RedShark News

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.

An extremely portable, nicely engineered, fluorescent-tube-alike LED that almost redefines convenience - though at a price.

The more data images take up the more difficult it is to move them around effectively, which is where HDMI 2.0 and its recently added HDR-friendly 2.0a version come in.

RedShark Review: Zylight F8 LED Fresnel

Published in Production

Phil Rhodes recently had the chance to test Zylight's F8 LED fresnel and discovered some innovations that may differentiate it from the competition.

While we always try to keep our feet firmly on the ground, sometimes extreme high-end kit is just too good to ignore. And that is exactly the case with Fujinon's ZK4.7x19 19-90mm Cabrio.

Using filters allows you to fix it in camera

Published in Production

Filters don't run out of dynamic range, have unlimited gamut and resolution, and are rendered in realtime. What is there not to like?

CION: We take another look at this intriguing camera

Published in Production

Our Technical Editor, Phil Rhodes, recently spent some hands-on time with the AJA Cion 4K camera. Here are his thoughts on the current state of the Cion and the possibility of further refinements.

Gear We Like: Blackmagic Pocket Cinema Camera

Published in Production

Our Technical Editor, Phil Rhodes, profiles one of our favorite cameras, the Blackmagic Pocket Cinema Camera, which has had a tremendous run as a value leader.

Phil Rhodes rings the alarm bells over the impact of rampant video consumption on existing internet infrastructures and identifies some possible solutions.

Will Perseus be the go-to codec for 4K?

Published in Studio & Broadcast

Could the new Perseus codec usurp H.265/HEVC for future 4K distribution (and possibly even acquisition)? 

While prepping an article on the AJA Cion, RedShark Technical Editor, Phil Rhodes, had a chance to use a set of Schneider's Xenon FF-Prime lenses. Here, he gives his opinion on the set and some thoughts on prime lens usage in general.

Do we really still need timecode?

Published in Technology & Computing

While it remains critical on set, Phil Rhodes asks whether in 2015 there are better solutions than continuing to use timecode in post.

DIT stop. At anything other than the very top end of dramatic filmmaking, are digital imaging technicans really needed for most productions?

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