I loved this video. I’m an illustrator/via dev artist with 10 years experience who pivoted into film/production/editing. The trend I see is that people in film respect theater and photography. Tho a lot of people seem to be unaware of what an illustrator is and how it encapsulates all of photography and fundamentals of acting/lighting/set design/costume design/abstraction in design… you name it. It’s a sad thing to experience that most people I’ve met on sets are unaware of this. People on set say they draw from photography for video. Just wish they knew that the photographers steal from the illustrators and artists. 😅😂
It’s a less straightforward path, isn’t it? I’m a music producer and composer who is pivoting into filmmaking and direction, and I can feel a similar disconnection between audio and visual mediums from some people I meet, but all of our influences and experience are very similar. We just have to find the right people to work with who have good energy and understand 🙂
I think its important to note that a lot of sensors from cameras we shoot with will not be properly exposed if exposed at those low EL Zone levels of -2 - -5. Dosnt mean it can't be pushed down to these levels in post. But shooting at those levels and then trying to grade it will be really hard on a lot of cameras, like the fx6 for example.
It is very possible with the Pocket 6K's, I love to expose just like this and it is super easy to make fine adjustments in the grade with my Pocket 6K's. Think of using ISO not for gain but for determining where you want to set up how many stops above and below middle grey. Your camera manual should show you how many stops above and below for each ISO.
Appreciate the effort you put in to this. A lot of good info because I definitely fall into the trap of trying to expose everything perfectly. But you’re correct, there is no formula…it’s art. I need to do a better job and treat it as such.
Great, thank you Justin. Think I would love to see a second video which connects this info to the power of Cine EI. Think this is what a lot of people might miss in recreating dark appearing looks? 😉
You check EL zone on a color graded clip to judge how they exposed the shot? It would be nice to analyze that with the Log clips (to see the real exposure data)
For sure but where we gonna get that? For these purposes, it kind of helps to see the reality of the way it was intended to look. The DIT and team is definitely using the LUT on set as well, You really only need to map the color pipeline to Log when you’re exposing for Log. For educational purposes, i find it nice to see what the end result is in terms of exposure.
@@JustinPhillip sure you're using the lut on set, but to be able to use a light meter, and to communicate to your gaffer, you'll be basing your on set stops from the log, given the correct pipeline, every camera using EL Zone will have the same exact middle grey point and will match up perfectly to your spot meter. The most practical way of seeing the true (or as close as we can get) on set exposure, is by transforming the footage into an intermediate log curve that's accepted by EL Zone, and than check false colour via a "log" image. That way you'll see a more accurate representation of exposure. EL zone expects a log curve for it's input, so you're essentially looking at an images exposure as though it was transformed from log c 3 to rec 709 then graded and then brought from log c 3 (even though it's already rec 709) to rec 709, it's just a wrong/double transform. Sometimes what you can do is check out the VFX breakdowns of a project, as some of the breakdowns use arris k1s1 conversion and only add the show lut on the final pass. What I've done before is reverse engineered that lut into a reverse lut to bring the graded clip to as close a k1s1 as possible, and then converted to intermediate log to see what exposure might have looked like on set via EL Zone. Also because of this, when I don't have a DIT, I always have my show LUT in my monitor rather than out of sdi for that reason and ask that my assistants output log to my monitor from sdi 1and sdi 2 has the look on video village.
@@AxTechs For sure. I've found that (using SmallHD monitors at least) if you set your color pipeline to the correct log settings, you can still send your shooting LUT from camera to any/all sdi outputs and your EL zone will still be reading based on the log image. I've tested this to confirm. As long as your monitor's pipeline is in log, the EL Zone is accurate, regardless of the LUT being on or off.
Thanks for your hard work! I'm interested in getting into the EL Zone System. Would you recommend a 5-inch or a 7-inch SmallHD monitor? It's a tough decision... Also, does the EL Zone System ensure that the light falls on the right spot of the spectrum, making the advantages of a smaller compact monitor hard to ignore?
Not saying I disagree with any of what you say but getting creative and exposing the key way below middle grey is a big part of the reason modern audiences complain movies are too dark. That and the color grade. I’d be interested to know whether they exposed for that in camera or just tried to retain as much detail as possible on set and dialed in the look in post.
It is a little hard to say. Some in the comments argue it was all exposed “perfectly” on the day. But the white has turned grey, to me would make me think it was a tad under in camera. We need to remember the amazing dynamic range the ARRI cameras have. So going 1/2 to full stop under is not losing any detail.
100% there is no correct formula. I try to tell the people that out there that put images up on some fb group whether canon fd, red, bmpcc6k or a photography group and they ask for constructive criticism, I tell them there is none, it's subjective, as long as you are happy or it is portraying something that you and possibly a director want to tell, then your goal is achieved. Do, learn, improve where you can and do again, repeat the process. Constantly evolving and problem solving.
But also probably not… -1 or -1/2 under is still “properly exposed”. You missed the point entirely, there is no “properly” it’s all subjective. Plus the fact that her pure white skin was now grey, yes definitely under-exposed in camera.
![[ TEASER ] เงาะป่า - วงL.กฮ. | TMG RECORD](http://i.ytimg.com/vi/M4ObdFfcPww/mqdefault.jpg)
Superb breakdown. Helpful for someone learning cinematography
I loved this video.
I’m an illustrator/via dev artist with 10 years experience who pivoted into film/production/editing. The trend I see is that people in film respect theater and photography. Tho a lot of people seem to be unaware of what an illustrator is and how it encapsulates all of photography and fundamentals of acting/lighting/set design/costume design/abstraction in design… you name it. It’s a sad thing to experience that most people I’ve met on sets are unaware of this. People on set say they draw from photography for video. Just wish they knew that the photographers steal from the illustrators and artists. 😅😂
It’s a less straightforward path, isn’t it? I’m a music producer and composer who is pivoting into filmmaking and direction, and I can feel a similar disconnection between audio and visual mediums from some people I meet, but all of our influences and experience are very similar. We just have to find the right people to work with who have good energy and understand 🙂
I think its important to note that a lot of sensors from cameras we shoot with will not be properly exposed if exposed at those low EL Zone levels of -2 - -5. Dosnt mean it can't be pushed down to these levels in post. But shooting at those levels and then trying to grade it will be really hard on a lot of cameras, like the fx6 for example.
Fair. Not all cameras have the amazing dynamic range of the ARRI Alexa 😏
It is very possible with the Pocket 6K's, I love to expose just like this and it is super easy to make fine adjustments in the grade with my Pocket 6K's. Think of using ISO not for gain but for determining where you want to set up how many stops above and below middle grey. Your camera manual should show you how many stops above and below for each ISO.
Thanks I always learn a lot from you… And I appreciate your style😎
Awesome! Thank you 🙏🏼
Appreciate the effort you put in to this. A lot of good info because I definitely fall into the trap of trying to expose everything perfectly. But you’re correct, there is no formula…it’s art. I need to do a better job and treat it as such.
Keep going!
Great, thank you Justin. Think I would love to see a second video which connects this info to the power of Cine EI. Think this is what a lot of people might miss in recreating dark appearing looks? 😉
Great job man. Thanks for making such a detailed breakdown and analysis. Love your channel
Thank you 🙏🏼
You check EL zone on a color graded clip to judge how they exposed the shot? It would be nice to analyze that with the Log clips (to see the real exposure data)
For sure but where we gonna get that? For these purposes, it kind of helps to see the reality of the way it was intended to look. The DIT and team is definitely using the LUT on set as well, You really only need to map the color pipeline to Log when you’re exposing for Log. For educational purposes, i find it nice to see what the end result is in terms of exposure.
@@JustinPhillip surely a nice thing to analyze! Great video man!
@@JustinPhillip sure you're using the lut on set, but to be able to use a light meter, and to communicate to your gaffer, you'll be basing your on set stops from the log, given the correct pipeline, every camera using EL Zone will have the same exact middle grey point and will match up perfectly to your spot meter.
The most practical way of seeing the true (or as close as we can get) on set exposure, is by transforming the footage into an intermediate log curve that's accepted by EL Zone, and than check false colour via a "log" image. That way you'll see a more accurate representation of exposure. EL zone expects a log curve for it's input, so you're essentially looking at an images exposure as though it was transformed from log c 3 to rec 709 then graded and then brought from log c 3 (even though it's already rec 709) to rec 709, it's just a wrong/double transform.
Sometimes what you can do is check out the VFX breakdowns of a project, as some of the breakdowns use arris k1s1 conversion and only add the show lut on the final pass. What I've done before is reverse engineered that lut into a reverse lut to bring the graded clip to as close a k1s1 as possible, and then converted to intermediate log to see what exposure might have looked like on set via EL Zone.
Also because of this, when I don't have a DIT, I always have my show LUT in my monitor rather than out of sdi for that reason and ask that my assistants output log to my monitor from sdi 1and sdi 2 has the look on video village.
@@AxTechs For sure. I've found that (using SmallHD monitors at least) if you set your color pipeline to the correct log settings, you can still send your shooting LUT from camera to any/all sdi outputs and your EL zone will still be reading based on the log image. I've tested this to confirm. As long as your monitor's pipeline is in log, the EL Zone is accurate, regardless of the LUT being on or off.
Best one yet, at least for me. Great work
Love this video
true true
Thank you!
preach at the end
great job man! how do you get EL zone in da vinci ?
Thanks for your hard work! I'm interested in getting into the EL Zone System. Would you recommend a 5-inch or a 7-inch SmallHD monitor? It's a tough decision... Also, does the EL Zone System ensure that the light falls on the right spot of the spectrum, making the advantages of a smaller compact monitor hard to ignore?
EL zone is the most accurate. For me i like 5” on camera and 7” off camera
Not saying I disagree with any of what you say but getting creative and exposing the key way below middle grey is a big part of the reason modern audiences complain movies are too dark. That and the color grade.
I’d be interested to know whether they exposed for that in camera or just tried to retain as much detail as possible on set and dialed in the look in post.
It is a little hard to say. Some in the comments argue it was all exposed “perfectly” on the day. But the white has turned grey, to me would make me think it was a tad under in camera. We need to remember the amazing dynamic range the ARRI cameras have. So going 1/2 to full stop under is not losing any detail.
hay,man how you get sponsor? It see like too Small to get 0:02
🤷🏼♂️ 35 thousand subs too small to get sponsored?
@@JustinPhillip man you get sponsor form 10k es
100% there is no correct formula. I try to tell the people that out there that put images up on some fb group whether canon fd, red, bmpcc6k or a photography group and they ask for constructive criticism, I tell them there is none, it's subjective, as long as you are happy or it is portraying something that you and possibly a director want to tell, then your goal is achieved.
Do, learn, improve where you can and do again, repeat the process. Constantly evolving and problem solving.
💯
dope im in rhode island lol
Nice!!
3:50 You know they probably filmed it property exposed, and turned down the exposure in post?
Agreed.
And you know i talk about this later in the video…
But also probably not… -1 or -1/2 under is still “properly exposed”. You missed the point entirely, there is no “properly” it’s all subjective. Plus the fact that her pure white skin was now grey, yes definitely under-exposed in camera.