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Zone System DIY

This document provides instructions for creating a zone system for any camera using the False Color 3 plugin. It explains that a zone system is a tool for judging exposure ratios based on IRE values. It then outlines the steps to calibrate a light meter to a specific camera and LUT, measure IRE values at different exposure stops, and map those values as color-coded zones in the False Color plugin to display on a monitor. An example zone map is provided for an Arri Alexa Mini using the Rec709 LUT at 800 ISO.

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Benjamin Cortés Lyon
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199 views8 pages

Zone System DIY

This document provides instructions for creating a zone system for any camera using the False Color 3 plugin. It explains that a zone system is a tool for judging exposure ratios based on IRE values. It then outlines the steps to calibrate a light meter to a specific camera and LUT, measure IRE values at different exposure stops, and map those values as color-coded zones in the False Color plugin to display on a monitor. An example zone map is provided for an Arri Alexa Mini using the Rec709 LUT at 800 ISO.

Uploaded by

Benjamin Cortés Lyon
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Zone System

As promised here is a little guide to a backdoor way of creating a zone system for any camera
using any gamma/gamut settings. Why a zone system? It’s just one more tool to have at your
disposal for judging exposure and one of the quickest I’m aware of for judging ratios. It’s also
very handy at getting exposure consistency over the course of a longer project. Ansel Adams
was into it. It’s way tight.

It’s essentially how Patrick taught himself to judge lighting ratios through false
(http://wanderingdp.com/cinematography/cinematography-school-lighting-ratios-101/) and has
been in the news the last few weeks due to Ed Lachman’s creation of a system for Panasonic
(https://www.fdtimes.com/2021/04/25/el-zone-by-ed-lachman-asc/). See his video here:
https://vimeo.com/536070183

As Ed mentions there is no standardization of this system between cam manufacturers. The


stops to IRE equation will differ depending on your cameras dynamic range, as well as
whatever LUT you are using (since this will alter the gamma/gamut you are viewing). David
Mullen explains here:
https://cinematography.com/index.php?/topic/75802-how-does-ire-correspond-to-exposure/.

So how do you figure out the stops to IRE equation using your particular camera and your
favorite LUT? You’ll need: Your camera, a light meter, a grey card (this could even be a white
piece of paper), an onboard monitor, and ideally a light.

You set your camera up and point it at your evenly lit card and fill your camera frame with the
card. Ideally you set your camera to the ISO you plan on using and then light the card at a level
that is near the middle of your lens aperture range (like f/8 or so at your given ISO). To find this
level you use the spot function of your meter while standing at your camera pointed towards
the card. Turning your light intensity up or down until you get to an f/8 or so spot reading. Once
you have your meter reading then you simply set your lens to that same stop and that is your
middle grey.

However, this is only middle grey if your meter is calibrated to your camera and this is the most
complicated bit. ISO is not standardized so some cam manufacturers ISO settings will not
match your meter. DSLR’s are notoriously off. REDs are often off. I haven’t found a great article
about how to calibrate your cam to your meter so if you have one let me know and I’d love to
add it to this.

Some of the cam manufacturers will tell you the IRE of middle grey for their basic 709 LUTs and
in that case you could compare your meter reading to the IRE value shown on your monitor. For
instance if your spot meter is reading f/8 and you set your lens to f/8 and you know that your
middle grey for your camera’s LUT is supposed to be 45% IRE but your waveform is reading
55% IRE... then your cam and meter are not in sync. And you could figure out by how much by
putting your waveform at 45% and comparing the stop difference between your new stop and
f/8. I’ve been fortunate using a Sekonic 858 with primarily Arri cams and it has been spot on. It
has also been on with C300’s and FS7’s. I tried it with a Sony A7sii once and it was way off.

Alright so assuming your cam and meter are calibrated and your lens is set to the stop you are
metering, you now know your middle grey IRE value by looking at your waveform. Then you
can just stop 1 stop and record the new IRE value. Stop down another stop and record the IRE
value. And do this both by stopping down and opening up until you know all the values you’re
after (including half stops if you’re so inclined.)

For an Alexa mini this looks like:

Arri Rec709 LUT (800iso)


+4 stops: 90-95 IRE
+3 stops: 85 IRE
+2 stops: 70 IRE
+1stop: 60 IRE
Middle Grey: 45 IRE
- 1 stop: 30 IRE
-2 stops: 20 IRE
-3 stops: 10 IRE
-4 stops: 5 IRE

Then you’re next step is you need to download False Color 3 by timeinpixels:
https://timeinpixels.com/false-color-plugin/. It’s $48 USD for the Resolve plugin version which
is the one I’ve used. You install that and then hop into Resolve
Once you’re into Resolve you need to put something in the timeline then hop over into the color
panel and go to OpenFX. Find the False Color Plugin and drag it on your clip. Then you click on
“edit preset”.

Check the box “Show Scale”


Now with your cursor hovered over to the left you can click and drag your zones however you
like. The plugin seems to be limited to a total of 13 zones.
You can color them using the range color function. I made an Arri one using the info above that
looks like this:

Which correlates to this:

or this:
I’m going to just tape this on the right side of my small HD where there is some space. You just
export your new false color zones as a LUT and then put in on your onboard monitor. With
SmallHD I just keep it as one page and can toggle over if I want to see zones.
Note that strict zones are relative. Which is probably why gradient colors have been popular.
The plugin has gradient capabilities but for this one I went strict. I mapped mine like this which
you can compare with the exact numbers:

Mapped Arri Rec709 LUT (800iso)


+5 stops: 97IRE +
+4 stops: 87-97 IRE
+3 stops: 76-87 IRE
+2 stops: 65-76 IRE
+1stop: 55-65 IRE
+½ stop: 48-55 IRE
Middle Grey: 42-48 IRE
-½ stop: 35-42 IRE
- 1 stop: 25-35 IRE
-2 stops: 15-25 IRE
-3 stops: 8-15 IRE
-4 stops: 3-8 IRE
-5 stops: 0-3 IRE

Exact Arri Rec709 LUT (800iso)


+4 stops: 90-95 IRE
+3 stops: 85 IRE
+2 stops: 70 IRE
+1stop: 60 IRE
Middle Grey: 45 IRE
- 1 stop: 30 IRE
-2 stops: 20 IRE
-3 stops: 10 IRE
-4 stops: 5 IRE

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