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.

RedShark Winter Replay: You can't film here!

Published in Production

This holiday we're re-running some of our most popular articles, in case you didn't see them the first time. Today: I wouldn't be surprised if a large proportion of the people reading this have been hassled either by the police, or perhaps more frequently by private security contractors, while working on a photography or film shoot

This holiday we're re-running some of our most popular articles, in case you didn't see them the first time. Today: Digital video has always meant moving a lot of data around inside a computer. And as computers get ever more powerful, Phil Rhodes explains what really goes on inside your video workstation

Understanding the rules, regulations and challenges around music licensing for films is enough to send the sanest people completely round the bend. Here's what Phil Rhodes thinks about this contentious and - it would seem - utterly confusing subject

There's a certain vintage type of sci fi movie which will, whenever it needs to indicate serious computing power, show us a room full of enormous tape decks, gently shuffling big reels of one-inch tape back and forth at the behest of a room-sized mainframe. Seems old fashioned, but tape is still now a modern, fast and extremely reliable medium. Phil Rhodes explains

The future of video cameras is... Lego?

Published in Technology & Computing

People are talking about modular phones and of course that makes us think about modular cameras. Phil Rhodes has some lucid ideas about this, and then there's the Apertus Axiom, which we've covered before.

The original, analogue Magic Lantern

Published in Technology & Computing

"It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous”

Philosophical Transactions, 17 August 1668, vol. 3

RedShark Replay: The one where Phil Rhodes doesn't mince his words in wondering why not!

16mm was bad. Now, it's good, apparently.

Published in Technology & Computing

16mm film, used for almost all TV production in the UK before HD, wasn't considered good enough for digital HD broadcast. But now it is. What's changed? Hint: It's not 16mm film

Are LEDs really more efficient?

Published in Technology & Computing

Raise your hand if you are interested in LED lighting because it lets you get more light for less power

You can't film here!

Published in Production

I wouldn't be surprised if a large proportion of the people reading this have been hassled either by the police, or perhaps more frequently by private security contractors, while working on a photography or film shoot

Neglab Promises Film Processing in Australia

Published in Business

A while ago, we reported on efforts to get Italian film manufacturer Ferrania back up and running. Welcome news though this was, processing labs have been dropping like flies all over the world, and in many places, finding processing facilities was starting to become a real bind. Regardless of the availability of stock, motion picture film was, and to some extent is, ceasing to be an option with widely-available services

Play your cards right

Published in Technology & Computing

Off the top of my head, I can think of quite a lot of different kinds of flash storage device that are used by at least one sort of motion picture recording technology: multi-manufacturer standards such as CompactFlash, SD, SSD, the proprietary types including P2, SxS and AXS (in all their varieties), and expensive device-specific formats such as SR Memory, RED's flash devices, and the packs made by companies such as Codex for their general purpose recorders

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