Achieving Filmic Contrast
One area in which film continues to excel over DV is in the field of contrast. Filmic processing mechanics are physically built around shadow and light levels, whereas to DV, it's all just information to be stored and reproduced. This means if you want video to retain the rich shadows of film, you have to simulate the process in Final Cut Pro.
When sending film to the lab to be processed, a cinematographer will specify how much of the silver crystals embedded in the film are to be stripped out. The more silver is left in, the deeper shadows and more "blackened" colors will be visible. This is abundantly visible in movies like Se7en and 300, where the look has been amplified for effect, but it's apparent on a more subtle level in any comparison between video and film.
To bump up the filmic contrast, highlight all visual tracks in your project. Copy and paste them, then place the new tracks on a higher level of the timeline, lined up exactly with the originals. Now open the "Image Control" effects menu and drag the "Desaturate" filter onto the upper tracks. Right-click the upper video track and select "Composite Mode," then choose "Multiply." Notice how the black areas of your upper track have now been screened onto the colored areas of the lower. You may need to open the "Motion" tab of the upper track and tone down the opacity, until just the right level of rich blackness has been grafted onto your image without making the overall caste look too grim and murky.
Filmic contrast can be further enhanced by placing a "Tint" filter onto the lower video track and applying a subtle teal or auburn color cast to the image - a simple form of color correction - depending on the look you're going for.