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EL Zone System shown over log image


Rec.709 LUT

Log Image

Technical Emmy for EL Zone System for its contribution to SmallHD Monitors


"I have been using the EL Zone for now five weeks, filming La fille d’un grand amour in France, and it has changed my life. Really.

For the first time in fifty years, I almost never use anymore my Spectra light meter, relying only on the images I get on my (camera mounted and always on) SmallHD monitor. Of course I would prefer to get the EL Zone in the viewfinder – please Sony, please Arri, make a deal with dear Ed ! – but still, this is already a tremendous tool, born from one simple brilliant concept, false colors for cinematographers.

Thank you, thank you, Ed."

– Denis Lenoir, AFC ASC ASK

"Ed’s adaptation of Ansel Adam’s Zone System to the digital world is a game changer. For any disciple of photography, Ansel Adams’ stunning and iconic landscapes underscore the paramount need for precise exposure control in the creation of indelible images. EL Zone is a tremendous gift to all of us who have been endlessly frustrated by the imprecise nature of digital exposure. We finally have a tool that is much more accurate than false color, zebras, or waveforms. EL Zone brings back the direct relationship between lighting and lens stops that inform so much of image creation. Thank you Ed!"

– Buddy Squires, ASC

"Thank you Ed for this truly helpful tool. This is such an improvement on the “False colors”, and if standardized through all the camera manufactures will be a awesome tool for the cinematographer. It gives you immediately the understanding of light- dark balance of your frame but it is a great reference for any re- shoots or communication with your gaffer. For me as a cinematographer a fun and useful tool, for me as a faculty of cinematography department at AFI it is a great way to teach reflective reading and over- and under- exposure."

– Jacek Laskus, ASC, PSC

"It would be truly wonderful as a Cinematographer, to be able to reference, whether your shooting on Panavision, Arri, Red, Sony, Panasonic, Canon, consistent zones of exposure with consistent color. If Cinematic camera manufacturers want to sell and help Directors of Photography this is standard they should all adopt, well done ED and long overdue."

– James McMillan, Cinematographer

"I just wanted to drop an email and say thank you for developing the EL system, it will no doubt be an amazing tool on set. I still use my meter for everything, as that's how I was trained, but nonetheless, what you've created is amazing."

– Darmon Moore, Cinematographer

"The benefit of EL Zone is that it isn’t just for simply getting “proper” exposure, but it also gives the cinematographer the ability to light for specific contrast ratios without a light meter. It simplifies everything and is a great tool for keeping your lighting consistent."

– Tinx Chan, Cinematographer

"I almost always have a difference in what I see on set and what I see in the color bay. I now bring my camera, and monitors into the bay and and match everything up using a probe and the facility engineer. I wonder if EL profiles could be made for the different cameras that could be used to match monitors more easily. Color bars, etc. just don’t cut it. With the EL system, at least all of the brightness values would more easily track regardless of monitor mismatch."

– Peter Smokler, Cinematographer

"This is beautiful. Thanks Ed Lachman et al. I’ve never liked the current false color system. It did not seem at all intuitive and so I’ve stayed with viewing at least one monitor on set in log, plus looking at a histogram...This is precisely what I need and it made complete sense in a NY minute."

– Larry Robins, Cinematographer

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