VP9 codec rides to the aid of 4K

Published in Studio & Broadcast

Google seems to be saying "Forget H.265 - our VP9 codec is here, now, and is better"

RedShark Replay: The one where Phil Rhodes doesn't mince his words in wondering why not!

Sony explains its new 4K codec: XAVC

Published in Technology & Computing

Do we need yet another H.264 - based codec? Sony thinks that we do, and explains why

Sony explains XAVC in detail

Published in Technology & Computing

Even though some people groaned when Sony announced their XAVC codec back in October 2012, it's beginning to look like it is more than just another variation on the h.264 theme. What it may turn out to be is a rich environment for 4K production that is widely supported by NLEs and post production vendors

Could VP9 be the codec for 4K Blu-Ray?

Published in Studio & Broadcast

 Even though many pundits think 4K will be delivered by streaming, there are plenty of households still with slower broadband for whom this will not be an option. Now, it seems, Google's free VP9 codec might be a candidate for a new "Blu-Ray" format

Replay - The best of 2012: 8 bit or 10 bit?

Published in Technology & Computing

In case you missed first time around, here's one of the best articles from 2012, by Phil Rhodes: 8 bit or 10 bit? The truth may surprise you!

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)? 

HEVC/H.265: Everything you need to know

Published in Technology & Computing

In a major new article, Phil Rhodes explores the background to HEVC/H.265, and explains what makes it so good at compressing video. Read this if you want to know how almost all video - including 4K - will be delivered in the near future

There are so many great articles in RedShark's archive - we're publishing this again in case you missed it first time!

The art of Motion Tracking

Published in Post & VFX

For most of the history of film, if you wanted to insert something into the picture that didn't exist,  the camera had to be stationary. Motion tracking allows artificial objects to be inserted convincingly into real footage. Phil Rhodes explains

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