It’s important to remember that Patrick is a professional, and with this comes a professional pipeline. After his work is done, the images he captured go to a colorist, an editor, perhaps VFX… etc. In those workflows, you don’t want to explain to others that you just randomly “exposed to the right” without any clear process. This would frustrate everyone involved. ETTR is a concept that was adopted from photography. Then, in early digital, it because a useful-ish technique to adjust the distribution of your dynamic range in lower-light situations so you could then push the image back down in post to get clean shadows. Unfortunately, many RUclipsrs shout this concept from the rooftop like it is a must. But, they are not professionals, and the seemly random “capture every image to just below clipping” technique doesn’t impact anyone else, because they don’t have a professional pipeline. And apparently they don’t mind pulling every single image back down in post. My thoughts: 90% of my work is captured at “proper” and “relative” exposure. Beyond that, I will occasionally rate my camera at a different nominal exposure to achieve a cleaner image. This generally means that if I’m working on a camera that has a native iso of 800, I will either (a) create a custom false color scale in my smallHD monitor with middle grey ~2/3rd stop higher than standard, or (b) adjust my light meter to iso ~640 (while keeping the camera at 800) so I consistently expose slightly higher, then bring it down in post. But this is a very precise way to achieve my result. Not “push everything to just before clipping.” Ultimately, if you want the title cinematographer, your job is to fully understand all elements of image capture and sensor exposure. Perhaps at that level, capturing clearer shadows means adding more ambient light to that scene - and not just exposing everything to the right. But, If you don’t have the all luxuries of lighting packages and crews, you might choose to sacrifice your highlights to achieve cleaner shadows.
Your comment is well thought out, and I agree that ETTR isn’t a catch-all method, especially in professional workflows where pipelines demand precise, consistent exposure. However, I think there’s a broader perspective worth considering here. ETTR isn’t simply about ‘pushing everything to the right’ for the sake of it, nor is it just a technique for amateurs without a pipeline. For many indie filmmakers and RUclipsrs, it’s a deliberate choice to optimize their footage within the constraints of limited lighting, smaller crews, or less-than-ideal shooting conditions. It’s less about working against the process and more about leveraging the sensor’s full dynamic range to capture as much clean data as possible-particularly in low-light or high-contrast environments. It’s also worth noting that dismissing ETTR as a ‘random technique’ overlooks its practical application for noise reduction and shadow detail retention, which can significantly elevate the quality of a final image, especially when working with compressed codecs or limited post-production tools. While controlled environments and budgets may eliminate the need for ETTR, many creators don’t have that luxury. It’s not about a lack of professionalism-it’s about adapting to the realities of their production environment. When applied with understanding and intent, ETTR can be just as valid in its use as lighting adjustments or exposure tweaks in any professional workflow.
I think the majority of us that watch this channel know better than to believe all the RUclips "cinematographers" on this platform. Your comment should be pinned.
I needed this. I’ve been trapped in trying to chase correct exposure on false color and trying to get my IRE levels to be middle grey rather than shooting what works for the shot. I’m still trying to learn but I’m trying to not think too technically
Expose to the right seems to be vestigial remnant of the generation of cameras that popularized the prosumer video market (ie Sony A7s). They brought log to the masses but still had tons of quirks to work around. Exposing to the right was popular because the shadows would be incredibly noisy so you'd want to minimize that. At least that's when I saw it become a popular idea, and for some reason it's stuck around even though the current cameras available really have no need to do that.
People just need to learn that it's a useful tool to have in the box, but it's only to be used when needed and not when it's not needed. If yoy want clean shadows then ettr. If you want your highlights to be well protected ettl.
Absolutely. When I got my Fujifilm X-H2s that was my first instinct (due to prior cameras I had been acquainted with), but I was smart enough to test for myself. As it turns out, exposing to the middle is ideal (shocker, eh?).
If you're a commercial DP shooting on real Cinema cameras, 100% no DP should be ETTR. Shoot for the desired look in camera for all the reasons you mentioned. For everyone else though, shooting and coloring for themselves on mirrorless cameras, ETTR is useful because it overcomes many of the sensor and processing pitfalls that those cameras have where a Cinema camera pipepline simply doesn't have. It's undeniable that the shadow noise of an A7SIII is far less pleasing and natural compared to an Alexa in the same scene at 0EV, opening my ND up by a stop (provided highlights are protected) allows me to improve SNR and gives more flexibility to me in post.
I still think it depends on who you're talking to. Most of your audience here doesn't shoot on an Alexa but their A7s III or similar. I get that as a DP you kinda want to bake in as much of the look as possible so production can't tell the colorist to bump up the shadows, essentially messing up the image you envisioned. But for most 'creators' out there it makes sense for them to ettr, especially if they're doing their own grading. My approach: As long as the tungsten wires in your practicals are still decernable, you're doing it right.*
👏🏽 sick of all these content creators saying how you “should” expose. Thanks to you I’ve learned a lot of how to make something look better but the hard part is truly what you’ve been talking about and that’s relationships and how to make the day on time and on budget 👍🏽
@ so true! I extend my gratitude to you man for teaching me so much more than each institution I went to did, which led to me figuring out what I like as a DP 🙏🏽🎥
Maybe I'm wrong but I feel like ETTR is terribly misunderstood as a result of not making the distinction clear between giving the camera sensor more light and recording a brighter image. ETTR, to my knowledge, just refers to exposing the sensor closer to the clipping point in order to increase the SNR. This can be achieved without monitoring a brighter image, contrary to what the term "ETTR" may suggest, by very simply lowering the camera's ISO below its native value and then exposing normally from there in reference to the monitored image. This is especially ideal when capturing dark scenes, since the lower noise floor maximizes shadow detail. ETTL by using an ISO value above native may actually be preferred for capturing bright scenes since there's less shadow area for noise to cover and the shifted dynamic range helps preserve more latitude in the highlights
I learned to think of the device as a light recorder, because I live in DismaLand and it's so dreary that if you shoot in the months the locals call 'winter,' there is so little light that people outside look like zombies. There just isn't enough light energy to properly stimulate the sensor. I don't even bother filming for pleasure in the winter months. 'This is my family. They are undead.' I'm not a DP tho, so I have total control over post and zero control over shooting environment 👀and usually no one looking over my shoulder. So I shoot raw, set ISO to native, colour temp to 4500k and do whatever I can to get more light, knowing raw will get me out of pretty much any jam. To me ETTR means SNR
Yeah but its bit of a hang over from older sensors , there is no need to do this anymore with new cameras , except maybe some extreme situations . First up the editor will throw you under the bus for over exposing , then they will f*uck up the grade to add insult to injury .
@@robinprobyn1971The editor wouldn’t say it’s overexposed though since the ISO is turned down. It would look correct when the editor and color grader gets it.
This is an excellent clarification about ETTR and its relationship with SNR-it’s true that it’s often misunderstood as simply ‘making the image brighter’ when in reality, it’s about optimizing the sensor’s performance by pushing the exposure closer to clipping. Your distinction between ETTR and ETTL is also insightful, as the techniques differ based on the scene’s lighting dynamics and creative intent. I especially appreciate the point about lowering ISO below native in dark scenes to maximize shadow detail by minimizing noise in the floor-this is a practical application that often gets overlooked in the debate around ETTR. Similarly, using a higher ISO for bright scenes with less shadow reliance highlights how flexible these methods can be when tailored to specific scenarios. Ultimately, I think discussions like this emphasize that exposure techniques like ETTR or ETTL aren’t about rigid rules but about understanding the tools and adapting them to the needs of the scene, the sensor, and the creative goals. Thanks for bringing these distinctions into the conversation-it’s a perspective that deserves more recognition.
I think that when you use a camera with almost 17 stops of dynamic range you don’t need to ETTR. I think that is a good technic for cameras with low dynamic range, 8-bit and even no Log profiles available. That way we can take advantage of the sensor by receiving more light specially in the shadows. Today cameras have 10-bit 422 with Log profiles and even RAW.
But a DIT can make an adjustment LUT for the client monitor that accounts for EI changes or ETTR. Clients are non the wiser. Post pipeline includes adjustment LUT and shoot notes about exposure being pushed.
Spoken like a true,real world disgruntled, professional. And I mean that in the best way possible. As a colorist I get some ETTR footage and most of the time it looks like a soap opera or Corn.
In the snow, ettr is your friend, if you shoot raw, have a subject in mind, and want range. Of course, you could wrangle with the metering but by then your subject is an ex-subject.
It‘s just underrating your stock. Makes sense on some cameras. In a cinecam this would just be change your ISO/EI. In a dslr sometimes you can’t pull it, so make pull luts for your monitor. I always carry push and pull luts.
Hi Patrick I’m in my final year of film school. This comment may or may not get lost amongst all the others but I hope you see it. You really help me as a young person who wants to be a cinematographer. I’m 21 and try to shoot as much as I can. What genuine advice to you have on getting out there more, I know plenty of very able ‘cinematographers’ who can make great looking images but they just don’t get the work or the eyes on their work. I don’t want to fall into that line. So I guess my question is what would be the steps necessary to really give myself the best chance to start landing bigger jobs eventually. Can you talk about how long it takes to really see results, thank you
As I understood from the point of view of the colorists. every camera has a specific number where the middle grey falls on the log curve. Slog- 3 is 41IRE, ALEXA 35 is 27 IRE. It's basically the matter of what's your key according to the middle grey. Sometimes you want to expose faces under the key or over the key. But mainly an image should be exposed to the middle grey value. Correct me if im wrong, but this thing's never let me down.
Fcking excelent response. All techniques are valid, depending on time and type of crew configuration vs type of agency and client. But pushing your style above is very important when you need your image to be a statement rather one of many options. Better putting a statement so “the conversations” fine tune the best result. That make the habit of getting faster statements and faster fine tuning. And more jobs for that matter. Sadly I live in a country where that is only possible in high end budgets, counted with one hand. But I dream all nights ending up in a world like Patrick’s.
ETTR means nothing without any context.. Does an in-camera meter set at +/- 0 based on MULTI often result in less than the best result? Yes. This is where the ‘ETTR’ has been mostly discussed in youtube / ‘filmmaker’ land. With so little info it is barely a relevant piece of information. Anyways, cheers.
Well, ETTR is just lazy wimpy photography in the sense, that one is afraid of underexposure because of the noise and wants to make definitely sure.... fix it in the post kind of stuff. If you know your camera, your dynamic range, if you know how to use a light meter and/or false colors, you don´t expose to the right. For what? You can decide, to deliberately overexpose or push or pull even in digital. Sonys CineEI tries to mimick that techniques. But: you expose the image the way you want. And you have to take care about single elements in the film that will have a certain lighting ratio to other elements in frame. you can´t just holistically expose everything to the right. how would you do it anyway? you keep your fingers from aperture, iso and shutter cause they effect other things like depth of field, noise and motion blur. ETTR is really the last resort under very very hectic and low budgetary circumstances in order to save what´s to save. test your camera. see how it behaves under low light and high light circumstances, know your dynamic range and then expose as you wish within those boundaries. depends, of course, on actually knowing what you wish.
I hate ETTR too, unless I’m using an exposure compensation lut. Once you know the camera’s limitation such as how much exposure you need to be able to see into the shadows and knowing where you’re clipping points are you can play around with in that limitation aka dynamic range.
Why not just lower or raise the ISO ? Technically the sensor gets the same amount of light if you use a -1 Lut or go from 800 -> 400 ISO. And the image on the monitor looks the same.
@@VLK2024 well that’s not necessarily true. A monitoring Lut doesn’t affect how much light gets into the sensor.. only when you start baking the lut into the footage does that makes a difference, but most people shouldn’t do that (you may be screwing up the (colorist’s) proper pipeline for the grade for getting the most dynamic range). And in camera, it’s not typically a good idea to go lower than the base iso, and in some cases, you physically can’t.
The Expose to the right narrative are preached by youtubers who are photographers who claim to be videographers , they do the video as its cheap content , cheap content for me is when a so called 'content creator' makes a video due to needing one done so pick an easy topic that has been done over and over. Today I think most video makers want to be youtubers so just copy what their fave YT does with the though it will get more subs if it looks like it,
I don’t get the point of this video. What are you trying to say? How is ETTR in conflict with making an image 'cool'? What exactly are you losing to the 'coolness'? I think an image with less noise is a pretty cool image 😂
😂😂😂 when shooting in Arri Raw no you don’t need to worry … but when shooting on mirrorless cameras with wanky codecs and Slog or Vlog or whatever log yes you do. Big difference between 10th 422 and Arri raw, or even 10-12 bit 4444 It all comes to the codec. you can’t change how things technically works because you decided to say so 😂
the codec is nothing but the DATA you collected, if You collected insufficient DATA on set your ass is on fire regardless if it's ARRI RAW, R3D, X-OCN...etc yeah You got the RAW aka 0s and 1s of what You got into the Sensor and what You got into the sensor is missing highlights or shadows, that missing DATA is missing regardless of how much else you have stored or the type of codec. 8bit files that store the complete image because the one shooting made sure everything that is before the Lens is set properly is excellent work but a guy who thinks just because You are shooting RAW you don't have to worry and that ' it all comes to the codec ' will make people tear their hair out of 100% wrong all the time on set. if You captured it wrong ARRI RAW won't birth the missing 1s and 0s for you.
When you lower your ISO, you need to allow more light to the sensor to achieve a balanced exposure. You achieve this by either removing ND, opening up your aperture, or increasing the output from your lights. Regardless of which combination of those methods you choose, more light hits your sensor. All this with the benefit of not looking like over exposed footage. In summary, lowering your ISO in low-key situations is the superior ETTR.
Doesn’t it depend on the camera too, though? In my experience, the Sony cameras I work with (think FX3, s-log3) get really noisy if not ETTR’d. So my workflow is to overexpose the s-log3 (without clipping) and bring it back down in the grade. That’s what looks good on that camera 🤷♂️
@ oh that’s crazy! You’ve never gotten noticeable noise in the shadows? I wonder if it’s a difference between the Arri’s and the cheaper Sony’s.. I’ll do more tests! Thanks for the advice brother! 👍🏼
@@wanderingdp yeah it depends what the goal is . I’m actually always under exposing to save highlights due to high contrast scenes with no lights. i Agree exposing to the right is bad advice and havent done it in years
@@stevenkralovec so with 10 bit cameras you can under expose by 2 stops before image falls apart . With red and Arri can under expose by 4-6 stops before image falls apart . I’m always under exposing to save highlights
My advice to anyone I've colored for: your camera basically has one (sometimes two) ISO and one white balance. Everything else is post-capture gain functions. Just save yourself the headache, use a light meter or monitor with photometric false color like EL Zone, grab some ND, and make your image. In a perfect world, you could just set your aperture and shutter angle for your aesthetic desires, and use ND and lighting to control exposure. In a not so perfect world, try to do it anyway lol
WHY THE HELL WOULD YOU UPLOAD A 4:3 VIDEO WITH BLACK BARS AS 16:9???? IT DOES NOT FILL MY 4;3 MONITOR, NOW I HAVE BLACK BARS ALL AROUND MY SCREEN AND THE VIDEO IS TINY, EXPORT IT AT ACTUAL 4:3
@@ghospod He is a joker/sarcastic type person. If you don't expose with as much range as possible you limit your ability to make changes in the edit. You might not be the editor so you send it to a company. The editor tells the boss he hates your video and the boss will never hire you again.
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/1.gif)
It’s important to remember that Patrick is a professional, and with this comes a professional pipeline. After his work is done, the images he captured go to a colorist, an editor, perhaps VFX… etc.
In those workflows, you don’t want to explain to others that you just randomly “exposed to the right” without any clear process. This would frustrate everyone involved.
ETTR is a concept that was adopted from photography. Then, in early digital, it because a useful-ish technique to adjust the distribution of your dynamic range in lower-light situations so you could then push the image back down in post to get clean shadows.
Unfortunately, many RUclipsrs shout this concept from the rooftop like it is a must. But, they are not professionals, and the seemly random “capture every image to just below clipping” technique doesn’t impact anyone else, because they don’t have a professional pipeline. And apparently they don’t mind pulling every single image back down in post.
My thoughts: 90% of my work is captured at “proper” and “relative” exposure. Beyond that, I will occasionally rate my camera at a different nominal exposure to achieve a cleaner image. This generally means that if I’m working on a camera that has a native iso of 800, I will either (a) create a custom false color scale in my smallHD monitor with middle grey ~2/3rd stop higher than standard, or (b) adjust my light meter to iso ~640 (while keeping the camera at 800) so I consistently expose slightly higher, then bring it down in post. But this is a very precise way to achieve my result. Not “push everything to just before clipping.”
Ultimately, if you want the title cinematographer, your job is to fully understand all elements of image capture and sensor exposure. Perhaps at that level, capturing clearer shadows means adding more ambient light to that scene - and not just exposing everything to the right.
But, If you don’t have the all luxuries of lighting packages and crews, you might choose to sacrifice your highlights to achieve cleaner shadows.
@@J_HNP the whole comment is great but the first sentence is the best.
@ 😎
@@J_HNP Is option B the same as just rating your camera's EI lower and exposing from that?
Your comment is well thought out, and I agree that ETTR isn’t a catch-all method, especially in professional workflows where pipelines demand precise, consistent exposure. However, I think there’s a broader perspective worth considering here.
ETTR isn’t simply about ‘pushing everything to the right’ for the sake of it, nor is it just a technique for amateurs without a pipeline. For many indie filmmakers and RUclipsrs, it’s a deliberate choice to optimize their footage within the constraints of limited lighting, smaller crews, or less-than-ideal shooting conditions. It’s less about working against the process and more about leveraging the sensor’s full dynamic range to capture as much clean data as possible-particularly in low-light or high-contrast environments.
It’s also worth noting that dismissing ETTR as a ‘random technique’ overlooks its practical application for noise reduction and shadow detail retention, which can significantly elevate the quality of a final image, especially when working with compressed codecs or limited post-production tools.
While controlled environments and budgets may eliminate the need for ETTR, many creators don’t have that luxury. It’s not about a lack of professionalism-it’s about adapting to the realities of their production environment. When applied with understanding and intent, ETTR can be just as valid in its use as lighting adjustments or exposure tweaks in any professional workflow.
I think the majority of us that watch this channel know better than to believe all the RUclips "cinematographers" on this platform. Your comment should be pinned.
ETLG - Expose To Look Good
I needed this. I’ve been trapped in trying to chase correct exposure on false color and trying to get my IRE levels to be middle grey rather than shooting what works for the shot. I’m still trying to learn but I’m trying to not think too technically
Expose to the right seems to be vestigial remnant of the generation of cameras that popularized the prosumer video market (ie Sony A7s). They brought log to the masses but still had tons of quirks to work around. Exposing to the right was popular because the shadows would be incredibly noisy so you'd want to minimize that. At least that's when I saw it become a popular idea, and for some reason it's stuck around even though the current cameras available really have no need to do that.
People just need to learn that it's a useful tool to have in the box, but it's only to be used when needed and not when it's not needed. If yoy want clean shadows then ettr. If you want your highlights to be well protected ettl.
Absolutely.
When I got my Fujifilm X-H2s that was my first instinct (due to prior cameras I had been acquainted with), but I was smart enough to test for myself.
As it turns out, exposing to the middle is ideal (shocker, eh?).
If you're a commercial DP shooting on real Cinema cameras, 100% no DP should be ETTR. Shoot for the desired look in camera for all the reasons you mentioned.
For everyone else though, shooting and coloring for themselves on mirrorless cameras, ETTR is useful because it overcomes many of the sensor and processing pitfalls that those cameras have where a Cinema camera pipepline simply doesn't have.
It's undeniable that the shadow noise of an A7SIII is far less pleasing and natural compared to an Alexa in the same scene at 0EV, opening my ND up by a stop (provided highlights are protected) allows me to improve SNR and gives more flexibility to me in post.
"If you give any escape route to a production, they will take it." hits haaard. That's a lesson every freelancer should take away from this.
I still think it depends on who you're talking to. Most of your audience here doesn't shoot on an Alexa but their A7s III or similar. I get that as a DP you kinda want to bake in as much of the look as possible so production can't tell the colorist to bump up the shadows, essentially messing up the image you envisioned. But for most 'creators' out there it makes sense for them to ettr, especially if they're doing their own grading. My approach: As long as the tungsten wires in your practicals are still decernable, you're doing it right.*
maybe. Or just make it look good
I want everything as bright as noon on the sun. Colors that make your eyes bleed. There are no shadows, just uniformity... the eqilibrium.
👏🏽 sick of all these content creators saying how you “should” expose. Thanks to you I’ve learned a lot of how to make something look better but the hard part is truly what you’ve been talking about and that’s relationships and how to make the day on time and on budget 👍🏽
making things you like is a super power
@ so true! I extend my gratitude to you man for teaching me so much more than each institution I went to did, which led to me figuring out what I like as a DP 🙏🏽🎥
Expose for the highlights in digital. My personal style. I love dark dramatic
Maybe I'm wrong but I feel like ETTR is terribly misunderstood as a result of not making the distinction clear between giving the camera sensor more light and recording a brighter image. ETTR, to my knowledge, just refers to exposing the sensor closer to the clipping point in order to increase the SNR.
This can be achieved without monitoring a brighter image, contrary to what the term "ETTR" may suggest, by very simply lowering the camera's ISO below its native value and then exposing normally from there in reference to the monitored image. This is especially ideal when capturing dark scenes, since the lower noise floor maximizes shadow detail. ETTL by using an ISO value above native may actually be preferred for capturing bright scenes since there's less shadow area for noise to cover and the shifted dynamic range helps preserve more latitude in the highlights
I learned to think of the device as a light recorder, because I live in DismaLand and it's so dreary that if you shoot in the months the locals call 'winter,' there is so little light that people outside look like zombies. There just isn't enough light energy to properly stimulate the sensor. I don't even bother filming for pleasure in the winter months. 'This is my family. They are undead.'
I'm not a DP tho, so I have total control over post and zero control over shooting environment 👀and usually no one looking over my shoulder. So I shoot raw, set ISO to native, colour temp to 4500k and do whatever I can to get more light, knowing raw will get me out of pretty much any jam. To me ETTR means SNR
Yeah but its bit of a hang over from older sensors , there is no need to do this anymore with new cameras , except maybe some extreme situations . First up the editor will throw you under the bus for over exposing , then they will f*uck up the grade to add insult to injury .
@@robinprobyn1971The editor wouldn’t say it’s overexposed though since the ISO is turned down. It would look correct when the editor and color grader gets it.
@@robinprobyn1971 current sensors are still noisy on their “native” ISOs. Only the most high end cameras aren’t
This is an excellent clarification about ETTR and its relationship with SNR-it’s true that it’s often misunderstood as simply ‘making the image brighter’ when in reality, it’s about optimizing the sensor’s performance by pushing the exposure closer to clipping. Your distinction between ETTR and ETTL is also insightful, as the techniques differ based on the scene’s lighting dynamics and creative intent.
I especially appreciate the point about lowering ISO below native in dark scenes to maximize shadow detail by minimizing noise in the floor-this is a practical application that often gets overlooked in the debate around ETTR. Similarly, using a higher ISO for bright scenes with less shadow reliance highlights how flexible these methods can be when tailored to specific scenarios.
Ultimately, I think discussions like this emphasize that exposure techniques like ETTR or ETTL aren’t about rigid rules but about understanding the tools and adapting them to the needs of the scene, the sensor, and the creative goals. Thanks for bringing these distinctions into the conversation-it’s a perspective that deserves more recognition.
This was a great video. I laughed the whole way through as I enjoyed your valuable insights. 😅🙏🏼
I'm a golden pony in a field of work! Love it.
I think that when you use a camera with almost 17 stops of dynamic range you don’t need to ETTR. I think that is a good technic for cameras with low dynamic range, 8-bit and even no Log profiles available. That way we can take advantage of the sensor by receiving more light specially in the shadows. Today cameras have 10-bit 422 with Log profiles and even RAW.
But a DIT can make an adjustment LUT for the client monitor that accounts for EI changes or ETTR. Clients are non the wiser. Post pipeline includes adjustment LUT and shoot notes about exposure being pushed.
Spoken like a true,real world disgruntled, professional. And I mean that in the best way possible. As a colorist I get some ETTR footage and most of the time it looks like a soap opera or Corn.
Newer high end cameras it's not necessary to ETTR however if using older high end cameras or prosumer cameras then they are more light hungry.
I’m hungry
In the snow, ettr is your friend, if you shoot raw, have a subject in mind, and want range. Of course, you could wrangle with the metering but by then your subject is an ex-subject.
If your shadows are too noisy at 800 try 400..
Yep. Adjust your lighting,
adjust your eyes
@@wanderingdp that sounds so beautifully cryptic 🙌
That's ettr lol
@@jammaschan you’re kidding, right?
It‘s just underrating your stock. Makes sense on some cameras. In a cinecam this would just be change your ISO/EI. In a dslr sometimes you can’t pull it, so make pull luts for your monitor. I always carry push and pull luts.
@3:55 - @4:26 😂 the accuracy!
With the Sony fx30 s35 sensor, is ettr needed? & cine ei, someone explain how the hell to use it, these RUclipsrs say so many things
Hi Patrick I’m in my final year of film school. This comment may or may not get lost amongst all the others but I hope you see it.
You really help me as a young person who wants to be a cinematographer. I’m 21 and try to shoot as much as I can. What genuine advice to you have on getting out there more, I know plenty of very able ‘cinematographers’ who can make great looking images but they just don’t get the work or the eyes on their work.
I don’t want to fall into that line. So I guess my question is what would be the steps necessary to really give myself the best chance to start landing bigger jobs eventually.
Can you talk about how long it takes to really see results, thank you
maybe next video
Missed a chance to do some ADR on that silent footage 😛
But you also do the ISO trick to Improve DR in Dark / brighter scenes. Maybe you should have said that 😅
I probably should have said a lot of things
@ haha 😂
Please make an all courses bundle for a one time purchase
Ok
As I understood from the point of view of the colorists. every camera has a specific number where the middle grey falls on the log curve. Slog- 3 is 41IRE, ALEXA 35 is 27 IRE. It's basically the matter of what's your key according to the middle grey. Sometimes you want to expose faces under the key or over the key. But mainly an image should be exposed to the middle grey value. Correct me if im wrong, but this thing's never let me down.
@@TheEnveRockStudio just make it look like you want.
Fcking excelent response. All techniques are valid, depending on time and type of crew configuration vs type of agency and client. But pushing your style above is very important when you need your image to be a statement rather one of many options. Better putting a statement so “the conversations” fine tune the best result. That make the habit of getting faster statements and faster fine tuning. And more jobs for that matter.
Sadly I live in a country where that is only possible in high end budgets, counted with one hand. But I dream all nights ending up in a world like Patrick’s.
Oh wow, just realized I have the same plant. Yep. Have a good day!
Wow. That was one of your best videos.
@@imagenatura the key is to set the bar very low
ETTR means nothing without any context.. Does an in-camera meter set at +/- 0 based on MULTI often result in less than the best result? Yes. This is where the ‘ETTR’ has been mostly discussed in youtube / ‘filmmaker’ land. With so little info it is barely a relevant piece of information. Anyways, cheers.
On the FS5 I did ETTR. FX6/3 nope.
God I love this
Approved by your friendly neighbourhood colorist 👏🏻
Well, ETTR is just lazy wimpy photography in the sense, that one is afraid of underexposure because of the noise and wants to make definitely sure.... fix it in the post kind of stuff. If you know your camera, your dynamic range, if you know how to use a light meter and/or false colors, you don´t expose to the right. For what? You can decide, to deliberately overexpose or push or pull even in digital. Sonys CineEI tries to mimick that techniques. But: you expose the image the way you want. And you have to take care about single elements in the film that will have a certain lighting ratio to other elements in frame. you can´t just holistically expose everything to the right. how would you do it anyway? you keep your fingers from aperture, iso and shutter cause they effect other things like depth of field, noise and motion blur. ETTR is really the last resort under very very hectic and low budgetary circumstances in order to save what´s to save. test your camera. see how it behaves under low light and high light circumstances, know your dynamic range and then expose as you wish within those boundaries. depends, of course, on actually knowing what you wish.
I hate ETTR too, unless I’m using an exposure compensation lut. Once you know the camera’s limitation such as how much exposure you need to be able to see into the shadows and knowing where you’re clipping points are you can play around with in that limitation aka dynamic range.
Why not just lower or raise the ISO ? Technically the sensor gets the same amount of light if you use a -1 Lut or go from 800 -> 400 ISO. And the image on the monitor looks the same.
@@VLK2024 Do you shoot on a Red?
@@card-joker5301sometimes
@@VLK2024 well that’s not necessarily true. A monitoring Lut doesn’t affect how much light gets into the sensor.. only when you start baking the lut into the footage does that makes a difference, but most people shouldn’t do that (you may be screwing up the (colorist’s) proper pipeline for the grade for getting the most dynamic range). And in camera, it’s not typically a good idea to go lower than the base iso, and in some cases, you physically can’t.
Never ending nuggets, what a dream!
Finally someone said it. lol
Expose correctly.
Correct
He’s a new man folks
new year new me
The Expose to the right narrative are preached by youtubers who are photographers who claim to be videographers , they do the video as its cheap content , cheap content for me is when a so called 'content creator' makes a video due to needing one done so pick an easy topic that has been done over and over. Today I think most video makers want to be youtubers so just copy what their fave YT does with the though it will get more subs if it looks like it,
Coming in hot into this video 😅, default lvl pissed 😂.
@@leeevans1874 forgetting to hit record will do that
@wanderingdp definitely feel it !! Borderline salty . Keep on keeping on !!
I don’t get the point of this video. What are you trying to say? How is ETTR in conflict with making an image 'cool'? What exactly are you losing to the 'coolness'? I think an image with less noise is a pretty cool image 😂
@@BlondsPablo I think he is trying to say to shoot it how you want it to look, so that the colorist can’t deviate from your desired look as easily.
thinking you are right and being right are not the same
Wow Patrick! Great video lol! U okay?
def not after forgetting to hit the record button the first time
@@wanderingdp that’s rough, man. My heart dropped hearing that. We’ve all been there
Absolute space cadets 😂😂😂😂
They are everywhere
W.
😂😂😂 when shooting in Arri Raw no you don’t need to worry … but when shooting on mirrorless cameras with wanky codecs and Slog or Vlog or whatever log yes you do.
Big difference between 10th 422 and Arri raw, or even 10-12 bit 4444
It all comes to the codec.
you can’t change how things technically works because you decided to say so 😂
the codec is nothing but the DATA you collected, if You collected insufficient DATA on set your ass is on fire regardless if it's ARRI RAW, R3D, X-OCN...etc yeah You got the RAW aka 0s and 1s of what You got into the Sensor and what You got into the sensor is missing highlights or shadows, that missing DATA is missing regardless of how much else you have stored or the type of codec.
8bit files that store the complete image because the one shooting made sure everything that is before the Lens is set properly is excellent work but a guy who thinks just because You are shooting RAW you don't have to worry and that ' it all comes to the codec ' will make people tear their hair out of 100% wrong all the time on set.
if You captured it wrong ARRI RAW won't birth the missing 1s and 0s for you.
Hahaha i love that guy 🔥🤣🔥
ETTR is all about giving the sensor more light, allowing it to capture more details. It's deeper than just manipulating your ISO.
NAH
When you lower your ISO, you need to allow more light to the sensor to achieve a balanced exposure. You achieve this by either removing ND, opening up your aperture, or increasing the output from your lights. Regardless of which combination of those methods you choose, more light hits your sensor. All this with the benefit of not looking like over exposed footage. In summary, lowering your ISO in low-key situations is the superior ETTR.
Nahhhh
@@oliver_peng you do lose highlight information when doing this though. I do agree with you in most cases lowering the iso give a clean image.
Doesn’t it depend on the camera too, though? In my experience, the Sony cameras I work with (think FX3, s-log3) get really noisy if not ETTR’d. So my workflow is to overexpose the s-log3 (without clipping) and bring it back down in the grade. That’s what looks good on that camera 🤷♂️
only on old sony cameras not the new ones. .joelfamularo talks about this
ive never once seen a job ive shot and afterwards thought, "Dang that would have been way better if I'd only ETTR."
@ oh that’s crazy! You’ve never gotten noticeable noise in the shadows? I wonder if it’s a difference between the Arri’s and the cheaper Sony’s.. I’ll do more tests! Thanks for the advice brother! 👍🏼
@@wanderingdp yeah it depends what the goal is . I’m actually always under exposing to save highlights due to high contrast scenes with no lights.
i Agree exposing to the right is bad advice and havent done it in years
@@stevenkralovec so with 10 bit cameras you can under expose by 2 stops before image falls apart .
With red and Arri can under expose by 4-6 stops before image falls apart .
I’m always under exposing to save highlights
Golden pony 😂😂😂
the best kind
Hahah The best!
this was not confusing at all 😄
hear to good
My advice to anyone I've colored for: your camera basically has one (sometimes two) ISO and one white balance. Everything else is post-capture gain functions. Just save yourself the headache, use a light meter or monitor with photometric false color like EL Zone, grab some ND, and make your image. In a perfect world, you could just set your aperture and shutter angle for your aesthetic desires, and use ND and lighting to control exposure. In a not so perfect world, try to do it anyway lol
Oh dude, no one cares about your RUclipss any more than they care about someone making art.
And listening further, you really are a thing.
WHY THE HELL WOULD YOU UPLOAD A 4:3 VIDEO WITH BLACK BARS AS 16:9???? IT DOES NOT FILL MY 4;3 MONITOR, NOW I HAVE BLACK BARS ALL AROUND MY SCREEN AND THE VIDEO IS TINY, EXPORT IT AT ACTUAL 4:3
Not that serious dude. And it’s 3:2*
No
Damn I would not wanna work with you lmao
You seem to have no respect for the opinion of your peers
Humour , sarcasm .. please look up these words :)
@@8lec_R earned not given
@@robinprobyn1971 fair enough
Video rename. How to never get jobs :)
can you elaborate on that?
ha. i like it. unless you are good then it is get all the jobs.
@@ghospod He is a joker/sarcastic type person. If you don't expose with as much range as possible you limit your ability to make changes in the edit. You might not be the editor so you send it to a company. The editor tells the boss he hates your video and the boss will never hire you again.