教學：如何把視頻拍出電影感 拍攝技巧：電影感視頻曝光的訣竅

Hey, so this is the video I needed a couple years ago when I was starting out, and I guarantee you, this is going to change your cinematography game. Just for clearance, this is not a videography exposing tutorial, I assume you're already familiar with the exposing triangle, and you've been probably adapting it the same way as you would in photography to videography, but it's not the same. So you probably know this and this, the histogram and the exposing meter, but I don't recommend any of these because they are pretty inaccurate when it comes to the detailed image. Okay, so how do you get that cinematic exposure? What's the secret sauce? It's actually not that much of a secret to be honest, half of it is already out there, observation. And what I mean by that is looking at movies, in particular stills. So that's exactly what we're going to do right now. I'm going to analyze certain still examples, and through that I'm going to show you how we can achieve that by using our own not high-end cinema camera. So let's go. When looking at some stills out of movies and commercials, this is what we mean, right? Cinematic. One of the questions I was having was, how do you expose your image? And I was struggling for a long time until I bought my very first external monitor with false colors, and this changed everything. So the first question I'm going to answer is, when do we actually overexpose at all? It's easy to say that overexposed parts are never pleasingly looking, especially in the digital world. So first of all, you should avoid it in the first place. But there are actually moments in cinema where there's stuff blown out. For that, we have to look at certain exposure levels, which are measured in IRE from 0 to 100. 0 is black, and values from 100 are white. So now, when do we actually have that 100 IRE, and when do we have black or 0 IRE in our shots? There are just things that have to be completely bright just in real life. And what are those? Light sources. If you see practicals, practicals are artificial light sources within a shot. The sun, explosions, flashlights, these are always the brightest part, right? But as you can see, it's never the entire lamp, it's only the source, the bulb. Have you seen the Batman? Every time there was a bright flashlight or an explosion, it was blinding every time you saw the bright light. It's because it lived on the 100 mark or slightly below. These were rare, and compared to the whole other scenes or shots, they were all dark, like really dark. While obviously, these light sources are extremely bright, so it's really hard to not overexpose them. So that is going to be your starting point. You are going to expose for the brightest part in your image, which in my shot is currently the window. Normally, you will keep everything just below that 100 mark. But as I mentioned, if there's the sun or a light in the shot, you can let this specific part be at 100. Because your eye in real life doesn't see anything but white in this spot. But, and this is important, these little spots are always only little spots. And that's obviously where a good camera with a good dynamic range comes in handy. A realization I had was clouds. And especially the ones with the sun covered behind. There are these bright edges or spots that can be overexposed. And they are in real life. They're not literally overexposed, but like bright spots that are just too bright for our eyes. Let's look at some bad examples, at least in my opinion. Overexposed shots in movies or TV shows, both shot digitally or on film. And I say that because film just handles overexposure differently than digital. While film brings the too bright areas closer to the human eye, film doesn't. It doesn't look good or cinematic if you want. I mean, who am I to judge, but come on, this can be fixed pretty easily. And especially with these two shots. And to be honest, I see amateurs or videographers do that a lot. I mean, I get it, the lack of time and gear, we've all been there. But today we want to talk about cinematically pleasing images. And this is the part where it gets trickier for us. 10 stops of dynamic range, 8-bit linear shooters. And yes, my GH4 doesn't have the V-Log upgrade. I'm using Cinelike D. You may have heard the rule that bright skin tones should be at 70 IRE. But that's rather for interviews or high-key commercials. In cinema, however, it is more likely to be between 50 and 65 IRE. Or even lower, depending on the daytime. But that's because everything just lives on the low. They might expose it on the top and then pull everything down in post to also avoid noise. But by any means, this doesn't mean that your skin has to be at the exact same IRE level every single time. It depends. It always depends on the daytime, the location. Is it interior? Is it exterior? Are you shooting at night? Are you shooting in bright sunlight? It also depends on what mood you're going for and what emotions you want your audition to feel to tell your story. There's also contrast ratio, which also defines the word cinematic. There are huge contrast ratios and there are lower contrast ratios. All make you feel differently. But also, don't be afraid to have blacks in your shots. Trust me, they're fine. And in fact, having blacks in your shots are definitely more cinematic than blown out skies. If you look at movies, you will barely find that 100 IRE mark, while that 0 IRE is almost defined in every shot. So you see there are rules, but they are meant to be broad in the world of cinematography. But obviously you have to know them first to be able to break them. So let's look at the rule. Exposing to the brightest part of your image is going to be your first step. A good reference for that is use your eye to see how it looks and then translate it to your camera. However, it's still a creative choice to how you want to expose a certain image. It's about finding compromise, the sweet spot of your camera's dynamic range. Some people also call that latitude. Because compared to the human eye, it's less. Or the eye just handles overexposure different than cameras do. And yeah, I know it's not really that comparable with stubs. So here are some tips for you to nail the exposure every single time. And I'm using them as well. The first one would be false colors on your external monitor. What I love about false color is that you can exactly tell on what level each area of your frame is. The second one would be using display LUTs. Same goes with false colors. These are options to toggle on and off. And these help you to see what your footage is going to look like. So these work hand in hand. By the way, you have to monitor with a display LUT in Rec.09. In order to read the correct false color out of your image. Because if you don't use that on Rec.09, but let's say log or linear. It's going to be completely flat and it's going to read the exposure wrong. It's not wrong to use your live view or displaying LUTs. But I would always use that in addition to a false color. You can also use light meters. As you can see, I don't have one. This is an old light meter for photography. But you see, I don't use them. The last step is kind of optional. I use this as far as possible. And what is it? It's basically exposing to the right ETTR. And you expose as bright as you can without clipping. Without hitting that 100 IRE mark. This gets you a lot of flexibility to correct your image later. This was already exposed to how I wanted it to look. And you can see no flexibility. If I want to tweak it a bit. While exposing to the right, which is less destructive. Gave me room to level out certain areas in the image. A great example is my last YouTube talking head. Where I exposed for the sunny window. Just right below 100 IRE. My face at about 60. Plus having a waveform on your external monitor is also really helpful. So how to now control your light or fix it? First of all, the frame rate is fixed. Your shutter angle as well for that motion blur. Then the ISO as well in most cases. Because you want to shoot at the most dynamic range. So that's why you choose your native ISO. So what are the options? You could easily close or open your aperture on your lens. But since you probably want a certain depth of field. You don't change that either. So there are only two more options. If it's too bright, you use ND filters. If it's too dark, you add lights. And that's obviously what they are all using when making movies. Everything is perfectly balanced to exactly like they want it to be. So don't expect every single shot you're going to take. Without adding any lights to look like cinema. Because it won't. There are exceptions where just natural light. Is going to look truly cinematic by itself. But there's a reason for how it looks. Also, all of the stuff you're seeing is tweaked. Color corrected and color graded. And possibly pulled down. So it's not how it got exposed in the first place. But Jared, how do I avoid noise in low light or night scenes? In this case, you don't typically do ETTR. Because if you don't have dual native ISO in your camera. It is going to be hard to do ETTR without having noise. That's why you don't do it. So what's the solution to when your camera is bad at low light? Well, light your scene properly using artificial light. If you're not able to do that. Or just don't have the equipment. Shoot at blue hour. If you have to shoot wide scenes outside. And then there is day for night. You shoot in the daytime. Or at least when there is still enough light for your native ISO. Basically you shoot at day. But you make it look like it was shot at night. I did this a couple of times. And it really helps to avoid noise. But your sky has to be overcast. No directional sunlight. These tips will save you. Especially when you're shooting on a low end camera. So if you still want to get the most possible. Cinematic image quality. You gotta put in time. The right timing. Lighting. And camera settings. And I tell you. If you're really going to put in the time. And get to know your camera. You're going to be amazed. Of what you and your camera are capable of. And later if you get to upgrade. You're going to be a true magician at your craft. Let's recap. We always start by exposing for the brightest part of the image. By how our eyes see. While light sources or reflections can be clipped. But only subtle parts of the image. Plaques are cool. They are natural. And add depth to the image. We work with these three factors for the right exposure. Aperture. ND filters. Or by adding lights. External monitors with false color displaying LUTs. And scopes are our friends. If the image is too contrasty. We add fill lights or lights. If it's too flat. We add negative fill or remove lights. Shoot at blue hour. To avoid noise in low light. Or day for night on overcast days. And we do ETTR. To retain the most of our footage. But in the end. It's up to you. It's a creative choice. Whether you're going to overexpose the sky. To get your subject properly exposed. I mean you're not wrong. These are the typical videography scenarios. In my opinion. But anyways. If you want to do that. Feel free. I don't really care. I just probably won't enjoy it that much. In terms of cinematography. Again we are here to talk about cinematography. And how we can make beautiful images. That help to tell the story. While conveying emotions. So remember. Exposing properly is only the half part. But essential to color grading. But that's on another video. That's basically it. Now you know how to expose. Or at least now you know. What decisions to make. Subscribe if you haven't already. To not miss any other secret. Make sure to also give me a thumbs up. It really does help to get seen by more people. And if you made it until the end. I appreciate you. And I hope to see you in the next one. Bye.