A Different View of the World.

We see only a tiny bit of the spectrum. Cameras actually record more than we can see. To make cameras have the same spectral view of the world as we do, the UV end and the IR ends of the spectrum are cut off, and the world appears this way. - a typical photograph we are all familiar with.

If we remove the filter from the camera, we create what is called a Multispectral camera. This camera can detect a broader range of the spectrum than we can. This creates a problem when we view the image, because what colour are those colours that we cannot see? The leaves on the trees are green because they absorb everything except green. Yet, the leaves also do not absorb all the UV light, so it is reflected. Because the UV is more powerful than the green, the leaves have a purplish hue.

If we place a filter in front of this camera, then all the visible light and UV are eliminated, and so the camera only detects Infrared Light, which the sensor can receive. This gives the world a pinkish hue. 

In a program like darkroom, the photograph can be manipulated to remove this pinkish tinge and restore a more normal view of the World. The leaves on the tree reflect all the Infrared light, so they appear falsely coloured white. These are all false colours because we have no perception of what colours infrared actually are.

Moving further into the Infrared region, we can use a Thermal camera that detects the heat (Infrared Radiation) or light emitted by all hot bodies. All these colours are false; the redder, yellower colours are warmer than the more cooler blues and greens. The colour is arbitrary.

Mixing Acoustic and Electronic Sounds for Cohesive Educational Video Music

 

Mixing Acoustic and Electronic Sounds for Cohesive Educational Video Music

Educational videos need music that feels natural yet modern — supportive but not distracting. At Philip M Russell Ltd, we’ve found that blending acoustic and electronic sounds creates the perfect balance. The warmth of real instruments and the precision of synthesised textures together give our videos depth, clarity, and atmosphere.

Why Mix Acoustic and Electronic?

Each sound source brings its own strength:

• Acoustic instruments — such as piano, organ, or strings — offer human tone and expression.

• Electronic sounds — pads, synths, or sequenced bass — provide rhythm, structure, and sonic space.

When carefully balanced, they enhance each other. Acoustic instruments add authenticity to digital tracks, while electronic layers fill out frequencies and provide steady rhythm for pacing lessons or demonstrations.

How We Build the Mix

1. Start with the acoustic layer — record the Wersi organ, church organ, or live piano as the emotional foundation.

2. Add synth textures — gentle pads or arpeggios that fill gaps without dominating speech frequencies.

3. Match tone and reverb — use similar ambience so both sound sources feel in the same space.

4. Keep dynamics smooth — background music should enhance narration, not compete with it.

5. Final EQ balance — roll off low frequencies that could mask voice clarity.

Why It Works for Education

This approach creates music that feels familiar but fresh — ideal for maintaining focus in lessons. It’s expressive enough to set a tone, yet subtle enough to let the science or sailing story take centre stage.

The Takeaway

By blending acoustic and electronic instruments, you create a unified sound world — one that supports learning, lifts production quality, and makes educational videos sound as professional as they look.

How to Take IR Photos When You Can’t See a Thing Through the IR Cut Filter

 

How to Take IR Photos When You Can’t See a Thing Through the IR Cut Filter

Infrared photography reveals a world the eye can’t see — but capturing it can be a challenge, especially when your viewfinder goes completely dark. At Philip M Russell Ltd, we often use IR filters for both science experiments and creative photography, and the first thing beginners notice is that once the filter is in place, you can’t see anything. 

Here’s how to make it work.

Why You Can’t See Through the Filter

Most IR filters block almost all visible light, allowing only infrared wavelengths to pass through. That means the camera’s sensor can record what your eyes can’t, but your viewfinder (and even live view) will appear black.

Setting Up the Shot

1. Compose and focus first without the filter. Use normal visible light to frame your image.

2. Switch to manual focus once you’re happy with composition — autofocus won’t work once the filter is on.

3. Attach the IR filter carefully without moving the lens.

4. Use a tripod — exposures will be long, often between 2–20 seconds depending on lighting and filter strength.

5. Shoot in RAW to maximise flexibility during post-processing.

Exposure and Settings

• Start with ISO 400, aperture f/5.6, and a 10-second exposure in bright sunlight. Adjust as needed.

• Remember that infrared light focuses slightly differently than visible light, so you may need to fine-tune focus through trial and error.

• Use a remote trigger or timer to avoid camera shake during long exposures.

Processing the Image

Infrared images straight from the camera often look reddish or flat. Use your editing software to:

• Adjust white balance (set it to grass or foliage for the classic white-wood effect).

• Swap red and blue channels for false-colour IR images.

• Increase contrast to emphasise texture and tone.

The Takeaway

Infrared photography may be literally invisible while you’re shooting, but the results can be stunning — surreal landscapes, glowing leaves, and dark skies that reveal a side of nature we never normally see. With careful setup and patience, you can create IR photos even when you can’t see a thing through the viewfinder.

“Choosing a Suitable Small Action Video Camera: GoPro HERO13 Black vs Insta360 Ace Pro 2”

 

“Choosing a Suitable Small Action Video Camera: GoPro HERO13 Black vs Insta360 Ace Pro 2”

When it comes to filming science experiments, sailing sequences, or one-to-one tuition sessions, the choice of action camera matters. Two of the top contenders are the GoPro HERO13 Black and the Insta360 Ace Pro 2. 

Key Specs and Real-World Strengths

• The Insta360 Ace Pro 2 features a 1/1.3″ sensor, 8K video at 30fps in some modes, and strong low-light performance thanks to the larger sensor. The Technology Man+2Oscar Liang+2

• The GoPro HERO13 Black boasts a familiar form factor, an extensive accessory ecosystem, very good stabilisation, and recent upgrades, including improved battery and lens options. The Verge+1

• From user commentary: some forum users consider the Ace Pro to have an edge in low-light and sensor size, while GoPro remains strong in ecosystem, reliability, and accessory compatibility. goproforums.com+1

What to Prioritise for Your Work

Since my workflow includes science filming (lab experiments, outdoors), sailing footage (on the water, movement, wind), and educational production, these are our key features to weigh:

• Image stabilisation: In fast-moving situations (boats, outdoors), smooth footage is essential. GoPro has long been an industry benchmark; Insta360 now competes strongly.

• Low-light / indoor filming: For lab work where lighting may be modest, the larger sensor in the Ace Pro 2 gives an advantage.

• Mounting and accessories: For sailing, helmets, boats, rigging — an extensive mount ecosystem helps. GoPro has many mounts; However, the Ace Pro 2 can use most of the GoPro Accessories

• Resolution and editing flexibility: If you want to crop, stabilise, zoom in post-production, higher resolution (8K) gives more flexibility.

• Workflow & compatibility with your editing tools: If your editing suite (e.g., DaVinci Resolve) and workflow uses certain file formats or accessories, choose a camera that integrates smoothly. We can use both easily.

• Battery life and durability: On location (lab, river), you’ll want a dependable battery and a rugged build — waterproofing, mounts, and protective housing matter. The AcePro battery lasts well for a sailing afternoon. The GoPro has slightly higher battery consumption, but the batteries are quick to change.

My Recommendation

Suppose I had to pick one for my multi-use context (science filming, sailing, and education). In that case, I’d lean towards the GoPro HERO13 Black, primarily for ecosystem, accessory support, and reliability in varied conditions. If low-light lab work is the main focus and I don’t mind gearing toward a somewhat newer ecosystem, the Insta360 Ace Pro 2 could be the better choice for image quality.

Final Takeaway

Choose the camera that aligns with your primary use case:

• For sailing/stabilised outdoor filming: GoPro is strong and versatile.

• For lab and indoor filming requiring low light: Ace Pro 2 offers top specs.

So we use both. This ensures good mounting, stable lighting, and appropriate audio capture will helps us create high-quality science and sailing videos — supporting our work at Philip M Russell Ltd, pmrsailing.uk, and our teaching platforms.

Capturing High-Speed Reactions on Camera – When You Don’t Have a High-Speed Camera

 

Capturing High-Speed Reactions on Camera – When You Don’t Have a High-Speed Camera

Some experiments happen too fast for the eye — or even for a normal video camera. Chemical flashes, bursting bubbles, or projectile collisions are over in an instant. But you don’t need an expensive high-speed setup to capture those fleeting moments. At Philip M Russell Ltd, we use clever timing, lighting, and a bit of patience to freeze fast reactions for both video and photography.

The Flash Technique

A short, bright flash can substitute for a high-speed camera. When the flash duration is just a few thousandths of a second, it becomes the effective shutter — freezing motion even if the camera’s shutter speed is slower.

• Work in a darkened room so the flash provides nearly all the light.

• Trigger the flash manually or remotely at the exact moment of reaction.

• Use external flashes rather than built-in ones for more control.

• Experiment with multiple takes to perfect timing.

With this method, you can capture a balloon mid-burst, a droplet in mid-air, or a flame just as it ignites — all with standard photographic equipment.

Other Low-Cost Approaches

• Video under bright light: shoot at the highest frame rate your camera allows (often 120 fps on modern models).

• Strobe lighting: continuous flashes can make repeated motion appear slowed down when viewed frame by frame.

• Smartphone tricks: many phones have “super slow-motion” modes — ideal for short sequences.

• Sound triggers: inexpensive sensors can fire a flash the instant a noise occurs, such as a balloon pop.

The Teaching Value

Capturing high-speed reactions isn’t just about spectacle. It lets students analyse change — to measure speed, study cause and effect, and appreciate how physics, chemistry, and photography overlap.

The Takeaway

With thoughtful lighting and timing, any science lab can record events that happen in the blink of an eye. It’s a reminder that creativity often matters more than expensive gear — and that great teaching moments can happen one flash at a time.

A Multispectral Camera – What Can You Do with One in Science Education

 

A Multispectral Camera – What Can You Do with One in Science Education

Most cameras capture only what the human eye can see — the visible spectrum of light. A multispectral camera, however, goes further. It can record different bands of light, from ultraviolet to infrared, revealing details that ordinary photography misses. At Philip M Russell Ltd, we’ve been exploring how multispectral imaging can enrich both teaching and research across the sciences. Although expensive, basically most of these cameras are ordinary cameras with the IR filter removed. For UV cameras, great care must be taken when choosing the lens, as many cameras have special coatings that block UV light. When filming just infrared, we use a 720nm filter to block out all the visible light.

What a Multispectral Camera Sees

A multispectral camera captures several images simultaneously, each through a different wavelength filter. These can include:

• Ultraviolet (UV) for detecting fluorescence and surface coatings.

• Visible light (RGB) for colour and contrast.

• Near-infrared (NIR) for temperature, moisture, or plant health.

When combined, these layers reveal how materials absorb or reflect light differently — data invisible to the naked eye.

Applications in Education

• Biology: analysing leaf structure, photosynthesis, and plant stress using NIR reflection.

• Chemistry: identifying different compounds or pigments based on spectral response.

• Physics: teaching about wavelengths, filters, and the electromagnetic spectrum.

• Forensics and Conservation: examining inks, dyes, or damage invisible in normal light.

Building Understanding

By comparing visible and invisible light, students can see how scientific imaging extends human perception. It encourages curiosity, links theory to practice, and highlights how technology transforms observation.

The Takeaway

A multispectral camera turns light into data. It helps students explore how science reveals what lies beyond ordinary sight — making abstract ideas about wavelength and energy concrete, colourful, and measurable.

An excellent article on this is

Monochrome Camera Conversion: Effect on Sensitivity for Multispectral Imaging (Ultraviolet, Visible, and Infrared)

by 

Jonathan Crowther

JMC Scientific Consulting Ltd., Egham TW20 8LL, UK

J. Imaging 2022, 8(3), 54; https://doi.org/10.3390/jimaging8030054

Using Motion Graphics to Explain Scientific Concepts

 

Using Motion Graphics to Explain Scientific Concepts

Complex scientific ideas can be difficult to capture with a camera alone. Motion graphics bridge the gap between what we can film and what we can only describe. At Philip M Russell Ltd, we use animated overlays, vector graphics, and titles to make invisible forces and abstract principles clear in our physics and chemistry videos.

Why Motion Graphics Work

Motion graphics bring clarity where live footage reaches its limits. They can:

• Visualise invisible forces such as fields, currents, or airflow.

• Highlight key variables on screen — angles, velocities, or wavelengths.

• Reinforce narration by displaying formulas or diagrams in sync with the explanation.

• Maintain viewer attention by breaking complex sequences into simple visual steps.

The Process

• Storyboard the science: identify which parts of the experiment need extra explanation.

• Layer graphics over live video: arrows, particles, or vector lines show the underlying physics.

• Use consistent colour coding for forces, directions, and quantities.

• Animate simply: smooth, minimal movement aids understanding better than flashy effects.

• Sync with narration: motion should illustrate the point being spoken, not compete with it.

Applications

From projectile motion to interference patterns, motion graphics help students see cause and effect rather than just results. They turn real experiments into structured visual lessons — a combination of art, design, and science communication.

The Takeaway

Motion graphics make science visual, accessible, and memorable. When blended carefully with filmed experiments, they reveal the structure behind the spectacle — showing students not just what happens, but why.

From MIDI to Performance – Turning Sequences into Real Sound

 

From MIDI to Performance – Turning Sequences into Real Sound

MIDI sequences are the backbone of modern music production, but they can sound flat and mechanical on their own. At Philip M Russell Ltd, we transform those digital patterns into expressive performances on the Wersi organ, synthesiser, and digital studio setup — bringing life and nuance to what starts as data.

The Challenge of MIDI

MIDI records note information — pitch, timing, and velocity — but not emotion. Without real-time control, every note sounds identical, and the result feels programmed rather than played. The solution lies in performance techniques that add human touch back into the sequence.

Bringing MIDI to Life

• Live registration changes: switching sounds mid-performance adds variety and phrasing.

• Manual dynamics: using swell pedals and expression controls to shape intensity.

• Real-time layering: combining strings, pads, and lead voices on the Wersi for richness.

• Timing adjustments: small tempo variations give the music a natural flow.

• Touch sensitivity: mapping key pressure or aftertouch to vibrato or modulation.

Why It Matters for Video and Teaching

Music underpins the tone of our educational films, sailing videos, and podcasts. By turning MIDI into performance, we produce original soundtracks that sound alive, blending digital precision with human interpretation. Students also learn how music technology and expressive playing meet — a useful crossover between science, computing, and art.

The Takeaway

A good performance turns code into communication. With live control and creativity, MIDI stops being numbers on a screen and becomes a real, emotional instrument — one that speaks to both musician and listener.

Under the Microscope – Filming Microscopic Worlds

 

Under the Microscope – Filming Microscopic Worlds

Some of the most fascinating experiments in science happen on a scale too small to see. At Philip M Russell Ltd, we bring those hidden worlds to life by adapting microscopes with digital cameras — letting students watch live microscopic activity during both 1:1 lessons in the lab and online sessions through our TV studio setup.

Bringing Microscopy to the Screen

Traditional microscopes are designed for a single viewer, but a small digital camera can transform them into shared teaching tools. By connecting the microscope to a computer or switcher, we can display magnified images in real time — whether students are sitting in the lab or watching remotely.

How We Film Microscopic Worlds

• Camera Adaptors: USB and HDMI microscope cameras fit into standard eyepiece tubes.

• Lighting Control: LED ring lights and diffusers give consistent illumination without glare.

• Magnification Range: Using multiple objectives allows us to move seamlessly from broad structure to fine cellular detail.

• Live Data Integration: Screens can show measurements or time-lapse recordings alongside the image for analysis.

Teaching Applications

Microscope filming is invaluable for exploring biology, materials science, and physics of lenses. It helps students:

• Observe motion in real time — from pond life to crystal growth.

• Understand focus, depth, and resolution.

• Record and revisit complex processes for revision or reports.

The Takeaway

By adapting microscopes for digital recording, we make the invisible visible for every learner. Whether in-person or online, these filmed lessons combine traditional laboratory observation with modern video production — bringing students closer to the fine detail of science than ever before.

Archiving Footage – Building a Long-Term Video and Photographic Library

 

Archiving Footage – Building a Long-Term Video and Photographic Library

Every video shoot or photo session adds to an ever-growing archive of material — experiments, interviews, demonstrations, sailing shots, and music performances. At Philip M Russell Ltd, we’ve learned that filming is only half the job. The other half is preserving, tagging, and organising everything so it can be found and reused years later.

Why Archiving Matters

Good media archives save time, protect work, and extend the life of every project. Lessons can be updated with new narration, experiments re-edited for different age groups, and background clips reused across platforms. Without structure, valuable footage is quickly lost in a maze of folders and drives.

Building a Reliable System

• Consistent naming: every file begins with a date, project, and camera identifier.

• Tagging and metadata: add keywords for subjects, equipment, and themes (e.g. “Physics,” “PASCO sensors,” “Sailing”).

• Redundant backups: store at least two physical copies plus a cloud backup.

• Version control: keep master edits separate from teaching versions or short clips.

• Regular maintenance: check drives annually to prevent data loss.

Organisation Tools

We use external RAID storage for large video libraries, smaller SSDs for active projects, and a digital catalogue that links each clip to its subject and purpose. Photos, music, and sound effects follow the same indexing system, making them easy to find for new content.

The Takeaway

Archiving may not be glamorous, but it’s what keeps creative work alive. Every well-labelled clip or properly stored photo becomes part of a lasting educational resource — a library that grows stronger with every project rather than getting buried under it.

Eco Filmmaking – Minimising Waste on Set

 

Eco Filmmaking – Minimising Waste on Set

Creating videos can be energy intensive, but it doesn’t have to be wasteful. At Philip M Russell Ltd, we’ve made a commitment to eco filmmaking — keeping production efficient, sustainable, and low impact. With a little forethought, every filming session can be cleaner, greener, and more cost effective.

Planning for Sustainability

Good planning saves both time and resources.

• Shoot smart: combine multiple scenes in one session to avoid repeated setup and travel.

• Use natural light where possible to reduce electricity use.

• Charge from renewable energy — we power our studio lights and cameras using solar-charged batteries.

• Bring reusable containers for drinks and snacks to avoid single-use plastics.

Managing Materials

Film sets generate more waste than you might think — paper notes, plastic tape, batteries, packaging. It also works out much cheaper!

• Replace disposable gaffer tape with reusable Velcro ties.

• Print scripts and call sheets digitally.

• Recharge batteries instead of discarding them.

• Reuse backdrop materials and props for multiple projects.

Travel and Energy Use

Transport is often the biggest environmental cost.

• Carpool or schedule shoots so everyone travels once.

• Use electric or hybrid vehicles for local filming when possible.

• Keep computers and editing systems on energy-efficient settings when rendering overnight.

The Takeaway

Eco filmmaking isn’t just about reducing waste — it’s about working smarter. With careful planning, creative reuse, and renewable energy, even small productions can make a real difference. Every sustainable choice, from power source to prop, helps create films that teach and inspire without leaving a heavy footprint.

Reducing Plastic in School Science Labs

 

Reducing Plastic in School Science Labs

Our Going Green Podcast and Blog explore ways to make everyday science more sustainable, and one of the most practical places to start is in the school laboratory. Science teaching has traditionally relied heavily on plastic — from disposable pipettes and sample bottles to trays and storage boxes. But with a little planning, we can reuse, repurpose, and replace much of it.

Why It Matters

Plastic waste adds up quickly in busy school labs. Many single-use items can’t be recycled once contaminated, meaning they end up as landfill or incinerated waste. By cutting down on disposables and investing in reusable alternatives, schools can both reduce their environmental impact and save money over time.

Practical Steps for Greener Labs

• Reuse where possible: old reagent bottles can be washed, relabelled, and reused for storage or display.

• Switch to glassware: glass beakers, test tubes, and flasks last for years with proper care.

• Repurpose packaging: plastic trays, lids, and even yoghurt pots can serve as weighing boats or sample holders.

• Repair and re-seal: instead of discarding cracked plastic lids, use silicone bands or cork stoppers.

• Buy smarter: choose bulk supplies with minimal packaging and suppliers who take back containers.

The Role of Education

Encouraging students to think about lab sustainability turns every practical session into an environmental lesson. Small changes in classroom habits can foster lifelong awareness of waste reduction and resource management.

The Takeaway

Greener science doesn’t require huge investment — just creativity and care. By linking our Philip M Russell Ltd projects with the Going Green Podcast, we’re showing that practical sustainability is possible in every school lab.

Composing Ambient Backgrounds for Science Videos

 

Composing Ambient Backgrounds for Science Videos

The best background music is often the kind you barely notice. In science videos, the soundtrack shouldn’t distract — it should support. At Philip M Russell Ltd, we compose and record our own ambient music using the Wersi organ, synthesiser, and digital studio setup to give every video its own atmosphere without overshadowing the lesson.

Why Ambient Works

Science videos are about focus and flow. Ambient sound provides continuity between scenes, filling silence without pulling attention from the explanation. A gentle texture of pads, slow-moving harmonies, or evolving tones helps:

• Maintain concentration during long experiments.

• Smooth transitions between sections.

• Add emotion or curiosity without dictating it.

The Process

• Start with tone, not melody: create sustained layers that sit behind narration.

• Keep dynamics steady: sudden volume changes compete with speech.

• Match mood to content: cooler tones for physics, warmer pads for biology or chemistry.

• Test with narration: play the track under a voice recording and adjust EQ so the midrange never clashes with speech frequencies.

Tools and Instruments

The Wersi organ and synths are perfect for creating soundscapes that feel organic yet controlled. By layering analogue warmth with digital precision, we can tailor each piece to the subject — whether it’s an energetic demonstration or a calm, detailed explanation.

The Takeaway

Good background music doesn’t demand attention; it enhances it. A carefully composed ambient track helps students stay engaged and makes each video feel complete, professional, and distinctive.