Theory, technique & visual craft for the independent filmmaker.
APPENDIX
Essential charts and reference tables for quick on-set lookup.
| Frame Rate | Shutter Speed (180°) | Common Use |
|---|---|---|
| 23.976 / 24 fps | 1/48 – 1/50 s | Cinematic look, features, drama |
| 25 fps | 1/50 s | European broadcast, PAL regions |
| 29.97 / 30 fps | 1/60 s | US broadcast, YouTube, web |
| 48 fps | 1/96 s | HFR cinema (hyper-realistic) |
| 60 fps | 1/120 s | Sport, slow-motion source (2.5×) |
| 120 fps | 1/240 s | Slow-motion at 24fps = 5× slow |
| 240 fps | 1/480 s | Extreme slow-motion (10× at 24fps) |
| Ratio | Format | Common Use |
|---|---|---|
| 1.33:1 (4:3) | Academy / Classic TV | Vintage look, social media vertical |
| 1.78:1 (16:9) | HD Widescreen | Broadcast, YouTube, streaming |
| 1.85:1 | Flat theatrical | Most common US theatrical |
| 2.00:1 | Univisium | Netflix originals, streaming cinema |
| 2.39:1 | Anamorphic / Scope | Epic cinema, wide theatrical |
| 2.76:1 | Ultra Panavision | Quentin Tarantino, David Lean epics |
| ND Filter | Stops Reduced | Fraction | Use Case |
|---|---|---|---|
| ND 0.3 | 1 stop | 1/2 light | Subtle exposure reduction |
| ND 0.6 | 2 stops | 1/4 light | Bright overcast outdoors |
| ND 0.9 | 3 stops | 1/8 light | Bright daylight, wide aperture |
| ND 1.2 | 4 stops | 1/16 light | Sunny day, f/1.8 look |
| ND 1.8 | 6 stops | 1/64 light | Strong midday sun |
| ND 3.0 | 10 stops | 1/1024 light | Extreme / long exposure |
| Variable ND | 2–8 stops (varies) | Adjustable | Run-and-gun, changing light |
“Every great cinematographer started with a bad camera and a good eye. The eye is the thing. Train it every day.”