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.

Making 3D scans from 2D images with a phone

Published in Production

This week the release of the iPhone X with its Face ID system had garnered a lot of attention, not least because of future applications. But can new approaches that can achieve useful 3D scans from 2D images offer us even more possibilities?

Eclipse, the new 1000nit monitor from Cinemartin

Published in Production

The market for 7-inch, on-camera monitors is a crowded one. Undeterred, Cinemartin, the Barcelona-based manufacturer of a wide variety of camera accessories, has just announced a new high-brightness display, the Eclipse, which might just be small enough and bright enough to stand out from the crowd.

How to give the best advice to newcomers

Published in Business

More people than ever before want to enter the film or media industry, but the lack of a formal way up the career ladder can be a huge stumbling block. How can we ensure that we give the best advice to those who wish to enter the fray?

How to light a shoot in a remote location

Published in Production

Going off the beaten track. When we talk about portability of equipment for remote shooting, there is one aspect that is most often neglected. Lighting. Phil Rhodes takes us through the option when it comes to shedding light on things in a remote setting.

You really do still need a light meter

Published in Production

The apparent convenience of shooting digital has meant that the humble light meter has taken a bit of a popularity hit of late. But as Phil Rhodes writes, they are in fact still one of the most valuable tools in the bag.

Inasmuch as anything's predictable, we might reasonably predict that cameras in a few years time will look absolutely nothing like cameras of today.

This is why you shouldn't use log gamma all the time

Published in Production

Shooting in log gamma modes is often par for the course in todays shooting environments. But should it always be the 'go to' mode that we choose, or are there sometimes better options?

Losing out on a job because of a lack of skill is one thing, but losing it due to not owning the latest camera is something else. It's a growing phenomenon, and Phil Rhodes has an opinion on it.

Are we at the limit of practical sensor sizes? [Opinion]

Published in Production

Sony's new Venice camera has recently pushed full frame sensors for filmmaking into the limelight. But while larger sensors do offer some compelling advantages in the right circumstances, just how big should they become, and can we manage their requirements?

RedShark Review: It's long been a popular idea to strap a light on top of a camera, which is probably why there are so many options at so many price points. Core SWX's Bolt 250 is a recent addition to the world of on-camera lights. It has been shown at NAB and is priced toward the upper end of the market. Because of this and because there are so many options, the difference is really in the details.

Computational photography - using computers to generate images that were never "seen" - is allowing "miracles" to happen. Phil Rhodes examines one of the most recent methods developed by the University of California.

Every so often, someone will dig through a box full of old junk and turn up a bit of ancient film which turns out to be the new, earliest example of some particular technique. Such is the case with a bit of colour footage, discovered in 2012, of, er, some children hitting an aquarium with some flowers - in summer 1902, and shot by filmmaker, Edward Turner.

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