Jump to content

Kieron Jansch

Sustaining Member
  • Content Count

    5
  • Joined

  • Last visited

Community Reputation

0 Neutral

About Kieron Jansch

  • Rank
    New
  • Birthday 05/16/1971

Profile Information

  • Occupation
    Other
  • Location
    London, England
  • My Gear
    Arri Amira, Canon 5D3

Contact Methods

  • Website URL
    http://mannedcamera.com
  1. Hi Phil, there isn't really much advantage if you're recording 444 in camera, as the Samurai can only do 422 HQ, but the waveforms actually seem quite comprehensive (although I'm no expert), and the slightly larger screen size is nice. I'll be switching to the Shogun once Arri publish the UHD firmware upgrade towards the end of the year though.
  2. Thanks Freya, and fair comment! I didn't want to comes across that way at all, is there a way for me to remove the post in the camera section?
  3. Manned Camera Limited Arri AMIRA, lighting and grip rental in SW London Grosvenor Court Grosvenor Hill London SW19 4RX Open from 9am to 6pm, Monday to Friday by appointment. Telephone: +44 (0) 7717 514 991 Email: kieron@mannedcamera.com Website: http://mannedcamera.com Facebook: http://facebook.com/mannedcamera Twitter: http://twitter.com/mannedcamera Manned Camera works in partnership with Decode, a long established and well respected camera and grip rental company in SW London, and are proud to be amongst the first to offer Arri AMIRA hire in the UK. We offer camera, grip, lighting and lens hire. If you are looking for help with your project we can also offer a Manned Camera service. Manned Camera was established by filmmaker Kieron Jansch with the goal of improving his filmmaking; Kieron is particularly keen to develop his skills in lighting for narrative fiction. As a result Manned Camera is happy to discuss very preferential rates for projects where Kieron can accompany our equipment, and assist or shadow an experienced Director of Photography.
  4. I'm really excited to let you know about a new project I've just set up, Manned Camera Limited. http://mannedcamera.com I have been making amateur films for a number of years, and aspire to becoming a professional cinematographer in time. With that in mind, a little while ago I gave up my day job and began making corporate videos (usually about power-kiting in one form or another - one of my other passions). The corporate work paid a few bills, but the trouble was that I was working in a vacuum, and felt that I never really had many opportunities to gain experience in the areas that really excited me (narrative fiction in particular). Coming to this industry quite late in life, having had another career, I don't really have time to begin as a runner and work upwards from there, so I've been thinking about a way of getting as much experience as I can, as quickly as I can. "Manned Camera" is how I've decided to do it! I sat down and made a list of the equipment I felt I needed, to make my own films, and then got in touch with my local camera and grip rental company (Decode in SW London), to find out if they would be interested in using my equipment as part of their rental fleet when I wasn't using it. Just the other day I finally took delivery of everything, including an Arri AMIRA and set of Zeiss Super Speeds (MK2), among other things. Decode will be looking after my equipment when I'm not using it, but when it's with me I'll be using it to make make my own films. The other thing I'll be doing, and this is what might be of interest to other people, is offering my equipment at significantly reduced rental rates for projects where I can accompany the equipment, and either assist or shadow an experienced DP. I'm particularly keen to gain experience in lighting for narrative fiction, and so if you have a project for which you need equipment, and you're happy for me to either help out, or shadow your cinematographer, please don't hesitate to contact me. I'd be delighted to hear from you! Please have a look at my Manned Camera website for details of the equipment I have available, and my personal website to see some of the things I've produced so far (none of it with the AMIRA, as I've only had it a week)! Wish me luck!
  5. Hello, First post and all - sorry if this has been covered endlessly elsewhere, and sorry if it's Mac specific: Something I've never understood with vimeo is exactly why, whilst publishing recommended compression settings, they re-encode everything you send them - even if you stuck rigidly to their requirements. Lately I've been having an issue with their re-enocding causing significant worsening of banding and artefacts - so much so that I've been on a hunt for a better quality H.264 encoder (than that found in Compressor). Previously my typical Vimeo settings in compressor were: Video: H.264 for QT "Current" or specific fps to match source; Key frames "auto"; Frame re-ordering; "best" quality; Multi pass encode; Data rate "auto" Streaming "fast start" Audio: AAC 44.100 kHz "best" quality VBR set to "best" I know that isn't very file size friendly but I've found that unless you give vimeo a very high quality file in the first place, their re-encode strategy can ruin a file. However, I've recently started using x264 - which is a component for Compressor, that adds a new H.264 encoder, over which you have a great deal more control than you get with Apple's standard encoder - even to the extent of dictating exactly how long the cpu spends on the compression calcs. It's a bit of a mine-field at first, but if you stick to some of the included presets initially, you end up with files half the size of Compressor's and which have significantly better control of banding and artefacts. Here's a couple of screenshots: This first one is Compressor, using the settings I talked about above - this was a 1.2gb file for a 5m06s video and this next one is x264 - same sequence from Final Cut, this was 667mb for the same 5m06s video I know it's not exactly the same frame in the images, but it's close enough - this improvement was noticeable throughout - so, now I'm using x264 to give vimeo much higher quality files, and I'm seeing a big improvement (or rather, I should say, not seeing such a degradation in quality) when they re-encode. You can find info on the x264 component here: http://transpositionfilms.com/tech/best-compressor-settings-for-vimeo-v2 - they have a handy guide on how to get the component and some tips for using it. I've been using the "placebo" preset as I don't care too much about file size, more about quality. Anyway, there's my two pence worth. Cheers, Kieron.
×
×
  • Create New...