ReelmediaFilm yes i do agree,The zone system is indeed superior. When you output a log image to a Small HD monitor and select Arri Log C as the input, you’ll obtain the correct zone readings on the Small HD monitor. For higher accuracy, utilize our custom log LUT. In terms of contrast, it’s nearly identical to Kinelog, but mathematically, it’s the closest approximation you can achieve. Personally, I don’t fully subscribe to these principles. Digital Cameras capture light linearly. I mostly rely on zebras to ensure that essential information isn’t clipped and use waveforms to verify that shadows aren’t below the noise floor. The objective of digital image capture is to minimize noise, which typically involves employing the ETTR method. Any skilled colorist familiar with the log curve can adjust exposure accurately, rendering techniques like false color unnecessary, except in time-sensitive situations. Consistency is valuable; avoid changing exposure within a scene. Beyond that, trust your intuition. Ed Lachman’s background in analog filmmaking got him to make the zone system, but it’s a bit of an ancient approach. Film stock has no lineair response, it has a toe and shoulde and the aim is to preserve essential information within the linear curve part, similar to safeguarding precious details amidst grain fluctuations when adjusting exposure. But anyone his own approach 🙂