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.
SONY PDW-850
Call for Price - Day Rate
The PDW-850 XDCAM HD422 2/3″ 3CCD Camera from Sony features an ENG-style shoulder mount design suitable for use in the field or can be adapted to the studio thanks to support for CCU control and a “pool feed” video input. Recording to the XDCAM professional disc format, the camera records in MPEG HD422, a broadcast-spec 50 Mbps codec with 4:2:2 color sampling. The camera can also record in MPEG HD420 for longer recording times and is able to record legacy standard definition video in DVCAM or MPEG IMX. If features a standard 2/3″ B4 lens mount and the lens. Viewfinder (VF), and batteries or power source are all available separately.
The 1920 x 1080 native picture is achieved thanks to three PowerHAD FX IT CCDs. The three-chip design splits up color into its three RGB components thereby avoiding the interpolation and potential loss of detail on most single-chip designs. The camera can record at multiple frame rates up to 60p, including PAL area frame rates (50p/25p), plus several 24p implementations.
Built-in GPS means that location data can be included in the video metadata for reference later. A USB port allows proxy files to be saved to and external storage device, saving scene data so that a specific “look” can be recycled later, firmware updates, and connection of the separately available CBK-WA100 wireless adapter for remote operation and proxy file transfer.
Because the XDCAM media supports random access, it is possible to jump almost instantly to any clip selected from the thumbnail menu. At the same time, the format provides a professional grade media designed specifically for video recording to provide the same confidence one has when using a tape format. The camera supports both the PFD50DLA and PFD23A size professional discs for up to 95 minutes recording in the highest quality.
FEATURES:
Three 2/3″ PowerHAD FX IT CCDs
Improved from the previous generation, the sensor features lower noise, while keeping high sensitivity and wide dynamic range. The Signal to Noise Ratio has been improved from 59 dB to 62 dB, while maintaining a high sensitivity of f/11 at 60i
Dual Filter Wheels
One set for ND and the other for white balance (CC):
CC Filters: A: Cross, B: 3200K, C: 4300K, D: 6300K
ND Filters: 1: Clear, 2: 1/4 ND, 3: 1/16 ND, 4: 1/64 ND
ALAC (Auto Lens Aberration Compensation)
In addition to the current ALAC function on the XDCAM and PMW camcorders, the PDW-850 offers the addition of ALAC on the vertical axis to help correct for lateral chromatic aberration
Note: ALAC cannot completely correct all lens aberration issues – Longitudinal chromatic aberration cannot be completely eliminated
International Frame Rates
The PDW-850 is capable of 50 Hz or 60 Hz production, enabling users to create content for clients globally
Electrical Shutter
Multiple shutter speeds are available, including “Slow shutter” mode and “ECS” mode
Slow shutter 1080i: 2, 3, 4, 5, 6, 7, 8, and 16 frames accumulation
Slow shutter 720p: 2, 4, 6, 8, and 16 frames accumulation
ECS: 50.1 Hz (50i mode); 60.01 Hz (60i mode)
Slow shutter speed can be expanded to 32 frame accumulation through the Service Menu
4x Digital Extender
The 4x digital extender gives you a quick way to zero in focus to a specific area of the frame. Operation of the digital extender can be assigned to an assignable button and can be 2x, 4x, or 6x. As with digital zoom, loss of detail will occur the more the image is magnified
3″ On Board LCD Panel
The body side color LCD panel features a higher resolution that on the previous model. It is a “transmissive”-type panel with 960 x 540 (RGB) effective pixels. The panel allows viewing of video, thumbnails, and menu characters in more detail. Unlike the PDW-700/F800, the sub-panel has been eliminated and the same information is now displayed on the color LCD panel during power-on
HD/SD SDI and Composite “Pool Feed” Input
The HD-SDI, SD-SDI, and Composite inputs are now a standard. For Composite video input, the PDW-850 utilizes the genlock input connector. In addition to HD-Y input for return video, the PDW-850 can accept 1080/720 HD-SDI for return video. This is available via the assignable switch in EE or Rec. modes. HD-SDI return can be monitored through the viewfinder (available separately) and on the LCD panel
DC Accessory Power Outputs
The 4-pin DC output for audio accessories has been increased from 0.5 A to 1.0 A. There is also a PowerTap output for lights, monitors, or other peripherals up to 50W
GPS Module
The GPS module is mounted in the camcorders handle while GPS data is displayed on the side LCD panel. The GPS data can be shown during playback as well and can be turned on or off with a menu setting – the default is OFF
Note: If a disc with GPs data is ingested into PDW-U1/U2, the firmware (VFAM) version must be v5.1 or higher
USB Connector
The USB connector can be used in combination with the CBK-WA100 Wireless Adapter (available separately), for XDCAM Proxy file recording, proxy copy from the recording, as well as firmware updates. Devices tested to work with the USB interface include:
USM128GQX, 64GQX, 32GQX, 16GQX, 8GQX
USM64GT, 32GT, 16GT, 8GT
USM64GU 32GU, 6GU, 8GU, 4GU
In addition, “All File,” “Scene File,” “Lens File,” “Reference File,” and “User File” data can be saved or loaded from a USB flash drive or other USB storage device. The location of the USB connector has been moved from the handle to the right rear panel for easier connection of the Wireless Adapter
Note: There is a per file recording capacity limit of 4GB – you can record several files onto one recording device as long as any single file is does not exceed the 4GB limit
Supports CBK-WA100 Wireless Adapter
Add the separately available CBK-WA100 Wi-Fi adapter enables the following features:
Linkage of proxy flies with the high-resolution versions by its file name and file duration
Status indication on viewfinder
Remote control of iris, zoom, VDR keys (FREV, PLAY, PAUSE, FFWD, PREV, STOP, NEXT), R/B Gain, AWB, and record start
Planning Metadata operation and high-resolution file transfer via the Content Browser Mobile app for tablets and smartphones
The VDR key and R/B Gain can be simultaneously controlled by the RM-B170 remote
Partial Proxy Creation
New for the PDW-850, the camcorder can output the remote trigger flag in “Rec2” mode via the HD-SDI output in Rec or Playback mode. This allows creation of short clips from the high-resolution files that can play back at full speed
The partial playback mode is available via the Assignable switch
The remote trigger mode in “Rec2P” is available without a requiring a USB connection to the camcorder
Studio Camera Solution with CA/CCU
The PDW-850 can be integrated in a studio setting thanks to its standard 50-pin interface, which is compatible with the CA-FB70 optical fiber or CA-TX 70 digital triax camera adaptor and related CCUs
Note: Some features are limited when using with CA/CCU. Please see the operation manual for a complete list of supported features. PsF Formats (23.98, 25, 29.97) are not supported in studio configuration
Product Manuals
Specifications
Image Device: 3-chip, 2/3″ HD PowerHAD FX CCDs
Effective Resolution: 1920 x 1080
Horizontal Resolution: 1000 TVL or more (1920 x 1080i mode)
Optical System: F1.4 prism system
Lens Mount: 2/3″ type B4 bayonet mount
Digital Extender: x2, x3, x4
Registration: 0.02% or less for entire screen area (excluding distortion due to lens)
Modulation Depth: 45% or more at 27.5 MHz (typical)
Sensitivity:
1080/59.94i: f/11 (typical at 2000 lux, 89.9% reflectance)
1080/50i: f/12 (typical at 2000 lux, 89.9% reflectance)
Minimum Illumination: 0.3 lux (at f/1.4 lens, +42 dB gain, and slow shutter off)
Built-in Filters: Color Correction: A: Cross, B: 3200K, C: 4300K, D: 6300K
ND: 1: Clear, 2: 1/4, 3: 1/16, 4: 1/64
LCD Monitor: Type: LCD Size: 3.5″
Resolution: 960 x 540
Speaker: Yes
Shutter Speed:
1080/59.94i: 1/100, 1/125, 1/250, 1/500, 1/1000
1/2000, ECS, SLS
1080/50i: 1/60, 1/125, 1/250, 1/500, 1/1000, 1/2000, ECS, SLS
1080/29.97p: 1/40, 1/60, 1/120, 1/125, 1/250, 1/500, 1/1000, 1/2000, ECS, SLS
1080/25p: 1/33, 1/50, 1/100, 1/125, 1/250, 1/500, 1/1000, 1/2000, ECS, SLS
1080/23.98p: 1/32, 1/48, 1/50, 1/60, 1/96, 1/125, 1/250, 1/500, 1/1000, 1/2000, ECS, SLS
720/23.98p (Pull-down), 23.98p: 1/32, 1/48, 1/50, 1/60, 1/96, 1/125, 1/250, 1/500, 1/1000, 1/2000, ECS, SLS
Slow Shutter (SLS): 2, 3, 4, 5, 6, 7, 8, 16 frame accumulation
Gain Selection -6, -3, 0, 3, 6, 9, 12, 18, 24, 30, 36, 42 dB
White Balance: Preset (3200K), Memory A, Memory B/ATW
Signal to Noise Ratio: 62 dB (58 dB without Noise Suppressor)
Connectivity
Video Input: 1 x HD/SD-SDI on BNC
Audio Input:
2 x XLR 3-pin female (CH-1 / CH-2) — line, mic, mic +48V, AES/EBU switchable
1 x XLR 5-pin female stereo
Video Output: 2 x HD/SD-SDI on BNC (output 2 supports character on/off) 1 x Text output on BNC — HD: Y, SD: composite (character on/off) switchable
Audio Output:
1 x XLR 5-pin male stereo
1 x 3.5mm mini earphone out
1 x Mono speaker
Genlock and Timecode:
1 x Genlock / Composite “Pool Feed” input on BNC (1.0 Vp-p, 75 ohms)
1 x Timecode input on BNC (0.5 Vp-p to 18 Vp-p, 10 kohms)
1 x Timecode output on BNC (1.0 Vp-p, 75 ohms)
Supported Standards:
HD-SDI: SMPTE 292M (w/embedded audio)
SD-SDI: SMPTE 259M (w/embedded audio)
Lens Remote Control Connector: 1 x 12-pin
Remote Connection: 1 x 8-pin
Camera Connector: 1 x 50-pin
Ethernet: 1 x RJ-45 connector (100BASE-TX: IEEE 802.3u, 10BASE-T: IEEE 802.3)
USB: 1 x For proxy recording on USB Memory, connecting CBK-WA100 wireless adapter, and firmware updates
VTR
Media: XDCAM Disc
CODEC:
MPEG HD422 – CBR, 50 Mbps
MPEG HD –
HQ Mode: VBR, up to 35 Mbps
SP Mode: CBR, up to 25 Mbps
LP Mode: VBR, up to 18 Mbps
MPEG IMX – CBR, 50 Mbps
DVCAM – CBR, 25 Mbps
Proxy – MPEG-4
FRAME RATES:
MPEG HD422 50 Mbps
1920 x 1080: 59.94i, 29.97p, 50i, 25p, 23.98p
1280 x 720: 59.94p, 50p
MPEG HD420 (HQ 35 Mbps, SP 25 Mbps)
1440 x 1080: 59.94i, 29.97p, 50i, 25p, 23.98p
1280 x 720: 59.94p, 50p
MPEG HD420 (LP 18 Mbps – Playback Only)
1440 x 1080: 59.94i, 29.97p, 50i, 25p, 23.98p
MPEG IMX 50 Mbps / DVCAM Mode
720 x 486: 59.94i, 29.97p
720 x 576: 50i, 25p
MPEG IMX 40 Mbps / 30 Mbps (Playback Only)
720 x 486: 59.94i, 29.97p
720 x 576: 50i, 25p
Maximum Recording Time
MPEG HD422 at 50 Mbps
PFD50DLA: 95 min, PFD23A: 43 min
MPEG-HD at 35 Mbps, 4-Channel Audio
PFD50DLA: 145min, PFD23A: 65min
35 Mbps, 2-Channel Audio (Playback Only)
PFD50DLA: 150 min, PFD23A: 68 min
25 Mbps, 4-Channel Audio
PFD50DLA: 190 min, PFD23A: 85 min
25 Mbps, 2-Channel Audio (Playback Only)
PFD50DLA: 200 min, PFD23A: 90 min
18 Mbps, 4-Channel Audio (Playback Only)
PFD50DLA: 248 min, PFD23A: 112 min
18 Mbps, 2-Channel Audio (Playback Only)
PFD50DLA: 265 min, PFD23A: 122 min
MPEG IMX at:
50 Mbps
PFD50DLA: 100 min, PFD23A: 45 min
40 Mbps (Playback Only)
PFD50DLA: 120 min, PFD23A: 55 min
30 Mbps (Playback Only)
PFD50DLA: 150 min, PFD23A: 68 min
DVCAM at 25 Mbps
PFD50DLA: 185 min, PFD23A: 85 min
AUDIO
Audio Dynamic Range: >93 dB
Audio Signal Format:
MPEG HD422: 4-channel; 24-bit, 48 kHz
MPEG HD: 4-channel; 16-bit, 48 kHz
MPEG IMX: 4-ch; 24-bit, 48 kHz or 4-ch; 16-bit, 48 kHz
DVCAM: 4-channel; 16-bit, 48 kHz
Proxy: A-law; 4-channel; 8-bit, 8 kHz
Audio Frequency Response: 20Hz-20kHz, +0.5 dB/-1.0 dB
Distortion: < 0.08% at 1 kHz reference level
Crosstalk: < -70 dB at 1 kHz reference level
Wow and Flutter Below measurable limit
Headroom: 12, 16, 18, 20 dB selectable
Power Reqs: DC: 12V +5.0V/-1.0V (4-pin XLR connector)
Power Output: 1×11 to 17 VDC on 4-pin connector (for wireless receiver; 1A max) 1×2-pin PowerTap (12VDC, 50W max)
Power Consumption:
Recording with LCD Active: 37 W
Recording with VF, LCD Manual Lens, and Mic: 41 W
Continuous Batt Life: Up to 115min w/ BP-l80S battery
Up to 135 min with BP-GL95 battery
Operating Temperature: 23 to 104F / -5 to 40C
Storage Temperature: -4 to +140F / -20 to +60C
Humidity: 10 to 90%, RH
SIZE:
Body Only without Protrusions:
5 x 10.6 13.2″
124 x 269 x 332 mm
WEIGHT:
Body Only: 9.3 lb / 4.2 kg
With VF, Mic, Disc, BP-L80S Battery: 13.6 lb/ 6.2 kg
With VF, Mic, Disc, BP-GL95 Battery: 13 lb / 5.9 kg
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