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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.
CANON C300
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The Canon EOS C300 PL Cinema EOS Camcorder Body (PL Lens Mount) takes what professionals love about DSLR filmmaking access to a vast selection of widely available lenses, a large sensor that facilitates a shallow depth of field, and portable operation with a modular, compact camera and addresses its shortcomings. That means that unlike DSLR cameras, this Cinema EOS camcorder is designed both inside and out for professional cinematographers capturing motion pictures that will stand up to rigorous post-production processes.
As its name suggests, the EOS C300 PL features a PL mount for compatibility not only with a broad range of compatible cine lenses from manufacturers like Angenieux and Zeiss, but also with the burgeoning Canon line of EF Cinema lenses for PL mount. These lenses are designed to match up perfectly with the 3-perf Super 35mm-size CMOS sensor that Canon developed for this camera. Like the camcorder, these lenses were developed specifically for digital cinema, with engraved markings on angled surfaces in meters and feet and uniform front diameters for easy lens switching without having to reconfigure a matte box or follow focus gearing.
The Canon Super 35mm sensor is paired with the Canon DIGIC III image processor, which uses an innovative method of breaking out red, green, and blue data to enable color performance on a level that would otherwise require three separate chips. Recording HD formats to CompactFlash cards as the XF codec at the highest level a 50 Mb/s, 4:2:2 MPEG-2 format, the C300 PL records motion video that reduces the jagged edges and Moir patterns that can plague video with 4:2:0 chroma subsampling and lead to post-production challenges.
Moreover, the MXF file wrapper brings together video, audio, metadata, and timecode in a package that enjoys robust support from all professional NLE programs. The EOS C300 PL is designed to capture footage that thrives in the post-production suite. To that same end, the camera also offers the Log gamma mode, which results in excellent tonal reproduction in the highlight and lowlight regions of an image, and a greatly expanded dynamic range.
The exterior of the camera is as unique as its innards. Featuring the expected HD-SDI output, timecode I/O, and genlock input BNCs, the body is a modular creature that can either be stripped down completely, or be built up to host the included handle, 4″ rotating LCD unit with full controls, grip, and thumb rest. With accessible, assignable buttons laid out in an ergonomic fashion, the C300 PL is physically designed not for still photography but for the craft of digital cinema.
FEATURES:
Super 35mm-Size CMOS Sensor
PL Lens Mount to Accept Cinema Lenses
Canon XF Codec – 4:2:2 50 Mb/s MPEG-2
1920 x 1080i60 & True 24p Recording
Rotating 4″, 1.23 Mp LCD Monitor
HD-SDI Output, XLR Inputs
Dual CF Card Slots
Timecode I/O, Genlock In & Sync Out
Canon Log Gamma
Modular Design: Removable Grip & Monitor
Product Manuals
Specifications
1x CMOS sensor, equivalent to 3-perf Super 35mm
24.6 x 13.8mm effective size (6.4 x 6.4m pixel pitch)
Effective Pixels: Approx. 8.29 Mp (3840 x 2160)
Total Pixels: Approx. 9.84 Mp (4206 x 2340)
Scanning System: Progressive
Filter: RGB primary color filter (Bayer array)
DSP: DIGIC DV III
Lens Mount: EF
Signal System: NTSC/PAL
Compression: 8-bit MPEG-2 Long GOP (Canon XF codec)
Color Space: 4:2:2 at 50 Mb/s recording
File Format: MXF (OP-1a)
RECORDING FORMATS:
50 Mb/s (CBR) 4:2:2 422P@HL
1920 x 1080: 59.94i/29.97p/23.98p; 50i/25p; true 24p
1280 x 720: 59.94p/29.97p/23.98p; 50p/25p; true 24p
35 Mb/s (VBR) 4:2:0 MP@HL
1920 x 1080: 59.94i/29.97p/23.98p; 50i/25p
1280 x 720: 59.94p/29.97p/23.98p; 50p/25p
25 Mb/s (CBR) 4:2:0 MP@H14
1440 x 1080: 59.94i/29.97p/23.98p; 50i/25p
MEDIA:
CF Card (Type 1 Only): 2x slots (Movie files); UDMA supported
SD Card: 1x slot: still images, custom picture data, clip metadata, and menu settings
Recording Time on 64 GB CF card:
25 Mb/s: 310 min, 35 Mb/s: 225 min, 50 Mb/s: 160 min
Up to 999 clips can be recorded per card
LCD SCREEN:
4″ diagonal, 1.23 megapixel color 16:9 rotatable LCD
100% field of view
Adjust brightness, contrast, color, sharpness,
and backlight (normal or bright)
A total of 27 display functions can be turned on and off
VIEWFINDER:
0.52″ diagonal, color 16:9 LCD, 1,555,000 dots
+2.0 to -5.5 diopter eye adjustment
100% field of view
Viewing angle can be adjusted up and down 60
A total of 27 display functions can be turned on and off
AUDIO:
Recording: Linear PCM; 2-channel; 16-bit; 48 kHz
Built-In Microphone: None
Audio Inputs:
2x XLR inputs (auto and manual level settings),
switchable between mic/line
-12, -6, 0, or +12 dB XLR trimming
1x 3.5mm mic jack
Channel Selection: 2-channel recording
Recording Levels: -? to +18dB
Phantom Power: Available: +48V
Headphone Output Level: 16 settings;
volume is muted at lowest setting
Tone: 1 KHz tone available; -12, -18, or -20 dB
FOCUS/EXPOSURE:
Focusing System: Manual; autofocus system not available
Exposure Modes: Manual
Gain: Manual: Normal setting -6 dB to 30 dB
Shutter Modes: OFF, Speed, Angle, Slow Shutter, Clear Scan
Shutter Speed:
59.94i/59.94p: 1/60 to 1/2000 in 1/4 or 1/3 stops;
SLS: 1/4, 1/8, 1/15, 1/30; CS: 59.94-250.70 Hz
29.97p: 1/30 to 1/2000 in 1/4 or 1/3 stops;
SLS: 1/4, 1/8, 1/15; CS: 29.97-250.70 Hz
23.98p/24p: 1/24 to 1/2000 in 1/4 or 1/3 stops;
SLS: 1/3, 1/6, 1/12; CS: 23.97-250.70 Hz
50i/50p: 1/50 to 1/2000 in 1/4 or 1/3 stops;
SLS: 1/3, 1/6, 1/12 1/25; CS: 50.00-250.70 Hz
25p: 1/25 to 1/2000 in 1/4 or 1/3 stops;
SLS: 1/3, 1/6, 1/12; CS: 25.00-250.70 Hz
Shutter Angle:
59.94i/59.94p:360,240,216,180,120,90,60,45,30,22.5,15,11.25
29.97p:360,240,216,180,120,108,90,60,45,30,22.5,15,11.25
23.98p/24p:360,345.6,288,240,180,172.8,144,120,90,86.4,
72,60,45,30,22.5,15,11.25
50i/50p:360,300,240,180,150,120,90,60,45,30,22.50,15,11.25
25p:360,300,240,180,150,120,90,75,60,45,30,22.50,15,11.25
ISO Range: 320 to 20,000, 1-stop or 1/3-stop
Built-in ND Filter: Mechanical ND filter system with option of
clear or 2, 4, or 6 stops
White Balance: Auto, manual, 2 custom (2000-15,000K in
100K increments), daylight (5400K), tungsten (3200K)
Exposure & Focus Aids:
Peaking (2 types), Zebra Pattern, Magnify, Edge Monitor
Focus Assist, Black and White Mode 2
PLAYBACK:
Index Displays: Index Display, Normal, “OK Mark”
Index, “Check Mark” Index, “Shot Mark” Index, Expand
Index, Photo Index
Clip Playback: Forward Search (5x, 15x, 60x), Reverse
Search (5x, 15x, 60x), Forward Frame Advance, Reverse Frame Advance, Record Review, Clip Jump (Forward
and Backward), Skip Playback
Playback Functions: Inter-Media Copy (Single Clip, All Clips,
Last Clip); Clip Delete (Single Clip, All Clips, Last Clip)
Still Image Playback: Index, Single Playback, Erasure, Protect
FRAME RATES:
50 Mb/s: 1920 x 1080 –
Record Rate: 1-30 fps (Playback Rate: 29.97p/23.98p/24.00p)
Record Rate: 1-25 fps (Playback Rate: 50i/25p)
50 Mb/s: 1280 x 720 –
Record Rate: 1-60 fps (Playback Rate: 59.94p/29.97p/23.98p/24.00p)
Record Rate: 1-50 fps (Playback Rate:50p/25p)
35 Mb/s: 1920 x 1080 –
Record Rate: 1-30 fps (Playback Rate: 29.97p/23.98p/24.00p)
Record Rate: 1-25 fps (Playback Rate: 50i/25p)
35 Mb/s: 1280 x 720 –
Record Rate: 1-60 fps (Playback Rate: 59.94p/29.97p/23.98p/24.00p)
Record Rate: 1-50 fps (Playback Rate:50p/25p)
25 Mb/s: 1440 x 1080 –
Record Rate: 1-30 fps (Playback Rate: 29.97p/23.98p)
INTERVAL RECORDING:
Interval can be set in 25 levels ranging from 1 second to 10 minutes (1/2/3/4/5/6/7/8/9/10/15/20/30/40/50 sec; 1/2/3/4/5/6/7/8/9/10 min)
NTSC 59.94i/29.97p/23.98p/24.00p:
Selectable between 1, 3, 6, 9 frames
NTSC 59.94p: Selectable between 2, 6, 12 frames
PAL 50i/25p/50p: Selectable between 2, 6, 12 frames
Frame Record: NTSC 59.94i/23.98p/24.00p:
Selectable between 1, 3, 6, 9 frames
NTSC 59.94p: Selectable between 2, 6, 12 frames
PAL 50i/25p/50p: Selectable between 2, 6, 12 frames
Pre-Record Buffer: 3 sec cache (video & audio)
Still Capture: 1920 x 1080 images captured to SD card
CUSTOM PICTURE:
23 custom picture settings
A total of nine 9 customized pictures are available in the
camera and up to 20 can be saved to an SD card
Custom pictures CP7, CP8 and CP9 ship with the following preset:
C7: Video.C – Intended for recording media for playback on consumer TVs. The setting minimizes noise in the dark areas and improves contrast by tightening up on black
C8: Cine.V – Suited for giving recorded media a film tone
C9: Cine.F – Used for when recorded media will be
transferred to film
Custom Function: 9 total functions available
Assignable Buttons: 15; can be assigned from among 30 functions
Color Bars: Color bars compliant with SMPTE, EBU, or
ARIB standards can be selected
Dynamic Range: Up to 800% with Canon Log gamma and ISO 850 (+2.5 dB) and above
OUTPUTS:
HD/SD-SDI: 1x BNC (output only), with embedded audio
HD 4:2:2 (YCbCr) 1920 x 1080: 60i/50i, 1280 x 720: 60p/50p
SD 4:2:2 (YCbCr) 640 x 480: 60i/50i
NTSC 480i/PAL 576i: Compliant with SMTPE 259M
Embedded Audio: Compliant with SMTPE 272M
Time Code Standard: (VITC/LTC) SMTPE 12M
HD-SDI: (Compliant with SMTPE 292M)
1080i/720p: Compliant with SMTPE 292M
Embedded Audio: Compliant with SMTPE 299M
Time Code Standard: (VITC/LTC) SMTPE 12M
Composite: 1x BNC (same as above)
HDMI: 1x Type A
Headphone Connector: 3.5mm stereo mini-jack
Genlock: BNC (input only),
Adjustment Range: -1023 to +1023
Timecode: BNC (input/output), Drop Frame (DF) and Non-Drop Frame (NDF)
Time Code Modes: Regen, Record Run, Free Run, and External Source 3
Sync:
BNC connector (output)
HD tri-level signal (HD Sync)
HD-Y signals (HD-Y)
Black Burst signal
Composite
Remote: 2.5mm LANC-compatible terminal
Wi-Fi: WFT terminal for compatible Wi-Fi accessory
POWER:
Power Supply: 7.4V DC (battery pack), 8.4V DC (DC input)
Operating Temperature:
Performance: 32 to 104 F (0 to 40 C), 85% relative humidity
Operation: 23 to 113 F (-5 to 45 C), 60% relative humidity
SIZE:
EOS C300 PL + Thumb Rest: 5.2″ x 7.0″ x 7.0″ (133 x 179 x 177 mm)
EOS C300 PL + Grip: 6.9″ x 7.0″ x 7.0″ (174 x 179 x 177mm)
Camera + Monitor: 7.3″ x 9.8″ x 7.4″ (185 x 249 x 187mm)
Camera + Handle + Monitor: 7.3″ x 11.2″ x 11.9″ (185 x 284 x 301mm)
WEIGHT:
Body: 3.6 lbs (1.63 kg)
Body with Grip, Monitor, Battery & 2x CF Cards: 6.0 lb (2.72 kg)
Body with Grip, Monitor, Handle, Battery & 2x CF Cards: 6.4 lb (2.90 k)
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