Your first match

A 90-second walk-through of the very first MOVON match: select clips, pick a reference, Analyze, and the applied timeline.

The shortest possible MOVON session, on a real two- or three-camera project. The goal here is one thing: get a matched timeline you can scrub. Tuning, troubleshooting, and the full workflow live in other docs.

Before you click anything

The project should already have:

• Footage imported and ideally organized by camera in the bin.
• A rough cut on the timeline (the cut does not have to be final; MOVON works on whatever clips are there).
• Display LUTs applied. In Premiere this lives at Lumetri Color → Basic Correction → Input LUT on the source clip: S-Log3 → Rec.709, C-Log3 → Rec.709, D-Log → Rec.709, and so on. MOVON matches displayable signal, not raw LOG, so the display LUT is upstream of MOVON.

If any of the three are missing, fix them first. The match runs better on a timeline that is already roughly viewable.

Step 1. Open the panel

After install (see Install), MOVON shows up as a docked UXP panel in Premiere. Window → Extensions → MOVON Match if it is not visible. Make sure the panel is signed in to your MOVON account and shows the green connected dot.

Step 2. Select the clips

Select the clips you want matched on the timeline. On a first run, the simplest move is to select everything from the cameras that disagree.

Step 3. Pick the reference

Pick one reference: a clip on the timeline, a grade, a film stock, or an upload. Every selected clip will be matched to that single reference.

A good reference has clean whites, honest exposure, and the skin tones the project wants to keep. One thing to watch: a clip with a heavy in-camera look makes a noisy reference; prefer a clean one.

This is the checkpoint. Nothing has been applied yet.

Step 4. Match

Click Analyze. The plugin reads the color data from the selection and the reference and sends it to MOVON's AI on our servers; your footage, your frame images, and your project never leave the Mac. The servers compute the match and return standard 33³ .cube LUT files, which export from the panel.

Select the matched clips in the bin or on the timeline and apply the corresponding .cube via Lumetri Color → Creative → Look (Browse… → pick the exported file).

Step 5. Scrub

Play the timeline. The cameras should now agree on whites, mids, and skin. The creative grade comes after; the match is the agreement step that makes the grade work the same way on every clip.

When it does not look right

Three things to try, in order, are documented in Match looks wrong. The full Premiere workflow with the longer notes lives at Premiere workflow.