Exposure in this context is all about how much light you let into the lens. In almost all cases you want a light setting that will create the most natural looking shot possible. It is possible to retrieve an under-exposed shot in editing, but get it over-exposed and it’s on the floor. Exposure is measured with the “F” settings on the camera, the lower the number the more light is allowed into the aperture. So a frame taken in F1.8 is going to be much brighter than one taken in F11.

Exposing manually involves zooming in to the subject until it fills the frame. Then turning on the auto-exposure feature on the camera, the switching back to manual. Then zoom out and reframe the shot as you like. This allows the camera and you to gauge the amount of light that looks natural on the subject.

Keeping the exposure setting on manual once you have completed the process will give you full control, unless you’re in a situation where it may be difficult to adjust. If filming outside, be aware of the weather, and any changes to it as you film. If the sun comes out you are going to have to quickly adjust the exposure to maintain the quality. The picture quality can be improved somewhat in editing, but you should plan on getting it right on the day.

Auto exposure is okay indoors as it calculates the average brightness and works best in places where the picture has low contrast and average tones. Brightly colored surroundings can excite the auto exposure a little much, but most places are fine with it.

Auto isn’t so good in a changeable light situation. Outside especially, especially if it’s a bright day with a few clouds for example. If the sun suddenly appears from behind a cloud, auto-exposure can sometimes have trouble adjusting for it. This is why it is better to manually adjust in these situations.

The eye is a good judge of exposure. As described above you can use auto-exposure to get a reading on what to use, but then check the viewfinder and check if the setting works well on the eye.

A good checklist to have when sorting your camera settings is to start the camera with auto-exposure turned on. Then set gain to zero and shutter speed to at least fifty. Add neutral density in bright light or no neutral density in low light conditions. Follow any prompts the camera gives, then check manually with the eye and adjust as necessary. Cameras are clever, very clever but as the eye will be watching, the eye should decide.

In a low contrast scene the determining factor is the skin tone of a human subject or surface tone if an object. In a high contract scene the job is a bit harder because some of the picture will be light, and other parts dark. This can be avoided either by avoiding those kinds of scenes or by changing the contrast setting, then the exposure.

In some situations it can become difficult to know what to focus on. Especially if there is a lot going on around the shot. It is essential that you stay focused on the story, subject or events in order to be able to sell the feature well. If things do change, quickly decide who is going to be the most interesting subject to follow, either with their own story or who can further the original one.

Deciding who your key subject is, and the story you want to tell while creating your schedule should help you make decisions if things change. Indecision will spoil the scene and you may end up missing something as a result. Having a picture in your head about what the shoot is to achieve and the overall story being told can help you make instant decisions if you have to adapt to a situation. Reminding yourself of the principles of storytelling can help just before a shoot. It can bring to mind what to do if a situation unfolds in front of you.

Deciding in advance who the key character is will help when capturing what’s important. If you have to adapt to an unfolding event, stick with it. The shoot will be ruined if the camera pans back and forth in indecision.

Placing your subjects where you want them and where the light is best is one of the best way of getting all the action. Thinking about how they will interact is also a good trick to know, as you can seat people according to who they are most likely to interact with to create the effect you want. Adding a second or third shot can also help in these situation if there is a lot going on at once. They can all then be edited into a cohesive whole without having to miss anything or to pan too quickly across frame to get whatever is going on.

If you rely on a single shot when there is a lot going on, you aren’t going to capture everything, there will be a lot of panning and the shot won’t be in focus when you arrive there. You will miss things, and it isn’t always possible to repeat the action.

Carrying the camera all the time can make the difference between an okay shoot and a Pulitzer prize if you’re in the right place at the right time. Always be ready to film. Full batteries, plenty of tape and having the camera running just before and after a shoot can also make the difference between a good sequence and a great one.

Applying some thought to these points beforehand will enable the shoot to capture exactly what you want, when you want it. In filmmaking if the shot doesn’t further the story or show something relevant it’s a waste of time. Being prepared and planning the shots and how to deal with situations should they unfold will ensure that the whole shoot goes well and nothing is missed.