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.

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.

We are used to old arguments about film vs digital rearing their heads from time to time. With some major film directors still singing the virtues of film over digital acquisition due to costs, is the comparison a fair one? Phil Rhodes doesn't think so.

Five misconceptions about filming today

Published in Production

Modern filmmaking equipment is nothing short of miraculous in terms of its size, weight, power consumption and price-to-performance ratio. There are, however, some things that are regularly assumed about filmmaking in 2017 that are less true than we'd like them to be. Phil Rhodes takes us on a rundown of his top five filming misconceptions.

For anyone struggling to find the budget to fund a brand new camera, a second-hand unit represents good value if you chose the right technology. Phil Rhodes gives us a rundown of some of the camera models to look out for.

Joshua Paul's photos of Formula One marry cutting edge race technology with a camera that was made before World War I broke out.

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