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.

Sony adds HDR capabilities to live production cameras

Published in Production

Sony's recent announcement of its intention to update some of its live broadcast gear with HDR capability is both interesting and rather well-timed.

If you can't wait for a new Mac Pro or don't fancy journeying down the evolutionary cul-de-sac that the tweaked version of the current trashcan design represents, Phil Rhodes considers the alternatives.

Batteries with better performance than the currently available Li-Ion bricks aren’t exactly around the corner, but new findings hint at a huge step forward in battery technology. Two scientists are working on a solid-state battery based on glass and sodium. Will someone pass me the salt, please?

New Sony Digital Filter app emulates ND filter

Published in Production

Sony’s new Digital Filter app emulates the behaviour of a graduated ND filter, allowing the user to set different exposure compensation values for each of three horizontal bands across the image.

How to get MacBook performance for less

Published in Technology & Computing

If you are among the seemingly growing numbers of people looking beyond Cupertino for their next machine, Phil Rhodes looks at some Windows alternatives and how you can get that MacBook performance for less money.

Some of the most important aspects of producing video content in the modern age are governed by standards. Here is a brief rundown of some of the numbers we're most likely to encounter, and a quick summary of what they mean.

Rolling shutter is an issue at all levels of camerawork. One solution to get rid of it though is to synchronise the light frequency to the camera, and one of the few lights that actually accepts a synchronising signal from a camera is Outsight's Creamsource LED panels.

Fujinon's new MK 18-55mm lens on test

Published in Production

RedShark Review: Short zooms often cover the 18 to 55mm range; whether they're intended for stills or motion picture use, they're workhorses. So, Fujinon’s release of the E-mount MK 18-55mm lens for cameras with Super-35mm sensors is going to be a good fit for a lot of people.

Does Blackmagic's recent unveiling of the Ursa Mini Pro effectively make it the first decent new entrant to the ENG camera market in years?

Shooting with physical effects: Part three - smoke

Published in Post & VFX

Phil Rhodes explains how to create smoke and other mist effects using real world devices in part three of his series on physical effects.

Shooting with physical effects: Part two - water

Published in Post & VFX

Slippery when wet. Phil Rodes explains how to create the visual illusion of rainfall and mist, not with the help of plug-ins for your NLE but with the real thing: physical special effects. Just make sure to keep your equipment dry...

During our live broadcast on the subject of HDR earlier this year, a viewer asked a question about the difference between and the exact meaning of two terms which are commonly used side-by-side but don't technically have much to do with one another. Here's the explanation.

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