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.
Last time, we looked at why we ended up with 24 frames per second for narrative filmmaking. Having recovered from the shock of realising that it wasn’t actually chosen for any reason to do with the picture at all, it’s worth looking at the fallout of that historical decision and how it affects us today.
This is the first of three articles on concsecutive days that explores the reasons for using 24 fps. As our ability to capture and display much higher framerate that this has blossomed, so has the debate about which number of frames we should show per second. On the face of it, higher framerates should look more real - but in practise, instead of the expected reality, we see cheap-looking TV. 48 fps makes everything look like a soap opera, apparently.
Counter intuitive. Puzzling. What's going on here? Phil Rhodes explores.
If you or I were asked, given current technology, to create a system to record and display moving images, we probably wouldn’t build what actually exists right now. We'd do it completely differently, says Phil Rhodes.
One from the archives: It’s a great pity that in order to enjoy the benefits of digital imaging, we must use pixels that may only be one of a comparatively small selection of colours, as opposed to the effectively infinite subtlety of nature. Phil Rhodes spreads light and understanding about quantization and noise.
DSLR users have long complained that they can't get clean, unadulterated line outputs suitable for high-quality recording. But the D800 is different. Phil Rhodes tests it with an Atomos Ninja 2 Field Recorder
- Saturday 9 Sep 2017 - (47598) The truth about colour. This is stuff every film-maker should know about.
- Tuesday 12 Sep 2017 - (8506) Canon announces two new fixed lens 4K camcorders with high frame rate capabilities
- Wednesday 13 Sep 2017 - (7751) HP boasts new workstation is ‘the most powerful on the planet’
- Friday 15 Sep 2017 - (7018) Sony's new 120fps 8K broadcast camera offers a step change for live broadcasting
- Sunday 17 Sep 2017 - (5292) Panasonic updates us on the amazing AU-EVA1 camcorder plus new footage [Video]
- Friday 22 Sep 2017 - (77) First footage from the new Sony CineAlta VENICE
- Thursday 21 Sep 2017 - (364) Ignite Express: a very capable set of free plugins
- Thursday 21 Sep 2017 - (780) When a lens is more than just a lens: Introducing ZEISS eXtended Data [Sponsored]
- Thursday 21 Sep 2017 - (704) How the DSLR revolution changed the way we look at cameras — part 2
- Wednesday 20 Sep 2017 - (555) The Core SWX Bolt 250 - smaller and lighter, it's the ideal on camera light