Inspired By Lacoste, Timeless – Learning From An Award Winning Grade

May 30, 2018

What makes an award-winning grade so special? Dan attempts to break down what made the Lacoste, Timeless commercial so special and how we can pick up some tips to use on our own grades.


What Makes An Award-Winning Grade?

I’m back with another look at one of the British Arrows nominated grades.

This one is extra special as it took first place!

If you would like to check out my previous insight where I took a look at each competitor please do so right here 2018 British Arrow Awards Insight

Inspired By: Lacoste, Timeless


Long-term Mixing Light members probably know how much I love Jean-Clement’s work. He’s my favourite colourist and pretty much wins everything here in the UK or has done at some stage.

He’s graded feature films, countless commercials and continues to stay on the bleeding edge of grading trends.

I’m going to speak about his latest award-winning commercial above and what we can learn from it and take to our own everyday grades.

In the video Insight below I’ll take a look at

  • How Sharp It Is
  • Lack Of Grain
  • Consistent Look Throughout But Time Still Passes
  • What The Typical Look For This Era Is
  • Soften/Sharpen Tool
  • Making It Work On Some Other Footage

Now, let’s jump to the video and see if I can get inspired!


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Homepage Forums Inspired By Lacoste, Timeless – Learning From An Award Winning Grade

  • They are added fog, lens flares and light leaks all over the place, which all contributes as well. I think if you diffused the bg more it would have helped. Curious why you didn’t use a luma mask when adding yellow vs trying to pull it out afterward?
    I feel like Lean has a special technique in dealing with contrast in the shadows, not sure what he does. Its like has diffuses them somehow.

  • Dan Moran

    Yeah it’s a very heavy post job. I’ve been spending time with a lot of really great colorists and one thing they all have in common is simplicity. They have extremly strong primary corrections and never use secondaries to build the look only to fix issues or on the 2nd or 3rd pass to pop areas. I’ve been trying to be as strict myself! I know quite a few colourists that sharpen the shadows to get extra pop out of them so it could be totally possible that he does the opposite

  • Hey thanks Dan. I love the way you did your primary grade, talking about simplicity. I’m a big fan of those kinda corrections, so you don’t have to deal with a lot of nodes afterwards. Im just doing grading since 1 year and it’s fun to see that mostly any pro don’t have these freakin 10-20 node trees, which everyone things colorists are doing in a grading session.
    Please do more of those kinda sessions.
    Cheers, Manuel

  • I have been thinking about this commercial look for a while. I hear that Soret uses baselight. Maybe is just me but i feel the colors on baselight look they have a blur on top. I feel it specially on the girls face and on the sky of the other lacoste commercial he did. Do you think this is possible on Resolve?

  • Hi, Dan! Nice tutorial. I ve’ following your grading approaches and I find them very inspiring. I have one question: why do you locate keys and shapes before the Primary/ Contrast/ Neutralization/ Color Node or even Luts. I feel that it works different when you isolate things prior of a general modification than afterwards. And I’m trying to figure out which is the difference. I remembered to hear a colorist saying that method is like to make holes to the image. But it seems to work ok for you.

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