Shoot the same frame three times—overexposed, underexposed, correct exposure. Insurance against tricky lighting and essential for HDR post-production.
On set with difficult dynamic range — backlight, a mix of artificial and daylight, or a scene where you can't immediately assess the tonal distribution with certainty — you reach for bracketing exposure. You take three shots in succession: one underexposed (usually –1 or –2 EV), one correctly metered, and one overexposed (+1 to +2 EV). In the edit, you then choose the best version or blend them later. This is insurance against blown-out highlights or crushed shadows.
The practice differs depending on the medium. With digital cameras — especially with Log recording — auto-exposure bracketing (AEB) is often used, which the camera shoots automatically in a series. This is standard on Arri, Sony, or RED. You set the bracketing range (usually ±1 to ±2 stops), press the shutter once, and the camera delivers the three or five frames. Important: The distance between the frames must be stable enough so that movement (wind, moving trees, actor's performance) doesn't cause issues. This is a risk in documentaries and fast-paced reactions. For controlled exterior shots or still setups (architecture, landscape, animals in waiting positions), bracketing is your best friend.
In modern workflows — especially with native HDR or a grading pipeline — you also use bracketing for extended dynamic range recovery. You intentionally record overexposed for the highlights (to save more information), then underexposed for the shadows, and composite both layers later. This isn't HDR in the classic sense, but a hybrid approach for maximum flexibility. This pays off particularly well in sunset, sunrise, or high-key scenes.
The downside: You need storage space and editing time. Instead of one take, you have three — this multiplies quickly over 50+ takes. And in grading, you must know for sure which version you are using or how to blend them, otherwise the result will appear artificial or flickering. On set, you clearly inform the script supervisor which version is primary. In the edit, you clearly mark the favorite take — with color flags, ratings, or simply the lower version (correct) as the main track and the others as layered handles.
Bracketing exposure is not a sign of uncertainty — it is craftsmanship. Better cinematographers who have been in the business for a long time use it systematically for all exterior shots and for scenes with critical contrast. It gives you options, and options give the colorist and director choices.