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.

Stunning supercell timelapse

Published in Production

Mike Olbinski crisscrosses the USA’s tornado alley capturing footage of the extreme weather that brews there in the growing heat of spring and summer. And some of the footage is breathtaking in the extreme.

If we can curve screens, why not curve sensors?

Published in Production

A Microsoft team has solved a whole range of fairly difficult challenges and created a curved image sensor that holds out the promise of solving the field curvature problem once and for all.

SmallHD’s 1703-P3 on test

Published in Production

RedShark Review: Phil Rhodes finds lots to like with the newest entrant into the SmallHD monitor range.

Time to take the nickel back? A quick note on power, because as we're all aware, it doesn't matter how many pixels your camera has if all your batteries are flat.

All the funding models for high-end content that we’re accustomed to having either melted away under the Netflix onslaught or are under extreme pressure. How do we make sure that there are still projects we want to work on?

Grading movies: where did it all go wrong?

Published in Production

Digital colour grading has been an integral part of the cinema process since “O Brother Where Art Thou?” was released in 2000. Why then are so many modern films so flat?

A while ago, we published an article in which we outlined why it's possibly reasonable to shoot in 8-bit, albeit under some fairly constrained circumstances. Does it still stand? Well, sort of...

Last week, the BBC broadcast what it described as its first documentary to be shot entirely on cellphones. Is this really a good idea? Phil Rhodes has his doubts.

The news that both Intel and AMD have multi-core chips ready to roll out of the fabrication plants this summer is going to be good news for workstation users.

Logos: is that real or is that CGI?

Published in Post & VFX

Now, *this* is how to create a TV ident. Radiodiffusion-Télévision Française's original Eurovision logo was mixed in live from a camera pointed at a cat's cradle of string. Phil Rhodes reckons the all-pervasiveness of CGI means we've lost something along the way.

Compressed, uncompressed and raw: the differences

Published in Production

Having concluded in a previous piece that compression was a disaster, it's somewhat comforting to realise that an increasing number of cameras now allow us to record pictures which are uncompressed, nearly uncompressed, raw, or some combination of those things. 

Why compression is a disaster we should stop using

Published in Production

It has never been easier to shoot uncompressed, so why do we continue to insist on doing so?

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