Why we built MOVON
A short note from a colorist, a DP, and a director who got tired of fighting LUT folders. The origin story behind the AI color match for Premiere Pro.
We started MOVON because every project ended the same way: a multicam timeline, every camera a slightly different look, one editor staring at a wall of LUTs at 2 AM.
The pitch is simple. Open the panel in Premiere, select your clips, pick one reference, and let MOVON match every selected clip to it. Edit.
That's it. That's the whole product.
What's actually different
There's no shortage of color tools. What we couldn't find was a tool that:
- Matches to one reference, in one pass. Select the clips, pick the reference (a timeline clip, an existing grade, a film stock, or an uploaded frame), and every selected clip gets matched to it. No clip-by-clip babysitting.
- Outputs a standard .cube. No lock-in. Today the .cube is exported from the panel and applied via Lumetri (or carried into any NLE that reads LUTs). One-click apply through MOVON's own effect is in active development.
- Never touches your footage. The AI runs on MOVON's servers, but the plugin sends only the color data it reads from the timeline. Footage, frames, and project files never upload; the server returns the .cube.
What's next
MOVON Match is in private beta, free through January 2027 for early users.
The order things land in:
- Auto / Manual mode and per-clip match confidence: in progress
- DaVinci Resolve and Final Cut Pro panels: planned
- HDR and Rec.2020 output: planned
- A cloud option and a Windows build: after launch
No dates promised. The roadmap tracks the order, and it moves as the beta teaches us what matters.
If you're an editor, colorist, or DP and you want in, join the list on the download page.
We'll ship updates here. Less often than we'd like, more often than is professional.
The MOVON Labs team
Get the next dispatch in your inbox.
Release notes, color science notes, and the occasional field report. No marketing. Unsubscribe one click.
