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Description
Belden 1855A Sub Miniature Video Coax 23 AWG 1000 ft BrownSub Miniature Video Coax Cable 23 AWG 1000 ft For Composite through SDI Transmissions 36 lb Max Pull Tension 75 Ohm Impedance Choose from 10 Colors The Belden 1855A Sub Miniature Video Coax 23 AWG 1000 ft Brown is a precision broadcast video cable for analog and digital signals. It can be used for narrow band composite through wide band SDI transmissions. Stranding is solid and the conductor is bare copper. Insulation material is gas injected foam
- Sub Miniature Video Coax Cable
- 23 AWG / 1000 ft
- For Composite through SDI Transmissions
- 36 lb Max Pull Tension
- 75 Ohm Impedance
- Choose from 10 Colors
The Belden 1855A Sub Miniature Video Coax 23 AWG 1000 ft Brown is a precision broadcast video cable for analog and digital signals. It can be used for narrow-band composite through wide-band SDI transmissions.
Stranding is solid and the conductor is bare copper. Insulation material is gas-injected foam high density polyethylene and the outer shield is of two layers, with layer 1 made of aluminum foil-polyester tape-aluminum foil and featuring 100% coverage and layer 2 made of tinned copper with 95% coverage.
Max pull tension is at 36 lbs and bend radius at 1.5". Impedance is 75 Ohm and overall diameter .159". Ten different colors are available to choose from, with black exclusively offering outdoor and aerial suitability.
-
- Precision broadcast video cable for analog and digital signals
- For narrow-band composite through wide-band SDI transmissions
- 10 colors can be chosen from, with black good for outdoor / aerial use
In the Box
Belden 1855A Sub Miniature Video Coax 23 AWG 1000 ft Brown
- 10-Year Warranty
| AWG | # coax: 1 AWG: 23 Stranding: solid Conductor: BC - bare copper Diameter: .023" (.06 cm) |
| Insulation | Material: gas-injected FHDPE - foam high density polyethylene Diameter: .102" (.26 cm) |
| Outer Shield | Layer 1: Outer shield trade name: Duofoil Type: tape Material: aluminum foil-polyester tape-aluminum foil Coverage: 100% Layer 2: Type: braid Material: TC - tinned copper Coverage: 95% |
| Outer Jacket | Material: PVC - polyvinyl chloride |
| Max. Recommended Pulling Tension | 36 lbs (16.3 kg) |
| Min. Bend Radius | (Install)/Minor Axis: 1.5" (3.8 cm) |
| Compliance | NEC/(UL) specification: CMR CEC/C(UL) specification: CMG EU CE mark: yes EU directive 2000/53/EC (ELV): yes EU directive 2002/95/EC (RoHS): yes EU RoHS compliance date: 01/01/2004 EU directive 2002/96/EC (WEEE): yes EU directive 2003/11/EC (BFR): yes CA prop 65 (CJ for wire and cable): yes MII order #39 (China RoHS): yes RG type: sub-miniature 59/U |
| Flame Test | UL flame test: UL1666 vertical shaft |
| Suitability | Indoor: yes Outdoor: (yes - black only) Aerial: (yes - black only, when supported by a messenger wire) |
| Plenum/Non-Plenum | Non-plenum |
| Impedance | 75 Ohm (tested in accordance with ASTM D-4566 paragraph 43.2, option 2 using a 75 Ohm fixed bridge and termination) |
| Inductance | (�H/ft): .107 |
| Capacitance | (pF/ft): 16.3 |
| Velocity of Propagation | 82% |
| Delay | (ns/ft): 1.22 |
| Conductor DC Resistance | DCR @ 68°F (20�C) (Ohm/1000 ft (304.8 m)): 20.1 |
| Outer Shield | DCR @ 68°F (20�C) (Ohm/1000 ft (304.8 m)): 7.6 |
| Attenuation | Freq. (MHz): 1.000 = attenuation (dB/100 ft (30.48 m)) .390 Freq. (MHz): 3.580 = attenuation (dB/100 ft (30.48 m)) .780 Freq. (MHz): 5.000 = attenuation (dB/100 ft (30.48 m)) .920 Freq. (MHz): 6.000 = attenuation (dB/100 ft (30.48 m)) 1.000 Freq. (MHz): 7.000 = attenuation (dB/100 ft (30.48 m)) 1.080 Freq. (MHz): 10.000 = attenuation (dB/100 ft (30.48 m)) 1.200 Freq. (MHz): 12.000 = attenuation (dB/100 ft (30.48 m)) 1.300 Freq. (MHz): 25.000 = attenuation (dB/100 ft (30.48 m)) 1.800 Freq. (MHz): 67.500 = attenuation (dB/100 ft (30.48 m)) 2.830 Freq. (MHz): 71.500 = attenuation (dB/100 ft (30.48 m)) 3.060 Freq. (MHz): 88.500 = attenuation (dB/100 ft (30.48 m)) 3.160 Freq. (MHz): 100.000 = attenuation (dB/100 ft (30.48 m)) 3.330 Freq. (MHz): 135.000 = attenuation (dB/100 ft (30.48 m)) 3.810 Freq. (MHz): 143.000 = attenuation (dB/100 ft (30.48 m)) 3.920 Freq. (MHz): 180.000 = attenuation (dB/100 ft (30.48 m)) 4.380 Freq. (MHz): 270.000 = attenuation (dB/100 ft (30.48 m)) 5.400 Freq. (MHz): 540.000 = attenuation (dB/100 ft (30.48 m)) 7.700 Freq. (MHz): 720.000 = attenuation (dB/100 ft (30.48 m)) 9.470 Freq. (MHz): 750.000 = attenuation (dB/100 ft (30.48 m)) 9.590 Freq. (MHz): 1000.000 = attenuation (dB/100 ft (30.48 m)) 10.500 Freq. (MHz): 1500.000 = attenuation (dB/100 ft (30.48 m)) 13.000 Freq. (MHz): 2000.000 = attenuation (dB/100 ft (30.48 m)) 15.100 Freq. (MHz): 2250.000 = attenuation (dB/100 ft (30.48 m)) 16.000 Freq. (MHz): 3000.000 = attenuation (dB/100 ft (30.48 m)) 18.500 Freq. (MHz): 4500.000 = attenuation (dB/100 ft (30.48 m)) 22.800 |
| Minimum Return Loss | Start freq. (MHz) 5: Stop freq. (MHz) = 1600 Min. RL (dB) = 23 Start freq. (MHz) 1601: Stop freq. (MHz) = 4500 Min. RL (dB) = 21 (Return loss tested in accordance with ASTM D-4566 paragraph 45.3 using a 75 Ohm fixed bridge and termination) |
| Sweep Testing | 100% sweep tested 5 MHz to 4.5 GHz |
| Operating Voltage | Max. - UL: 300 V RMS |
| Operating Temperature | -22 to 167�F (-30 to 75�C) |
| UL Temperature Rating | 167°F (75�C) |
| Overall Diameter | .159" (.4 cm) |
| Length | 1000 ft (304.8 m) |
| Weight | 17 lbs (7.7 kg) |
| Packaging Info | |
|---|---|
| Package Weight | 20.0 lb |
| Box Dimensions (LxWxH) | 12.0 x 12.0 x 8.8" |
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4.3 ★★★★★
Based on 7 reviews
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Product Reviews
★★★★★ 5
One Of My Top Ten Movies
It's a Terry Gilliam masterpiece that blends a touch of Monty Python, Twilight Zone, and Broadway! Worth the watch!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2026
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork.
The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable.
Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere.
This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching.
The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography.
Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist).
Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really.
While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
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