Phil Rhodes

Phil Rhodes

Phil Rhodes is a Cinematographer, Technologist, Writer and above all Communicator. Never afraid to speak his mind, and always worth listening to, he's a frequent contributor to RedShark.

Log recording, noise and the Sony FS5

Published in Production

Phil Rhodes on the idea that Sony's new FS5 has poorer noise performance than the company's FS7.

Examining the future (and some extreme lighting) with the BSC

Published in Production

Phil Rhodes visited London's BSC Expo 2016 mounted by the British Society of Cinematographers and brought back some industry insights and a few oddities in the lighting arena.

What can we expect from the new Varicam?

Published in Production

Next week Panasonic will unveil a brand new Varicam, but which of the many different possible directions available to the modern camera manufacturer will the company have taken it in? Phil Rhodes reads the runes.

RedShark Review: Canon CN7x17 17-120mm zoom

Published in Production

Phil Rhodes takes a look at the Canon CN7x17, a 17-120mm 'cinema' zoom with ENG roots and probably the Fujinon 19-90mm's principal competitor, plus the CN20x50 - Canon's normal-to-super-telephoto zoom (50-1000mm).

Is the secret of emulating film all in the display prep?

Published in Production

As Phil Rhodes reports, ASC member Steve Yedlin’s experiments with emulating film lead to some very interesting areas.

Phil Rhodes takes a detailed look at the Sony FS5, a small yet powerful 4K shooter, and considers its place in an increasingly crowded market.

Phase One launches 100 megapixel camera

Published in Production

The new XF 100MP from Phase One is just what you imagine it woudl be: a 100 megapixel camera. And it does, rather enticingly, feature a HDMI output.

We explore the topic of hydrogen fuel cells and discover that there are significant hurdles that must be cleared before it makes sense for use on film sets (and most other places).

Phil Rhodes tries out MTF's Effect lens controller on the JVC GY-LS300 camera and finds it a good solution for anyone with an already significant investment in EF glass.

Over the Christmas period in the UK, Downton Abbey beat EastEnders in the ratings, which could be seen as an indicator of what style of production both UK and American audiences prefer.

Aliasing can absolutely ruin your images, but it doesn't have to be that way.

Is LED lighting now the default choice for filmmakers?

Published in Production

When and why LED lighting makes sense for modern productions (and why other options may still make more sense in certain situations).

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