Premiere Pro workflow

The full Premiere flow: what the panel reads, how the match lands, and when to take over by hand.

This is the long version of the quickstart. Everything happens in a docked panel inside Premiere. The math runs on MOVON's servers; your footage never leaves the Mac.

Setup

Import your footage and build the rough cut the way you always do. Log footage is fine as it is. There is nothing to convert, no profile to pick, no chart to reference.

If one camera is clearly off from a bad white balance on set, a quick manual balance first gives the match less distance to cover. Optional, not required.

Select and choose a reference

Open the panel with the right timeline active. Select the clips you want matched.

Then pick one reference: a timeline clip, a saved Look, a film stock, or a still from your computer. Every selected clip moves toward it.

Two habits that pay off:

• Pick the reference with clean whites and the skin you want to keep. Its flaws become every clip's flaws.
• Leave odd clips out. A clip with a heavy baked-in camera look behaves differently; match it in its own pass.

Nothing is applied yet. This is your checkpoint.

Match

Click Match. The panel reads color numbers from your clips and the reference and sends them to MOVON's servers. The servers compute one grade per clip and send it back.

The grades land on your timeline by themselves, as a single undo step. Cmd+Z once takes it all back.

One limit worth knowing: each clip gets one grade, applied evenly across the whole clip. If the light changes inside one long take, cut it where the light changes and match the pieces.

After the match

• Too strong somewhere? Pull the intensity back on the MOVON effect on that clip. 70 to 80 percent is a common landing zone for skin.
• Re-cut the timeline? New or swapped clips are not covered by the old match. Select them and Match again.
• Matching again? A new match replaces the old one on those clips. Results do not stack.

Your grade goes on top

MOVON's job ends when the cameras agree. Your creative grade, contrast, split tones, the look of the piece, goes on top. The cleanest pattern for multicam: put the grade on one adjustment layer over the whole timeline. The cameras now respond the same way, because they start from the same place.

Handing off to another editor

Every match exports as a standard file that Resolve and Final Cut read. See Take your match to another editor.

When it looks off

Match looks wrong walks the three fixes in order: intensity, reference, scene isolation.