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Manual Camera Control

This module covers how to Manually control cameras. This includes understanding how Shutter Speed, Aperture, Neutral Density filters, and Gain work, and how to use them to set the correct exposure. You’ll also learn how to Manually focus the camera using the pre-focus technique.

There’s a lot to learn and practice here. Watch and absorb what you can, practice, then return to learn more and practice again. Becoming proficient with Manual camera control is a gradual process – one that involves understanding the impact of each exposure control and, like learning a musical instrument, practicing repeatedly until the thought process and finger movements become second nature.

Before diving into Manual camera controls, a brief word on light. Lived-reality documentary films rely as much as possible on available light – the illumination existing in the subject’s environment. Artificial light, by contrast, refers to any non-naturally occurring light added by the filmmakers to illuminate a scene. Since lived-reality documentary filmmakers generally avoid using artificial light, we prioritize cameras that perform well in low-light conditions.

Let’s now learn about the different settings that impact exposure. You’ll need to consult your camera Manual to learn how to adjust each of the settings covered in this module.

Video 1 – Exposure and Shutter Speed

Video 1 Transcript:

To produce consistently usable footage, you must learn to shoot in Full Manual mode. It’s the only way to prevent a camera from automatically adjusting exposure while recording a Shot, as seen here. In Auto mode, exposure shifts whenever brighter or darker elements move through the frame. When exposure changes during a Shot, it draws attention to the camerawork, which distracts the viewer from the story.

From now on, we’ll shoot exclusively in Full Manual mode, so that exposure remains constant while recording, as seen here.

To work in Manual mode, you need to know how to set exposure. Exposure controls how much light enters the camera. If too much light enters, the image is ‘overexposed’. If too little enters, the image is ‘underexposed’.

The first exposure control we’ll cover is called Shutter Speed. Cameras have a shutter that opens to let in light for a specific amount of time, measured in seconds. Shutter speeds can range from seconds to fractions of a second.

For example, on this camera, the Shutter Speed is currently set to 60, which means the shutter opens to let in light for 1/60th of a second. If I change it to 30, the shutter stays open for 1/30th of a second – twice as long as 1/60th – and therefore lets in twice as much light.

In addition to controlling how long light enters the camera, Shutter Speed impacts how motion appears – whether it is sharp or blurry. At Shutter Speeds slower than 1/60th of a second, movement appears blurred. Here it is set to 1/8th of a second. At 1/60th or faster, movement appears sharp.

How the image looks is also affected by the Frame Rate, which determines the number of discrete frames, or images, the camera records per second. The standard Frame Rates used are either 24 or 30 frames per second.

Frame Rate and Shutter Speed work together to shape the look and feel of the image. For the naturally sharp look appropriate for lived-reality documentary storytelling, we typically use a Shutter Speed that is twice as fast as the Frame Rate. For example, when shooting at a Frame Rate of 30 frames per second, I set the Shutter Speed to 1/60th of a second and keep it there. If I choose to shoot at a Frame Rate of 24 frames per second, I set the Shutter Speed to 1/48th of a second.

In lower-light situations, it’s ok to use a Shutter Speed that’s the same speed as the Frame Rate. For example, when shooting at a Frame Rate of 30 frames per second, I can set the Shutter Speed to 1/30th which lets in twice as much light as 1/60th, and still produces a relatively sharp image.

Using either Frame Rate – 30 or 24 – and its corresponding Shutter Speed – 1/60th or 1/48th – is fine. The key is consistency. Choose one and stick with it. It’s not advisable to switch Frame Rates in the middle of a project. This camera is currently set to record at a Frame Rate of 30 frames per second and a Shutter Speed of 1/60th of a second.

Video 2: Aperture, Neutral Density and Gain or ISO

Video 2 Transcript:

The next exposure setting to understand is Aperture, which refers to the size of the opening in the lens that lets light into the camera. Aperture is controlled by an Iris, a diaphragm built into the lens, and is measured in f/stops. In this graphic, one end shows the Iris more open, creating a large Aperture, indicated by lower f/stop numbers. This allows more light to enter the camera. At the other end, the Iris is nearly closed, creating a small Aperture, indicated by higher f/stop numbers. This lets less light into the camera. Each full f/stop either doubles the amount of light entering the camera or cuts it in half. The number of f/stops a lens has depends on its quality and cost.

On this camera, the f/stop indicator is here. In this light, the exposure is correct at f/stop 5.6. If I close the Iris one full stop from f/5.6 to f/8, half as much light enters the camera, and the image is underexposed. After returning to the correct exposure at f/5.6, when I open the Iris one full stop to f/4, twice as much light enters the camera, and the image is overexposed.

Aperture alone cannot handle the full range of lighting conditions – from very dark to very bright – as seen in this graphic. The Iris can only accommodate a limited portion of this light range. For example, here in a lower-light environment, when I open the Iris to its widest Aperture – f/2.8 with this lens – there is still too little light entering the camera and the image is underexposed. Conversely, here in a bright environment, even when I close the Iris to its smallest Aperture – f/11 with this lens – there is still too much light entering the camera and the image is overexposed.

To handle the full spectrum of lighting conditions, cameras rely on two additional tools to set the exposure. In lower light environments, Gain or ISO is used to increase the camera’s sensitivity to light. In brighter environments, Neutral Density (ND) filters are used to decrease the camera’s sensitivity to light.

We introduced Neutral Density (ND) filters in the Automatic Camera Control module. ND filters reduce the amount of light entering the camera, which allows the Iris to achieve the correct exposure in brighter environments. At the other end of the spectrum, Gain or ISO increases the camera’s sensitivity to light. Adding Gain or ISO allows the camera to achieve the correct exposure in lower light environments.

Gain and ISO are different measuring systems that indicate how sensitive the camera is to light. In this graphic, on the left side, there’s enough light for the camera to achieve the correct exposure without Gain and with a low ISO. As the light diminishes, moving to the right, the camera requires increasing amounts of Gain or ISO to maintain the correct exposure. The downside of increasing Gain or ISO is that they introduce electronic noise, which, as this graphic shows, produces a ‘grainy’ image. For this reason, use Gain or ISO only when necessary to achieve the correct exposure.

For example, here the exposure is correct, but Gain is in use unnecessarily. Because Gain is on, the Iris has closed to f/8.7 to achieve the correct exposure. While the exposure itself is fine, the image shows a lot of unwanted noise, especially in the darker areas, where it appears as flickering. To avoid this, whenever there’s enough light, make sure the Gain is set to 0. Now the Iris opens to the correct exposure at f/3.7, the Gain drops to 0, and the image is clearer.

So far, we’ve covered four camera functions that control exposure: Shutter Speed, Aperture, Neutral Density and Gain or ISO. To set the correct exposure, we need to adjust these settings in tandem.

Video 3a: Setting Exposure

Video 3a Transcript:

Every time we shoot our subjects in a new environment, as seen here – or the light on them changes – we need to check the exposure. To keep up with these often fast-paced changes, we need an efficient technique for setting exposure. Exposure indicators, such as Histograms and Zebra patterns, are available, and if you’re already familiar with these more advanced tools, you should continue using them. 

For those just starting out, however, I’ll demonstrate a method that uses the camera’s automatic exposure tools to help quickly set the exposure. 

First, for this method to work, you have to set the exposure for the light falling on the subject and not for the overly bright or dark areas in the frame. For example, in this situation, the subject is in brighter light against a darker background. When I switch the Iris and Gain from Manual to Auto to help set the exposure, the large dark area in the frame causes the camera to brighten the image, and the subject is overexposed. To avoid this, I remove the dark area from the frame so that the camera reads only the light falling on the subject. With the Iris and Gain set to Auto, the camera finds the correct exposure for this light. I then lock it in by switching both the Gain and Iris back to Manual. Now, when I compose the shot as desired, which includes the dark area in the frame – the exposure remains correct.

In the same way, if the background in the Shot is bright and I try to use Auto Iris to find the correct exposure, the subject will appear underexposed. To avoid this, I remove the bright area from the frame, which allows the Iris to automatically set the correct exposure for the light on the subject. Once I switch to Manual Iris to lock in this correct exposure, I can compose the shot as desired.

With this understanding of what should be exposed for, let’s learn how to set exposure in a variety of lighting conditions with the help of the Auto exposure tools: 

To set the correct exposure for the current lighting, in which the subject is overexposed:

  1. First I check the Shutter Speed. Remember that the Shutter Speed should remain consistent. I’m using – and suggest that you use – 1/60th of a second. If it’s not at your desired speed, press the Shutter Speed button until it’s in Manual mode, indicated by the white box around the number, and use the Manual Dial to adjust it. 
  2. Next, I frame only the lit area for which I want to set the exposure.
  3. I then check the Aperture by pressing the Iris button 

until an ‘A’ appears to the left of the f/stop number, indicating Automatic mode. This causes the Iris to adjust itself to the correct Aperture for the light on the subject.

  1. Next, I press the Iris button again to 

switch back to Manual mode, which effectively locks in the f/stop. Notice that the ‘A’ disappears and there’s a white box around the f number. 

With the correct exposure set for this subject in this light,

  1. I compose the Shot as desired;  
  2. Press Record and hold.

I can use this exposure setting as long as the subject remains in the same light.

The technique we just used works in situations with an average amount of light, where the Aperture alone can achieve the correct exposure. To set the exposure in bright environments, I use the same technique but add a Neutral Density (ND) filter. 

  1. Here, for example, I first confirm that the Shutter Speed is correct.
  2. Next, I frame the lit area for which I want to set the exposure. In this case, since the image is evenly lit, I don’t have to zoom-in to  exclude overly bright or dark objects.
  3. Now I switch the Iris to Auto mode and it closes to its narrowest available f/stop, which with this lens is f/11.

Remember that whenever Auto Iris reaches the nearly closed end of its range – indicated by higher f/stop numbers – and the image still looks too bright, it’s safe to assume that too much light is entering the camera for the Iris to achieve a correct exposure by itself.

As we learned in the Automatic Camera Control module, anytime the Iris is in Auto mode, the camera indicates if an ND filter is needed by flashing the required ND number – in this case ‘ND1’. 

  1. I respond by moving the ND switch to [NDx], allowing the Iris to automatically adjust to the correct exposure.
  2. I then press the Iris button again to switch back to Manual mode, indicated by the white box around the f number. This locks in the exposure.
  3. Finally, with the exposure set, I compose the Shot as desired;
  4. Press record and hold.

In contrast to this bright environment, when working in a low-light environment, I use the same technique but add Gain or ISO to achieve the correct exposure.

  1. First, as a standard practice, I check that I haven’t mistakenly left a Neutral Density filter on as it is here. When I turn it off, there’s no ND icon in this area of the screen.
  2. Second, I make sure that the Shutter Speed hasn’t changed.
  3. Next, I frame only the lit area for which I want to set the exposure, and 
  4. Switch the Iris to Auto.

Whenever Auto Iris opens to the widest possible Aperture – which, with this lens zoomed-in, is f/4 – and the image still looks too dark, it’s safe to assume that there isn’t enough light entering the camera. In that case, we need to add Gain or ISO for a correct exposure. To do so:

  1. I press the Gain/ISO button to switch it to Auto mode, as indicated by the ‘A’ next to the number.

The camera automatically adjusts the Gain or ISO to achieve the correct exposure. 

  1. Once set, I press the Gain/ISO button again to switch it back to Manual, as indicated by the white box around the number.
  2. Then I press the Iris button to switch that back to Manual, which once again locks in this exposure.
  3. Finally, I compose the Shot as desired;
  4. Press record and hold.

Video 3b: Setting Exposure Using Auto Assist – In Review

Video 3b Transcript:

Let’s review this method of using Auto assist to quickly set the correct exposure in a new location with different lighting. 

  1. First, make it a habit to check that Neutral Density is off and that Gain is at 0.
  2. Second, ensure that the Frame Rate and Shutter Speed are set to your chosen values. 

If you’re shooting with a Frame Rate of 24 frames per second, the Shutter Speed should be double the Frame Rate, at 1/48th of a second. In some low-light situations, you can reduce the Shutter Speed to 1/24th of a second, which doubles the amount of light entering the camera while remaining relatively sharp. Shutter Speeds slower than 1/24th will cause motion in the Shot to appear blurry. I choose to shoot at 30 frames per second, which I select in the Menu’s Record Format settings. At 30 frames per second, I use a Shutter Speed of 1/60th of a second, or, in some low-light situations, 1/30th.

  1. Next, as the third step, frame the lit environment for which you want to set the exposure, leaving out overly bright or dark areas. 

In this Shot, as in some previous examples, the light is even across the frame, so I don’t need to zoom-in to isolate the subject from their environment. 

  1. Fourth, switch the Iris to Auto to set the exposure.
  2. Finally,  switch it back to Manual to lock in the setting.
  3. With the exposure set, compose the Shot, record and hold.

 In a bright environment, because the background in this shot is darker than the light on the subject:

  1. Frame the lit area for which you want to set the exposure.
  2. Then, switch the Iris to Auto.

Because the light level is too bright for the Aperture to accommodate, it closes down to its narrowest opening of f/11 and the Neutral Density indicator begins to flash.  

  1. In response, set the ND filter as instructed, in this case to ND1, which causes

 the Iris to open to the correct exposure.

  1. Finally, lock in this exposure by switching the Iris back to Manual.
  2. With the exposure set, compose the Shot, record and hold.

 In a low-light environment:

  1. Frame the lit area for which you want to set the exposure. 

Again, in this lighting environment, where the subject and background are evenly lit, there’s no need to zoom-in on the subject. 

  1. Set the Iris to Auto. 

Because the light level is low, the Aperture opens to its widest setting, which with this lens fully zoomed-out, is f/2.8. 

  1. To increase the camera’s sensitivity to light, add Gain by switching it to Auto. 

With Gain at Auto, the camera determines how much Gain is needed to set the correct exposure for this lit environment. 

  1. Press the Gain/ISO button again to switch it back to Manual mode.
  2. Finally, press the Iris button to switch it back to Manual.
  3. With the exposure locked in, compose the Shot, record and hold.

Having covered how to set exposure Manually, let’s review the shooting mantra: “Focus, Expose, Compose and Hold.” We discussed the importance of holding Shots in the second Camera module, “Shooting Scenes”, and the method for composing Shots in the “Composition” module. The final element of the mantra that still needs attention is Focus.

Video 4: Manual Focus

Video 4 Transcript:

Focus, like exposure, should be controlled Manually. Using Auto Focus risks Shots going in and out of focus while recording, which distracts the viewer from the story by drawing attention to the camerawork.

To focus Manually, I can use the Manual Lens Ring – provided that the selector on this camera is set to Focus. Or, on many cameras, I can press the ‘Push Focus’ button. On this camera, the Push Focus button is called ‘AF/MF’ and toggles between Auto Focus and Manual Focus. When the camera is in Auto Focus, there is no icon in this area of the screen. When in Manual Focus, an icon of a hand appears here. 

An efficient method for setting focus is called ‘pre-focusing’:  

  1. First, I zoom-in on the activity in the frame that I want in focus. 
  2. Then I press the AF/MF button to switch to Auto Focus, in which there’s no icon in this area of the screen, and let the camera focus on the subject. 
  3. Next, I press the AF/MF button again to return to Manual Focus, which locks in the focus.
  4. Finally, I zoom-out and frame the Shot as desired. 

To review focusing with the push focus button: whenever the distance between the camera and subject changes, zoom-in on the area of action – or the subject’s eyes – press the push focus button and let the camera find focus. Then press the button again to lock it in. The focus will remain correct as long as the distance between the camera and activity of interest stays the same. 

Before wrapping up this module, a reminder to keep using 

Automatic White Balance (AWB).

  • As you may remember, White Balance adjusts the color temperature of the image so that white objects in the image appear white, regardless of the lighting conditions. 
  • On this camera, Auto White Balance is active whenever there’s no White Balance icon in this area of the screen. 
  • If an icon of any kind is present, press the White Balance button to clear it. 

We’ll cover how to set Manual White Balance in a subsequent module.

We’ve covered a lot in this module. Review it repeatedly to deepen your understanding of the controls. With practice, the process of focusing, exposing, composing and holding will become second nature – much like learning a musical instrument.

Refer to the Manual Controls Cheat Sheet for a reminder of each element and its effect on the image.

Practice, practice, practice, and the shooting mantra will become second nature.

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