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.
For.A FA-1010 MULTI-CHANNEL SIGNAL PROCESSOR
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Frame synchronizer equipped with an array of essential functions used in video production and that allow multi-channel routing (10-input/10-output video). Supports 3G-SDI and HD/SD-SDI input/output as standard and includes all typical FS and CC (standard) features. Highly versatile audio signal processing capability with delay adjustment and remapping functions plus a sampling rate converter. Combining these varied options allows a single unit to provide optimal functionality for all video production scenes, including those used in transmission, outside broadcasting, news reporting, production, editing and distribution.
Features:
Frame synchronizer
FOR-A’s frame synchronizers have always exhibited superior performance when processing poor quality video signals. Frame, Line, and AVDL synchronizer modes are available. Every mode allows both H and V ancillary data to be passed through*.
Different input/output formats may limit the number of packets that can pass through.
– Frame Sync mode
Aligns the output with a genlock signal and can be used whether or not the genlock signal and video input signal are synchronized.
– Line Sync mode
Locks the output to a genlock signal within a range of ± 1/2 lines and can be used only when the video input and genlock signals are synchronized.
– AVDL mode
Locks the output to a genlock signal with a constant time offset of 5H in HD and 1H in SD. The feature can only be used when the video input and genlock signals are synchronized.
– Line Sync (Minimum) mode
Outputs the input signal with minimum delay. It can be used only when the video input and genlock signals are synchronized.
Proc. Amp.
Allows video, chroma and black levels and HUE to be adjusted. Individual channels are also able to be adjusted and to control multiple channels collectively via channel link. A split view function allows pre- and post-correction results to be examined.
Color corrector
FOR-A’s color corrector, with its proven track record in the broadcasting industry, comes standard on each channel. Three available color correction modes can be freely used on the ten input channels, with color adjustment performed alone or in groups. It is even possible to link channels while maintaining differences between parameters.
– Balance mode: Provides RGB color correction
– Differential mode: Provides color correction without upsetting white balance
– Sepia mode: Converts colors into a monotone or sepia
Each parameter comes with a Unity button, a familiar FOR-A color correction feature that allows parameters to be restored to their default state with the push of a button.
A split view function allows pre- and post-correction results to be examined. Also able to be used as a 4K color corrector in 4K mode.
Clip function
The FA-1010 has inherited another set of familiar FOR-A color corrector features, Y/PB/PR and RGB clip functions that allow color information to be kept within an optimal range.
– Y/PB/PR clip: Adjusts excessively bright or dark color information within a range using white and black clip functions while maintaining white balance.
– RGB clip: Adjusts excessively bright or dark color information within a range using white and black clip functions, compensating for unintended color information generated during recording.
Selector functions on SDI input and output
The FA-1010 comes with an SDI input and output selector function, allowing for the input processing path and output terminal to be selected.
Clean switch
The output unit comes equipped with a clean switch that delivers smooth changeover of both video and audio, free from noise and shock. Switching methods include Direct Mode, which allows direct crosspoint operation, Take Mode for switching multiple crosspoints using a single Take operation, and Salvo Mode, which saves and switches cross point settings all at once. Clean switching allows the FA-1010 to be utilized as a processing-based routing switcher.
Delay adjustment
The FA-1010 comes equipped with a frame buffer that stores up to 8 frames. Delay adjustments can be individually applied to each channel.
Input and output bypass
The FA-1010 comes equipped with a bypass function that allows video to bypass processing and be output in case of power failure or an emergency.
ANC MUX/DEMUX
Ancillary (ANC) signal that is superimposed on video signals are first isolated, then processed separately, from the processing circuits. Whether to have ANC data pass through directly on each channel, or to have the superimposed ANC data re-superimposed or left blank, can be selected.
Time code inserter/generator
In addition to inserting external LTC time codes, use of the internal time code generator can be selected. For each channel, select whether to Pass or comply with the external or internal TC. The built-in LTC connector can be used not only for external LTC input but also as the external output of the internal TC (selectable).
Test signal output
Each channel is able to output a 100%, 75% or SMPTE color bar, or Ramp signal as a test signal.
Event memory
Up to 100 different parameter settings are able to be saved in the internal event memory of the main unit. The settings data can be backed up and restored using a PC.
SNMP
SNMP is supported as standard and can even be used to monitor power supply, fan, and signal alarms.
AUDIO
Sixteen channels of embedded audio for each video line
16 channels of embedded audio per line of 3G/HD (synchronous/asynchronous) or SD-SDI* (synchronous) input supports up to 160 channels of powerful audio input processing on all 10 inputs.
– 12 channels of audio for SD-SDI output
Supports up to 192 channels with the addition of the optional audio card
The FA-1010 provides digital and analog audio I/O as options. An optional expansion card allows A/D and D/A conversion, MUX/DEMUX and remapping, in combination with the embedded audio signal.
Gain adjustment
Gain adjustment available on each audio channel. A Unity button allows values to revert to default at the push of a button.
Sampling rate conversion
All digital audio channels come equipped with sample rate conversion circuits that allow the system output to be synchronized.
Delay adjustment
Delay adjustment can be set for each audio channel in 1-ms steps, up to 1,000 ms. Collective delay adjustment for each audio grouping is also possible. A Unity button allows values to revert to default at the push of a button.
Channel remapping
Audio channels to be embedded into video can be freely changed and re-ordered, remapped, across all ten video channels. This function is a useful as a replacement for an optional audio channel or for main- and sub-audio channels.
Down-mixing
Useful for tasks such as converting from 5.1-channel audio to stereo, this function allows the assigned channel to be changed to any L, R, Center, Ls or Rs channel, the gain to be adjusted, and the down-mix mode selected. A Mono Sum mode also allows a stereo channel pair to be converted to monaural.
Polarity reversal
The polarity of each audio channel can also be reversed, allowing you to correct an audio channel that has unintentionally fallen out of phase.
Master mute
This function allows you to mute the audio for each video channel or optional audio card.
Test signal output
This function allows you to output a 500 kHz or 1 kHz reference signal from each video channel or optional audio card, or a reference signal from each audio channel.
Specifications
Input Video Formats – 3G-SDI: 1080/59.94p (Level-A/B), 1080/50p (Level-A/B), 2 x 1080/59.94i (Level-B), 2 x 1080/50i (Level-B)
HD-SDI: 1080/59.94i, 1080/50i, 1080/23.98PsF, 1080/24PsF, 720/59.94p, 720/50p
SD-SDI: 525/60, 625/50
Output Video Formats – 3G-SDI: 1080/59.94p (Level-A/B), 1080/50p (Level-A/B), 2 x 1080/59.94i (Level-B), 2 x 1080/50i (Level-B)
HD-SDI: 1080/59.94i, 1080/50i, 1080/23.98PsF, 1080/24PsF, 720/59.94p, 720/50p
SD-SDI: 525/60, 625/50
Video Input – 3G-SDI: 3 Gbps (Level-A/B), HD-SDI: 1.5 Gbps or SD-SDI: 270 Mbps, 75?, BNC x 10
Video Output – 3G-SDI: 3 Gbps (Level-A/B), HD-SDI: 1.5 Gbps or SD-SDI: 270 Mbps, 75?, BNC x 10
Processing – 4:2:2 Digital component
Quantization – 3G/HD/SD-SDI: 10-bit
Genlock Input – Black burst: NTSC 0.429 Vp-p/PAL 0.45 Vp-p or Tri-level Sync: 0.6 Vp-p, 75?, BNC x 1, loop-through (Terminated with 75? terminator, if unused.)
Synchronizer Modes – Frame Sync, Line Sync, AVDL, or Line (Minimum) mode
System Phase Control:
Frame Sync Mode – H: -1/2H to +1/2H, V: -1/2 frame to +1/2 frame, Max. delay: 1 frame +1H / Min. delay 1H
Line Sync Mode – H: -1/2H to +1/2H, V: -1/2 frame to +1/2 frame, Max. delay: 1H +1/2H / Min. delay: 1H +2H
AVDL Mode – H: -1/2H to +1/2H, V: -1/2 frame to +1/2 frame, Max. HD delay: 5H +1/2H +1H / Min. HD delay: 1/2H, Max. SD delay: 1H +1/2H +1H / Min. SD delay: 1/2H
Video Delay – Max. 8 frames (in Frame Sync mode)
Video Processing Functions:
Proc. Amp. – Video level: 0.0% to 200.0%, Chroma level: 0.0% to 200.0%, Black level: -20.0% to 100.0%, HUE: -179.8° to +180°
Audio Input:
Embedded Audio – 3G/HD: 16 channels (Group 1 to 4), 48 kHz, 16/20/24-bit, synchronous/asynchronous (Link A embedded audio only in 3G Level-B), SD: 16 channels (Group 1 to 4), 48 kHz, 16/20/24-bit, synchronous only
Audio Input (optional):
FA-10AES-BL(AES/EBU) – Balanced, 0.2 Vp-p to 7 Vp-p, 110?, 25-pin D-sub (female) x 1 (input/output), 4 pairs of stereo channels, 32/44.1/48 kHz, 16-bit to 24-bit
FA-10AUS-UBL (AES/EBU)- Unbalanced, 1.0 Vp-p, 75?, BNC x 4 (input/output), Max. 4 pairs of stereo channels, 32/44.1/48 kHz, 16-bit to 24-bit
FA-10ANA-AUD (Analog Audio) – Balanced or unbalanced, 4 channels (2 pairs of stereo channels), 25-pin D-sub (female) x 1 (shared with analog output), 600?/hi-impedance, 48 kHz, 24-bit, Input level: -10 dBu to +8 dBu – Balanced or unbalanced, 2 channels (1 pair of stereo channel), (shared with the analog audio input CH1/CH2 connector),600?/hi-impedance, 48 kHz, 24-bit,Input level: -55 dBu to -30 dBu
Audio Output:
Embedded Audio – 3G/HD: 16 channels (Group 1 to 4), 48 kHz, 16/20/24-bit, synchronous/asynchronous(Link A embedded audio only in 3G Level-B), SD: 12 channels (Group 1 to 3), 48 kHz, 16/20/24-bit, synchronous only
Audio Output (optional):
FA-10AES-BL(AES/EBU) – Balanced, 3.3 Vp-p, 110?, 25-pin D-sub (female) x 1, input/output, 4 pairs of stereo channels, 48 kHz, 16/20/24-bit
FA-10AES-UBL(AES/EBU) – Unbalanced, 1.0 Vp-p, 75?, BNC x 4, Max. 4 pairs of stereo channels, 48 kHz, 16/20/24-bit
FA-10AES-UBLC(AES/EBU) – Unbalanced, 1.0 Vp-p, 75?, BNC x 4, 4 pairs of stereo channels, 48 kHz, 16/20/24-bit, FA-10AES-UBL is dedicated to input when FA-10AES-UBLC is equipped.
FA-10ANA-AUD(Analog Audio) – Balanced or unbalanced, 4 channels (2 pairs of stereo channels), 25-pin D-sub (female) x 1 (shared with analog audio input), 100? or lower impedance, 48 kHz, 24-bit, Output level: -10 dBu to +8 dBu
Audio Delay – 5 ms to 1,000 ms (adjustable in 1 ms steps)
Audio Processing – Sampling rate converter (SRC), Gain control, Down mix, Channel re-mapping, Channel mute
Interface – Ethernet (100Base-TX/1000Base-T): RJ-45 x 1
Temperature / Humidity – 0°C to 40°C / 30% to 90% (no condensation)
Power – 100 V AC to 240 V AC ±10%, 50/60 Hz
Size:
430 (W) x 400 (D) x 44 (H) mm
Weight:
FA-1010: 7.0kg (w/o option)
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