How to Light and Expose for Darkness

[@RobEllisCinematographer]

THERE IS A VERSION OF THIS VIDEO ON MY PATREON THAT HAS CLEAN SHADOWS AND NOT KZbin COMPRESSED FUZZY BLOCKS 🙂 www.patreon.com/robelliscinematography - support me on Patreon for extended, ad-free KZbin videos and informal breakdowns - including the entire Lighting with Colour mini course available to stream now! Color Grading - www.dehancer.com - get 10% off Dehancer using ROBELLIS at checkout www.robelliscinematography.com/downloads - download the full 46 minute Lighting with Colour mini course ad-free, with all 5 individual parts for just £15 - including an exclusive Part 3!

[@leebrandt8597]

I've really enjoyed your work Rob, been watching you for a while. In my experience, when grading with color management/wide gamut/highlight recovery, I've measured the Pocket 6k Pro to have 9.3 stops above middle gray, and two additional stops in the shadows with noise reduction. I do appreciate your method of lighting and exposing here; you're able to achieve a very appealing moody scene. Cheers

[@mexossai7982]

This is one of the most important trainings that seperates everyone from the pro. Very generous of you revealing this

[@RobEllisCinematographer]

Thank you Mex! Hope you found it useful!! :)

[@dukebozikowski3801]

@@RobEllisCinematographer Really this is an elite level video and very well explained!

[@chrisrossleong5735]

Hear hear!!

[@andreitcaciuc6283]

Probably the most amazing training on lighting I've ever seen. Very grateful to come across this masterful material and finally understand the concept of contrast ratio for lighting. 😱

[@RobEllisCinematographer]

Thank you so much Andrei! Very glad I could make it clearer for you! :)

[@TeddyCavachon]

The first lighting book I read in 1970 was a “How To Shoot Portraits” book by Kodak which suggested the same centered “neutral” fill light placement mentioned in this video. Two years later I got a job assisting top wedding photographer Monte Zucker and discovered he also used the same, centered-above-camera fill strategy for shooting dual “hotshoe” flash photos, using a bracket on the camera to get the center of the flash up 16” above the lens where the head and body shadow falls out of sight behind the subject and the nose shadow in a full face view falls straight down under the nose. He learned the neutral fill strategy from his mentor, portrait photographer Joe Zeltsman. Zeltsman aimed a bank of fill lights backwards bouncing them off the back and side walls near the ceiling which matches the direction and character of fill from the Northern sky (north of the equator). Placing the subject the same distance from the back wall meant that the exposure on negative film (which is exposed for density in the shadows) was always the same. This approach also works with digital sensors for stills or video, an approach I’ve used since getting my first digital camera, a Kodak DC290, in 2000. Start by setting the camera to the aperture desired for DOF and shutter / ISO then starting with fill raise it until detail is seen in a black towel used as a visual (via detail seen in playback) exposure guide. Due to the limited range of the sensor a white towel used as highlight exposure target will be reproduced as gray. This is the “baseline - full range of detail as seen by eye” shadow exposure. It will always be the same for that combination of aperture/shutter/ISO/light modifer and distance from center of fill source to subject, so much so you can tie a string to the light head, stretch it to the subject/target and tie a knot in it to be able to repeat the same exposure. The next step is equally simple, turning on and raising the key light until the parts of the white towel it hits are just below clipping in the playback. The shadow exposure will not change (in theory) but in practice if the studio space is small with reflective walls any spill from the key light hitting ceiling and walls will lift the shadows, which will be seen by comparing the shadows in the “fill only” baseline shot with the one where the key light is added and set just below clipping. If key light spill is affecting shadows just reduce the fill as needed, which will then require raising the key a bit more because with “neutral” fill placement on the camera axis the key light the camera sees will always be overlapping on top of the base fill to create the highlights. If using back rim lighting you’ll want to set it before the key light just at or below clipping, then set the key light so it just enough darker to see the separation of the rim light in the highlights. Again this is just a starting baseline to ensure the foreground of the scene exactly matches the sensor range with “normally seen by eye” shadow and highlight detail with only specular reflections allowed to clip. From that “normal - fit foreground to sensor” baseline you can start with more or less fill for a lighter or darker look/mode and opt to let highlights clip or be underexposed. The amount of light reaching the background is easily predicted with centered fill because the fill will fall off front-to-back relative to what the camera captures per the inverse square law. An easy way to understand this is to think of light distances as the same as f/stop numbers: 32,22,16, 11, 8, 5.6, 4 If your fill light is 11 feet from the foreground subject it exposes correctly in the shadows it will be one stop darker 16 feet from the light and two stops darker 22 feet from the light. But if moved closer to 8 feet it will be one stop darker at 11 feet and two stops darker at 16 feet (i.e. 2 stops for every doubling of the distance. In practical terms for lighter backgrounds with just the fill keep the subject close to the background. For darker backgrounds keep the foreground subject further away. Some seem to think any light, including fill, on the camera axis is “bad” lighting but that is exactly how the sun and sky work together outdoors as key and fill sources. The biggest pitfalls of moving fill off the camera axis are: 1) the camera will see the shadows it cast which can produce a “crossed shadow” lighting pattern which isn’t seen in nature and will look odd subconsciously, and; 2) there will be places in the faces and other parts of the scene where both the fill and key are shaded resulting in deep black voids and two-toned highlights when some highlights overlap the fill but others don’t. It is easy to spot lack of fill problems due to placement once you train your eye to seek out the darkest shadows on the foreground subjects to spot any unfilled areas.

[@RobEllisCinematographer]

This was a wonderful and informative read, thank you Teddy!

[@Shot4ShotPhoto]

The fact that you wrote all this to just help someone. It’s really appreciated. And it’s achieved its goal. Thank you!

[@Bo_Hazem]

It's fascinating how you can come with endless informative videos about lighting. You never disappoint, ever!

[@RobEllisCinematographer]

Thank you so much Bo, happy to hear I'm still keeping up!! :)

[@kelvinfunkner]

WOW! This was absolutely incredible! I've never understood contrast ratios. Ever. Until right now! This was like a masterclass, but in terms that I actually understand! You are a great teacher and I just wanted to thank you for sharing this with people like me that aren't "exposed" to the film language and technical jargon of Hollywood.

[@retlwiz]

Last week I was doing exactly the same tests with my Pocket 4K, so seeing this done here so much more artistically was great. I was actually following the Wandering DP's advice on doing these tests in order to understand exposure in any camera you use and how to get good contrast ratios in dark scenes. This video is those tests for your camera, plus the nice touch with the added backlighting to create that fall-off. The next step for me is being able to transfer this next week to the rush of a low-budget shoot in a big room with multiple camera angles and limited lighting package haha - we'll see!

[@RobEllisCinematographer]

Happy I popped up the right time! Yeah it is definitely worth it to run tests like these on a new/different cameras to see how exactly the dynamic range is handled, etc. Haha that definitely sounds like a challenge, I hope it goes well!! :)

[@MOART]

Your side of KZbin feels like a paid content really appreciate it 💜

[@lacaraja]

I can tell you this: I will need to watch this video at least five times. Because even I did not understand it at the first time, I know this is going to be a very important lesson to learn.

[@RobEllisCinematographer]

It'll be here whenever you need to rewatch it! :) I hope it helps!!

[@beantish]

This content is nothing short of Enlightening! Thank you and keep up the good work.

[@zilinzhang5550]

Everyone that watched this video is super lucky, you are a true legend…

[@balazskovacsuk]

Rob, your content is truly exceptional! I'm constantly gaining new insights from it. Please continue with your excellent work. Many thanks!

[@25mrkeys]

The way you break down everything is truly amazing 🙏🏽🏆🏆

[@mostlyharmless88]

This is seriously one of the best tutorials I've seen on cinematography -- and I NEVER comment on videos.

[@eknir369]

Thank you! You helped me a lot to understand the lightmeter better!

[@riskybiscutz]

This is the best video you've made yet. Thanks for everything you do Rob.

[@romanadeev]

Bro, thank you so much for your hard work and your work. It's a very useful learning material, especially for those who are learning on their own.

[@KyleLeeman]

Man, this was absolutely awesome. A masterclass. I'm going to binge your entire channel.

[@wbultez]

You explained a topic I’ve tried to understand before so clearly and simply! Thank you! You earned a subscriber

[@shymjustshym]

This is amazingly well taught. Thank you so much. Just busted open a whole new world of learning and growth for me. 🌱

[@bagrambill]

Wow, this was an excellent step by step, easy to follow and understand tutorial. thanks you...

[@cyconanan]

Exactly what I was looking for! Great explanation of t-stops, camera & light settings to go around it… Thank you for this tutorial!

[@JasonFarries]

This explanation of dynamic range to iso is so good. I'm so pleased I found this video

[@ecellis9651]

One of the best lighting explanations I've seen yet

[@wearetrackclub]

Nice job on breaking this down in such an engaging way! Super valuable video for video creators 👏🎬

[@justjaeden2486]

Did not expect this to be such an incredible, in-depth, and informative video. Easily the most valuable video on lighting on KZbin. Dense at times but still entertaining and accessible. Thank you for sharing this!

[@RichardPageWorks]

I keep coming back to this video.

[@handwoundpickups6555]

This is brilliant thanks so much I learned loads in this video. Thanks Glenn

[@Daniel.K.Crandall]

This was absolutely incredible. I’m blown away by how demystified you’ve made this - all because of how clear you explain AND SHOW the process. Thank you SO much!

[@senshanxiaodao]

This is the best video to teach me understanding EI mode, thank you very much!

[@imranmohammed3138]

This is hands down one of the best tutorials i have ever watched. I've been trying to figure this out and I couldn't, until now. Thank you so much for patiently explaining and simplifying the concept! Great content, keep it coming!

[@snickernick3651]

ive watched so much videos to learn this but this one was by far the best and easiest to understand!

[@martingrierson1152]

The best explanation I have found. Excelent material. Very clear and extremely useful for me. THANKS! 😊

[@melankolikfilms]

Amazingly useful lighting and ratio information, here, Rob. And I don’t underestimate how much energy it takes to maintain that mean and moody expression for the duration of the video. Some heroes don’t wear capes. Or smiles.

[@RobEllisCinematographer]

Thank you so much Jason, glad you found it so useful!! Haha it's really just a slight exaggeration of my normal frown so it's no biggy, I swear!

[@thomasmanning9111]

Thanks for this. Your teaching style is great and you made this concept easier for me to understand

[@ina00203]

Thank you so much for this tutorial, so much knowledge is shared here, Love you brother

[@pegasushyper1444]

Very informative. Didn't have a clue what light stops were when I first heard it in another video. Thank you for explaining

[@francescofarinato1759]

fantastic, sincerely my friend, fantastic video, which explains conscientiously and clearly what to do. bravo

[@Barakaiki33]

What a masterclass. Thank you so very much for your generous giving of knowledge. Signing up for Patreon.

[@joaomestre2584]

One of the most insightful videos about contrast ratios and exposure on KZbin. Great job.

[@lfcruzsierra]

You're such a bright person, love your videos.

[@paulvterry]

subscribed within the first 48 seconds. thought you should know. amazinggg content so far. JUST was I needed in my life.

[@younggaius7492]

Rob you're simply the best 👍🏾. Thanks a lot for these career changing tutorials .

[@GothGomez]

You are an absolute godsend for gaffers and cinematographers everywhere. Honestly, most of your content I watched because it was just nice to refresh what I know with tips and tricks that I didn't have a clue about. This video however? This is a master stroke in regards to what the audience wants. This is like an "industry trick" you only learn on an actual set like how to light for LOG, what near-perfect IRE exposure is etc. I thank you very much for this - I've genuinely (and still am to be fair) struggling with getting the kind of choker/upstage key you have here and balancing whats proper exposure for the rest of the image. The idea of your subject having to be 1.5/2 stops brighter than your background etc. comes to mind and it brings back that film school nostalgia. Anyway, passionate bullshit aside, thank you very much Rob ❤

[@RobEllisCinematographer]

No bullshit at all, I really appreciate it!! Always happy to hear I've helped, even if that's in some small capacity, so a comment like this is amazing to read! Thank you so much! ❤

[@tim.kreisel]

Thank you so much! Your sharing of your knowledge really does make a difference! Keep up the great work, it has great value and meaning.

[@RobEllisCinematographer]

Thank you Tim! I really appreciate it!

[@feelyourmusic]

Thank you for share and crystal clear explanations about this gold mine.

[@jonathanl7883]

This is an excellent video, beautifully explained and executed, should be used in college courses. Thank you.

[@TheBrechbuehler]

that work, knowledge and effort for one single shot. thats awesome :)!

[@filmmaking2444]

every video from this channel is a fucking GEM! everybody else is chasing trends, and gear reviews and super basic beginner stuff. This is an actual filmmaking channel. Thanks lad, You're a champ

[@RobEllisCinematographer]

I appreciate it, thank you so much!

[@eifionjones8513]

So true!

[@edwardvega3354]

This is exactly the kind of video I've been looking for! Thanks for always delivering top tier content

[@RobEllisCinematographer]

Happy I could help Edward! :)

[@alejandrotarangolearns1969]

This video is extremely helpful thank you so much

[@qle278]

I owned a bmpcc4k and have played with lighting and color grading for hours and hours, but this sums up what I have been attempting to do the entire time. Thank you so much for explaining the iso so clearly with examples.

[@skillexe_tv4794]

Stumbled across ur channel rn and i m stunned .... Just love it....

[@staticvideo]

Hands down, the best and my personal favorite channel for lights and exposure! Keep up the awesome work, Rob!

[@RobEllisCinematographer]

I am super happy to hear that Stiliyan! Thank you so much!! :)

[@DylColeman]

Fantastic video my friend. I learned more about cinematography in these 20 minutes that I think I have in the last 12 months

[@ChrisKluepfel]

This is the first video explaining ratios so I get them. Great video!

[@felipfidelis]

this guy really does a great job on explaining cinematography! thank you so muck

[@AndreaJoshuaAsnicar]

I'm very glad you're making a living out of this! I love what you teach and the specific type of mood you always go for! Props to you!

[@RobEllisCinematographer]

Thanks Andrea! Hope you're finding my videos useful and happy you like the mood I go for also, creative control is definitely a plus to using KZbin haha!

[@vegardpedersen]

I just found your channel. So valuable information, thank you! I am now subscribed 🙂Keep going with this amazing content!

[@ekufilm]

CONGRATS on 100 000 subscribers! You deserve it so much man! AMAZING!

[@Sinancev]

This was insightful, especially the drop in ISO. Looking forward to more videos!

[@baldwinfilms]

I honestly didn’t expect the difference in noise to be SO significant by just 300 ISO at the same exposure… this is so useful thank you

[@fletcherdavies8749]

Very informative Rob. Great examples and easy to grasp explanations of contrast ratios and how to apply them. Thank you.

[@RobEllisCinematographer]

Happy you found it useful! :)

[@user-dz8ms7wv5d]

really educational thank you for the detailed explanation

[@akshayshikhare007]

SIr you thank you for sharing such valuable knowledge. subscribed and shared your channel in the community . God bless you

[@bigredcupproductions]

Mr. Ellis, you're a gift to any autodidactic film student. This is far above my level and yet you explain it in a clear enough way to grasp most of the concepts. I sincerely hope I can light a scene as well as you one day. Would you be able to do a tutorial on how to light a scene with multiple characters/angles with only a few light sources?

[@whosworldtez]

I didn't understand all of this first watch. But I will rewatch and re-learn until I become really good and confident with lighting. Thanks for this information, really helpful.

[@KibaWolf]

Thank you. This has sort of been a question in my head since your first set of videos and how you avoid noise. I had the idea to shoot at the 2nd native ISO and then underexpose, but without the lighting ratios, I wasn't sure how light/dark key/fill should have been to create the mood I wanted. This certainly helps now!

[@braxtonwoullard1188]

Thank you Rob. Your teaching skills are amazing. Keep up the great work.✊🏾

[@RobEllisCinematographer]

Always appreciated Braxton :)

[@eifionjones8513]

Great video Rob. This is broken down exquisitely 👌 Now I just need to check out how the dr in the shadows varies by iso on my C70

[@nomadherper]

Brilliant explanation of a technically challenging principle. This is gold. Good on ya, Rob.

[@RobEllisCinematographer]

Hopefully I've explained it in a slightly easier to understand way! Thanks Damon!

[@brown2840]

man this video was perfect timing as I have been struggling to learn this better for a future short I'm shooting. Love this channel so much!

[@RobEllisCinematographer]

Happy to have timed it well and I hope it helps with the short! :)

[@stephanschmitty]

Thank you so much!!! Nice work

[@maxime161]

Your videos never cease to impress me! I feel like I'm taking a real video creation course for free! Thank you so much for all your work! 🤩

[@RobEllisCinematographer]

Thank you so much!! :)

[@crs2crs2]

Amazing as usual, your videos are the best. Thank you so much for posting!!

[@RobEllisCinematographer]

Thank you for watching! I hope you found it useful in some way!

[@MichalKuzminski]

Honestly man this lesson is pure gold. Don't know how to thank your time!

[@RobEllisCinematographer]

Thanks Michal, super happy you found it useful!! :)

[@zohairkhan5755]

Fantastic video. Especially the portion near the end where you bring up the level on the wall to match the key almost and create contrast between the shadow side and the wall. That really brought the image together, and gave me a better sense of how to make an artificially lit image look natural, especially in a dark environment. Thank you.

[@RobEllisCinematographer]

Thanks Zohair! I thought it would be good to show the whole image put together rather than just stopping after the initial ratio explanation, so I'm glad that helped you in some way!

[@ruancarlodop]

Thanks again, Rob!

[@DucatiKozak]

Excellent lighting tutorial! I learned a lot here and learned specifically to my 6Kpro's capabilities! This will change the way I shoot for the better. Thank you Rob for making this video and explaining it the way you did. This should be imperative viewing for anyone shooting digital.

[@RobEllisCinematographer]

Happy to hear you found it so useful, thank you I really appreciate it!! :)

[@pjtavera]

Rob, they have said it all here! Thank you so much for teaching us these invaluable cinematography information. You deserve the 100K push, if not today 👌

[@RobEllisCinematographer]

Thanks PJ, I really appreciate it :) we're nearly there now!

[@brown2840]

That ISO tip was mind blowing! I love the power of braw :)

[@HassibNooriArt]

Thank you so much for explaining it soo good! 😍

[@brittacurkovic]

Wonderful, always appreciate your detailed and technical breakdowns

[@RobEllisCinematographer]

Thank you, happy you're enjoying my videos!

[@DerekAndersonMedia]

Thanks so much man! Great explination!

[@psysword]

Really clears up the air for me.

[@aidanalvarez1722]

By far one of the most phenomenal instructional videos I’ve ever watched anywhere. I will be following, continuing to learn from you. Seriously, thank you sir. Please teach somewhere professionally

[@NabilNaidu]

Thank you for your videos! informative and inspirational as always! Huge fan of your work!💖

[@RobEllisCinematographer]

Thank you Nabil, it's always appreciated! Happy you're finding my videos so useful! 💖

[@bryllupsvideografIsak]

Great video! Not sure how easy it would be for you, and how interested you’d be in such a video, but would be great to see how you would light for crowded events such as weddings etc for speaches. You often have to set the lights far away to avoid people walking into them

[@oramonteu]

This video is amazing. Thanks so much for sharing! It would be very interesting to have a similar tutorial for bright interior images, like a high key corporate scene in a office or something like that.

[@tshansen]

I'm absolutely blown away by the detailed brake down in this video. Take notes, this is how it's done! Thank you 👏🏻

[@RobEllisCinematographer]

Super happy to hear that - thank you so much!!

[@natepotter6911]

LOVE LOVE LOVE your channel! So well done!

[@RobEllisCinematographer]

Thank you Nate!

[@nicslav1997]

Best channel about light on youtube

[@kel.casabo]

Yeah, I can already tell that I'll have to watch this again someday. Super useful information, this is what being a professional means, knowing your art to the smallest bit. Thanks for sharing this. Keep doing what you are good at and giving us presents like this knowledge is.

[@RobEllisCinematographer]

Absolutely, it'll be here whenever you need it! :) I find this kind of info you can find online but it's often a bit difficult to decipher, so I hope I've explained it in a more intuitive way! Thank you! :)

[@dh1163]

Just echoing what's already been said. This is a masterclass. Thank you. Subbed and will support.

[@RobEllisCinematographer]

Thank you so much - I appreciate it! :)

[@markokovacevic3225]

Thank you so much for making this video, Rob!

[@RobEllisCinematographer]

Thank you for watching Marko!

[@SereneBobcat]

As always amazing video.

[@sale_fino_]

Hi Rob, congratulations for the video, as always well explained and illustrated. It would be interesting if you could consider to make an episode 2 focusing mainly on the contrast ratio between the subject and the background, maybe in circumstances where there are more light sources in the scene.

[@sora8537]

This is absolutely fantastic. I have to find that Dynamic range/Iso chart for my GH5S, and definitely stop thinking native ISO means "The cleanest". Finally, since now I understand much more about ratios and how it affects the moods, I gotta get a light meter :) Thanks Rob!

[@SanczykLucas]

Hi Rob, thanks for properly explaining this concept much folks misunderstand here on KZbin. Seen a lot of colleagues here in this platform fairly lost with dynamic range and stops distribution across ISO / EI. Good to find at least one that knows the real fundamentals of exposing to the right. Cheers.

[@thepropolys]

Awesome video. Thanks!