recommended workflow (practical steps)

1. In DaVinci Resolve, on the graded clip create a single node (or a node tree) that contains only the look you want to export. If you used lots of OFX, Temporal NR, or GPU-only effects, consider moving pure color corrections to a simple node so they’ll export properly. Exporting works best when the look is in nodes that can be baked into a LUT. Blackmagic Design Forum+1

2. Right-click the thumbnail on the Color page (or right-click the node) → Generate 3D LUT → choose 33-point or 65-point .cube (33 is common; 65 gives slightly more precision). Save the .cube with a descriptive name including the camera/log type. Maurizio Mercorella | Digital Colorist

3. In Premiere Pro:

   • Add Lumetri Color to the clip (or use the Color workspace).

   • In Basic Correction > Input LUT (or in the Lumetri panel menu) browse to and load the .cube. Alternatively place the .cube into Premiere’s LUT folder (.../Adobe/Common/LUTs/Input or Output) so it shows in the dropdown. Match the clip’s Interpret/Color Management so Premiere thinks the clip is in the same log/profile the LUT expects. Adobe Help Center+1

4. In After Effects:

   • Apply the Lumetri Color effect (AE supports Lumetri) to the layer or to an adjustment layer.

   • In Lumetri choose the same .cube under Input LUT / Creative → Look (depending where you want it). AE will apply the LUT the same way Lumetri in Premiere does. Bounce Color®+1

5. Test on a few frames/short clips. If the result looks off, check that the clip in Premiere/AE is being interpreted as the same log/camera color space Resolve assumed when generating the LUT. If you used Resolve color management (ACES, DaVinci YRGB Color Managed), bake those transforms into the LUT or match the color-management settings in Premiere/AE.

What a LUT will and won’t do

• Will: reproduce the color/contrast/creative changes that are pure pixel-to-pixel transforms (color curves, lifts/gamma/gains, saturation, hue shifts). Good for matching look across many clips. Maurizio Mercorella | Digital Colorist

• Won’t: faithfully reproduce things that depend on camera raw/debayer, camera-specific color science, temporal effects, many OpenFX, or operations that rely on metadata. Also LUTs are resolution-limited approximations — exporting 17/33/65 point cubes trades off filesize vs accuracy. Expect small discrepancies and test. Blackmagic Design Forum+1

Matching color spaces / log profiles (critical)

If you graded REC709-converted footage in Resolve but your incoming clips in Premiere are in camera LOG, you’ll need to either:

• Apply the LUT into the Input LUT slot (so it treats the footage as the correct input), or

• First convert the footage in Premiere/AE to the same working space Resolve used (for example by applying a camera LUT or input transform there), then apply the exported look LUT.
  If you used ACES or Resolve Color Management, a LUT may bake those transforms — make sure you document which transforms were in place when you generated the cube. Mismatch here is the number-one reason LUTs look wrong. Adobe Help Center+1

Alternate / more robust options

• Export ASC-CDL (+ LUT): Use CDL for primary corrections (slope, offset, power) and export a 3D LUT for the creative look. CDLs are small, editable, and are often used to transfer primary corrections between grading apps. Resolve can export ASC-CDL / ALE packages. Premiere doesn’t natively read CDLs but many dailies tools and grading suites do; this is useful if you want non-destructive numeric transfer for primaries. Mixing Light+1

• Roundtrip / reference image: Export a high-quality still (TIFF/DPX) of the graded clip as a reference and have the editor use that to match — sometimes faster for tricky camera/profile differences.

• Third-party tools: Pomfort LiveGrade (dailies / look management), 3D LUT Creator, and dedicated LUT managers can help if you do many look transfers. For editorial-centric handoffs, many shops export both ASC-CDL and 3D LUTs. Pomfort Knowledge Base+1

Troubleshooting checklist (if it looks “off”)

1. Are you loading the LUT into Input vs Creative? Input is for camera→working space corrections; Creative is an applied look. Try both. Adobe Help Center

2. Did Resolve use ACES/YRGB color management? If so, note the exact input/output transforms used when generating the LUT.

3. Did the Resolve grade use OFX/temporal effects? Those might be ignored by Generate 3D LUT. Move color-only operations to a clean node before exporting. Blackmagic Design Forum+1

4. Try a 65-point cube if 33 looks banded or inaccurate; it’s more precise. Maurizio Mercorella | Digital Colorist

Quick summary / recommended minimal steps to get started

1. In Resolve: put the creative grade in a single node → Generate 3D LUT → export 33 or 65 .cube. Maurizio Mercorella | Digital Colorist

2. In Premiere: apply Lumetri → Input LUT → load .cube (or copy .cube into Premiere LUT folder). Match input color space. Adobe Help Center+1

3. In After Effects: drop Lumetri on layer/adjustment layer → load .cube.