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 match happens in a docked panel. There is no separate app, and nothing leaves the Mac.

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 and Analyze

MOVON installs as a docked UXP panel in Premiere. Open it, make sure the right timeline is active, and click Analyze.

MOVON walks the timeline, samples a few frames from every clip, and runs them through its two match models: the backbone that produces a per-camera color embedding from the frames, and the predictor that turns those embeddings into the LUT. All of it runs locally.

Step 2. Read the plan

When analysis finishes, the panel shows MOVON's plan: every clip grouped by camera, and one group marked as the hero: the camera the others will match to.

• Disagree with the hero? Click another group to promote it.
• A clip in the wrong group? Move it. Grouping is the one place where a human eye still catches edge cases the model misses: mixed-profile clips, heavy in-camera looks.

Nothing is applied yet. This is the checkpoint.

Step 3. Match

Confirm the plan and MOVON generates a custom .cube LUT per camera group. Each is a standard file, ready to apply.

Working with the result

• Apply the .cube files. Export the per-group LUTs from the panel and drop them onto each camera's 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 grouping may shift; 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.)
• One camera grouped wrong. Re-open the panel, move the clip, re-analyze.
• Match has a slight green/magenta cast. Usually the hero clip had a color cast nobody noticed. Promote a different group with cleaner whites and re-analyze.

That's the workflow

Open the panel → Analyze → read the plan → apply. The footage looks like the cameras agreed on something for once, and it never left the Mac to get there.