How Cinematographers Set Their Exposure

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Exposure is determined by six factors: the sensor’s sensitivity or ISO, the shutter speed, the lens’ aperture, the frame rate, ND filters and of course the overall amount of light in the scene that is being photographed. Let's take a look at how cinematographers expose.
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0:00 What Is Exposure?
2:38 How To Find The Right Exposure
5:47 Skillshare
7:02 Exposure Tools
10:11 Controlling Exposure
12:58 Conclusion
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[@Lensman64]

Invest in a light meter and less important color meter if you can afford it. If you are shooting stills (applicable to film) without question learn the Zone System (Ansel Adams/Fred Archer) which, with practice and experience, you can apply to your in camera meter for virtually flawless exposures. Learn to visualize in B&W tones. You will never regret it. I learned the Zone System when I was first starting out and I've had my Luna Star F for over 30 years. Do not trust your on camera screen no matter how good you think it is. Also learn how to read the scopes. Above all learn about your tools and how they work and the rudiments of photographic theory if you want to grow as a photographer. Very nice video.

[@flipnap2112]

I bought a 16mm film camera and started shooting footage. amazing how on film you can easily over expose and still have plenty of latitude, where as digital is the exact opposite.

[@executerdelta]

I think it’s also important to say to try to use the native ISO value as much as possible to get the least amount of noise and the highest dynamic range the camera is able to capture!

[@authenticNL2]

I heard that some cinematographers shoot at 1600EI for more noise though

[@bngr_bngr]

Modern digital cameras don’t work that way.

[@executerdelta]

@@bngr_bngr How do they work then?

[@lorenzbuhler6114]

@@bngr_bngr what do u mean, like EI and noise aren’t correlated?

[@emilthilsing]

depends on the shooting situation. if you're shooting for a dark look where a large portion of the image falls into almost complete black, it's usually better to shoot at the lowest possible ISO since those lower value ISO tend to preserve more dynamic range in the shadows.

[@kiribundi]

The one thing that might have been useful is how a DIT can create a LUT that makes everything darker while preserving the highlight levels. That allows the cinematographer to properly shape the shadows and to avoid underexposure.

[@tristenmoles7933]

Deakins does this alot!

[@campbellgray7553]

The addition to this is also actually live grading on set and reducing mid tones approx 1/3rd of a stop to preserve detail despite the LUT - this means you are always slightly overexposing which is very helpful for dark shows.

[@imDonDiestro]

I think it’s important to note that a lot of the time, “moodier” shots are actually exposed brighter than what we see in the final product to give the colorist more room to color. In post they’ll bring the overall brightness down a few stops to achieve the moody/darker look that we all end up seeing. Batman is an exception though. They shot that dark af lol.

[@Killllian]

You merely adopted the dark. I was born in it. Molded by it. I didn’t see the light until I was hired to shoot dune. By then, it was nothing but BLINDING!

[@photorooster8865]

The more experience you have the faster finding your exposure becomes. This is why its good to start shooting day one when you get your camera out of the box. Take note of your settings and shoot away. It's just a digital recording so lather rinse repeat, shoot evaluate then erase and keep honing your skill.👍

[@rajatbanerjee3413]

Extremely crisp with elaborations done in the most convenient way ..

[@perrinmedia]

Clear, precise, in depth information. Thank you. I value the work you put into this channel.

[@davidmultimedia2024]

Excellent video! It is important to mention that the ISO itself doesn’t affect the actual exposure of the sensor.. but using it forces you to under or overexpose the sensor, resulting in DR shifting. You should see it like this : Base ISO = Normal exposure (with more or less the same amount of DR above and under middle grey). As soon as you set the ISO "under" the base value, you are then adjusting the other true exposure parameters accordingly, so it tricks you to “overexpose” your sensor (shifting the DR towards the shadows). When setting the ISO “above” the base value, you are monitoring the image with added gain, so it will trick you to “underexpose” the sensor (shifting the DR towards the highlights). When shooting RAW, ISO does absolutely nothing to your footage (just a monitoring tool), but it will affect how you’ll set the true exposure parameters (Aperture, Shutter angle, ND filters, and of course the actual light control).

[@devomk]

I'v never heard more simplistic explanation of the things that i wanted to start with. Sir, you just deserved +1 subscription

[@traviswallace]

The indebted help this channel has been to so many filmmakers across the world is one that deserves the highest appreciation. Thank you, team.

[@cllgscreative]

Damn, I know all of this stuff but didn't know how to use it. Especially the bit about stopping down to an exposure you like then calculating NDs to get there. It almost like I've been using a flathead to pry things open without realizing it's a screwdriver as well. Thanks homie!

[@AuspiciousOncologist]

These videos are a super helpful primer! Very well edited, to the point, and informative. Have gleaned a ton of useful info I otherwise might have had to learn through trial and error.

[@untraditionalfilms]

As always love the videos. So informational and comprehensible.

[@janriggert]

00:30 I would note that exposure is not directly affected by framerate. Its affected by shutter. It doesnt matter if I record at 25 fps or 50 fps if my shutter is 1/100s.

[@yetanotherbassdude]

Fantastic video! Really useful to have the whole process broken down step-by-step like this, and I never knew about the false colour imaging software but it looks really useful! One thing I'd add from my experience with shooting stills on film is that, at least with most negative film stocks (as opposed to positive slide films), they do indeed handle overexposure really well as you said, but conversely they also handle underexposure *much* worse than most digital sensors. Film emulsions need a minimum amount of light hitting them to record any information at all, so any areas of the image below this threshold will be blank, just like clipped highlights are with digital sensors. That means you have to completely reverse the way you light and expose for film when compared to digital and always be erring on the side of overexposure and exposing for the shadows rather than the highlights as you would with digital. Definitely worth bearing in mind for anyone starting to work with film after working entirely with digital previously. It definitely caught me out when I started experimenting with film!

[@NuparthChaudhry]

Your videos are amazing, in depth yet easy to understand, I've come across a gold mine, please keep creating videos

[@donwhitman1118]

This video was so helpful. Thank you!

[@CSquare324]

Great information and content as always! Thanks.

[@raimondogenna7912]

Thank you for this. Love your channel!!!

[@si_the_clickographer]

Great video, I like how you told the nd filter exposure thing at the last!

[@kevin.delacruz]

I just moved from youngling to jedi knight in terms of camera knowledge. Thank you so much In Depth Cine. This information is exactly what I needed to truly understand how to frame on camera.

[@jay_elias__]

This was really, really handy! Thank you for this! I definitely learned something valuable today!

[@mrdfwproductions]

Seriously thank you for making this video. It helped me understand the reasoning behind lighting for different results.

[@Longdayvlog]

Very well-explained video. Thank you very much!

[@pierrezapata90]

What a valuable wealth of knowledge this video is! Well done!

[@pawelpolanowski1991]

Love your videos! Great work

[@killderrodrigues6958]

Bro, thanks for this vide, it was so easy to understand with this very clear explanation. Please, do not stop doing this content, will be helpfull to teach all of us get great results as filmmakers!

[@MiaogisTeas]

The aperture is also affected by the T-stop of the lens. That's why it's labeled T on the ARRI lens you've used as an example. The T-stop is a better indicator of the light the lens will allow through to the sensor, which will also affect the DOF, whereas the aperture is made up of many factors, including the embouchure or front lens element. There used to be lenses that would allow you to adjust the T-stop independently of the aperture, however, they're a specialized bit of kit that you can replace with ND filters and the equipment between your ears.

[@PeaLoop]

I’ve learned so much about filmmaking from your channel 🙏🙏

[@AvatarRishi]

Love your videos IDC! Even if I know the topics, a good explanation is a wonderful review to stay on top.

[@GlobeHackers]

well organized explaination that pretty much covered it

[@orlandojones857]

This is such a great video. Thank you so much for sharing. Definitely subscribed 👍🏾

[@sevenrulesproductions3037]

Soooo helpful! I hated cinematography theory, but this cleared my mind, 🙏🏽

[@elsiadajew9694]

Truly from the bottom of my heart I thank you for this video! You've helped a lot!

[@samuelalzate6452]

In middle of the night, I gotta tell you something: "¡You, and all your videos are so amazing!" Never leave this dudeeeeeeeee

[@Helmersson88]

The best pedagogic video I've seen about the subject. Well done! Thanks!

[@rodroyo]

Thank you for thr video. This is one of the most important basic videos to be seen for all aspiring cinematographers that are being trained online. Great work. Its perfectly and clearly explained. Regards from Palma de Mallorca.

[@tubeman1983]

Amazing explanation!!! Bravo! Cheers :)

[@ChrisSantini]

Really informative video! thank you

[@NEVERAGAIN007]

Thank you for such an amazing informative and simplistic explanation on this. New sub. Just brilliant 🔥🔥🔥

[@enricowinkler9934]

Great and helpful! Thanks a lot.

[@MesaVerdeProductions]

Very very well done video. Even though I had a good idea about exposure some things taught here were helpful :)

[@yashkamat1880]

THANKS!! HIGHLY INFORMATIVE!

[@phokar5255]

Great video. Please make separate video on adding artificial sources to bring up exposure after exposing for natural sources (like windows during day). Or "room tone". Sometimes I fear that adding artificial sources to bring up shadow is going to look sourcy.

[@tss3393]

This video is an absolute game changer! Thank you, thank you, thank you!!!

[@kingdeekshith6576]

Superb explanation

[@TapijtReiniger]

I read somewhere that SmallHD introduced a new False Color tool in their new on board monitors which can seamlessly work together with your light meter. It was developed by Ed Lachman, ASC. I haven't tried it yet but from what I've read it makes the traditional false color system obsolete since the new one is based on T-stops and not EV

[@KristophTy]

Awesome Video... Well Explained... I will be studying/referencing this video ALOT... Subbed!

[@homenrico]

Awesome video! Really useful

[@Newt211]

Thank you very informative!

[@dekidyeuklides7400]

brilliant explanation!

[@troytstewartful]

Thank you, very helpful

[@chusetor]

Amazing!!!! Thanks so much.

[@archetype0]

Amazingly done

[@brunobilandzija1823]

awesome as always!🍀

[@rodrigovieirafilmes1472]

Eu sou do Brasil , mau consigo entender direito o que vc fala! Mas ainda bem que sua animação no video ajuda demais !! Obrigado estou aprendendo muito !!

[@DEADIKATED]

Great Video Thanks!

[@lesyndromecine]

Great video thank you !

[@GerzaaHD]

At the end when you mentioned the correct exposure, do you mean the exposure you want your shot to be exposed at? Also when we use filters to drop back down to say T/2 is that what all filmmakers do to have a shallow depth of field with the exposure they want?

[@movieman925]

This is one of the best videos I’ve seen thing all of these topics together , it finally clicked for me

[@sethjepstein]

Excellent video

[@killjeffrey]

Good God. What an amazing video!

[@soocmedia]

Awesome video thanks:).

[@dannydirect]

Excellent vid

[@joegamer6914]

Great video

[@oluwaseunolaoke1588]

Thanks a lot ❤❤❤

[@ersaloj]

Thank you!

[@strummedia4068]

A lot of “ dark” scenes in movies are actually shot quite bright and brought down in post to look dark. The last mad max movie’s night scenes were all shot in the sun. It’s called Day for night

[@jfkjfk-om3mv]

totally right! even those dark sceens are dark by colourist. as a dp u have to provide as much data for post also having a pre-LUT would be wonderful but often happens that u dont have that privilege.

[@b_cinematographer]

I'm guessing the IRE scale is from 0 to 100 is this the case with REC709? Because in Slog3 it is 0-94 and in S-Cone Tone 0-109. So it varies depending on the image profile we're working in right? BTW. I love your channel

[@426Studios]

Yes it depends on what color space you use. There is also the neutral grey that needs to be considered because every profile/color space has different neutral grey. Slog3 has 41IRE for it's neutral grey though most cinematographers overexposed to 1.5 stops because at native ISO of 640, the noise floor seems to be at around 10 or 11IRE so on post, when the exposure is adjusted, the noise floor will also be pushed down to below 0 IRE

[@JonassaintStudios]

Awesome Video

[@ReadytoChop]

It’s entirely ok to crush shadows, assuming you want black in that region of the final image. Erring towards exposing for the highlights tends to be the best look associated with cinema, but that depends on the intent of the creator. You must remember the the print film stocks would crush shadows pretty heavily so that projection would not look as flat as it would with out it. This is a look we associate with many classic films. Again, there are exceptions.

[@MartinV.]

Great Video!

[@FrancescoPaggiaro]

Pure gold

[@user-bc9fx9lq9e]

thank you!

[@eatmy__shorts]

Awesome stuff

[@binuserkaf]

THANK YOU!

[@workingwiththelight3119]

Thank you 🎉

[@wetravelfordream6826]

Wonderful video

[@user-iq4bn5fl3r]

amazing video

[@CloudCraftStudios]

This should be the very first video they show in every film school around the world.

[@charlieweston2292]

Even if you do film so highlights blow out it’s pleasant to take the edge off in editing after. A reason why people like 35Mm film a lot because it can do this naturally or be easier to do this after

[@allanvanuga9196]

Great video.

[@sxperduper]

You’re such a W KZbinr

[@siddxartxa]

One day I will definitely become someone who creates beauty through a lens or screen. One day. Thank you for your work, creating these videos! Greatly informational and interesting.

[@walterwhite4290]

Gob bless you mate

[@presise]

great video

[@charlieweston2292]

The Batman was shot with a bleach bypass Film intermediate process

[@b991228]

Does each stop of light exposed from black to white result in progressively reduced range of tone and color with digital? Would you get more detail if you do your editing then finish by lowering the exposure?

[@berkertaskiran]

Yes. Since it's often a log curve and we prefer to preserve more stuff in shadows and midtones, you get less dynamic range to work with at highlights. That is unless you work with 16 bit linear which most don't. That's why you expose to the right. Buuut... exposing to the right isn't very professional especially on a feature film and can cause a lot of problems. But this doesn't really have anything to do with editing, per se. As long as you don't process your original footage you can grade whenever you want. Note that ETTR will cause issues if you have overexposed highlights. Those will remain white, unrecoverable. So you have to be careful not to blow out the highlights.

[@GeorgeJohnsonJackofAllTrades]

Great video. I agree with everything you said but I'm afraid your explanation of log and LUTs may confuse some viewers. Of course, explaining that point could be its own 13 minute video. I would just point back to your earlier rule about not trusting the monitor. The in-camera LUT is only there to help the non-cinematographer director understand what the final picture could look like ;) The false-color and all the other tools you mentioned work just the same. Use them.

[@vettilas5549]

Awesome 😊

[@_GhostGarden_]

In terms of directors using the same aperture for a project, does this typically change for say wide shots to close ups? I would image most wides are shot around f/5.6 - f/11 and close ups f/2.8 - f/4.0.

[@DialloMoore503]

Filmmaking is so technical that working with cameras can be intimidating. That’s why I tell people that PROFESSIONALS know what they’re doing. I’m a director that actually likes to operate the camera, but the stuff about lenses, filters, ISO, and aperture is hard to retain.

[@warren9762]

nobody uses f/11 in movies, guaranteed.

[@campbellgray7553]

Hi, often you set the apeture for the character of the lens. Arri DNA LF you often shoot between T 2.8 and T4, otherwise they get soft below T2.8. Often for VFX shots on long lenses you'd use T5.6, 8 and 11 to get more depth of field to help out the 1st AC focus puller. So it really depends on use. An extreme close up might be T2 if the lens is fast enough and only a tiny piece of the face needs to be in focus.

[@ConradSpoke]

I feel considerably less stupid after starting and stopping my way through one of your excellent lectures.

[@Whyiadda]

So good

[@airindiana]

I think one thing that can trip up people is looking at a moody film on Davinci say and seeing where the exposure sits, seeing it’s dark, trying to do that themselves in camera and then wonder why everything looks muddy. Take Batman. You’re looking at display referred. It is highly unlikely the cinematographer ever exposed the image that dark. It’s why BTS of dark and moody horror films always appear lighter than the final product. They expose more then bring it down in post. It gives more latitude rather than trying to bake the image that low down from the sensor.

[@sammorganmoore]

Seems that you demonsrate accurately that most cinamatographers dont really understand digital capture. Digital capture has an S-N ratio and steps allocated to a stop change of light. To bring the best fidelity from a camera one must expose with an understanding of these two factors and nothing else. Any mood or darkening can be added in post and seen onset with a suitable LUT.

[@RichsBrainless]

Guys awesomen video, thanks! :) Could you make a video on exposing for 18% grey? It's something I personally still don't get Best regards Ryszard

[@entylerly]

I've always read that a good rule of thumb for shutter speed is to double the frame rate. In your example the FPS is 24 but the shutter is 180. How did you come to this number and what are the results of that specific example?

[@marekbohdan]

Shutter speed (1/48 [s]) is not shutter angle (180 [deg.]).

[@TinLeadHammer]

180 degrees is half of the full circle 360 degrees, meaning a frame is exposed for half the time it is sitting in the gate. Half the time for 24 fps is 1/48 s. Half the time for 30 fps is 1/60 s. Half the time for 60 fps is 1/120 s, but it is customary to use 1/60 to avoid choppy look.

[@Eyeofkamau]

That us shutter angle, not shutter speed. 180° shutter angle equates to 24fps at 48shutter speed and other frame rates with their ss doubled the rate

[@user-yy1xk3vp1d]

Could you do the same for film/analog?:)

[@aparnadutta6487]

What's role of light meter