Dear Mr. Lachman,

My name is Akira, and I’m a cinematographer based in Japan.

I have a question regarding your use of the EL Zone System during the production of El Conde. It’s widely known that you used a custom-built ARRI ALEXA Monochrome camera specifically for this project, which I find deeply inspiring.

I came across a behind-the-scenes image where it appears you were monitoring EL Zone on set using a Flanders Scientific DM160 monitor. I’m curious — is the DM160 capable of displaying EL Zone from an ALEXA Monochrome signal? If so, how was this implemented?

To my understanding, most monitoring systems, including DM160, typically require a specific signal or metadata to interpret EL Zone correctly. Given the unique nature of the ALEXA Monochrome, I’m very interested in how you were able to make EL Zone function accurately in that workflow.

I also heard in a podcast that the ALEXA Monochrome camera arrived only two weeks before principal photography began — which makes your seamless execution all the more impressive.

I ask because I may have the opportunity to shoot with a RED KOMODO Monochrome in the near future, and I would love to explore the possibility of using the EL Zone System in a similar way. If you’re willing to share any details or advice on how you achieved this, it would be an incredible learning opportunity for me.

Thank you very much for your time, and for your groundbreaking work in cinematography.

Warm regards, Akira Cinematographer