Nicke Cantarelli on the Unique Magic of Film

Nicke Cantarelli is a freelance colourist based in Stockholm, Sweden, specializing in colour grading across music videos, commercials, and narrative films. He has worked with high-profile artists such as The Weeknd, Grimes, and 070 Shake, bringing his expertise in colour and tone to visually distinct projects.

His commercial portfolio includes collaborations with brands like Porsche, Adidas, and Google, where his technical precision and artistic vision enhance brand storytelling. Notably, his colour grading work on The Weeknd’s 'Blinding Lights' music video, which has amassed over 500 million views, contributed to its striking, cinematic aesthetic and multiple award nominations.

Most recently, Cantarelli worked on the feature film 'Rabbit Trap', starring Dev Patel, which premiered at Sundance in 2025.

LBB> What was your first experience with the world of colour grading – and when did you decide that being a colourist was a role that you wanted to pursue?

Nicke> I had been filming ski documentaries for a couple of years, where my friend and I handled everything ourselves.

I’ve always enjoyed colour correcting photos and was curious about the process, so I downloaded Apple Colour and started colour grading our documentaries.

That experience started something in me, and I soon began working on music videos with friends and commercials. Things progressed quickly from there. At the time, I was primarily working as a director of photography, but I found myself at a crossroads—I wanted to excel at one specific craft. I had to choose between being a director of photography or a colourist, and about seven years ago, I decided to pursue colour grading.

LBB> What was the project that you felt really changed your career?

Nicke> I don’t think I can pinpoint one specific project as a favourite because I worked on so many exciting and memorable projects between 2019 and 2021. Those three years were some of the best in my career. In 2020, I had the incredible opportunity to work on four music videos for The Weeknd, including the iconic 'Blinding Lights'. Since then, I’ve had the chance to work on many other special projects as well.

LBB> How/where did you hone your craft and did you have any particular mentors?

Nicke> I haven’t had any mentors, I’m completely self-taught. I spent countless hours learning through YouTube, forums, books, and, of course, experimenting in DaVinci Resolve. To refine my craft, I dedicated a lot of time to exploring Resolve, trying out different techniques.

However, I believe the most significant growth came from real-world experience, working on client projects where I had to solve problems and develop looks quickly. After each project, I would revisit the grade, rework it, and experiment with creating a better and more effective process to achieve different looks. Without the pressure of deadlines, think this process allowed me to improve my skills.

Looking back at the start of my career, I wish I’d had a mentor, someone to guide me and share all the tricks and shortcuts. Being self-taught takes longer because you have to figure everything out and source all the knowledge on your own.

LBB> Tell us more about your creative process

Nicke> I always begin with a conversation with the director and DP, where they share their vision for the project.

Next, I dive into the footage to get a solid understanding of what I’m working with, examining the contrast, the colours in the scenes, the skin tones, and the lighting.

Once I have a clear sense of these elements, I start crafting a look that aligns with their vision while incorporating my own creative input.

After developing an initial look, I present it to the director and DP, and together we discuss how to refine it and move forward from there.

LBB> From experience, we’ve found that colourists often love art and photography - when you’re out of the studio, what inspires you?

Nicke> I love still photography, always had. I’m geek out on cameras, I’m especially drawn to analogue cameras and the craftsmanship they embody. There’s something special about the tactile experience and the sense of connection I feel when capturing an image with them.

What I love most about photography is the freedom it gives me; there are no clients with their own visions to consider, it’s all about what I want to express and how I feel in the moment. As for inspiration, I find it in many different places, never tied to one specific source.

Lately, I’ve noticed I feel most inspired after spending time in nature, it recharges me and it’s creates creative ideas within me

LBB> Colour grading is largely a digital affair, but there’s also been a resurgence of film over the past few years in commercials and music videos. What are your thoughts about working on film versus digital formats like 4K? And what are your favourite techniques for capturing a vintage or tactile feel?

Nicke> I love both digital and analogue, but film has a unique magic. The texture and colours it produces are incredible, especially the richness in skin tones on 35mm and 16mm—it’s truly something special.

One of my strengths as a colourist is taking digital images and giving them that analogue and organic feel. I enjoy creating softer, more organic looks, but I also appreciate the challenge of crafting a super clean, digital aesthetic.

That’s the beauty of being a colourist, every project is different, offering endless opportunities to experiment with and create a variety of looks.

LBB> When working in commercials, what role can colour and a grade play in enhancing a brand’s assets and what sort of conversations do you have with creatives and clients about that?

Nicke> Working with brands is always special, some are relatively easy to collaborate with, while others can be quite challenging. A lot depends on the type of commercial being created.

For example, when a car manufacturer launches a new model and produces a launch video to showcase the product, every detail must align with how the car looks in real life. It’s a lot of fun, but it can also be demanding, especially when a commercial is shot at sunset, and the client wants the car to match the appearance of a studio environment with perfect lighting.

Balancing those expectations can be quite the challenge!

LBB> How do you ensure that each colourist-director partnership is a success?

Nicke> As a colourist, it’s essential to understand the director’s vision, their vibe, mood, and overall feel for the project. At the same time, the director needs to provide the colourist with the space and trust to do their work. Collaboration built on mutual respect is crucial; without it, creating something truly beautiful becomes incredibly difficult.

LBB> What advice would you give to budding colourist?

Nicke> Invest the time to master the fundamentals—don’t get too caught up in film emulation or chasing trendy “cool” looks right away; those will come with experience. Work as an assistant alongside an experienced colourist or find a mentor who can guide you through the world of colour grading. It’s not just about the creative side; it’s also highly technical, with a lot to learn and understand. Taking the time to build a strong foundation will set you up for success.

LBB> In your opinion, what’s difference between a good grade and a great grade?

Nicke> A good grade is subtle, it blends seamlessly into the story, so you hardly notice it. A great grade, on the other hand, evokes a feeling. It’s captivating, Seeing the craftsmanship without drawing attention to itself. It’s a visual experience that feels effortless, a pleasure for the eyes, and completely immersive, allowing you to become one with the imagery.

LBB> How is the craft and trade of colour grading changing?

Nicke> There are so many talented colourists emerging everywhere, and tools like DaVinci Resolve are becoming increasingly user-friendly. The numbers of YouTube tutorials out there is incredible, though it’s easy to get lost in them.

With so many aspiring colourists joining the scene, the competition is growing fast. Equipment has also become much more affordable in recent years, although professional setups especially HDR monitors are still quite expensive. It’s fun to see so many new talents everywhere and now you just need a good internet connection and you can work anywhere.