Tutorial on Cinematography - How to Maximize Your Camera's Dynamic Range

The Cinematographer's best kept secrets
Director/Cinematographer Matthew Rosen explains how to maximize your camera's dynamic range.
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[@CartubeCoIl]

This film explain DR very well, but it also explained that the man behind the camera is more important than the camera.

[@JAYFULFILMZ]

So many jewels in this video! Thanks bro!

[@ALittleA-cb4cm]

this is such an eye opener. I love the ad that you shot in the car and desert. thanks for sharing your experience and tips and tricks!

[@techsavvydaddy5616]

Very thorough explanation. Thank you very much, looking forward to seeing more of your videos.

[@GungdePhotoBali]

Penjelasan nya Bagus banget !!!

[@yiurock4084]

lol he sounds like Brain from pinky and the brain, love it

[@zachmoore2005]

My brain hurts

[@haroldvillegas17]

Filipino??

[@wolfangdigital]

That was a well thought out, clearly explained video on dynamic range. Thanks for putting this together!

[@posebukse]

Pardon if this is a less thought through question, but you say that film doesn't clip, only becomes transparent. When the film is totally transparent, the detail is gone - how is this different from clipping data? Digression : I audio, some people also say that tape doesn't clip, only saturate, but no matter how one words it, the peaks (details) are still gone if the tape is saturated too hard. Thanks for the excellent video!

[@Riceordie]

Did you enjoy Philippines!? I hope they didn't pay you in rum.

[@shadow7037932]

Only 480p????

[@kinetek2881]

+shadow7037932  Hi, Yes, I apologise for the low resolution. I was wondering how long it would take for someone to mention it. I hope the content makes up for the poor image quality. Much of the materials I use in these films are snippets taken from my much larger lecture materials. Mainly for I.P. reasons I don’t put them up in hi res.

[@thequantaleaper]

+KINETEK - Haha, yeah I came down to see the complimentary "NOW IN STUNNING FULL 480P!" comment. Seriously though, great video! It excellently explains the amount of work that goes into getting exposures within applicable ranges. I shoot run-and-gun a lot in environments without the benefit of lights/reflectors/etc... and frequently get asked why it looks like the sky is too bright or the shadows too dark. Thanks for this nice explanatory video!

[@PostColorGear]

Thanks for the explanation!! I was curious about this myself. The concepts are still there, and that's great.

[@PostColorGear]

Ok. It's killing me. I know I know better but my brain isn't functioning properly. I.P.? Intellectual property?

[@Eren-da-Jaeger]

yep

[@MrKen-wy5dk]

A higher YT upload than 480p would have made your video much easier to determine the fine differences in your DR explanation.

[@mediastorm6801]

Thank you so much for making these high quality tutorials!

[@HuiNie]

潘师傅！

[@paulhemann]

I do not make comments --- NEVER -- But This is one hell of a great explanation and samples from a guy that is a guinness.!!! Very very good job .!!!!!!!!!!

[@FritzelMedia]

Wouldn't using HDR cause some sort of ghosting artifacts? If the first frame was at 1/48 of a second, and it's combined frame was 1/96, then wouldn't the first frame have more motion blur? So as you move back and forth between the two frames, different parts of motion blur would come in and out. Right?

[@SMEE]

I have tried, but I truly can't understand the difference between digital sensors clipping whites and film not exposing beyond 100% white. Isn't everything above 100% white still lost in film just as it is when clipped in digital?

[@moreapropos]

I really loathe people who leave Thumbs Down, especially on well done videos like this. If you don't like it, move along.And I really like how you use practical examples from your own work and emphasize the need for finding solutions to exposure problems in order to compensate for the lack of dynamic range in many digital cameras. It seems like many people don't give any consideration to lighting. Keep these videos coming. Very good info and very well explained.

[@MattScottVisuals]

Your explanations are excellent, thank you for taking the time to put this together and explain dynamic range so well. However, I found the film vs digital component misleading and not really accurate. You're saying the film doesn't clip....which is technically true, but just because the IRE levels are below 100 doesn't mean that there is no detail there...which in the example you share here, shows exactly that! So if it were captured using digital, resulting in "clipping" the mirror and hot spots out side of the car, or shot film, "exposing to transparent", the results would be the same in the final shot. They are totally blown out, as you say...but because they contain no detail, they are as good as clipped! What's the difference?

[@Prabhath_the_Dawn]

One of the best explanations ever! 😎👌🏻👌🏻👌🏻 Cheers from Bangalore, India!

[@ContetorTV]

My first time really understanding this topic

[@MankindFilm]

This is still so relevant. Loved this video, HDR X seems like the best tool if your shot is locked down on tripod and you can expose background perfectly and then foreground or motion over top of it at any 2nd exposure and get impossibly close to human eye sight dynamic range.

[@rayrapphaelbisnar]

definitely the best explanation i found! you should create one on frame rates or file formats or sound capture!

[@Lumencraft-]

WOW!!!!!!!!!!!! I learned so much in this video.. Graduated ND filter, HDRX... This may be just what I needed.................. Thank you!!

[@MihaBevcStraxer]

Great video. Can you explanin why crushing and clipping wouldn't be broadcast legal?

[@Veptis]

But if film "does not clip". But is transparent, it's full white: no data, no details. How is that different practically? Especially when you scan it digitally. You could just tell your data to be 99 instead of 100 and it wouldn't 'clip'.

[@yodo7661]

Thanks for sharing. Your channel is a gold mine. I am not a film maker but I own a mirroless. Your videos helped me better understand the process of film making. Brilliantly explaned

[@johnnyfitzlive]

Thank you. Please never stop posting your content. I've learned more from your channel today than I have over the past 5 years of frantically trying to youtube away my lack of film school. Thank you.

[@JoseChemmassery]

Beautifully explained 😊 Thank you

[@daniellenepales3817]

Hands down to this video. its amazing, but i just don't like the background music. its disturbing your audio voice, making it hard to understand the words. specially when the piano play some keys.

[@tgchan]

1st d810 2nd K-1 kings of dynamic range (photography). No idea how it goes with the video? Is it sensor matter? Codecs? Both?

[@altar7885]

great video your technical insights are invaluable

[@PhilippeOrlando]

I'm wondering, have you compared various cams? Such as Panasonic G9 vs Fuji XT-3?

[@kelvinmaliki2176]

cool video. thanks for the examples you provided alongside. it settles a lot of questions iv had about dynamic range.

[@iamakkkshay]

Superb explaination sir. Thank you so much, as a smartphone photographer/cinematographer these techniques worths a lot as a phone has very little dynamic range.

[@tanveerahmed6172]

All the shit talker talk just anything that comes to mind with huge egos. And there’s always a dumb down video that doesn’t explain shit and in advance videos where they talk about their too expensive cameras like the people who could know such thing will watch KZbin videos to know how to shoot. You perfectly explain everything from start to finish and really put the real information that is needed rather then just smiling and talking to get the video longer. Really appreciate it. If ever i get to become a director I’ll never forget what you have done for me.

[@Swizzenator]

Did you say work shops? Please come to South Florida and do one. What a great lesson. They dont make em like they used too. And Im not talkin bout the equipment ha ha. Cheers.

[@videocasetteTV]

Awesome as always, why you do not create a website with annual subscription to members , your explaination is excellent, kindly keep posting lighting tutorials every week

[@markangelomazzola6917]

4 years later you got a sony a7s3 that has a dynamic range of 15 stops. plus it can output 16bit raw over external recorder.

[@javi2dmax]

Hi do you work in asia? cant help but notice that it's a close up commercialnd an emperador light commercial with filipino actors.. thank you for this tutorial btw, im a film student from college of st benilde and this is really helpful

[@regikeyz]

great video, tho at 0:34 my iphone XS can see ALL bars, dynamic range was fine. I will test with my iphone 7 which was same year this video made

[@morucek]

The part of the commercial shot on RED is awesome. Thanks!!

[@dm.b7560]

But yet ARRI says to have 14 stops of DR while RED says to have 16+, what you think about that?

[@PJski]

Supremely helpful and insightful. While this sentiment may now be long lost here on YT, I'd just like to thank you for sharing what are clearly years of professional experience with complete strangers, for free. Thank you.

[@Juhiiiz]

KZbin, we want list of people who thumbed down on this! Thank you Mr. Rosen. My deepest respect goes to your work.

[@joshmvfx]

Can't you just pull down the gain in post to un-clip your whites like you said film did? I do this with magic bullet film and I get the same result that you mentioned

[@chefkuyajoey]

Very informative! I was wondering about these settings but your explanation made it so clear! Nice toothpaste as well 😀

[@leonardotdias]

This is very interesting. I didn't know Red cameras had such a feature!

[@canturgan]

Magic Lantern has HDR video capture. Great videos.

[@Jun-ig4ug]

thank , I have 1 channel of video cinematography, please give me tips to improve them

[@sisterbrothers1677]

That was all HDRx, those bounces would be pretty useless at that distance.

[@bricefurne5168]

No doubt that is the most useful video I've seen since a long time. Thanks very much

[@amelok]

I'm wondering how that shot was made on 4:49 - the doors are opened and there's no exposure difference between that gap and those windows with ND gels you've mentioned

[@saangalia1555]

My God...this is one of the most helpful tutorial...thx alot

[@rohan1258]

Sir, what aperture did you kept during scene in which the van with product placement is at the shadow side? At 7:32

[@SivaKumar-gr5ut]

Millions of thanks guys...well..love you guys

[@vivekanandhan5247]

its a masterclass tutorial bro thankyou for this helped a lot.

[@open8293]

is it true that higher iso losses details in shadow and increases highlight rooms and lower iso clips at highlight and increases shadow details , if i am shooting in night or interior or exterior with low iso setting like iso 400 , will give me more details in shadow and clean black,

[@rsunghun]

crystal clear and amazingly useful video. Thank you so much!

[@RhythmicEye]

In 2022 this is still an excellent tutorial. Thank you!

[@Sethmotley]

A 5yr kid can understand this the way you explained it

[@akshay777able]

That was so helpful. thank you very much

[@AdnanAhmadAli]

Very well explained. Earned a subscriber👍

[@Isaacimage]

Thank you so much ! Must to see to every photo /video creator !

[@shootinglight]

Super useful and brilliantly explained.

[@ZebaFilms]

You inspiring how great video with good content you make. thank you soo much.

[@RoadtrippinwithTakacs]

This video was extremely informative. Thanks for the great lesson on dynamic range!

[@brentvergara9563]

you are the best man!

[@MrMovieMan941]

WOw I learned something new today

[@alonzofilho]

when you use a red but upload in 480p

[@randallburgess6393]

Do you have any info on the 6D mark 1 and its limitations

[@arielshpitzer]

if you do a hole in the film ? isn't it more transparent ?

[@gouttham1]

BEST Video about dynamic range....Thank you

[@chiquetcyril]

Very interesting, thank you

[@tanveerahmed6172]

You are the most underrated KZbin mate

[@JetSmackedHD]

whoa! my mind just got blown

[@sa4reel]

You mentioned that the Alexa has more DR than the Epic, however, on their official sites they say the Red Epic has 16.5+ DR, whereas the Alexa has 14+ stops. How is that different from what you mentioned? Great tutorial. Thanks!

[@MoneyMunday]

+Saleh Alzughaibi It's because the Epic has HDRx. The end of the video talks all about it.

[@matiasg19]

wow, that's pretty advanced!

[@simongentry]

another option - do all that with coffee.

[@roughcutfilms3787]

just great more please and thank you

[@giantman]

Excellent, thank you!

[@KrunoslavStifter]

Does anybody have any scientific measurement of how many stops of dynmic range is average human eye? Some say about 20 stops but I haven't seen any good method of finding out. Anybody has any info?

[@soufianenajah4746]

Brilliant. Thank you

[@yezhacker]

Amazing explanation!!!

[@Gambitheart]

By far the best channel for cinematography as a craft, thanks for sharing your knowledge and articulate experience...

[@danielsahagun4367]

BEST Video about dynamic range.Thank you Sir. Thank you for sharing your wisdom! This is awesome.

[@MichaelPari]

this is so useful

[@karajaproduction8860]

very good explanation

[@grantlivingstone6366]

This was really helpful

[@Lauryyno]

Amazing content. Keep it up, would love to watch these everyday.!

[@DKtracks]

This video is awesome! Thank you.

[@cincinnatijones]

I thought you might touch on how ISO affects the dynamic range of a digital camera. Did you use a certain ISO with the epic to get maximum dynamic range?

[@kinetek2881]

+cincinnatijones Hi, I think that’s a bit complex for this particular film. It’s a good input though, possibly for another film, perhaps one specifically about ISO sweet spots. I set the truck shot at ISO 320. I used the grad ND to manage the clip, so I set my ISO to manage the grain that may appear in the dark shadow area if the colourist pushed it for more detail. On the Epic and the Dragon I find ISO 800 gives slightly better DR, and generally the higher you go the more range you seem to get - but at a cost to your grain, colour, contrast and clip threshold. I find ISO settings change DR marginally compared to grain, which it changes dramatically. I tend to set my ISO for grain and manage my DR with exposure ratios and exposure techniques, which have a much larger impact. This sweet spot issue is very personalised and varies from individual to individual. Although it seems like a technical issue, like so much of cinematography it’s more a taste issue. It’s not what’s best; it’s what you like. Thanks for the input! I’ll start thinking about a sweet spot film.

[@AblueTee]

awesome tutorial, haven't found anything cinematography this well explained on youtube yet.

[@bazratube7238]

Thanks for is tutorials

[@fifteenminute]

I found the ending commercial! /watch?v=qw1EaY6NaHA You are a great DP! Thank you for sharing your wisdom with us!

[@bat__bat]

WHERE HAVE YOU BEEN ALL MY LIFE? Please make more videos, and upload on 4K or 1080 at least man. What is this the 90's? Great video.

[@Eeagli]

Wow. Thanks so much for making this tutorial. I learnt so much.

[@goblincross]

By far, the best explanation of DR to be found anywhere. Truly outstanding!

[@JamesRicarte]

Honestly my nose is bleeding right now 😂 fak i cant understand some of it

[@Vautksch]

I need your Input Matthew, as I just saw that you implemented that BMCC clip at 200ISO. Do you use a lower ISO for low key scenes with BM Cameras as it is advised for Arri, to expand the DR in the shadows? Cauze we discussed it once in a FB group where it was stated that this rules does not apply for BM sensors, only for the alexa and red senors and that by using anything but the native ISO of 800 will dimish your DR. Thanks for your input!