Patel began his career in the television industry in 1978 where he worked for the BBC in White City, London. For the past 39 years, Patel has found the changes in technology and television entertainment compelling enough to keep him interested and excited about what he does. He has always worked primarily as an engineer and most recently has worked with several DPs on Beyonce, Taylor Swift, Pearl Jam, the iTunes Film Festival in London and the first ever LIVE Snickers commercial for Super bowl 2017 in 4k. Patel’s interests outside of work include enjoying the national parks, camping, volleyball, soccer and hiking.
Tracy Leming is Imagecraft’s General Manager. After 20+ years in the TV industry Tracy has done everything from front desk reception to rental agent. Tracy enjoys her job, loves her clients, and is excited to be at Imagecraft. Tracy moved from a small town in Northern California to the Los Angeles area in 1997. In her spare time Tracy likes to garden, travel, paint furniture, and play softball. She also enjoys spending time with her family and friends. Tracy is especially close to her two children, Kourtnee and Brandon, and has a boxer named Dude.
Jason Been is the Owner and President of Imagecraft Productions. Jason has been in the television production industry for over 20 years. He started his career in San Diego working sporting events with the San Diego Chargers and San Diego Padres. He soon met Robin Hirsch and Gar Smith, Co-Founders of Imagecraft Productions. He moved to LA to work with Robin and Gar and ended up on staff with Imagecraft full time. Jason eventually took ownership of Imagecraft and has continued to build it into one of LA’s best production equipment rental houses.
Efren Navarro is one of Imagecraft Productions’ shop techs. Efren is a born and raised Californian who has been in the entertainment industry for over 15 years. Efren has experience working with cameras, lenses, operating switcher boards, working as a lighting tech and grip. Efren is hands on and face to face with clients on a daily basis at Imagecraft. He knows the importance of good customer service and works hard to make sure Imagecraft’s clients are happy and have what they need.
Nick Casas has been working in rental houses for over 10 years. Nick works alongside his brother Jason Casas and Efren Navarro building, shipping, and receiving equipment for clients. Nick loves to play golf and enjoys spending as much time with his family as possible.
Jason “JC” Casas started working in production as a driver in 2008. He really enjoys the fast pace work flow of a shop and learning about the new innovative equipment. After working at several rental houses around LA, JC found his way to Imagecraft. “This is my fourth year with Imagecraft and I love the small family feel of the office.” Being a shop tech is something he finds challenging and rewarding day in and day out. JC loves a great game of golf, shooting firearms, playing slow pitch softball, fishing, and spending any chance he gets with family.
Rob Dietze graduated from University of Central Florida with degrees in Film, Radio and Television. He began his career working at Universal Studios Florida as a Live Show Technical Director, Weapons Tech, and Pyro Tech. In 2001, Rob moved to Los Angeles where he began doing freelance production work. Rob met Jason while working on ‘Supernanny‘ as a First AC and Technical Coordinator. In 2011 Rob made the move from freelance to staff as Imagecraft’s Camera Engineer.
In a land where the evil Emperor K-os reigns, one girl embarks on a journey to restore order, schedules, and the integrity of math for the people of the land, The Crew. Meet Lindsay. Lindsay was just an average A+ student at Miami University of Ohio double-majoring in communication and interactive media studies, working 2 part time jobs, and playing softball. Until one day, she saw an ad for Miami’s film club… and everything changed. After dipping her toe in as Director of Programming for the region’s first international film festival, she dove in to every film/commercial/doc project available and gradually realized she wasn’t the same as the other kids. Her skills were unlike anything they’d ever seen. She could itemize budgets, locate large crews, color-coordinate spreadsheets, and manipulate a scheduling matrix with the swiftness of a ninja through the shadows. After graduating early, she tried to hide her abilities and disguised herself as a mindless PA at a local news station, but the calling was too strong and the world needed her. In 2010, she headed to LA in search of a challenge. Her pilgrimage took her from freelance PA to Coordinator to Manager, through the realms of Film, Livestreaming, Music Videos and Commercials until she arrived in a foggy, rule-defying land called Reality TV. In 2011, she discovered a time portal that took her to Imagecraft. There she found a properly equipped battle station where she continues to coordinate her plans. Will she ever defeat her lifelong nemesis, K-os? Will she find the enduring strength to do battle with his minions, The Producers? Will she become the hero we need? Now playing in a Burbank rental house near you.
Ben Fuller is originally from small town Massachusetts, and moved to LA in 2004 to pursue acting. He started at Imagecraft in 2006, and transitioned pretty early on from runner to shop tech, and shortly after to shop manager. Ben is now Imagecraft’s Rentals Manager. “Getting to deal with clients on a daily basis is a good place for me. I still maintain open lines of communication with the shop staff, which has evolved quite a bit since my days in the trenches.” Ben is a huge Boston sports fan, a karaoke junkie, and is always up for an adventure.
Mark Alexander has been in the TV industry since 1980. Mark started his career at B.E.R.C. as a driver, and landed here at Imagecraft Productions 37 years later. Mark’s experience in the industry ranges from delivery driver, to Sound Operator, to Director of Field Operations, and eventually to his position here at Imagecraft as Strategic Account Manager. Mark has been married to his wife Kelli for 35+ years. They have 2 kids and a miniature dachshund named Cool. He loves wine tasting, plays in a dodge ball league, and is an avid reader of history and non-fiction books. He’s even a single digit golfer…sometimes.
Gene Duggan has worked for Imagecraft Productions since 2012. Gene started his career in the TV production industry in 1990 at B.E.R.C., working his way from equipment delivery driver to operations manager. Gene is now Imagecraft’s Director of Sales and Business Development. At work, Gene’s number one priority is his clients and their productions. In his spare time, Gene enjoys spending time with his wife and two sons and playing golf, softball, and basketball.
ARRI AMIRA PREMIUM
Call for Price - Day Rate
Imagecraft Productions offers an ARRI AMIRA Premium Camera Rental option, a versatile documentary-style camera that combines exceptional image quality and affordable CFast 2.0 workflows with an ergonomic design optimized for single-operator use and extended shoulder-mounted operation. Ready to pick up and shoot straight out of the camera bag, ARRI AMIRA camera rental is hardy enough to take anywhere and features in-camera grading with preloaded 3D LUTs, as well as 200 fps slow motion. It is suitable for a great variety of production types, from reportage and corporate films to TV drama and low-budget movies, so wherever you are headed and whatever you need to shoot, let our ARRI AMIRA camera rental be your companion.
FEATURES:
Pre-record function
Crucial for wildlife filmmakers, the pre-record function uses an internal buffer in the camera to perpetually record a loop, the length of which depends on what options are selected. When the REC button is hit, the clip recorded to the CFast 2.0 card will include the specified pre-record period at its start.
Bluetooth audio monitoring
This allows the camera operator, or anyone else on set, to monitor audio through wireless Bluetooth headphones. In addition, by using a microphone-equipped Bluetooth headset, spoken comments can be recorded during filming to provide notation or guidance for editing and other postproduction tasks. These comments are recorded to a fifth audio track, aligned with the four main audio tracks, but kept separate from them.
Dynamic auto tracking white balance
For situations that involve a change of color temperature during a shot, such as when a character is followed from a tungsten interior to a daylight exterior, the new dynamic tracking option makes an automatic white balance adjustment. By using a sophisticated algorithm developed by ARRI, this adjustment is seamless and undetectable even for the most extreme color temperature transitions.
Wifi* and Ethernet remote
allows the graphical user interface (GUI) on AMIRA’s LCD panel to be displayed live on a device, such as a smartphone, tablet or laptop, that is connected to the camera via Wifi* connection or an Ethernet cable. The user interface exactly replicates the camera’s home screen menu, much like the AMIRA Simulator web tool.
EF and B4 lens support
With the EF mount, AMIRA users can benefit from the huge range of available EF mount stills lenses, electronically controlling the iris in these lenses through the camera’s user interface. B4-type lenses with an integrated servo module gain support for the auto iris function, while one other servo button can also be used as an assignable user button.
Fast boot-up time – AMIRA boots up in about 13 seconds.
Color bar – a color bar is used mainly to judge the colorimetry of the monitor displaying the camera output.
Waveform display – a further tool for judging exposure levels.
Enhanced HD-SDI outputs
AMIRA’s HD-SDI outputs allow the overlay of information about timecode and other parameters that is seen in the viewfinder, to also be seen on monitors. Additionally, it is also possible to use an HD-SDI signal input as a further ‘genlock-like’ sync option.
LDS functionality
ARRI’s Lens Data System (LDS) comprises a range of products generating highly accurate lens metadata for use on set and in post. When using an LDS lens on AMIRA’s LDS mount, lens data about iris, focus and zoom positions is visible in the viewfinder and all lens data will be embedded in the recorded QuickTime files.
Product Manuals
Specifications
– Sensor Type: 35mm format ARRI ALEV III CMOS (28.17×18.13)
– Sensor Pixel Count: 3200×1800 (4K UHD, 3.2K) 2880 x 1620 (HD), 2868 x 1612 (2K), for monitoring with surround area: 3168 x 1772 (HD), 3154×1764 (2K), 3414 x 2198 (4K UHD, 3.2K)
– Recording Pixel Count: 1920×1080 ProRes HD and HD outputs, 2048 x 1152 ProRes 2K, 3200×1800 ProRes 3.2K, 3840 x 2160 Pro Res 4K UHD and UHD outputs*
– Lens Mounts: PL mount w/ Hirose connector and LDS, B4 mount w/ Hirose connector, EF mount, PL mount titan (ALEXA Mini)
– Shutter: Electronic shutter, 5.0 degrees to 356.0 degrees
– Exposure Index: EI 160 to EI 3200 (EI 800 base sensitivity)
– Exposure Latitude: 14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
– Audio Recording: 4 channels, 24 bit PCM, 48 kHz
– Integrated motorized ND Filters: FSND 0.6, 1.2, 2.1
– Sound Level: < 20 dB(A)
– Environmental: -20 degrees C to +50 degrees C (-4 degrees F to +122 degrees F)
– Viewfinder: AMIRA Multi Viewfinder MVF-1 (OLED and LCD)
– Outputs Video:n 2x HD-SDI outputs: 1.5G, 3G and 6G; uncompressed HD/UHD video with embedded audio and metadata***
– Outputs Audio: 3,5mm headphone jack, Bluetooth audio
– Outputs Power: Hirose 12pin (for ENG type zoom lenses); 12V: D-tab, Hirose 4pin, Lemo 2pin; 24V: RS 3pin
– Inputs: Genlock, HD-SDI88, Timecode (In and Output), all BNC
– Other Interfaces: USB 2.0: For importing and storing AMIRA Look Files, user set up files, frame line files and feature license keys. Stores captured still image formats in DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format. Stores log files. Also used for installing Software Update Packets (SUPs.; Ethernet LAN RJ-45 for camera remote control.
– Recording Media: CFast 2.0 memory cards
– Recording Formats: HD 1920×1080 (interlaced & progressive),2K 2048×1152,
– 3.2K ProRes 3200×1800*
– 4K UHD 3840×2160*
– Recording Framerates:
0,75 – 200 Fps (progressive) HD, 2K
0,75 – 60 Fps 4K UHD & 3.2K*
0,75 – 120 Fps HD, 2K in ProRes 4444 XQ
0,75 – 30 Fps 4K UHD & 3.2K* in ProRes 4444 XQ
MPEG-2: 23.98p, 25p, 29.97p, 50i, 59.94i
– Recording Codecs (w/ embedded audio & metadata):
ProRes
ProRes 4444 XQ
ProRes 4444
422 HQ
422
422 LT
MPEG-2
– Rec709/LogC: Rec709
– Looks: Complete Look functions; import Looks
– Adjustable image parameters:
Knee, Gamma, Saturation, Black Gamma, Saturation by Hue
ASC CDL parameter (Slope, Offset, Power, Saturation)
– Import of custom 3D LUTs
– Focus and exposure control: Peaking, Zebra, False color
– Whitebalance; Auto WB, Dynamic auto tracking WB
– Wifi and Ethernet Camera Remote Control
– Audio monitoring: Headphone output (mini jack)Headphone output (mini jack), Bluetooth audio monitoring
– Pre Record function
– Intervalometer
– Multicam interface
– S16 lens mode
* Requires installed 4K UHD license
** not available in 4K UHD mode
*** embedded audio only in 1,5G and 3G
SIZE:
12.1″ Length x 5.4″ Width x 5.8 Height (Camera body with PL lens mount)
WEIGHT:
4.1 kg/9.2 lbs (camera body with PL Lens mount)
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