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Rob Webster

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About Rob Webster

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  • Occupation
    Cinematographer
  • Location
    Los Angeles
  1. Use P-cam to determine the split. As Stuart says, the distance between the two subjects is incidental. You need the distance from Camera to Subject 1, and camera to Subject 2. If you know the focal length, format and these two distances, any simple DOF calculator will give you the stop needed to hold both in focus.
  2. Justin, did the day end with some success at least? I would take a bollocking any day as long as the job gets done and the adults are happy.These rules seem antiquated for sure, they are what they are, and its the union's prerogative to make sure they are adhered to. It's also your prerogative to do what you think is best for the shoot and get the work done. If this means ignoring the union rules (which are not legally binding btw, you can't be arrested for touching a camera) then so be it.
  3. Hello All, I wanted to share a few frames from a short film that I shot back in January. It's a story about a trio of folk singing brothers on the last night that they see eachother for a number of years. We filmed on location in Los Angeles, using Red Epic @ 5k (would have shot alexa but we had so little money), on my personal gorgeous set of rehoused Cooke Speed Panchro Lenses. These stills are all taken straight out of camera, with just the colour that I was seeing on the day. We made the decision early on to use only tungsten units, so we built a bunch of covered wagons, ring lights and overhead rigs all running household incadescent bulbs that we could dim and change out as necessary. These, combined with a number of tweenies on the ground, were really all we used, and I think it has quite a unique look because of that restriction. I would really appreciate any feedback or comments that anybody has, and of course happy to answer any questions also. Thanks All. Rob
  4. In the UK this would be called a "Paul Daniels"
  5. I know this road has been trodden a million times before, but I'm after a new floor bag. I have a stanley open top bag for lugging round little bits and tools, but I need to upgrade from the tool bag I use at the moment to a more substantial floor bag. The problem in the UK at the moment is that Panavision and Arri (who both use the same supplier I think) are sold out and there is a four month backlog on orders. Modular 51 charge an offensive amount to ship to the UK and cinebags are also bloody expensive and very hard to find. I was looking at the Domke f2 but I its only 30cm wide so doesn't really compete in size with the Arri or cinebag. Anyone in the UK found anything good recently that can be easily collected and isn't going to destroy my fragile bank balance? Lowepro look Ok but are more for camera's than tools and kit, and doesn't have a lot of pockets for stuff like report tins etc. Thoughts? Cheers, Rob
  6. Hmm yeah I suppose just hand-roll it back into the feed side.
  7. Evening all, On a show next week and we are doing some registration tests with an XTR. Never actually done this before, so assuming the DOP is going to use the double-exposure method, how would I go about getting the exposed stock back into the feed side. I'm assuming there is an incredibly obvious solution to this problem, just can't think today; need a hand. Any advice greatly appreciated. Cheers, Rob
  8. I know it's well past the point where anyone probably cares about this but for sake of sharing knowledge, I found out today (completely by accident), that you can toggle feet/metres in the following way. This isn't in the manual for older XTR's, but is in the manual for newer ones, even if the body is pretty much identical....either way: 1. Power down camera and remove from power supply. 2. Power camera up whilst holding "MAG" button. 3. Still holding "mag" button, push the "run" switch into test mode. 4. Flashing "feet/metres" will come up and you can use "mag" button to choose. DISCLAIMER: This works for newer XTR's, not sure how backwards-compatible this method is. Maybe give it a try someone?
  9. That's a lot easier than most of the confusion on the web would suggest. Thanks fellas.
  10. And I mean specifically the business with the blue and yellow aperture marks. Is this only on the older primo's?
  11. Thanks for the advice chaps, unfortunately I'm only on dailies and the check out has already been done. I requested to have access to the kit one hour before call time to retake witness marks, but the kit isn't arriving untill call time, which is obviously completely unhelpful. Either way, when using DSLR's and mount adapters I'll never take the lens markings as a given. I guess I'll just have to re-do my witness marks throughout the day as and when I get a moment and hope there is no on-the-fly hand held inbetween. Any last words of advice? Cheers.
  12. Hey All, On a show on Monday shooting on the 1d using Pana Primo's (go figure). I'm assuming the spherical primes; as it will be my first time assisting (1st AC) with these lenses was just wondering whether there was anything I should look out for, anything essential I should know about the operation or behaviour of these lenses, from the position of keeping it all safe and sharp. I'm guessing they are going to be a bit of a pain in terms of support, especially with such a small camera. Anyone used these with a 1d/5d before? Do they operate in any different way to say a Zeiss SS or Cooke S4? Any advice would be a great help. Cheers chaps, Rob
  13. Hey All, On a show on Monday shooting on the 1d using Pana Primo's (go figure). I'm assuming the spherical primes; as it will be my first time assisting with these lenses was just wondering whether there was anything I should look out for, anything essential I should know about the operation or behaviour of these lenses. Any advice would be a great help. Cheers chaps, Rob
  14. This is a good point, you don't want your 2nd AC running back the lens box with the caps just after you have changed a lens. It's a waste of energy and time to go from the camera to the box, then to the camera and back to the box to return the caps. In a situation where the lens case in not necessarily right next to the camera, it means your second is going to be AWOL for twice as long every time you swing a lens. Keeping the caps on the lens generally irritates me and just complicated what should be a simple exchange. If you can't trust yourself to hold a lens without smashing the front or back element because there are no caps on it, whether its a master prime or a nikon still prime, you probably should move to the production department where you can drop all the stationary and bits of paper you like.
  15. People generally like to light greenscreens with kinos and florries for a number of reasons. Firstly, low power consumption and very little heat emitted. If you are in a studio all day you don't want to kill your actors (or crew) with heat exhaustion from the massive tungsten units you are using. Secondly, they are inherently softer than most fresnel lights and are usually lighter and easier to rig (generally this is true for any application of kinos). And lastly (please someone correct me if I'm wrong), the spectrum of light that a kino flo emits peaks at around 420nm (wavelength) which is exactly the same as the colour of chroma green used for green screen. Supposedly this increases the intensity and saturation of the screen, giving a better key. So as for the use of standard kino's it's a mixture of practicalities, safety and technical reasons. As for this ring light thing, I have no idea.
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