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 PXW-FS7
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Designed as a camera that is at home on productions as diverse as “Cinema Verite”-style documentaries, reality TV, commercial and corporate applications the Sony PXW-FS7 XDCAM Super 35 Camera System is a flexible 4K camera system. It features a Super 35mm size sensor that allows you to capture images with cinematic depth of field. The E-mount is machined from stainless steel and allows you to use E-mount lenses or with the use of optional adapters to accept most 35mm lenses including PL, EF, Leica, and Nikon. The camera can capture footage to optional on board XQD media cards in either UHD at up to 60 FPS or HD at up to 180 FPS. the camera can capture 4K (4096×2160) images and send the signal out over its SDI or HDMI connectors.
The camera records in your choice of XVAC-I, XVAC-L, or MPEG-2. However, MPEG-2 recording does not support the high data rates the camera is capable of generating when shooting in UHD, and is limited to recording HD video only. The camera incorporates Dual XQD media card slots that support simultaneous or relay recording. An ergonomically designed handgrip provides control of many of the camera functions and features an adjustable length support arm.
FEATURES:
The 4K Super35 EXMOR sensor with features 14 Stops of latitude and a wide color gamut. It offers a choice of XAVC or MPEG-2 codecs. The XAVC codec can be used for 4K and HD recording, while MPEG-2 ios limited to HD recording. XAVC comes in two flavors, XVAC INTRA, and XVAC Long, allowing you to encode from HD to UHD using Intra-Frame or Long GoP compression with 10-bit 422 for HD and the choice of 10-bit 422 or 8-bit 420 for UHD. XAVC intra compression is very efficient, recording at modest bit rates and XAVC Long also substantially extends the recording time while attaining very high quality and low noise.
The PXW-FS7 is equipped with an E-Mount machined from solid Stainless Steel for stability and strength. It accepts optional E-Mount lenses from Sony, Zeiss and other manufacturers. The shallow flange distance allows you to mount most 35mm lens types such as PL, DSLR and legacy SLR lenses including Canon EF, Leica, and Nikon as well as many others with mechanical adapters.
The camera body is made from magnesium, which is lighter and stronger than aluminum. This allows the camera body to weigh only four pounds. It incorporates a shoulder pad and is designed to sit on the shoulder or by extending the support arm of the SmartGrip to be held in front of the operator without requiring a support rig.
The camera includes an ergonomic handgrip that Sony calls a SmartGrip, which features Zoom, Start/Stop and Assign controls. The SmartGrip facilitates camera operation with the right hand, leaving the left hand free to operate the lens. Both the arm and handgrip can be positioned at different angles permitting great flexibility.
FS7 records internally in 4K up to 60fps in UHD 3840×2160 and in HD up to 180fps using XAVC-I or up to 120fps with XAVC-L. Recording Apple ProRes to the internal XQD slots requires an optional EXCA-FS7 extension box and future upgrade.
4K (4096×2160) is available over the 3G-SDI outputs or the HDMI 2.0 output of the camera so you can capture the 4096×2160 video using an optional external recorder.
The camera features two XQD media slots that support simultaneous or relay recording. The camera also has an SD card slot that is only used for saving configuration data and cannot be used to record video.
Specifications
Image Device: Super 35mm Single-Chip Exmor CMOS
Effective Picture Elements:
17:9 4096 (H) x 2160 (V)
16:9 3840 (H) x 2160 (V)
Signal-to-Noise Ratio: 57 dB (Y)
Sensitivity:
2000 lx, 89.9% reflectance
T14 (3840 x 2160/23.98p mode 3200K)
ISO Sensitivity
ISO 2000 (S-Log3 Gamma D55 Light source)
Min Illumination: 0.7 lux: +18dB,23.98P,Shutter OFF,ND Clear, F1.4
Signal System: NTSC / PAL
Built-in Filters: Clear, 1/4, 1/16, 1/64
LCD Monitor: 3.5″ / 8.8 cm
Approx: 1.56M dots
Speaker: Monaural
Shutter Speed: 1/3 to 1/9000 of a sec
White Balance: Preset, Memory A,
Memory B (1500K-50000K)/ATW
Gain Selection: -3, 0, 3, 6, 9, 12, 18 dB, AGC
Gamma Curve: STD, HG, User, S-log3
Shooting Formats:
4K 4096×2160
12-bit RAW
UHD 3840×2160
10-bit 4:2:2 XAVC-I
8-bit 4:2:0 XAVC-L
2K 2048×1080
12-bit Raw
HD 1920×1080
10-bit 4:2:2 XAVC-I
10-bit 4:2:2 XAVC-L
MPEG2 4:2:2
HD 1280×720
MPEG2 4:2:2
Audio Recording Format:
LPCM 24 bits, 48 kHz, 4 chan (Recording/Playback 2 chan)
Recording Formats:
XAVC-I QFHD MPEG-4 H.264/AVC
59.94P CBG, BR 600 Mb/s
50P CBG, BR 500 Mb/s
29.97P CBG, BR 300 Mb/s
23.98P CBG, BR 240 Mb/s
25P CBG, BR 250 Mb/s
XAVC-I HD MPEG-4 H.264/AVC
59.94P VBR, max BR 222 Mb/s
50P VBR, max BR 185 Mb/s
59.94i VBR, max BR 111 Mb/s
50i VBR, max BR 112 Mb/s
29.97p VBR, max BR 111 Mb/s
23.98p VBR, max BR 89 Mb/s
25p VBR, max BR 112 Mb/s
XAVC-L QFHD MPEG-4 H.264/AVC
59.94p/50p mode: VBR, max BR 150 Mb/s
29.97p/23.98p/25p mode: VBR, max BR 100 Mb/s
XAVC-L HD 50 MPEG-4 H.264/AVC
VBR, max BR 50 Mb/s
XAVC-L HD 35 MPEG-4 H.264/AVC
VBR, max BR 35 Mb/s
XAVC-L HD 25 MPEG-4 H.264/AVC
VBR, max BR 25 Mb/s
MPEG-2 Long GOP
CBR, max BR 50 Mbps, MPEG-2 422P@HL
XAVC-I QFHD 3840×2160/59.94p, 50p, 29.97p, 23.98p, 25p
XAVC-I HD
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
XAVC-L QFHD 50
3840 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p
XAVC-L 35
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
MPEG-2 Long GOP
1920 x 1080/59.94i, 50i, 29.97p, 23.98p, 25p 1280 x 720/59.94p, 50p, 29.97p, 23.98p, 25p
Recording Frame Rate:
XAVC-I QFHD
3840 x 2160/ 59.94p, 50p, 29.97p, 23.98p, 25p
XAVC-I HD
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
XAVC-L QFHD
3840 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p
XAVC-L HD 50
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
XAVC-L 35
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
XAVC-L 25
1920 x 1080/59.94i, 50i
MPEG-2 Long GOP MPEG HD422
1920 x 1080/59.94i, 50i, 29.97p, 23.98p, 25p
1280 x 720/59.94p, 50p, 29.97p, 23.98p, 25p
Slow & Quick Motion Function:
XAVC-I mode 3840×2160: 1-60 frames (59.94p, 50p, 29.97p, 23.98p, 25p)
XAVC-I mode 1920×1080: 1-180 frames (59.94p, 29.97p, 23.98p)
XAVC-I mode 1920×1080: 1-150 frames (50p, 25p)
XAVC-L mode 3840×2160: 1-60 frames (59.94p, 50p, 29.97p, 23.98p, 25p)
XAVC-L mode 1920×1080: 1-120 frames (59.94p, 50p, 29.97p, 23.98p, 25p)
Max Recording Time:
XAVC-I mode QFHD 59.94p
QD-G128A (128 GB): Approx. 22min
QD-G64A (64 GB) Approx. 11min
XAVC-I mode QFHD 50p
QD-G128A (128 GB): Approx. 26min
QD-G64A (64 GB) Approx. 13min
XAVC-I mode QFHD 29.97p
QD-G128A (128 GB): Approx. 44min
QD-G64A (64 GB) Approx. 22min
XAVC-I mode QFHD 23.98p
QD-G128A (128 GB): Approx. 55min
QD-G64A (64 GB) Approx. 27min
XAVC-I mode QFHD 25p
QD-G128A (128 GB): Approx. 52min
QD-G64A (64 GB) Approx. 26min
XAVC-I mode HD 59.94p
QD-G128A (128 GB): Approx. 59min
QD-G64A (64 GB) Approx. 30min
XAVC-I mode HD 50p
QD-G128A (128 GB): Approx. 71min
QD-G64A (64 GB) Approx. 35min
XAVC-I mode HD 59.94i
QD-G128A (128 GB): Approx. 118min
QD-G64A (64 GB) Approx. 59min
XAVC-I mode HD 50i
QD-G128A (128 GB): Approx. 141min
QD-G64A (64 GB) Approx. 70min
XAVC-I mode HD 29.97p
QD-G128A (128 GB): Approx. 118min
QD-G64A (64 GB) Approx. 59min
XAVC-I mode HD 23.98pM/b>
QD-G128A (128 GB): Approx. 147min
QD-G64A (64 GB) Approx. 74min
XAVC-I mode HD 25p
QD-G128A (128 GB): Approx. 141min
QD-G64A (64 GB) Approx. 70min
XAVC-L mode QFHD 59.94p/50p
QD-G128A (128 GB): Approx. 87min
QD-G64A (64 GB) Approx. 44min
XAVC-L mode QFHD 29.97p/23.98p/25p
QD-G128A (128 GB): Approx. 131min
QD-G64A (64 GB) Approx. 66min
XAVC-L 50 mode
QD-G128A (128 GB): Approx. 262min
QD-G64A (64 GB) Approx. 131min
XAVC-L 35 mode
QD-G128A (128 GB): Approx. 374min
QD-G64A (64 GB) Approx. 187min
XAVC-L 25 mode
QD-G128A (128 GB): Approx. 524min
QD-G64A (64 GB) Approx. 262min
MPEG HD422 mode
QD-G128A (128 GB): Approx. 262min
QD-G64A (64 GB) Approx. 131min
Media Card Slots:
2x XQD, 1x SD (for config data only)
Input and Output Connectors:
Audio Input:
2 x 3-pin XLR
Line/mic/mic +48
Mic Reference: -40. -50. -60 dBu
SDI Output:
2 x BNC HD/3G-SDI
SMTPE292M/424M/425M
HDMI 2.0: 1 x Type A
USB: USB device, miniB
Headphone:
1 x Stereo mini jack
-16 dBu 16 ohm
Remote: Stereo mini jack (2.5 mm)
Power Requirement: 12 VDC
Power Consumption:
Approx. 19 W (while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device)
Battery Operating Time:
BP-U30: Approx. 1 hr while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device
BP-U60: Approx. 2 hr while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device
BP-U90: Approx. 3 hr while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device
Temperature:
Operating: 32-104F / 0-40C
Storage: -4 to 140F / -4 to 140C
SIZE:
6.14″ W x 9.41″ H x 9.72″ D
156 x 239 x 247 mm
WEIGHT:
4.4 lb / 2.0 kg: Body Only
9.9 lb / 4.4 kg: Body, VF, Eyepiece, Grip Remote, BP-U30 Battery, SELP28135G Lens, XQD Memory card
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