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A stop is a stop regardless of the color space you view it through, as long as you are always referring to a stop of light in the real world, and not measured through a display that has its own gamma curve.
The camera cannot possibly know what processing or contrast adjustments will be made after the fact, but if you meter a 4:1 contrast ratio in real life (using a meter), the EL system will show that exact contrast ratio.
The whole point of EL system is to free you from the various log encodings and different values that camera manufacturers use for false color
A good place to start would be to go to the location at Dusk and shoot a few reference stills.
Figure out if you need to shoot towards the horizon where the sun is setting and how you can design the blocking to work in your favour.
Start by avoiding the things that are impossible to recreate
If you want a texture shadow look then you really need to protect that area when you expose.
You can lower the ISO to move the dynamic range into the shadows. You can create a LUT that brings the image down a stop or two, and over expose the image slightly to get more detail in the blacks.
You could also go the other way and create a denser darkness by compressing the shadows. All depends on the type of “dark” you are trying to create.
I would also like to add, if i may, that calculating contrast ratios or using a more instinctive approach (as Roger described) is a totally personal thing. You have to find the right approach for how you see things.
I suspect that if you treat contrast ratio dogmatically and try to light every shot at a 4:1 ratio (for example), you will A) Spend forever looking at numbers and not considering the image, and (B) End up with a very boring looking film.
Contrast ratio, in my mind, is more like a guide, its an area to aim that rather than a strict mathematical decision
