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.

Building the 10-bit desktop display

Published in Technology & Computing

When we recently discussed building workstations, there was much talk about the practicality of achieving a ten-bit display of desktop video.

When the power goes down and you lose everything

Published in Production

If you unplug a traditional tape deck while it's recording, the recording will be perfectly usable up to that point. If you do the same thing to a modern camera, though, you're likely to lose the whole take.

IMAX backs away from 3D

Published in Production

News that IMAX is backing away from stereo 3D, citing a lack of audience interest and set against a backdrop of weak earnings, comes as little surprise. It is a lot of buck for some fairly disappointing bang.

In a couple of recent articles, we've discussed ways to get the most computing horsepower for the money, comparing the specifications of various options and considering the expansion and upgrade options. To take that to its natural conclusion, it's not that difficult to build a workstation completely from scratch. Really.

Automatic (journalism) for the people

Published in Technology & Computing

This article was written by a human, but then again, any computer designed to pass Turing's famous test would say that, wouldn't it?

There have been plenty of changes in the field of flash storage recently, with some ranges disappearing entirely while other, new ones edge into the market. Are we transitioning to a new status quo?

Why cameras need to have more and different looks

Published in Production

There was a time when we could choose between a whole selection of film stocks from at least three different companies — negative, reversal, black-and-white, not to mention post tricks such as bleach bypass. To some extent, we can still do those things, but this raises an awkward question: why can't I press a button on my digital camera to make it shoot black-and-white? Or something else? 

None more green! Several very important pieces of film and TV technology rely on the assumption that human beings can see green light best and that we can see sharp edges most clearly when they're rendered in shades of green, rather than any other colour. Why?

Aputure enhances VS series with new VS-5x

Published in Production

From the first time we looked at Aputure's VS-5 monitor (which, despite its name, is a seven-inch type) there was a hint at more connectivity to come. That promise has now been realised with the enhanced VS-5x.

Quis custodiet ipsos custodes? More and more, governments seem to be calling for backdoors to be established into encryption programs in the name of public safety. Phil Rhodes thinks this is a bad idea.

Whatever happened to the film look?

Published in Production

Have we finally got over the whole “film look” thing, or have we just realised that the debate was never really about film to begin with?

What on earth is 5.7K all about?

Published in Production

At first glance, 5.7K seems a rather weird format for Panasonic to chose for its latest EVA1 camera. But it makes good sense to pack in a few more pixels whenever you can.

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