That's intriguing, as it should apply to the clip when loaded that way. Huh. So again, where are you parking the LUT on the computer?
For general information, the Source clip is what used to be called Master clip. Just a name change.
And as someone who works for/with/teaches pro colorists, and works in both Premiere and Resolve daily ... Source clip workflows are your biggest best friend for color consistency and speed in Premiere. Bulk applications of color presets and settings is both a great help for consistency of steps. And the fastest way to get things done.
So if you have problems with it, please post, and I can probably help you get past them.
There are some hinky things in how it all works, of course. Such as ... select a bunch of clips in a bin, go to the Lumetri Settings tab, and the Source clip section. Which should apply only to the Source clips, not to anything on a sequence, as you've not selected that, right?
But ... gee whillikers ... it not only applies an Input LUT to the clips selected in the bin, but also, to the current clip under the playhead in the Timeline panel ... even without any clip selected, and "selict clip under playhead" turned off. NOT what we expect or need.
So you do need to apply LUTs or presets to selected clips in the bin using either drag/drop from the Effects panel for presets, or Modify/Color for Input LUT use.
For your situation, I typically prefer suggesting presets. For a simple reason.
All LUTs are built for a specific combination of scene contrast, lighting contrast, lighting color, camera color balance ... and etc, so any LUT acquired or made needs a specific clip for optimal working output.
Colorists normally apply LUTs to a node such that they can 'trim' the clip through the LUT, with corrections applied prior to the LUT. Frequently putting the LUT in the second node, using the first to trim the clip. However, Resolve's design is solid for simply applying a LUT and trimming in the same node, as the LUT is always processed after other color controls in that same node are processed.
The equivalent in Premiere is applying the LUT in the Creative tab's Look slot, then using the Basic tab's exposure/contrast/sat controls to trim the clip in.
So ... I recommend creating a Lumetri preset for each camera/scene type, with the normalization LUT in the Creative tab slot, and maybe even Curves adjustments for additional hue control per camera. Then selecting the appropriate clips in the bin, you just drag/drop the correct preset onto them ... and all are normalized bingo.
And if/as needed, you can go to the Source tab in any sequence, and trim the Basic tab of Lumetri to trim the clip to the LUT.
Or ... for many things ... if you have log encoded media, and the app recognizes 'your' log format, using auto detect log and auto tonemapping to do the normalization via algorithmic transform rather than a LUT.
Why?
Algorthmic transforms are vastly more complex than a LUT, and therefore are totally safe for your pixels (which no LUT is in fact). Do they look a bit different than the maker's LUT? Of course.
But as you are apparently using Arri, you may note ... Arri supplies a ton of LUTs for normalizing. And you can choose from them as needed. There is no "perfect" normalization, either LUT or algorithm, for any camera for all settings and user needs. There are only options, chosen depending on your actual clips and aesthetic feel in the workflow.
Most of the colorists I know and work with, will test a manufacturer's LUTs out, to see what each does in the socpes. Then they roll several of their own for actual use.
And a final comment, that ... as neither any normalization LUT nor algorithm is expected to be the actual end result ... they're all a start for the process. All equally valid when used consistently.
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