Exposure

THE ULTIMATE GUIDE

How to Shoot Striking Images Every Time

Brought to you by StudioBinder

 Copyright © 2021 by StudioBinder Inc.

All rights reserved. No part of this publication text may be uploaded

or posted online without the prior written permission of the publisher.
For permission requests, write to the publisher, addressed “Attention:
Permissions Request,” to [email protected]. 

 CONTENTS

Introduction 4

How the Exposure Triangle Works 6

What is Aperture? 9

What is ISO? 20

What is Shutter Speed? 32

How to Avoid Over and Underexposure 41

How to Get Correct Exposure Every Time 51

Adjusting Exposure in Post-Production 61

Exposure Exercise #1: Low Light Scenarios 65

Exposure Exercise #2: Bright Light Scenarios 69

Exposure Exercise #3: Capturing Motion 73

Conclusion 77
Foreword

The impetus behind StudioBinder was simple — to create a

holistic production management solution that could handle
everything from screenwriting and storyboards, to shooting
schedules and call sheets.

But once this was done, it became clear that creating the software
wasn't enough, we had to educate as well. Navigating the world of
advertising, filmmaking, photography, music videos, etc. is a
daunting task full of jargon, new technologies, and moving pieces.

The StudioBinder Blog, which hosts over two thousand articles

and millions of readers every month, and our YouTube channel,
rapidly approaching 1 million subscribers, were born out of this
goal to educate.

StudioBinder’s business and educational aspirations have aligned

in ways that I am continually inspired by. And it has been a true
honor and joy to watch the StudioBinder community grow.

Which brings us to this latest resource: Exposure — The Ultimate

Guide. Any image-maker understands that there are many
considerations for every shot they take. Aperture, ISO and shutter
speed can be complex topics on their own, and when you realize
they're all interrelated it becomes much more so.

A single blog post can only do so much. We needed a resource that

tackles all of these subjects holistically. This book aggregates
materials on the various elements of the Exposure Triangle with
with exercises on specific lighting scenarios and how to approach
them. 

We hope you get as much out of this ebook as we had putting it

together. As you prepare for your next project, we hope this guide

Exposure: The Ultimate Guide 2

will give you the opportunity to do your best work and create
stunning (and well-exposed) images.

Robert Kiraz, CEO

StudioBinder

Exposure: The Ultimate Guide 3

CHAPTER 1

Introduction

It's true — anyone can pick up any camera, snap a photo or press
record, and images will be created. What separates the hobbyist
from the professional is a desire to learn their medium inside and
out. Photography and cinematography are "expressive" mediums.
Like painting, poetry or music, image making is the pursuit of
making the internal external; taking the image in your head and
materializing it for the rest of us to see. Painters uses pigments,
poets use words, musicians use notes, and photographers use
light. The term “photography,” after all, comes from the Greek
translation "drawing with light."

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The first step in this process is to understand the mechanics of a
camera and how they work in combination to produce imagery.

The focus of this book is exposure and how to manipulate light

with the relationship between aperture, ISO and shutter speed.
When you master these mechanisms, you can create a vast
spectrum of images that communicate a powerful visual story.

Let’s get started.

Exposure: The Ultimate Guide 5

CHAPTER 2

How the Exposure

Triangle Works

Light is responsible for every image captured in both photography

and cinematography. How a camera captures light is determined
by three variables that make up what is known as the "exposure
triangle.”

The exposure triangle consists of three variables that adjust how a

camera captures light: aperture, shutter speed, and ISO. Together,
these three elements properly expose a shot.

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 The Exposure Triangle

The three variables of the exposure triangle are all dependent on

each other. For example, adjusting one of the three variables will
entail an adjustment of another to maintain proper exposure. The
exposure triangle is also referred to as the photography triangle
and camera triangle.

Although aperture,  shutter speed  and  ISO  are the primary

variables of the triangle that control exposure, each one also

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affects other qualities of an image such depth of field, motion
blur, and noise.

We'll begin by discussing each of the three components of the

exposure triangle individually before demonstrating how they
work together.

Our first stop: aperture.

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CHAPTER 3

What is Aperture?

The road to properly exposing photos and videos start with

aperture. While aperture is considered a camera setting, it’s really
a lens adjustment, and affects two critical components of
capturing an image: light and depth of field. 

Aperture is the opening of the lens through which light passes. A

large (or open) aperture lets in more light that will hit the camera
sensor, whereas a small (or closed) aperture lets in less light.

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Aperture is calibrated in f/stops, written in numbers like f/1.4,
2f/, f/2.8, f/4, f/5.6, f/8, f/11, f/16, and on. The larger the number,
the smaller the aperture. Think of the f/stop number as the radius
between the rim and the hole. A higher f/stop like f/16 would
measure all the space between the rim and the hole, and thus, a
smaller aperture.

Think about the human eye. In a dark room, your pupils get
bigger. Conversely, your pupils shrink when you’re in a bright,
well-lit space. 

Aperture sizes

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So remember:

• Smaller apertures, like f/16, let in less light.

• Larger apertures, like f/1.4, let in more light.

Now let's talk about the visual differences in aperture sizes and
how they can be applied to visual storytelling.

Aperture and Exposure

The size of the aperture will dictate how much light passes
through your lens into your camera, and, thus, how exposed your
shot will be. Naturally, the more light that comes through the lens,
the brighter the image will be.

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If you’re in a room with a lot of natural light, a smaller, more
closed aperture may suffice. It all depends on the scene luminance
and brightness you desire.

How Aperture Affects Exposure

Stanley Kubrick  famously used a lens developed by NASA to

capture low-light scenes in  Barry Lyndon,  a film lit only by
candlelight. The f/stop on the NASA lens was a staggering 0.7 and
produced gorgeous and soft images.

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 Barry Lyndon — Wide Aperture, Shallow Focus

Barry Lyndon shows us how camera aperture relates to exposure

but this is just one part of how aperture affects an image.

Aperture and Depth of Field

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Of course, light exposure isn’t the only result of adjusting
aperture. When you change your f/stop, you’re also affecting
the depth of field. 

Depth of field is the area of acceptable sharpness from foreground

to background. Put simply, depth of field is how blurry or sharp
the area is in front of or behind your subject.

Aperture + Depth of Field

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The larger the aperture (lower f/stop) will provide for less depth
of field and throw more of background out of focus. This is what's
known as “shallow depth of field.”

A low f/stop creates larger foreground and background blur. This

is popular for portraits, or when you want to isolate the subject.
Remember this would be a small number like a f/1.8 or f/2.8.

Shallow depth of field

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In film, there are many creative and valuable applications of
shallow depth of field.

In the following scene from Spike Jonze’s Her , the shallow focus
keeps our focus on the characters.

Shallow Depth of Field — Her

But what if you want a deeper depth of field, aka a “deep focus?”
This is where a larger f/stop comes in.

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If you have a small aperture (a higher f/stop like a f/16 or f/22),
the depth of field increases and more of the background will be in
focus. In other words, by closing your aperture to let in less light,
you can create a deeper focus. This is ideal if you're shooting wide
landscapes. The image below would have to have been shot in a
larger f/stop number like f/16 or f/22.

Deep Depth of Field

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A deep focus can also provide for more staging opportunities
along your z-axis. In this scene from  Atonement, we have an
example of a scene shot with deep depth of field. Not only is this
one of the best tracking shots ever made, it's also a great example
of how to use foreground, middle ground, and background in the
same shot. Without the deep depth of field, we would not be able
to to capture the chaos and surreality of this situation.

Deep Depth of Field — Atonement

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So remember:

• Small apertures like f/16 create a deep depth of field, allowing

more to be in focus.

• Larger apertures like f/1.4 create a shallow depth of field

allowing for a blurred background and foreground.

Now that you have more of a clear understanding of how aperture

affects both the brightness and depth of an image, let’s move on to
the next part of the exposure triangle: ISO.

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CHAPTER 4

What is ISO?

ISO (eye-so, not eye-es-oh) derives from the Greek word “isos"
which means “equal.” It was dubbed by the International
Organization of Standardization, which creates international
standards for everything from country codes to medical devices,
as well as sensitivity ratings for camera sensors. But that's just
trivia — it’s better that we know what the ISO settings on a camera
are, and what role they play when we capture a photo or video.

Simply put, ISO determines how sensitive a digital camera’s

sensor is to light. In a traditional film camera, ISO refers to a
specific film stock’s sensitivity to light. With new technology in

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DSLR cameras, a camera’s ISO setting, or its sensor’s sensitivity
to light, can be adjusted based on the available light of a shot. 

ISO is measured in ISO values such as 50, 100, 200, 400, 800,
1600, 3200, etc. A lower ISO value such as 50 makes a camera’s
sensor less sensitive to light. A higher ISO value such as 6400
makes a camera’s sensor more sensitive to light.

The dramatic effect of different ISO settings

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ISO might sound like it is too good to be true when shooting with
limited light. And that is because it is. Increasing your ISO may
brighten up your shot, but it does come at a cost: image noise.

Say we’re in a poorly-lit room and we have insufficient lighting,

what do we do? As we learned in the previous chapter, the first
thing we’d want to do is open our lens’ aperture as much as
possible to allow in the most amount of light. So let’s say we do
that, but the shot is still too dark.

So the next trick is raise the ISO, so the sensor becomes more
sensitive to the light is coming in. Well, raising the ISO all the way
up to 6400 or greater isn’t necessarily a magic bullet. Although
the image would be brighter, you’d start noticing more image
noise and artifacts.

Sometimes this may be acceptable. If it’s not, then you’ll need to

find a way to either introduce more light into the scene…

…or embrace the darkness.

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Low Light Scenes
Cinematographers use darkness and shadows as much as they use
light. Darkness can be incredibly important for a film’s tone, story
and theme. This may be the case when shooting at night…

Low light exterior — Jojo Rabbit

…out at sea…

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 Low light exterior — X:Men:First Class

...in the woods…

Low light exterior — Maleficent

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...or in a tunnel.

Low light interior — 1917

The film 1917 spans various long takes to create an immersive 360
degree experience. This meant that cinematographer Roger
Deakins had to light many of the darker scenes with practical
lights visible on-screen while still retaining a deep focus.

In other words, Deakins had to contend with less lighting and a

closed aperture. To pull this off, he needed a camera that could
handle extremely low light situations: the ARRI ALEXA Mini LF.

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 Roger Deakins holding ARRI ALEXA Mini LF

Because of the camera’s higher native ISO, Deakins could light

minimally while closing his aperture to achieve a larger depth of
field, all without introducing too much noise.

Noise and Grain

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As we’ve touched on, increasing your ISO may help brighten up
your shot, but if your ISO is set too high, your camera’s sensor will
become TOO sensitive, and it will display more noise.

Image noise is random variation in color information within an

image. Noise causes textural and visual changes in a shot that,
when present in large amounts, can appear low quality and
unprofessional. 

Some cinematographers have experimented with low amounts of

image noise to imitate the effect of film grain which can add
texture and energy to a shot. However, it’s best to minimize noise
and digital artifacts as it may distract the viewer.

How to Avoid Noise

As a general rule, to shoot an image with more clarity, higher
color range, and less noise, you will want to keep your ISO as low
as possible. A lower ISO will also maintain a wider dynamic range,

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which measures the limits of how dark and light an image can be
without losing detail. 

So a larger dynamic range results in more detail and color range.

Adjusting the ISO in either direction moves that range, sacrificing
either the highs or lows in the process. If you want the most
dynamic range, you’ll want to shoot as close to as possible to what
is known as a native ISO. Every digital camera has a native ISO
value, specific to that camera. For instance, the ARRI Alexa Mini’s
native ISO is 800.

1917 — The Native ISO 800

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Pro Tip: If you’re shooting a scene that travels between an
exterior and in interior without cutting, it is vital to shoot as
close as possible to a camera’s native ISO to get the most
dynamic range and highest detail in a shot.

Digital Noise vs Stylistic Grain

Although many cinematographers strive for a polished image,
some filmmakers take advantage of grain and noise because the
texture can bring a unique quality to a shot.

Remember, there is a clear difference between grain and noise.

An image captured on a film strip produces film grain during the

chemical “bath” it takes, when it’s being converted. It’s an organic
process, and contributes an aesthetically pleasing texture that
may add to the desired tone of the film.

“Grain” should be mistaken for “noise,” which is when ISO is

pushed too far on a digital camera, producing less desirable

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artifacts. In terms of digital cameras, noise is generally avoided
because it can permanently destroy the clarity and dynamic range
of an image.

Some filmmakers intentionally use a high ISO value to emphasize

digital noise and manipulate it during post-production. This
effect, especially when combined with post-production film grain
effects, can result in an organic, analog style reminiscent of film.

Cinematographer Brandon Trost creates this effect in the film The

Disaster Artist. Trost shot the movie at 3200 ISO, and added
additional grain in post, purely for style.

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 High ISO and added grain in The Disaster Artist

In an interview, Trost explains:

“I like to shoot in low light, adding noise and increasing

softness, which is something that helps me get that analog
feel that’s so hard to emulate with digital cameras. I shot
this movie at 3200 ISO, and I added some film grain in the
color grade as well, to kind of mellow out the sensor noise
and add some more of that analog flair.”

Whether you want to achieve an analog aesthetic or imbue a shot

with movement, noise doesn't always have to be avoided. It can
also be a tool to serve a film’s story.

This concludes ISO. We now move on to the final element in the

exposure triangle:

Shutter Speed.

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CHAPTER 5

What is Shutter
Speed?

A camera takes a photo by exposing film or a digital sensor to

light. The camera shutter acts like a barrier; it stays closed to keep
the light out when you’re not taking a picture.

When you take a photo (or video which is a simply a series of

photos), the shutter opens to capture the photo, and closes again
when finished. This interval — the speed of this shutter — has a
major effect on the final visual, and it’s the subject of this chapter.

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Shutter speed controls how long the sensor of the camera is
exposed to light, measured in fractions of a second. For example,
a shutter speed of 1/60 holds the shutter open for one sixtieth of
one second.

The longer the shutter speed is in time the more light is allowed to
travel in. If it is shorter in time, less light is let in.

Like all the other elements of the exposure triangle, shutter speed
not only affects exposure, but other visual elements as well —
largely motion blur.

How Shutter Speed Works

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When shooting with limited light, you may think it would be a
good idea to adjust your shutter speed to let in light longer. So you
set it at a 1/20. 

The downside of a longer shutter speed like 1/20, is that motion

blur becomes much more prominent when you are either
capturing a moving subject or the camera itself is moving.

Shutter Speed Chart

On the opposite end of shutter speeds, fast shutter speeds like

1/1000, will be crisp, but it will also let in less light making it not
very ideal for darker shots.

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This effect also applies when shooting video. Most mirrorless and
DSLR cameras have a large range of shutter speeds. It usually
depends on the quality of the camera. Most DSLRs can go from
1/4000th to 30 seconds. While some can climb to 1/8000th,
depending on the model. This is just one of the differences
between DSLRs and mirrorless cameras.

What are Shutter Angles?

When it comes to cinematography and shutter speed, shutter
angles and the 180-degree rule will help you achieve a cinematic
look. So, what are shutter angles?

Shutter angles provide a way to describe the relationship between

frame rate and shutter speed. It uses the concept of rotary
shutters to illustrate how light passes through an angled opening
once per revolution. Digital cameras don't use rotary shutters but
the following diagram helps to illustrate the concept.

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 Shutter Angles and Exposure Time

Larger angles equal more light passing through. This translates to

slower shutters and more motion blur. Take a look at this example
from Saving Private Ryan that utilizes a slower shutter speed for
choppier, jittery shots.

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 Saving Private Ryan — High shutter speed and motion blur

Although modern digital cameras’ shutter speeds do not operate

this way, shutter angles are still a primary means of describing
motion blur in an image and how it correlates to frame rate.

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 Frame Rates and Shutter Speed

A cinematic shutter speed captures motion in a way that is most

natural to the human eye. For example, if you are shooting at a
frame rate of 30 fps, the cinematic shutter speed to shoot at would
be 1/60.

Once light passes through the aperture for a specific amount of

time determined by the shutter speed, it finally lands on the
camera’s sensor in a digital camera.

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The 180-Degree Shutter Rule
There's something called the 180° Shutter Rule. The rule explains
the relationship between shutter speed and frame rate. Frame rate
(frames per second or FPS) is the frame at which consecutive
images called frames appear on a display. Let's define the rule and
see how shutter speed and frame rate work together, particularly
with video.

The 180-degree rule states that your shutter speed should

generally be set to double your frame rate. This is a film industry
standard and is sometimes referred to as "cinematic shutter
speeds."

Most DSLR’s have the option to shoot at 1/50th but not 1/48th, so
if you're shooting at 24 frames per second, it's best to set the
shutter speed to 1/50th.

Adjusting the shutter angle is a way to "break" the 180° rule.

Remember, this is not to be confused with the 180° rule related to
staging your scene.

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If you have a wide shutter angle, anywhere from 270° to 360°,
your shot will appear shaky, and will have greater motion blur.
This could be useful for creative purposes depending on the
narrative or story you're trying to tell.

Of course, the opposite is true — shooting with a narrower shutter

angle, the less motion blur from frame to frame.

To recap, a higher shutter speed will give your footage a slightly

unnatural look, and sometimes that's what you want. To
approximate human vision, keep your shutter speed at 1/50th of a
second. 

Now that we've covered the essential elements of the exposure

triangle, let's put this knowledge to practice. We'll explore a little
deeper with some real world scenarios and how to handle various
exposures.

Exposure: The Ultimate Guide 40

CHAPTER 6

How to Avoid Over and

Underexposure

Knowing how to properly expose your shots is an obvious first

step for becoming a photographer or cinematographer. But we’ll
also take a look at why overexposing or underexposing photos
with intention sometimes works (and sometimes doesn’t).

Overexposure is when an image appears brighter than it should,

or brighter than neutral exposure. When too much light hits the
camera’s sensor, it results in an extremely bright image that is

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over-exposed. Overexposure limits detail in the photo and reduces
distinguishable highlights for correction in post-production.

Underexposure is when an image appears darker than it should,

or darker than neutral exposure. An underexposed image is the
result of not enough light hitting the camera’s sensor.
Underexposed images often lack detail and the objects or subjects
can even blend together in the shadows of the image. 

Quite often, you can tell with the naked-eye when an image is
overexposed, underexposed, or just right.

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 Overexposure vs Underexposure

Before we get into these various techniques to get “correct”

exposure, let's look at two examples that broke the rules for
narrative effect. First, an example of overexposure.

Overexposure — Slumdog Millionaire

How do we know it's overexposed? For starters, it’s noticeably

brighter than it normally would be. The brightness overpowers
distinguishing details like facial features, wardrobe, and
environment. Because it’s over-exposed, the shadows are

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muddied, and there are blobs of light all over the image. The end
result: the visual is nostalgic. Like a distant, hazy memory.
Although the rules of exposure were broken by director Danny
Boyle, it was done so intentionally to underscore the narrative
purpose of the scene.

Underexposed is simply the opposite of overexposed, where the

image appears too dark. Highlights are muddied while mid-tones
and dark-tones are crushed towards black. In the following shot,
it’s nearly impossible to make out the subjects’ expressions, or the
terrain. As a result, a mysterious beguiling effect is generated the
viewer as they lean in to take in the shadowy and potentially
nefarious moment. Again, the rules are broken with intention.

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 Underexposure — Inherent Vice

Although exposure rules can be broken at times for effect, they are
generally followed. To reduce that possibility of overexposure or
underexposure, the photographer must be able to control the
amount of light that gets into the camera using lighting and the
elements of the exposure triangle. Obtaining proper exposure is
ideally done in the field, but there are ways to adjust exposure
during post-production.

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Using Incorrect Exposure Creatively
Many photographers and cinematographers treat exposure in very
concrete "good vs bad" terms. "Correct" exposure just means that
it matches the actual lighting conditions. But there are many
reasons why you'd want to use overexposure or underexposure in
your work for creative or stylistic purposes.

In Close Encounters of the Third Kind, director Steven Spielberg

uses blindingly bright spaceship lights to completely blow out the
highlights into pure white. Narratively, overexposure in this
moment makes sense! It fits the scene but also creates tension.

Close Encounters of the Third Kind

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It also works well in dream sequences like in Run Lola Run…

Overexposure in Run Lola Run

Other instances when overexposure could work would be

characters “seeing the light,” some representations of Heaven, the
afterlife, ghosts and paranormal beings.

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 Overexposure in Harry Potter and the Deathly Hallows Part 2

Underexposure can be used creatively as well, but proceed with

caution. Underexposing people in a frame, versus objects and
terrains, can be frustrating for viewers, mainly because when
people are on screen, we want to see their expressions and what
they’re doing. Straining to understand what is going on can be
frustrating experience.

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 Underexposed film: Can’t see features of our characters

Of course, there are always times when this makes sense. Whether

to increase tension or convey a particular feeling, underexposing
images can be a powerful technique.  Immediately, horror genres
and suspenseful scenes come to mind. If you want the audience to
wonder what could be lurking in the shadows, you should
probably create some shadows…

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 Us: underexposure to elicit fear

Photographers and cinematographers have the unique ability to

truly control what a viewer sees. Controlling the light means you
can control the picture, it’s feeling, tone, and ultimate effect.

So, now that we know rules can be broken with “incorrect”

exposures, how do we shoot “correct exposure” in the field?

Let's walk through each of these methods individually.

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CHAPTER 7

How to Get Correct

Exposure Every Time

You don’t need to have production lights or be a lighting expert to

take perfectly exposed shots. All you really need is a clear
understanding of how light works in-camera. 

The first and most obvious method to get correct exposure is to

make your adjustments to the exposure triangle in the field.

Let’s begin with method 1, which begins and ends with the
exposure triangle.

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METHOD #1: ADJUST CAMERA SETTINGS

By now, you understand how the exposure triangle works so when

you find yourself overexposing or underexposing your shots, it's
time to start changing those settings. It’s best to proceed in the
following order:

Step 1 — Set Shutter Speed: According to the 180°

Shutter Rule (see chapter 5), your shutter speed will be set to
roughly double your frame rate. This means at the commonly
used 24fps, your shutter should be set to 1/50.

Step 2 — Adjust Aperture: Set your aperture to the f/stop

that you want artistically. Remember, aperture controls the
amount of light that enters the camera, affecting both the
brightness and depth of field of the image. Larger (more
open) apertures like f/1.4 allow in more light, but they result
in a shallower focus. The opposite is also true with a smaller
(more closed) apertures like f/22; less light, but you get a
deeper depth of field.

Step 3 — Fine-Tune ISO: Since shutter and aperture are

locked in at this point, the ISO becomes your variable to

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 control the exposure. In an ideal world, the ISO would be set
as close as possible to your cameras native ISO for the best
dynamic range and most noise-free image.

➡ If your ISO is all the way down, but the image is still
too bright, use an ND filter to lessen the light.

➡ If your ISO is raised all the way up, but the image is
still too dark, or so noisy that you need to drop your
ISO back down, you’ll need to return to your aperture
and open it up further to let in more light. If your
aperture is already wide open, you will need to either
add more light, or experiment with the ISO the
provides the least trade-off in quality.

METHOD #2: USE A LIGHT METER

A light meter is a handheld sensor that measures the light hitting

a subject. The most advanced light meters will tell you the proper
settings for aperture, ISO and shutter speed. All you have to do is

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hold up the light meter near your subject, take a reading, and then
enter those settings on your camera for proper exposure.

DP Roger Deakins using a light meter

However, it’s important that you become comfortable adjusting

your camera settings without an over-dependence on a light
meter. As Academy Award-winning cinematographer Roger
Deakins says, “The idea of going around the set and taking a
reading of every little dark light and every variation—you

Exposure: The Ultimate Guide 54

shouldn’t be a slave to the meter. I take one reading of the scene
[with a meter], and then I can judge exposure by eye after that.”

METHOD #3: BRACKETING

This method is an exposure technique for still photography.

Bracketing is the process of shooting the same image, shot, or
scene multiple times using different camera settings resulting in
different exposures.

Bracketing can also be used to merge photos of the same image

with different exposures during post. Sometimes this is the only
way to capture the image you have in mind.

Tip: If you’re using the bracketing technique be sure to utilize

a tripod. This ensures that your shots are identical frame to
frame, and will help when merging photos in either Lightroom
or Photoshop.

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 Exposure bracketing

Most photo cameras have a function called AEB or “Automatic

Exposure Bracketing.” In this camera bracketing mode you can
take multiple photos with only one click of the shutter. This auto
bracketing function makes the process much easier.

METHOD #4: EXPOSURE IN POST

The final method to get proper exposure is to use various editing

programs like Lightroom, Photoshop, or Premiere. Here are some
detailed and technical ways to adjust your exposure.

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False color is a feature on monitors that can read exposure levels
in a given shot. It is primarily known for displaying images in a
different color scheme to make certain details more noticeable.

Images displayed with false colors follow a spectrum that includes

purple, blue, black, grey, yellow, orange, and red. These colors can
help you figure out how much false color exposure your image or
shot is receiving.

Using False Color in Exposure

Exposure: The Ultimate Guide 57

The first thing you want to familiarize yourself with are IRE levels.
IRE is a unit to measure composite video signals; the acronym
comes from the Institute of Radio Engineers. In the context of
false color levels, you will see them on the monitor represented by
a color spectrum.

False color chart

Exposure: The Ultimate Guide 58

Purple (IRE 0) represents no color whatsoever, aka black. Blue
and blue variations (IRE 2-24) mean that what’s there is very dark
and not getting much false color exposure. Dark grey (IRE 24-42)
signifies you’re leaving (or entering) an area that is underexposed.

Once you hit green (IRE 43-47), you’re reaching light grey (IRE
47-77), which is usually the best false color for human skin tone
(usually IRE 70). But then you start entering overexposed
territory with yellow (IRE 78-93), which is followed by orange
(IRE 93-100), before ending with red (IRE 100+).

Avoiding overexposed skin tones is something you can use false

color for, since you can use the IRE guide to figure out whether
you’ve got a match (IRE 70, aka light grey). Or maybe you want to
cover that face in darkness; you can make sure some of the face is
still visible (IRE 70) but that it’s surrounded by darkness (IRE
10-20).

CONCLUSION

Exposure: The Ultimate Guide 59

There are multiple methods to ensure your exposure is set
correctly. You can obtain proper exposure by:

• Adjusting shutter speed, aperture, and ISO (in roughly this

order)

• Checking exposure with a light meter

• Photo bracketing and compositing in post (for still photos)

• Adjusting exposure in post-production

Exposure: The Ultimate Guide 60

CHAPTER 8

Adjusting Exposure in
Post-Production

First things first. Learn how to take a properly exposed photo in

the field. No matter how well you know how to use programs like
Lightroom or similar, having a strong understanding of how the
exposure triangle works, eliminates the need to “fix it in post.”

But nobody's perfect and sometimes knowing how to fix incorrect

exposure in programs like Photoshop, Lightroom, Premiere or
Final Cut Pro is essential.

Exposure: The Ultimate Guide 61

EXPOSURE SLIDER

The Exposure slider adjusts the overall brightness of your image.

The numbers on these are the number of stops you can increase or
decrease. Remember that this affects your entire image, so go
slow. It’s a good place to start but isn’t best for those final details.
More local details or exposure changes, you can use the
Adjustment Mask. 

WHITES AND HIGHLIGHTS SLIDERS 

The Whites slider adjusts the mid-tones in your image. The mid-
tones hold a ton of contrast. Be careful not to go too far, as you
can remove the majority of detail from a lit area. 

Highlight sliders adjust the brightest areas of your photos and can
help remedy any details you need to pull out.

SHADOW SLIDER

Exposure: The Ultimate Guide 62

Like the Highlight slider, this one boosts underexposed areas of
your images well. It can bring structure back. Pull this to the
right. 

If these adjustments aren’t enough to remedy the issue, try

Lightroom's other tools. 

You can use a brush or radial filter to brighten your subject

without touching the background. Gradient filters brighten a dark
foreground without overexposing the background or sky. 

But if you don’t have Lightroom, no worries. You can do similarly

cool fixes in Photoshop.

Editing in Photoshop 
First, duplicate your background layer. Similarly to Lightroom,
find your Shadows and Highlights sliders. Adjust to the right
accordingly. 

Exposure: The Ultimate Guide 63

If you need more contrast to the photo, or need more brightness
still, you can add a curve adjustment layer in order to draw out
the highlights of your shot. 

Go to Layer > New Adjust Layer > Curves. You can then drag the
curve up to your desire. If you invert your layer mask and paint
white with your brush tool, you can see the skin tone gets lighter.
But you might not want everything brightened at the same time
here. You’ll likely just want to brighten the highlights so it looks
more natural. 

If you go back into your curves adjustment layer and find the
slider for Underlying Layer. Click alt or option to drag the darker
slider to the right. This will add a little more brightness to your
highlights. 

Exposure: The Ultimate Guide 64

CHAPTER 10

Exposure Exercise #1:

Low Light Scenarios

On the other side of the lighting spectrum, is shooting with a

limited amount of light. This could be the case when shooting at
night, within closed interior locations, or shooting without much
lighting equipment. 

You’ll need to find a balance of all three exposure variables to

properly expose your shot while also achieving the visual look you
desire. The following exposure triangle diagram is a great
reference to use when determining what settings will allow more
light in and what side effects it would entail. 

Exposure: The Ultimate Guide 65

 The Exposure Triangle

Let’s take a look at an example of a low light shot from the film
1917. In this scene, the only source of light is coming from the
flashlight practicals. Reference the exposure triangle above to find
to properly expose the shot while maintaining the image’s quality.

Exposure: The Ultimate Guide 66

 Exposing in low light — 1917

SHUTTER SPEED

Since 1917 is a feature film at the usual 24 fps, we know the

shutter speed would be set at 1/48th (or 1/50th) of a second.

APERTURE 

To let in the most amount of light possible, the aperture should be

as wide as possible. But in an interview, cinematographer Roger
Deakins said he wanted to have a bit of depth. To let in as much

Exposure: The Ultimate Guide 67

light as possible with a bit of depth, the aperture would be set at
something like an f/2.8, f/4, or even an f/5.6.

ISO

1917 was shot on an ARRI ALEXA Mini LF. With a bit of research
we can find the native ISO of this camera sits comfortably at 800.
Deakins said that he could push the Mini LF’s ISO to 1,600
without the risk of noise.

TAKEAWAY

Finding a balance between all three in a low-light setting will

depend heavily on what you want to capture. For example, if you
want to shoot a video with a shallow depth of field, opening up to
a f/1.4 or f/2 may be enough to properly expose your shot. But if
you want a deeper depth of field achieved by an f/5.6, you may
need to increase your ISO to compensate for the low light.

Exposure: The Ultimate Guide 68

CHAPTER 11

Exposure Exercise #2:

Bright Light Scenarios

There are pros and cons when shooting in an environment with a

lot of light, such as a midday exterior shot. The benefit would be
that you can shoot at your camera’s native ISO (or lower) to allow
for minimal image noise and a robust dynamic range. 

However to avoid overexposing your shot, you’ll want to adjust

your aperture first and foremost. If you are shooting a still photo,
you may want to begin with shooting at a faster shutter speed to
cut down the amount of light coming into the camera.  This will

Exposure: The Ultimate Guide 69

allow you to control the light without compromising your desired
aperture and depth of field.

If you are shooting video in a bright setting, you won’t have the
luxury of adjusting your shutter speed as we learned in chapter 5
(see 180-Degree Shutter Rule). In other words, the shutter speed
of a 24 fps video would be locked at 1/50.

If the image is overexposed, start closing down your aperture to

something larger like f/16. While this will affect your depth of
field (deeper plane of focus), it will at least cut down on the light
that is entering the lens.

Let's take a look at this scene from No Country for Old Men. The
scene is an exterior location with harsh, midday desert sunlight.

Exposure: The Ultimate Guide 70

 Exposing in bright light — No Country for Old Men

Let’s consider what the different variables of the exposure triangle

might have been set to in this scene.

SHUTTER SPEED

To maintain a cinematic shutter speed when shooting at 24 fps,

the shutter speed would be set to either 1/48 or 1/50.

APERTURE 

Exposure: The Ultimate Guide 71

The aperture of this scene would need to be as small as possible to
cut down the amount of light let in. The depth of field is also deep.
Shooting at about an f/16 or f/22 seems likely.

ISO

To determine the ISO of this brightly lit shot, we would look at

what the native ISO of the camera is. No Country for Old Men was
shot on an ARRICAM Lite with a native ISO of 500. The ISO
would be set at 500 or less.  Given the harsh sunlight, if the shot
were still overexposed, an ND filter would have been utilized to
cut down light without adjusting the aperture. This will also allow
the cinematographer to shoot at a wider aperture (or a shallower
depth of field) without overexposing. 

Exposure: The Ultimate Guide 72

CHAPTER 12

Exposure Exercise #3:

Capturing Motion

The exposure triangle’s primary function is to properly expose an

image. But how does it hold up when considering motion?
Different variables of the exposure triangle can impact how
motion appears in a shot. When capturing images with quick, fast
movements a higher shutter speed is typically better.

In still life photography, capturing a bird flying in the sky will

appear too blurry with a slower shutter speed. A faster shutter

Exposure: The Ultimate Guide 73

speed of around 1/500th of a second to 1/1000, will be able to
capture the bird mid-action with full clarity and sharpness.

When shooting video, fast-moving action would also benefit from

a fast shutter speed. Sporting events, action scenes, or a live
concert entail quick movements. If captured with a slow shutter
speed, these movements may appear blurry or even out of focus. 

Take a look at this scene from John Wick 3. The fight scene is not
blurry. But crisp and clear. A fast shutter speed will capture the
movement sharply.

Exposing for movement — John Wick Chapter 3

Exposure: The Ultimate Guide 74

SHUTTER SPEED

Although you should follow the 180-degree shutter rule, there are
times to bend it. Shooting an action scene is one of them.
Cranking up you shutter speed in this scene to about 1/125th of a
second makes movements more crisp, snappy and intense with
minimal motion blur.

APERTURE 

Since the shutter speed is increased, the amount of light that hits
the sensor is decreased. To balance this out and properly expose
the shot, the aperture would open up more than usual. It’s likely
that the scene was shot with a larger aperture, say an f/2.8, to
allow in more light while maintain ing some depth. 

ISO

The ISO will depend on the native ISO of the camera used, and
the amount of set lighting. However, there is a decent amount of
light in the shot and the ISO will probably not need to be
increased from around an ISO 500.

Exposure: The Ultimate Guide 75

TAKEAWAY

Keep in mind that a faster shutter speed will cut light, and thus
require adjustments of other exposure variables and set lighting
to compensate.

Mastering the exposure triangle is a fundamental skill necessary

for every photographer and cinematographer. While it may seem
incredibly technical, it is what allows the best cinematographers
and photographers to capture the creative images that they
envision. 

Reading and understanding the different variables of the exposure

triangle is just part of the battle of mastering exposure. The
second part is getting out and experimenting with the different
functions of your camera. Spending time shooting is just as
important as the research you put in.

Now get out and get shooting!

Exposure: The Ultimate Guide 76

CHAPTER 13

Conclusion

The ultimate goal of any image maker is to capture the vision in

their head. To do so, photographers and cinematographers need
to understand the tools of their medium and how even the
slightest adjustments can mean a world of difference.

Exposure is a core principal in the search for the perfect visual,

and the exposure triangle is the map to get you there. Once you
internalize the symbiotic relationship between aperture, ISO, and
shutter speed, you'll be able to adapt to any lighting scenario.

Exposure: The Ultimate Guide 77

Our hope is that this ebook has provided a foundation that can be
built upon and expanded as you set off on your image-making
journey.

MORE RESOURCES

Now that you’ve finished reading this guide, don’t stop there!
You’ve established the principles of exposure, and learned what it
takes to create an iconic look and feel in your project. Your
download of this ebook comes with the image samples for easy
viewing and printing.

If you’re craving more more resources on filmmaking, film theory

and production how-to’s, visit the StudioBinder Blog.

SPECIAL EBOOK OFFER

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discount off StudioBinder.

Exposure: The Ultimate Guide 78

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Exposure: The Ultimate Guide 79

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