I was stressed all day trying to solve this. Use Davinci, make all those changes with the nodes. Export the LUT (It can combine all the changes) then use in Premiere

Colorists call LUTs "the dumbest math out there". They will clip and crush ... period. Unless you trim clips before the LUT. A few percent difference in or contrast settings in-camera, subtle light changes or subjects a little closer or farther from the lights, and you can have several clips that work fine and a few that are clipped by the same LUT. All supposedly shot the same.

So following the advice of Alexis Van Hurkman (who wrote not just the book, but several of the major books) and all other major colorist's out there ... never apply a LUT without having a trim capability before it. Every clip can and probably will be different, and will need different trims to be accurately "fitted" into that LUT.

Note that in say Resolve, if you add a LUT to a node, then do some trim work on that node, that Resolve applies those corrections before the LUT. As is recommended.

I've been after the Premiere development team about this ... the Basic tab LUT should be applied after the tonal corrections, but is applied in the order you see it ... top to bottom. They are ... thinking. But I'm not holding my breath.

So I push always applying tech LUTs in the Creative tab, and then going to the Basic tab to trim the clip in through the LUT.

The tech-style LUT you're using is of very different needs and setup than the stylistic. Should be separate steps, and would be in any normal colorist workflow. Process: neutralize to 'normal' contrast/tonal/color in one pass, match clips down the line in second pass, fix worst issues third pass, start a 'style' in fourth. Each pass is fast and forget perfect, just decent/good.

This way if say in applying a 'style' look a few of the clips now pop out and don't match as well, you can go to the neutral or match steps to fix the new issue without upsetting all the problem fix or style work you've done. They need to be separate instances.

Neil

I believe I've found a workaround for the multiple Lumetri effects workflow.  In my case, I wanted to do the following:

• Adjust basic exposure settings before applying a conversion LUT to avoid any detail loss.
• Apply the converstion LUT (SLog3 to Rec709 from Sony)
• Then apply a creative LUT at low intensity for some global stylization.

The motivation is to have a single LUT I could apply to a batch proxy process that converts SLog3 to Rec709, with some light creative changes as well.  The problem is, I couldn't apply two LUTs while also adjusting exposure before the first conversion LUT.  The solution?  Multiple, cumulative, .cube exports.  I took these steps:

1. Apply the conversion LUT in the Creative section, so that I still had access to the Basic settings before it gets applied.
2. Adjust the Basic settings to make sure the converstion LUT is applied without losing any details.
3. Export these as a .cube file called Export 1, then delete the Lumetri effect.
4. Add a new Lumetri effect, and set the input LUT in Basic settings as the previously exported Export 1.
5. Now, in the Creative section, I can apply a second, creative LUT (with desired intensity), and other secondary corrections.
6. Export this Lumetry effect as Export 2 and delete this Lumetry Effect.
7. Finally, I can add another new Lumetri effect and load the Export 2 LUT in the Basic settings, and it contains all of the desired changes.

Now I can use the Export 2 LUT for batch processing.  Hope this helps!

yes, any program that can export out trillions of colors in PNG format for a HALD image can create a 64 cube lut with with this free lut creator

IWLTBAP LUT Generator

https://sellfy.com/p/aQ1y/

some things you can't burn in correctly are sharpen, secondary color correction and keying. but you can bring in clarity.

With the built-in tools, no.  There are third party plug-ins for LUTs that might include additional functionality.  Otherwise, you'd need to get the entire effect into one instance of Lumetri.