The Cinelook Plugin for DaVinci Resolve includes 18 cinematic looks and film prints designed by some of the most renowned colorists and color scientists in the industry. In addition the plugin contains a selection of powerful color grading tools such as density, compression, volume and vibrance controls.
Presentation by Cullen Kelly
Cinelook works in real-time and supports a wide range of cameras,
color spaces and imaging pipelines

Supports a wide variety of log camera and working spaces including ARRI (including Alexa 35), RED, BlackMagic, Sony, DJI, Panasonic, Z CAM and Canon.


Designed for the most common log variations and working spaces, and supports all industry standard display spaces including HDR and DCI P3.


Every technical component of the looks (LMTs) are shaped by color scientists to ensure the image does not quantize, clip or clamp.


Compatible with both node-based and color managed workflows, including ACES and DaVinci YRGB Color Managed.

Mitch Bogdanowicz

Former 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.

Painterly highlights

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

Shadow Volume

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

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.