"Do the opposite of what you think is good, especially if you suck! Cause if you suck and do the opposite, you'll be good!"

For all the ISO noobs out there, just like me:
It took me a while to understand but "lowering the ISO" is not exactly the same on professional cameras as it is on consumer level mirrorless cameras.

I own A7S3 and it was a big misunderstanding for me because ISO operations are different here than on FX3 which has exactly the same sensor but different software.
From my studying, reading and digging I found out that on FX3's, Alexa's and so on.. "lowering ISO" is in fact lowering EI (exposure index). And it works as a digital gain switch for your preview on the screen - but it doesn't change true ISO which is still at base regardless of EI setting.
It's just a way to fool yourself that your footage is darker (or brigther) to make you change the real exposure to fit to your new darker/brighter preview. That's when you make changes (in light in the scene or in your aperture/ND) to cover for shadows/highlights.
As long as you don't change the true exposure - the video signal stays the same. You just fooled your preview but it doesn't change the true exposure or true ISO. It's just a digital setting for the +1/-1 etc. on the preview. Like a LUT on your screen.

In cheaper mirrorless cameras there is no EI mode and it can be misleading. You only got true ISO and no EI mode so changes in the ISO = change in the true signal values and change in the noise on your footage - so beware. I made that mistake and now I know the difference :-).
The only thing you can do in cheaper camera is to temporarily change the exposure for -1/2/3... or +1/2/3... stops (with shutter or ND) and set your lighting while in this temp settings. Then get back to original settings. I sometimes do it this way but it's quite dangerous because... you can forget you changed your settings :/. And I think that's the main reason EI mode exists in higher end cameras - it's just so much safer.

edit 2026:
One more thing you can do (in A7S3 at least) is export some LUTs out from resolve from your log space to rec709 without any grading, just a correction lut but with additional exposure steps. +1/-1 etc.
You can do nice real 1 stop exposure steps using HDR global exp wheel in Resolve. Check Cullen Kelly channel for more grading info - great colorist with great knowledge.
A7S3 in log mode allows custom luts so you can basicly make your own "fake EI mode" out of your preview luts.
You switch from 0 exp lut to -1 exp lut and you got yourself a nice "lowered ISO" view on your monitor. You don't bake the LUT to the footage so it stays in nice clean slog3.
And now I think it's the closest thing to real EI mode. Just don't forget witch lut you switched on... Still safer than fiddling with shutter or ND.


Only true exposure changes give you more room to play with. Changing exposure index doesn't change physically anything in your scene - so it doesn't help at anything AS LONG AS you change the true exposure.

Hope this helps someone just starting out.
Cheers and thanks for great stuff - as always.

The thing I was thinking the whole time is that gobo in the background. The angle seems so weird, I don't think you can get this shape with a real window.

The lighting on your talking head shot is so good that I know I can trust you immediately. Looks like a high end photographic portrait, but moving. It's almost uncanny feeling!

the geograophy of that scene was weird cause the guys stitting on the chair at the start was looking forward and ofcourse the main hallway archway was there, but then the guy ends up sitting 'infront of him'. so it wouldnt be possible unless they built a wall lol. but i understand its probalby just a fun shoot

Please do more of these where the errors are more clear like you mentioned in beginning. Love it

this is such a great breakdown!!!! thanks

Good advice.
Also, many cameras have dual iso. Mine at the second one is only loosing 0.1 stop of dr,  but compensates with 1.3 stop of light.

Balance.. lovin your perspectives!

love the facial expressions 😄 Great work!

I'm never going to forget salt and pepper after this.

Love these videos! I know its a bit more effort, but if you could drag in some references when you give examples. From movies or commercials.

I know it’s a lot of effort but it would be nice if when they submitted their work they gave you what they had and you replicated it but your way with the same equipment just for reference

Is it safe to say that by having a fat toe, it will make the mid appear more bright and pronounced without having so much contrast?

5:04 another issue is the conflicting orange and dark blue/purple contrasting frame… the color is way off!

can you breakdown the newly released film Obsession? that film is what I thought every your Framework has applied to

This, plus trying to explain to Red users it's always at 800

I was trying to post a question and observation but feel intimidated but shouldn't. F it. When we exposed for film, it was "expose for the highlight, print for shadow". That was also only for stills and in photojournalism where we could hunt for a location and lighting and add a little light to bring it up. In cinema, the DP is responsible for the entire frame. That being said, I think a modern way is to lean toward lighting flatter - meaning - don't let the shadows get away from you and watch your highlights. You mentioned Sir Roger (Deakins) - even Deakins will aim for a middle. Yes - No Country for Old Men - but also Sicario. He's self-conscious about night exteriors but even in those (DP30 Interview for True Grit) - there's an idea of a more detailed shadow. Can you talk about proper shadow exposure vs the final grade / look? Exposing for not only the final grade but giving the grade options.

at 7:50. IMO the light (lamp) should be hot. You're looking at the underside of a lampshade. I think there's a general aversion to avoid clipped or hot highlights on cinema-YT. I believe this pushes newer filmmakers/DPs to sort of have a similar look or "rules" in some respects.  End of the day, even though we're filming it's still photography at it's core and your expression of style is how you render a scene.

4:00 This is something that triggers me always :D a spotlight with a gobo and a way too small and too sharp projection ... but especially of you can not light from the outside do you have any tipps? Apart from the obvious one which is gettin a spotlight with a wider lens that looks more believable in small rooms... One thing i also did is not using a spotlight but a mirror with gaffa tape on it to make a window light, that projects way wider than a spotlight