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.

Dead is an overused word. But in the case of tape, it really has gone to meet its maker. It has shuffled off its mortal coil. It is an ex-acquisition medium.

The recent news that the patent dispute over LTO-8 has been resolved is a welcome one. But the time it has taken to sort out might mean that it is too little, too late.

Review: Sound Forge is a piece of software or, perhaps better, a family of software, with a history so long that early versions could be run under Windows 3.1. Phil Rhodes takes a look at Sound Forge Audio Cleaning Lab, an offshoot designed for, you've guessed it, cleaning up your audio.

The two Star Trek series Deep Space Nine and Voyager are still not available in HD. Both were shot on film and could be beautifully remastered in exactly the same way as the first two series produced under the Star Trek banner. It hasn’t happened and it doesn’t look like there’s any realistic chance of it happening. Why?

The perfect lens may now be possible thanks to this

Published in Production

A breakthrough by Mexican students solves a problem that until now has perplexed the scientific world for thousands of years. And it could make spherical abberations in lenses a thing of the past.

Review: We take a look at K-Tek's fully featured Stingray audio backpack. Anything can happen in the next half hour...

One of the great things about the modern internet is the way in which we can share and move files around. But if you are dealing with important information, cloud computing is in no way a good backup system.

We'd all like a 16K camera with a super-35mm sensor that has 18 stops of noise-free dynamic range, shoots 2000 frames a second and can see enough colour to overflow Rec. 2020. But first we have to deal with the laws of physics.

All lens softness is the same isn't it? Apparently not. Some of it is good, and some of it is bad. Or is it? Phil Rhodes investigates the strange world of subjective lens softness.

Current 'affordable' cameras can produce incredibly high quality images that not only hold up on a big screen, but can excel at it to the point where highly reputable and experience DPs have been known not to be able to tell them apart from the high end options. We ask what the real reasons are for not using lower cost cameras on big features. The answers may not be as straightforward as you were expecting.

The big secret to engaging SFX... is practical effects

Published in Production

Practical effects are back in a big way, and audiences are really appreciating it. From real explosions, to Tom Cruise actually flying that helicopter, you can't beat reality for the most engaging action sequences. Phil Rhodes took a visit to top visual effects house Artem, and picked up some great advice for people on low budgets, too.

Line skipping and pixel binning always gets a bad rap from the video community. But scaling an image from a large, high pixel count sensor is never going to be easy. Prompted from some recent comments on RedShark, this is Phil Rhode's guide to the complicated and controversial business of scaling.

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