8 bit or 10 bit? The truth may surprise you

Published in Technology & Computing

It’s a great pity that in order to enjoy the benefits of digital imaging, we must use pixels that may only be one of a comparatively small selection of colours, as opposed to the effectively infinite subtlety of nature. Phil Rhodes spreads light and understanding about quantization and noise.

H 265 is the new H 264

Published in Studio & Broadcast

The (draft) specification for H.265 is out. What is it, and what does it mean for the video industry? We get an expert's view.

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

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)? 

The art of Colour Rendering

Published in Post & VFX

Human beings come in a variety of exciting colours. Rendering those colours in a pleasing way has been a goal of photography since before photography actually had colours, but it's always going to be an incredibly subjective issue

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!

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

Phil Rhodes doesn't mince his words in wondering why not!

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

RedShark Summer Replay: Sony's XAVC is used across an increasing number of its professional camcorders. Why did they choose yet another format? There were good reasons, as we explain below.

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