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Rough Guide to Aperture, F-stops and Shutter Speed
For camera people this is all fundamental stuff that must be grasped in order to shoot a film,
but for many, it can be confusing and opaque. So for non camera peeps, here is the chart that makes it all much simpler.
Aperture, or ‘F stop’
This is a setting on the lens that opens up and closes an internal iris made of metal blades. This increases or reduces the amount of light that passes through the lens and hits the sensor in the camera, which in turn creates the image we that see.
The basic rule is this, the more light, the greater the depth of field.
The depth of field is the area that is in focus in the image.
A large depth of field means objects near and distant will be in focus. A shallow depth of field means only images the lens is focussed on will be sharp.
The depth of field can often be controlled by the aperture (though in practical reality, the aperture is more often controlled by the amount of light on set).
Shutter Speed
it's rare to change the shutter speed when shooting, unless you want to get a specific ‘look’, like the opening of ‘Saving Private Ryan’. Most films are shot with shutter speeds of a 50th or 60th of a second. The chart here is designed for stills photography but the principle remains the same.
The basic idea is that the shorter the shutter speed, the less time there is for an object to move in frame, so it begins have less motion blur and appears sharper. Our eyes are set to expect a certain amount of motion blur in a film (due to having seem hundreds of thousands of hours of material over our lives) so when that changes, we notice it.
Most movies are shot at 24 frames per second now, but changing frame rate can also change how the image looks to us. The Hobbit films were shot at 48fps and to my eye, it looked horrible. Sharp, smooth and much like video. My advice is stick with traditional shutter speeds / frame rates except for specific and targeted effects (like slow motion or high shutter speeds to get a ‘look’ during fight scenes). The bottom line is, the higher the shutter speed, the less motion blur.
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As the ISO increases, so does the cameras sensitivity to light. Meaning, if you are shooting in low light scenarios, you can increase the ISO to get more detail and a proper exposure. BUT… this can increase noise and create more grainy images.
Sometimes it’s unavoidable, and on the whole, audiences don’t mind or even notice occasional grainy shots and scenes (and you can do stuff in post to reduce the impact of noise too, though that has other implications).
Usually, there will be an ISO agreed for a shoot (negotiated between the DP and director), and it’s likely to be as low as is possible so as to reduce grain and noise.
Bottom line, the higher the ISO, the less light is needed to shoot (even candle light at the extreme end) but so the noise and grain will increase. The general rule is to shoot with the lowest ISO you can get away with.
All three of these variables – aperture, shutter speed and ISO will work in concert on your set, the ratios depending on scenario, time of day, amount of lighting available and creative choices.
In practice, the ISO is often set and locked (at least from scene to scene), as is the shutter speed, leaving aperture as the only variable that gets changed from shot to shot. Occasionally the ISO will be increased as the sun sets or if locations change to more dimly lit spaces. The ability to increase or decrease the amount of light on set is also a huge factor, and in most instances, aside from using ND filters, not much be done.
Again, in practice as you can see from the Vimeo clip, shooting with a very high ISO only becomes a huge issue when presenting your work on a very large screen and problems are often most visible in shadows and out of focus areas. Basically in places audiences are not usually looking (they should be watching your actors, more specifically their eyes).