Premiere Pro workflow

The full Premiere workflow: what the panel reads, how the match applies, when to take manual control, and what to check when it looks off.

This is the long version of how MOVON works inside a Premiere project. The whole flow happens in a docked panel; the match itself is computed on MOVON's servers. There is no separate app, and your footage never leaves the Mac; only the color data needed to build the match does.

Before you start

Your project should already have:

• Footage imported, organized into bins by camera
• Display LUTs applied (or about to be): S-Log3 → Rec.709, C-Log → Rec.709, etc.
• A rough cut on the timeline

If you skipped display LUTs, do that first. The right place in Premiere is Lumetri Color → Basic Correction → Input LUT on the source clip. MOVON matches displayable signal, not raw LOG, so the display LUT is upstream of MOVON.

Step 1. Open the panel, select clips, pick a reference

MOVON installs as a docked UXP panel in Premiere. Open it, make sure the right timeline is active and the panel is signed in to your MOVON account, and select the clips you want matched.

Then 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.

• Which reference? The one with clean whites, honest exposure, and the skin tones the project wants to keep. Change it in one click and re-run if the first pick disagrees with the look.
• What to leave out of the selection? The reference pick and the selection are the one place where a human eye still catches edge cases: mixed-profile clips and heavy in-camera looks are better matched in a separate pass.

Nothing is applied yet. This is the checkpoint.

Step 2. Analyze

Click Analyze. The plugin reads the color data from the selected clips and the reference and sends it to MOVON's AI on our servers. Your footage, your frame images, and your project files never leave the Mac; only the color data needed to build the match does.

Step 3. Match

The servers compute how each selected clip's color differs from the reference and return custom .cube LUTs that pull every selected clip toward it. Each is a standard file, ready to apply.

Working with the result

• Apply the .cube files. Export the LUTs from the panel and drop them onto the matched clips in Lumetri: standard 33³ .cube files, no lock-in. They also carry straight into Resolve or Final Cut.
• Tune intensity. If a match is too aggressive on skin tones, pull the Lumetri Look intensity back to 70-80%. MOVON errs toward over-matching on purpose; dialing back is faster than pushing further.
• Re-analyze after a re-cut. Add or swap clips and the match no longer covers them; select the new clips and run Analyze again to fold them in.

What if it doesn't look right?

• Match too aggressive on skin tones. Pull the Lumetri Look intensity back to 70-80% on the applied .cube. (Once MOVON's own effect ships, the same control will live on the effect itself.)
• A clip in the selection that should not be there. Re-open the panel, adjust the selection, re-analyze.
• Match has a slight green/magenta cast. Usually the reference had a color cast nobody noticed. Pick a different reference with cleaner whites and re-analyze.

That's the workflow

Open the panel → select clips → pick a reference → Analyze → apply. The footage looks like the cameras agreed on something for once, and it never left the Mac to get there; only color data did.