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.

Automatic (journalism) for the people

Published in Technology & Computing

This article was written by a human, but then again, any computer designed to pass Turing's famous test would say that, wouldn't it?

There have been plenty of changes in the field of flash storage recently, with some ranges disappearing entirely while other, new ones edge into the market. Are we transitioning to a new status quo?

Why cameras need to have more and different looks

Published in Production

There was a time when we could choose between a whole selection of film stocks from at least three different companies — negative, reversal, black-and-white, not to mention post tricks such as bleach bypass. To some extent, we can still do those things, but this raises an awkward question: why can't I press a button on my digital camera to make it shoot black-and-white? Or something else? 

None more green! Several very important pieces of film and TV technology rely on the assumption that human beings can see green light best and that we can see sharp edges most clearly when they're rendered in shades of green, rather than any other colour. Why?

Aputure enhances VS series with new VS-5x

Published in Production

From the first time we looked at Aputure's VS-5 monitor (which, despite its name, is a seven-inch type) there was a hint at more connectivity to come. That promise has now been realised with the enhanced VS-5x.

Quis custodiet ipsos custodes? More and more, governments seem to be calling for backdoors to be established into encryption programs in the name of public safety. Phil Rhodes thinks this is a bad idea.

Whatever happened to the film look?

Published in Production

Have we finally got over the whole “film look” thing, or have we just realised that the debate was never really about film to begin with?

What on earth is 5.7K all about?

Published in Production

At first glance, 5.7K seems a rather weird format for Panasonic to chose for its latest EVA1 camera. But it makes good sense to pack in a few more pixels whenever you can.

One day all workflows might be like this

Published in Post & VFX

How a workflow that used Baselight on opposite sides of Canada to work on the grading and VFX of the Nissan Rogue Return of the Snowmen commercial could point the way to the future.

Why reviews can only give you part of the story

Published in Production

It doesn't stop us trying, but there are several factors that conspire to ensure that any review of a new product is inevitably going to be incomplete.

The RedShark Guide to Lens Mounts

Published in Production

Replay: Phil Rhodes looks at the most commonly used lens mounts in the industry, what they're used for, and what adaptation options there are for users to prevent lock-in to a technology that may not always suit their purposes.

Whether it’s because CG is getting so good it is indistinguishable from reality or that, in this era of fake news, trust has broken down, but more and more productions now feel they have to state up front that we're watching real-world photography when something spectacular takes place on screen.

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