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.

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?

Aputure's Tri8 LED panel on test

Published in Production

RedShark Review: LED panels are now available at every level of the market, from the homemade all the way up to the gold-plated, with a bewildering selection of products at more or less every budget level. Aputure's new Tri8 LED panel sits pretty firmly in the middle and, as such, has more than a few interesting details to consider.

Why Sony's FS700 is still a great camera five years on

Published in Production

Gear we like. It might be five years old now, which seems like a lifetime in the modern camera industry, but Sony's FS700 is still a mighty fine camera and that's even before you start talking about its high framerate capability.

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