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The Look Goes Remote With DaVinci Resolve


LR-Davinci ResolveLondon-based post house The Look has invested in three DaVinci Resolve digital intermediate (DI) suites as part of a new remote grading service being offered direct to production companies and agencies with their own in house postproduction capabilities. At the heart of this new offering is DaVinci Resolve’s collaborative workflow and real-time remote grading capabilities.

Based in the heart of Soho, The Look has worked on projects of various genres including commercials, feature films and documentaries. In house post teams can now cut a project, conform it and then work with a colorist from The Look to grade remotely, before handling all of the final deliverables. Project settings are stored in both locations allowing the production company, or creative agency, to make changes to an edit without needing The Look to reapply a grade.

The colorist and in house post team conference during each grading session. Additionally, The Look has developed a series of custom wedges, which can be used alongside LightSpace to ensure a customer’s monitor is correctly calibrated, ahead of a grade. Only settings are transmitted during the remote sessions while the grade is done in realtime.

Thomas Urbye from The Look recently completed the DI on a new Audi commercial for Rubber Republic using one of the new grading suites. “Following the shoot a rough edit was conformed and exported as a ProRes file into DaVinci Resolve by the production company. I then carried out an initial grade for them, and they then inter-cut those shots back into their edit and sent it to Audi, who up until now had only seen the rushes,” explained Urbye. “A week later, once the edit was more locked down, I was able to grade the entire project. Rubber Republic then sent it on to the client for final input after which we had a final session to lock the grade.”

“This is an unusual path to take as often there isn’t a budget for grading throughout the editing process. Instead of grading in the latter stages of the job, when time is often a factor, they can now grade throughout the production process simply by uploading the imported video files and connecting their DaVinci Resolve to our DI suite in Soho,” said Urbye.

“We are definitely seeing a rise in the number of production companies, and creative agencies, who now have their own facilities where they can handle some aspects of the post process themselves, whether that’s your edit, your sound mix or the online deliverables. However, when you speak with those clients they still want to be able to use an experienced colorist to grade a project,” concluded Urbye. “The new remote grading service means those clients can have access to the skills and expertise of a top Soho colorist in a way that hadn’t been possible until now, irrespective of where they are in the world.”

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