From The Grading Room – Behind The Looks of 2016 UK Best Nominated Commercials

November 5, 2016

First, explore the list of the UK's 2016 Best Nominated Commerials - then ask a professional colorist to breakdown how they achieved their Looks.


Series

Behind the techniques and styles of the Best Nominated Commercials for 2016 in the UK!

I thought this is the perfect time to try a two part insight on the topic of Look Creation. What’s the reasoning behind this you ask?

I want to know what questions you have?

I know exactly what I admire about the commercials, but I’m sure you all have many many questions.

Ask Me Anything!

If you haven’t seen the list and my initial thoughts on my favourites check out my last insight here! I’ll do my best to cover as many different topics as possible in the upcoming video insight.

When Should You Expect Part Two?

I think it’s best to give people a couple of days to get their questions in so I’ll record and immediately release part two on Monday night. If nobody has any questions, one day I’ll just record my ideas on how to replicate those looks but I thought it would be much more fun if we all got involved.

Looking forward to hearing your questions!

-Dan

Comments

2 thoughts on “From The Grading Room – Behind The Looks of 2016 UK Best Nominated Commercials”

  1. Hi Dan! Thanks for this Insight. Can’t wait to see your approach on recreating some of these looks. I pretty much agree with your comments in the previous post. My favourite, too, is the IKEA advert, although I’m personally biased: I have just worked on a show, where the story jumps back and forth between different times, mainly from the 1930s through to the early 70s, and each time is represented by a certain look, from a desaturated, subtle brown-sepia look in the 30s to more contrasted, creamy-orangy tones in the 50s and early 60s to saturated and garish colours in the late 60s and 70s. I soon realised that maintaining these looks throughout scenes, shot in varying light conditions without breaking them is very tricky. So, looking at this advert, I am blown away by the subtlety of differences in emulated film and, I suppose, photo paper stock. I particularly like that it’s done, not as I described above as a linear progression, but sometimes juxtaposing, sometimes even confusing the story time; just like you would look at a photo album and see photos next to each other from the same time, maybe from the same event, but shot with different cameras or on different film stock or developed in different labs or even just stored in different conditions. It’s obvious that an awful lot of research has gone into this. And it works. Obviously, these sort of retro-looks are very popular at the minute and I am looking forward to get your take on them.

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