FIELD NOTES
Field notes are the ramblings of ideas, thoughts, notes, camera workflows and lighting plans from a Yorkshrie based DOP and camera operator.
This blog is a working journal; a place to collect thoughts, tests and observations from the day-to-day realities of cinematography, analouge photography and creative business.
I cover a wide range of topics, some technical, some creative. Most are centred around my experiences on different projects as they come and go. That centres around Sony camera systems, although RED, Blackmagic and ARRI cameras make the occasional appearance too.
It’s mainly written for myself as a way of documenting the behind-the-scenes of my work, alongside ideas, thoughts and reflections on specific industry topics. It may also be relevant to other professionals, particularly camera assistants, operators, Sony users and aspiring cinematographers.
But I’ll be honest, I don’t expect most people to find it interesting.
It’s a mix of technical notes, experiments and the kind of daydreamy thoughts I suspect only 1% of us ever think about.
But if you’re in that 1%, you’re very welcome.
Comparing the EI of Sony Venice & FX3: Latitude and Sensor Noise/Grain
This isn’t about winners or losers. It’s not a contest. The Sony Venice and the FX3 exist in different spheres of the industry, each built for a purpose, each delivering stunning images in its own way. The goal here? To see how they can work together—how their colours, textures, noise, and dynamic range can align to tell a cohesive visual story.
Mastering EI Monitoring on the Sony Venice: A Simple Fix You Might Have Missed
If you’ve ever struggled with monitoring changes to the Exposure Index (EI) on the Venice, you’re not alone. I recently found myself facing an issue when using off-base EIs—anything other than the native 500 (low base) or 2500 (high base). The challenge? The EI changes weren’t reflected in my monitor, making it difficult to judge exposure properly, especially on 3rd part monitors using tolls such as EL Zone exposure or False Colour.
Old-School Audio with Modern Tech: My Workflow with the Sony Venice & Sound Devices 302
After an Instagram post following some recent work which required sync audio into camera for post reasons, I’m diving into the setup to answer some questions. Specifically, I want to talk about my audio workflow with the Sony Venice camera, Sound Devices 302 mixer, and finally a little more about Deity Theos UHF wireless kit. If you’re someone who appreciates the intersection of obscure analogue engineering and cutting-edge digital technology, this setup might intrigue you. There is a video below if you prefer to watch a demo of all this, otherwise I have done my best to break things down in the article below.
Camera Tech Indulgence & The Rush Design VCT Plate for the Sony Venice
Alright, let’s kick off this blog with a deep dive into camera rigging—especially for those of you who own a Sony Venice, are Venice-curious, or work as ACs with the Mk1 or Mk2. The Venice has become more accessible lately, opening up new possibilities. I’m hoping to share a few tips that might help you with rigging, operating, and navigating the quirks that make this camera so unique.