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.

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.

Cinemartin's Eclipse monitor: slim, light, and bright

Published in Production

RedShark Review: Cinemartin's new 1000 nit monitor has the sort of price and performance ratio that means it will be talked about long after memories of August's actual eclipse fade.

For all the industry’s increasing technological sophistication, it still very much relies on bits of shielded wiring to join it all together. Choosing the right cable for the job might not be quite as simple as it first seems.

Can you spot post colourisation?

Published in Post & VFX

A world of colour. The process of colourising photos has been around almost as long as photography itself. Done skillfully and the results can be amazing, but it is fraught with difficulties, and sometimes the results can be a mixed bag. Could artificial intelligence eventually automate the process?

How do we preserve the films of today, for tomorrow?

Published in Production

In for the long haul? The idea of archiving and keeping our digital data preserved for decades to come is a problem that most of us will be familiar with. Yet with no long term digital solution forthcoming, film studios are falling back to film technology, even for digitally produced movies.

Page 5 of 48

Twitter Feed