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.

Whatever happened to the 3-chip camera?

Published in Production

There was a time when any electronic camera that didn't have three separate imaging sensors for red, green and blue was viewed as third rate. Security cameras hand single chips. Handycams. Not serious cameras. The first dedicated digital cinematography cameras – probably things like Sony's F23 and the Thomson Viper, were three-chip devices. Now, though, three-chip cameras are routinely criticised. What's changed?

Leica has produced a special edition model of its M10-P 'digital rangefinder' camera. A nostaligic hark back too far, or simply a really good digital stills camera?

Wouldn't it be nice if we could forget all this complexity over codecs and compression and just store video material in universally-recognised formats, like sound people do?

Why is it so hard to replace JPEG?

Published in Technology & Computing

JPEG is a technologically ancient format. More modern alternatives have appeared, but none have replaced it in popularity. With Apple's HEIC format, will we finally be able to consign JPEG to the dustbin?

An 8K camera with a sensor even bigger than a Vistavision frame for under twenty thousand euros is an enticing proposition. The specs for Cinemartin's Fran camera, an 8K device with a truly huge sensor, emerged about six months ago, and promised much. Now we've got our hands on one, is it too good to be true?

Computational photography techniques are now commonplace on smartphones, allowing tiny sensors to achieve amazing results. Phil Rhodes asks, why hasn't computational cinematography in bigger cameras yet become normal?

Sensor sensitivity: Here's how it really works

Published in Technology & Computing

About a year ago, we covered the ISO and ASA systems as they apply differently to film and video cameras. There's been a lot of interest in that article, especially when it was republished more recently, with a lot of discussion about the details of how modern cameras implement their sensitivity settings. Phil Rhodes delves in even further.

According to Ridley Scott's 1982 sci-fi Blade Runner, by this year, Los Angeles should have degenerated into a horizon-wide field of dystopian towerblocks, locked in a permanent neon-lit night. For better or worse, that hasn't happened, although some of the other technological leaps shown in the film sort of have...

How easy is it to make an "8K lens"?

Published in Production

There's a common line of thought that says 8K is difficult because a lot of current lenses cant resolve that sort of resolution. Phil Rhodes digs down for the truth of the matter.

Are stylistic decisions making television hard to watch?

Published in Production

BBC television dramas have recently come under criticism for dark cinematography and unintelligable dialogue.

Drones have an impossible hill to climb when it comes to maximising their potential. Phil Rhodes looks at how the recent chaos at a UK airport highlights some fundemental truths about aerial drone filming.

Should camera ops and DPs receive repeat fees like musicians and stills photographers?

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