Mastering Contrast Ratio in Film Lighting

In this video, we dive into the importance of contrast ratio when lighting for a film. Understanding how to balance the brightness between your brightest and darkest areas can greatly affect the mood and atmosphere of your scenes. Check out our tips for lighting your next film project.
The EL ZONE SYSTEM with Ed Lachman, ASC.: • Video
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[@snickernick3651]

thank you

[@darejohnson]

Daniel broke this down very well. Nice use of shotdeck ☺

[@PiImage]

Dare thanks for spending ur data to watch am glad you found it so

[@rumblestar5771]

Great breakdown and explanation

[@PiImage]

Glad it was helpful!

[@mustafawm5569]

Wow, Well explained. I found it very informative and helpful. Thank You!

[@PiImage]

You're very welcome!

[@joshuacornelius765]

Great work!

[@PiImage]

Thanks For Watching

[@jameskilleen8103]

Is there an app you used to see the EL-Zones of images?

[@kudobeats]

What I dont understand is when monitoring on set using false color. How do we take into account the REC.709 conversion (assuming we're using log to monitor), or the amount of contrast needed in post?

[@PiImage]

Apologies for my late reply but false color is inconsistent from camera to camera and the middle gray for each manufacturer differs. Hence i prefer EL Zones that use stops and adapt all camera log curves to film stops middle grayscale. for now, only small HD monitors have this function and even among monitors, some have multiple false color options its a whole mess without standards that unify manufacturers.

[@benjamincorteslyon6777]

Did you used some lut to use ELZS?

[@PiImage]

I use a plugin from color lab called look design it has the EL zones feature

[@Ghassan.albalushi]

Just want to inform you that the EL zone system requires a log source for it to map the stops correctly. How are you managing to use graded grabs and calculating the stops latitude?

[@PiImage]

We Inverted the Rec 709 Signal back to Arri Log C and Sandwich it back to Rec709 so EL zones can work correctly in delivering the accurate values reflecting available information from the Log data.

[@Ghassan.albalushi]

No, because the Rec 709 CST doesn’t magically recover color and luminance info

[@PiImage]

The goal was never to alter manipulate or recover details. the purpose of inverting the color space is to properly interpret the available data and i believe to that purpose it did it justice @@Ghassan.albalushi