Look Inspiration – Warm Commercial Look

November 16, 2015

Dan shares his attempt at matching the shot on 35mm film warm commercial look of one of his favorite commercials this year.


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Look Inspiration – Warm Commercial Look

Matching a beautiful 35mm commercial look

Here in the UK there is an amazing partnership between director Dougal Wilson and colorist Jean-Clément Soret. I find that when they work together they frequently go for a warm commercial look which has been shot on 35mm film.

I have always been a fan of their look and decided to dive in and see if I could build it myself!

Some things to note is that they shot the commercial below on ACTUAL FILM!

No plugins and no grain. Just straight up good old fashioned film.

I do my best to replicate the look from some footage shot on Red Dragon.

Check out the commercial below before watching my insight to get an idea of the look!

Enjoy and hopefully you had as much fun as I did with this look!

– Dan

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Comments

13 thoughts on “Look Inspiration – Warm Commercial Look”

  1. It’s hard to put how I analyse a look into words so I’m glad you guys enjoyed it! I’ll make sure to do a few more in the next couple of weeks. A lot of those looks do come from the lighting so it can be tricky to break down an awesome car commercial when I don’t have similar footage etc..

    1. while similar, Would you consider doing a colder look? This is a HUGE request and Id love to see what direction you go w a colder image yet keeping the film like qualities.

      Off topic, but recently started watching some 2000 era shows (ex Fringe) and its incredible how much TV has changes since moving almost entirely towards digital capture. While offering a some uniquely cleansharp looks, the most common request I get is to match to a film captured source like your example.

  2. Great stuff as always. Just shows you how great looks can be achieved with mostly simple lift/gamma/gain adjustments and a great eye. My grading has improved ten fold since adopting some of your techniques.

  3. Dan, you’re honesty and humbleness is refreshing and is a big reason I joined. I love your sensibilities and approach when breaking down a grade. Keep them coming.

  4. Great tutorial, Dan! Can you talk briefly about why some nodes come before the LUT and some after? Also, as a side note, it seems like the green in the background of the reference image plays a big role in complementing her skin tones. Curious if you would in this situation consider using something like “hue vs. hue” to shift our background a bit green?

    1. Agreed, seems like there are nodes after the LUT that affect tonality. I’ve heard you in other tutorials mention keeping those before the LUT. I did see your video about how placing a curve or LOG control before or after the LUT has different effects. Be nice to expound further upon the proper or recommended placement of nodes when using LUTs.

  5. Dan, thank you for this insightful tutorial. I made it through to the grain matte you added, but for the life of me I cannot figure out how to get DaVinci (12.5 free version) to call up my grain clip as a matte. Right clicking the node and choosing “Add Matte” does not show the grain as an option, and when I go to the media pool and right-click and choose “Add to Media Pool as a Matte” it still does not show up in the Add Matte dialog for the node. What am I missing?

    1. Cancel the above- I just upgraded to Resolve Studio and now it works just fine. Either the free version doesn’t allow this, or my instillation was corrupted somehow.

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