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 PMW-F55
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The Sony PMW-F55 CineAlta 4K Digital Cinema Camera features an 8.9MP Super 35mm image sensor, capable of capturing 4K, 2K and HD resolution video in a variety of formats via the internal recorder.
The F55 is among the first digital motion picture cameras with a global shutter, which completely eliminates motion skew and other “rolling” shutter distortions. Sony has designed the F55 as the foundation of an exceptionally versatile, modular system.
Optional components of the F55 system include bolt-on recording units, a series of digital viewfinders, and camera support rigs. Notably, the AXS-R5 recorder can be mounted onto the rear of the F55, enabling 4K and 2K 16-bit RAW recording and high speed frame rates of up to 240 fps in 2K. The F55 will have a native FZ-mount, which will provide an interface for the SCL-Z18x140 auto focus servo zoom lens as well as a wide range of lens adapters, such as the included PL-mount adapter.
Many digital sensors can match and even surpass traditional motion picture film for resolution and low light image quality, but with approximately 14.3 stops of dynamic range, film has maintained an advantage over most digital sensors. However, exposure latitude is rated at 14 stops of dynamic range, for truly film-like rendering of highlights and shadows. Moreover, the F55 incorporates the same color filter array technology used in its flagship F65, for a color gamut that is even wider than motion picture film.
On-board 4K recording requires high-data rate recording media, and the F55 will use the newly developed SxS PRO+ memory cards. A 128 GB card will provide enough space for approximately 40 minutes of 4K video in the XAVC Intra 422 format. SxS PRO+ cards will also allow on-board recording of 2K video at up to 180 frames per second.
FEATURES:
8.9MP Super 35mm CMOS Image Sensor
With 8.9 effective megapixels (11.6 total MP), the Sony 4K CMOS sensor captures a true 4K 4096×2160 DCI-standard cinema image. The sensor approximates the size of traditional 2-perf, Super 35mm motion picture film, which allows cinematographers to use their favorite lenses on the F55 without a significant disparity in apparent angle-of-view.
Internal 4K/2K/HD Recording
The F55 CineAlta camera incorporates high-speed SxS PRO+ memory card recording that allows the choice of 8-bit MPEG-2 HD422 at 50 Mbps, 10-bit XAVC 2K/HD at 100 Mbps, SR Codec 10-bit MPEG4 SStP at 220/440/880 Mbps, and XAVC 4K/QFHD at 300 Mbps. All formats can be recorded at a range of interlace and progressive frame rates. Some recording settings will require a free firmware upgrade.
Electronic Global Shutter
Traditional CMOS sensors employ what is commonly known as a “rolling shutter.” The F55 is among the first digital motion picture cameras with a global shutter, which completely eliminates motion skew and other rolling shutter distortions.
Highly Modular Design
In addition to the AXS-R5 recorder, a digital interface on the F55 allows for a variety of optional viewfinders. DVF-EL100 is a 0.7″ OLED viewfinder with 1280 x 720 resolution. DVF-L350 is a 3.5″ LCD viewfinder with 960 x 540 resolution, and the eyepiece flips up for direct monitoring. DVF-L700 is a 7″ LCD viewfinder with 1920 x 1080 resolution for monitoring Full HD pixel-for-pixel. Other modular components include the optional Sony shoulder rig, which features industry-standard rosettes on both sides for quick and easy attachment of third-party hand grips and other accessories.
Optional AXS-R5 “Bolt-on” Recorder
The optional AXS-R5 recorder is designed to dock on the rear of the PMW-F55 and enables 4K and 2K resolution video recording in 16-bit RAW. The AXS-R5 also facilitates high speed frame rates of up to 240 fps in 2K and simultaneous RAW + on-board SxS recording. The recorder uses the newly developed AXSM memory cards, which are compatible with an optional USB 3.0 reader (AXS-CR1). RAW files can be screened using the Sony free RAW Viewer software. (AXS-R5 is sold separately.)
Native FZ-Mount and PL-Mount Adapter
The F55 is designed to accommodate a wide range of lenses. With the PL-mount adapter, you can take advantage of acclaimed cine optics from Angenieux, Canon, Carl Zeiss, Cooke, FUJIFILM, Leica and more. Slip off the supplied PL-mount adapter to reveal the native FZ-mount with an 18mm flange focal distance. The FZ-mount provides an interface for native FZ lenses like the Sony SCL-Z18X140 auto focus servo zoom lens or a range of adapters for still lenses, including Canon EF, Canon FD, Nikon F, Leica M and more.
Dynamic Range Rated at 14 Stops
The ability to render a range of exposure values from deepest shadows to brightest highlights is a crucial test of any digital camera. The F55 is capable of an impressive 14 stops of exposure latitude, low-light sensitivity and low noise in the blacks. The dynamic range of the digital sensor approaches that of traditional motion picture film.
Wider Color Gamut than Film
The F55 incorporates the same advanced color filter array technology as the Sony flagship F65, for a color gamut that is even wider than motion picture film.
SxS Pro+ Media Cards
On-board recording of XAVC 4K and 180 fps XAVC 2K/HD requires high-data-rate recording media. The F55 will use the Sony 64 and 128 GB SxS PRO+ memory cards. A 128 GB card will provide enough space for approximately 40 minutes of 4K video in the XAVC Intra 422 format.
Intuitive One-touch Interface
Designed with significant input from cinematographers, the F55 features an intuitive interface for a range of controls. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, color temperature, ISO sensitivity and gamma. Assignable buttons mean that your favorite adjustments are always at your fingertips.
Real-time 4K Output and Other Vital Connections
The F55 supports real-time 4K output to a compatible monitor, via four 3G-SDI outputs. There is also HDMI, USB, DC input, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analogue signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected firmware upgrade.
Long-life Olivine Battery and Quick Charger
The F55 takes advantage of the Sony BP-FL75 battery pack, which uses Olivine Lithium Iron Phosphate instead of conventional Lithium Ion cathodes. The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with the Sony BC-L90 quick charger. The camera is also compatible with the Sony BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.
Product Manuals
Specifications
SENSOR
Sensor Type: Super 35mm equivalent single-chip CMOS with global shutter
Pixels: Total: 11.6 MP / Effective: 8.9 MP
Sensitivity:
Luminance: 2000 lx, 89.9% reflectance
Video Gamma: T11@24p (3200K light source)
S-Log2 Gamma: ISO 1250 (D55 Light source)
Dynamic Range: 14 stops
Signal to Noise Ratio: 57dB (Video Gamma, 24p, Noise Suppression OFF)
RECORDING
Video Recording Format:
MPEG-2 Long GOP
HD 422 mode: CBR, 50 Mbps max, MPEG-2 422P@HL
Audio Recording Format:
Linear PCM (2 ch, 24-bit, 48-kHz)
Recording Modes:
XAVC 4K: 4096 x 2160 at 23.98p, 25p, 29.97p, 50p, 59.94p
XAVC QFHD: 3840 x 2160 at 23.98p, 25p, 29.97p, 50p, 59.94p
XAVC 2K: 2048×1920 at 23.98p,24p,25p,29.97p,50p,59.94p
XAVC HD: 1920 x 1080 at 23.98p, 25p, 29.97p, 50p, 59.94p
MPEG4 SStP: 1920 x 1080, 23.98p/24p/25p/29.97p
MPEG2 HD: 1920 x 1080 at 50i, 59.94i, 23.98p, 25p, 29.97p
MPEG2 HD: 1280 x 720 at 50p, 59.94p
Shutter Speed: 1/24s to 1/6,000s
Shutter Angle: 4.2 – 360 degrees (electrical shutter)
Slow Shutter: 2, 3, 4, 5, 6, 7, and 8 frame accumulation
Slow & Quick Motion Function:
XAVC 4K/QFHD: 1-60p (NTSC)
XAVC 4K/QFHD: 1-50p (PAL)
XAVC HD/2K: 1-180p (NTSC), 23.98p/29.97p with option
XAVC HD/2K: 1-150p (PAL), 25p with option
XAVC HD: 1-60p (NTSC)
XAVC HD: 1-50p (PAL)
White Balance: Preset (3200K, 4300K, 5500K), Memory, ATW
Gain: -3, 0, 3, 6, 9, 12, 18 dB, AGC
Gamma Curve:
Standard (x6)
HG1, HG2, HG3, HG4, HG7 and HG8
S-Log2 Gamma
INTERFACE
Memory Cards:
SxS (x2, ExpressCard 34 slots)
SD card slot (x1)
Video Output: HD-Y or HD Sync (tri-level) V1.0
Analog Composite (VUP)
HD-SDI Output:
HD mode: SDI 1/2 Line Output, SDI 3/4 Monitor Output (character on/off)
4K mode: SDI 1/2/3/4 Line Output (character on/off),
HD-SDI/3G-SDI switchable
Timecode: TC IN/OUT switchable (x1)
Genlock: BNC input (x1)
HDMI: A Type output (x1)
AUDIO
Input: XLR-type 3-pin with Line/Mic/Mic +48V/AES/EBU selectable (x2, female)
Output: phono jack (CH-1, CH-2)
Headphone: Stereo mini jack (x1)
Speaker: monaural
USB: USB device, Mini-B (x1)
USB host, type-A (x1)
Wi-Fi: USB host, type-A (x1)
DC Output: 4-pin (x1), 11V to 17V DC (MAX 2.0A) w/battery adapter
Remote: 8-pin (x1)
GENERAL
Lens Mount: FZ-mount, PL-mount (with supplied adapter)
Built-in Filters: Clear, 0.9 (1/8 ND), 1.8 (1/64 ND)
Power Requirements: DC 12 V (11 V to 17.0 V)
Power Consumption: Approx. 25 W (while recording XAVC 4K 60p, EVF Off, LCD monitor Off, 4K SDI On)
Battery Operating Time:
With BP-FL75: approximately 150 minutes
With BP-GL95A: approximately 210 minutes
Operating Temperature: 32 to 104F (0 to 40C)
Storage Temperature: -4 to + 140F (-20 to +60C)
SIZE:
Without protrusions:
7.13″ x 7.88″ x 12.25″
15.1 x 18.9 x 21 cm
WEIGHT:
Body only: 4.88 lb (2.2 kg)
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