The Cinelook Plugin for DaVinci Resolve includes 33 cinematic looks and film prints designed by some of the most renowned colorists and color scientists in the industry. The variety of the looks and preserved middle exposure provides a good starting point for every project.
Professional workflows

Cinelook is designed to work with all industry standard color spaces (now also Alexa 35/LogC4) and display targets including HDR and DCI P3. Works with node-based and color managed workflows, including ACES and RCM.

Get access to Kodachrome emulations originally built for Netflix, 80’s Fuji emulations printed to Vision 3, reversal looks, true bleach looks tweaked for HDR workflows and non-empirical Ektachrome emulations. In addition there are several modern saturated, warm, dense and thick look and even an homage to FotoKems legendary color timer Dan Muscarella that was called Mellow Yellow Muscarello.

Mitch Bogdanowicz

Color Scientist, Kodak

The goal with my contribution to Cinelook was to get the absolute best side-by-side display of digital with real film. With about ten thousand patches for intermediate recorder film out and print, the result showed a virtually indistinguishable comparison with real film, except for the film projector jitter.

Density control

Watch Cullen Kelly use Cinelooks density controls to create more cinematic color tones, bring out texture and add depth to the image.

John Daro

Senior Colorist, Warner BROS LA

These looks are a sampling of the library that I use on my features films to craft the perfect grade.

There is a look for every type of project included in the collection, and by blending between them with the built-in mix function, there is an infinite number of possibilities that can be created.

Shadow Volume

Watch Cullen use the Shadow Volume Control to create a strong contrast with textured shadows.

Painterly highlights

Watch Cullen Kelly use Cinelooks compression and volume controls to reduce sharp edges and create a painterly cinematic look.

Every technical component of all the looks on Cinelook are shaped by color scientists to ensure the image does not quantize, clip or clamp, and the looks are tested against every valid possible input color. As long as the color space characteristics of your image align with the color space you select within the tool, you’ll never see any breakage.

In general, how smooth a curve should be is a complex discussion because we need to balance the various mathematical formulas that is used to smooth out the movement from one curve point to the next with the designers creative intent. Also, the curves of the looks who are true film profiles reflect the actual measured and jagged behaviour of the print.