Then the LUT is turned off and on during production so I can see how things are looking. I'm on the latest version so I am using Lumetri instead of Resolve but you could do the same. The last option, which is only occasionally used, is that a LUT is applied to a clip in AE that matches the LUT used in Premiere. This is the unusual workflow because most of the time color correction wipes out some of the data that a could be used in the raw files to help me do a seamless composite. If I generate a DI inside PPro it always is rendered to a 10 bit or better production format with color correction added so I match the look inside AE while doing the composite. If I'm working in raw I do all the effects in raw so the color grading is all done in PPro (Lumetri for the latest version). These clips are brought in without any color correction and my DI (digital intermediates) are rendered without color correction. For most of my production work I bring the raw clips into AE to do the VFX that cannot be done in Premiere Pro.

Adobe pr ae