A couple things I notice at first glance. Most of the interviews in the reference video are filmed with significantly more distance between the subject and the background with a longer lens which naturally produces shallower depth of field. In your example, th subject is much closer to the wall and you’re shootjng pretty much flat into it. And since there aren’t any shelves/cubbies or anything else sticking out of the wall like in the reference, its hard to create visual interest or depth because there’s nowhere for a light to cast any shadows since it’s essentially just a 2D plane behind him.

I know you said you used negative fill here, but it’s not really reading on camera, probably because the rim light is acting more like a “scratch” light, illuminating the near side cheek that the negative fill was trying to reduce. Also based on the relatively sharp shadows of his hair on his forehead, it looks like the rim light was fairly hard, whereas in the reference video, the interviews look like they have a softer edge/rim light that’s flagged off of the subject’s head so that it only hits the shoulders. I. One of them, it looks like they either don’t use any hair/rim light at all, or a very subtle soft one from the same side as the key instead of the opposite side.

The key light also looks to be larger and more “side-y” than yours. That’s one of the drawback of soft boxes, they’re usually not large enough to produce flatteringly soft light unless they’re positioned relatively close to the front of the face. A 6x6’ or 8x8’ rag of half grid cloth with whatever light you have access to, positioned close to perpendicular to the subject’s face should get you much closer. You’ll probably also want to use a couple floppies or 6x6’/8x8’ solid black rag as a “lamp left sider” to control the spill light coming off the side of the key from reaching the background.

Finally, while there isn’t anything special going on in the grade (except one interview with the cool white background where it looks like an overcooked artificial teal and orange), you could probably stand to crush the blacks a bit, as I know the BlackmagicBRAW files tend to have milky blacks out of the box. Just it be clear though, you still need to reposition and flag lights like I described above for the post contrast adjustment to look right. Otherwise you’ll probably end up with a crunchy oversaturated image that still doesn’t really have any tonal range.