Your first match

A 90-second walk-through of the very first MOVON match: Analyze, the grouping plan, 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.

Click Analyze.

Step 2. Watch the plan come back

MOVON walks the timeline, samples a few frames from every clip, and runs them through the two on-device match models. Everything happens on the Mac; nothing uploads.

When it finishes, the panel shows the plan:

• Every clip on the timeline is grouped by camera, by reading the actual color signature of each clip. No metadata required.
• One group is marked as the hero: the camera the others will match to.

This is the checkpoint. Nothing has been applied yet.

Step 3. Confirm or change the hero

The hero MOVON picks is usually the right call: cleanest whites, most honest exposure. If the auto-pick disagrees with the look the project wants, click another group to promote it. MOVON re-runs the match against that choice.

A clip in the wrong group is the other thing to fix here. Mixed-profile clips and heavy in-camera looks occasionally land in the wrong cluster; move them to the right group before confirming.

Step 4. Match

Confirm the plan. MOVON generates one standard 33³ .cube LUT per non-hero camera group and exports the files from the panel.

For each non-hero camera, select that camera's clips in the bin or on the timeline and apply the matching .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.