How to Improve Your Film with Lighting Contrast Ratios
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- เผยแพร่เมื่อ 19 มิ.ย. 2024
- Cinematography breakdown of seven Hollywood movies and TV shows. A guide to contrast ratios for cinematography.
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CHAPTERS:
00:00 - Intro
00:50 - 1:1
01:39 - 2:1
02:29 - 4:1
03:06 - 8:1
03:42 - CRDBAG
04:59 - 16:1
05:48 - 32:1
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07:21 - 128:1
How to Calculate Contrast Ratios for More Professional Lighting Setups | What is Contrast Ratio, High Key and Low Key Lighting | Your Guide to Contrast Ratios for Cinematography | What Are Contrast Ratios and How Do You Use Them? | CINEMATOGRAPHY SCHOOL: LIGHTING RATIOS 101 | Contrast / Lighting Ratios | How to Get Cinematic Lighting with Lighting Ratios | How Lighting Ratios Change Moods in Filmmaking | Mastering Contrast Ratio in Film Lighting | Lighting with Contrast Ratios | Cinematic Video | EL Zone System | EL Zone Exposure System- how does it work and how do you use it | Standardizing Exposure with the El Zone System | How to Use the EL Zone on SmallHD Monitors | CINEMATOGRAPHY: THE EL ZONE SYSTEM EXPOSURE GUIDE | EL Zone by Ed Lachman ASC | Best Studio Lighting Setup for Video
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#cinematography #filmmaking #lighting - ภาพยนตร์และแอนิเมชัน
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You have to remember that the show LUT used for each production affects the final contrast ratio by quite a bit. Contact printed film, like Oppenheimer, increases the perseved contrast ratio, so your 4 stop contrast ratio was probably shot at a lower ratio on set, with added contrast as a result of the print
Came here to say this. Making these judgements on final image is not how to do this.
Just looking at Yedlins last talk at Cameraimage, the LUT he used created such contrast it hard to actually use that image to reverse the on set contrast ratio.
@ Agreed, this is why I always shoot with a LUT that's relatively similar to the final look, if not identical, and even if it's just a commercial, I shoot contrast ratio tests to check how the image is affected by the grade
You are both correct but also you both clearly missed the point of this video. I also disagree to some extent. The amount of contrast added to the show LUT or in post, will never magically remove the lighting.
@@JustinPhillip the point is to illustrate contrast ratio. Which is great.
But you are using a processed image to do it.
It’s like teaching a writing class by only looking at the final product. The result is there, but getting there isn’t as obvious.
@@JustinPhillip I agree that the lighting creates the contrast, but metering from final images doesn't account for what could have been done in grade and there for isn't an accurate representation of the on set contrast ratio. If you have high contrast tone mapping on your monitoring lut, then your likely to light with a lower contrast ratio, or vise versa. It's something I was taught at one of the recent BSC convention in the UK, this is also something that Steve Yedlin ASC is constantly talking about and is one of the most missundertood aspects of contrast ratio in the digital age.
Your contrast ratio should be set so that you like it when applied with your show LUT, we're not saying you should change your contrast ratio in grade.
As a film student, I definitely appreciate what you said at the end about "TH-cam lighting". I've had plenty of rants about TH-cam "filmmakers" on a variety of aspects. TH-camrs often unintentionally make these seem like the experts in filmmaking when often they're just amateurs or fellow students of the art. The thing I'm the most annoyed about is that a large of chunk can't take criticism without thinking of it as just hate. Don't get me wrong, there are definitely some great channels with legit pros in the film industry making fascinating videos about the film industry or gear reviews that are specific to how they would or do use them on set. But there are a lot of videography channels posing as film "pros" whether they realize it or not. Just because you can make several cool or interesting gear reviews doesn't make you a professional cinematographer, director, or gaffer. Those come from making actual films, working with real pros, and staying humble while learning what you can on the day. Or get as educated as you can via film school or deep diving for great channels with good insight for on set practice, techniques, and other useful information.
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I actually enjoyed this one. Yes, we should be using light meters and not depend on EL zone, but for the sake of the video, the EL zone represented the full image as a visual reference.. The point came across, especially when you mentioned the script. It all starts and ends with what’s on the page. I just shot a documentary that had no script but still went through my logline and the interviews, and now I’m shooting 2 more shorts before end of the month here in LA…. one story has both high key and low contrast and the other is a horror with barely any lights. I appreciated the video. good job
It's incredible. My eyes were constantly deceiving me while watching movies about the difference in stops. Thanks
Your videos are educational and entertaining, and have helped me to up my filmmaking game. Thank you Justin!!
Thank you! 🙏🏼🙌🏼
Bravo on this one Justin. Excellent explainer and especially that ending diatribe on why lighting is important to filmmakers.
Thank you
Great content! Keep it up!
You are amazing man, I love to hear some useful lighting/recording tips like this, not just mindless gear videos.
Wonderfully put Justin.
Love this! So glad I follow you!
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Your videos are super interesting, you’re a great instructor of your craft. I don’t work in the industry, but find this information very fascinating. This helps and inspires me when I pick up a camera as a hobbyist. Thanks for sharing your work!
Awesome. Thank you🙌🏼
Another banger JP! like the movie examples to go along with your previous EL Zone vid.
Thanks, John! 🙌🏼
Holy crap. I need follow your patreon. The amount of information you give is insane
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As always, a great video!
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Such a clean set of examples. Saving this for reference.
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Great video! Thanks Justin!
You bet!
ENJOYED. Thank you!
Thank you!
Great video Justin!
Thank you!
You the man! Love the Oppenheimer look.
Amazing info brother 👍🏽🔥
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Well done Justin!
Thanks!
Awesome & Thanks Sir 🙏🕊
Thank you!
Oh snap this is helpful
I built a 5 stop False Color Powergrade for analysing stills in Resolve.
Any chance you can share that on youtube?
@@shadowshapers Not sure how to share it here. Easy to make though. You just need a light and a spotmeter. Measure and mark f-stops, take a photo. Import into Resolve and use the False Color FX plug-in to match the bands of colours with your marked f-stops.
Are you a part of any facebook groups for film lighting? @@mecan5196
This is sick! 🧨
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Great video
Everyday's a school day.
Oh, by the way, thanks for introducing me to the Rokkors.
My life is so much more enriched, un-like my bank account.
So from 25 miles north of London, be lucky stay safe.
True educator ❤
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Great video! Have you come across a way to use the EL Zone in Premiere, Photoshop or Lightroom, I think it would be an awesome tool for correcting exposure in Post or making some guides for later matching shots, reshoots etc.
I have not, but that would be amazing in LightRoom.
terrific video, Justin! Btw, how did you get the EL Zone readings from stills? Doesn't it behave like False color which requires log footage to display the scale?
Keep it up. Cheers from Madrid!
it's designed to work with log, but not required. On set for our own stuff, most certainly feed the EL the correct color pipeline (as demonstrated in my previous videos on this topic), but for the purpose of what this video is about, i think it works great. Projects of this caliber are always being monitored on set with specific show LUTs that were built specifically for that project, so in this manner, even though I'm not able to feed the log image into EL, we can still get a pretty accurate depiction of what's going on with the lighting. How i did it is quite simple, i just imported the screen grabs into the smallHD.
The fact That I’ve watched all those films you mentioned and we both did a video for Scotty Nando makes me think we will work one day.
Nice!
Cool. I'm trying to get better at every aspect of video making and haven't ever come across this concept in any lighting tutorial.
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Great info
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Superb
Love your videos Justin. Please make a lighting course. I am ready to pay. 🙏
😆 Patreon? Weekly breakdowns over there. But maybe i’ll look into this
@@JustinPhillip hi Justin.. Patron is the way for now. Can I ask questions regarding my projects related to lighting to you in Patreon? Please tell me the way. Thank you
This video is super helpful! One thing I've struggled to understand is how to determine stops with dimmable LED lights without a light meter (if it's possible). How do you know what brightness percentage equals a stop?
No way to tell with LEDs. They are all too drastically different. Have to use a light meter.
Stellar
Thank you
Hi Justin very subtly brought...😅 nice vid thank you and EL zone is the best there is!
Hey, thanks!
Scandinavian here. The emphasis is on the first syllable in MIDSOMMAR. It's just like MIDSUMMER, just with an O replacing your U, and an A replacing your E.
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I’ve been telling people this for years, and no one believes me.
I think it's because English speakers tend to learn and admire romanic languages which are trocheic languages. Germanic languages are all iambic and very, very rarely have the accent on the second syllable
Is there a specific app you're using to see the EL Zone values of the images?
Nope, just carried them over to the monitor
What size diffusion rags would you recommend to start out with? 6x6 or 8x8? You have a video on recommended light packages, but do you have one for a small diffusion set?
6x6 wag flags for indoors. 8x8 for outdoors
@@JustinPhillip thanks so much!
Hi, where can I get the LUT you used for the false color?
It’s not a LUT. It’s the EL Zone System, th-cam.com/video/XyLUGYXV4o4/w-d-xo.htmlsi=vIT7iCxPu4Rur1J2
@@JustinPhillip IC TYSM!
Am I tripping, or did you light your talking head portions to match the ratio of lighting that you were explaining?! Genius!
That exactly is correct
So cool.
I tried taking some screen grabs from my favorite shows and loading them into my smallhd monitor which I did correctly but somehow it’s not letting me see the EL Zone.
Change the color pipeline to Rec709
I'm getting not supported by the input color pipe :/ @@JustinPhillip
trying to do it with image overlay
How did you get the images in the el zone ?
Imported them in
@@JustinPhillipEL Zone is needing a log file soo I think false color makes more sense because elzone tells me the image is -6 stops but on the false color the image is not even in the Blue/ purple color.
So my question is: is ELzone correct or is it only because the image is below 6 stops an the elzone can’t show us that ?
How does gio scope correspond to el zone?
Gio scope is probably more accurate. But essentially working the same
@@JustinPhillip Thank you🤩
How far up the chain is the script passed - this is lighting but does the editor get a copy of the script? How about the colorist?
Editor most definitely. There is no such thing as a coveted script. I know some bigger shows make crew sign NDA. But everyone involved gets access to the script. Not to mention daily sides printed & passed out to everyone every single day on set
I don't know if comparing digital and film should have been used here. You cannot expose digital 7 stops over on skin tones without it looking pretty much white and blown out. It's one of the differences of film and digital. Film will protect color and texture on the high end in a way digital has never been able to. Maybe just a note in case somebody watches this video and tries to expose a digital image the way they exposed Oppenheimer.
Good note, but the flip side to that is digital will perform better on the underexposure
im a batman
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Barbie is possibly the silliest concept for a picture ever. I can’t believe more than 5 people actually went to watch it.
😳
Studios splooge out 5000 movies on comic book figurines for the last 20 years and barbie wins out?
*false colour
Not as accurate
You’re comment about being a “real filmmaker” definitely doesn’t come off well. I agree that there’s a lot of inexperienced DP’s out there trying to teach lighting…however, you DO NOT need IMDB credit to be a real filmmaker. The beauty of this career is there is not a thing we need to do or accomplish to be a “real filmmaker”
I never said anyone was or was not a real filmmaker. I just stated facts. You do get IMDb credits when you work on narrative works, that actually have a script. Don’t put words in my mouth.
Wow someone came off very aggressive. You literally said “Theres a lot of TH-camrs that are “real filmmakers” that have no credits on IMDB” You very much are saying that. I didnt put any words in your mouth. Chill TF out dude jeez
I think all the examples are wrong...! There's NO WAY the Oppenheimer scene has 7 stops of difference between the key and the fill!!! Do you know the difference of light that is 7 stops???????
Do you not realize how EL Zone works? Just look at the guide. Also, if you cared to actually pay attention to the video, i lit myself at 7 stops under. It’s called dynamic range. None of these referenced are wrong. You should do more research & practice yourself.
@@JustinPhillip you are saying that Jason Bateman at 6:46 is being lit at a 64:1 ratio?? It doesn't look like that at all, sorry to disagree. It's 5 stops difference, not 7. You can count them in your own coloured example.
The image at 3:15 is not 8:1 contrast ratio either. I guess we are counting differently. Your color image there shows his nose is overexposed, which is clearly not. So I guess there's something off somewhere in the process. But congratulations, these concepts are hard to explain. I only think the examples are not showing that amount of contrast.
Btw I did my research and downloaded Oppenheimer's frames from Shotdeck, added them to Resolve and used a DCTL to show EL Zone and found most of the frames have 4 stops difference of contrast ratio. Only the scene at 5:54 looks like 5 stops of difference.
Anyway, my process can have something off, too, remember we are using screenshots that have already been converted to rec709 after heavy color grading processes.
And btw, for 'more research', I recommend you and everybody else interested in lighting ratios, check WanderingDP's article on the subject. It's a short read and it's very well explained. He expresses ratios in stop levels, which I also prefer, and that makes it much easier to understand.
Hey Justin - just wanted to let you know that your videos are absolutely great. I started watching them with the FX30 one, I think... and I absolutely hated you. You spoke too fast, had too many opinions, and were just too much. But then, I just couldn't stop watching them. The amount of info that you put in these, and the quality of what you put out there is just really great. And you're funny, and the opinions are good, and you say shit because you know it. I am an aspiring filmmaker - hoping to get funding to shoot a documentary next December - and I watch your videos almost religiously knowing that they'll make me a better cinematographer.
Thank you so much man, for real. Keep them coming.
Thanks man! LOL, yea those Sony videos was right after i got robbed, i was angry for a couple months! LOL, glad you stuck around