MOLE-RICHARDSON 4091 2K MIGHTY MOLE with 4025 accessory holder, 4094 4-way barndoors and Chimera 9225 Speed Ring. (used, consignment) ...... $1350.00 if new .... $300 for all includes globe
CENTURION C+ 50in. C-stand COMPLETE, detachable turtle base, spring-loaded safety, 2 2-1/2" grip head plus a 50" arm, both ends 3/8" threaded (brand new) .....$135.00
APPLEBOXES !!! Brand New Un-used
Full: $34.95 Half: $32.95
Quarter: $29.95 Eighth $27.95
Full family set of 4: $120.00
Sandbags - 20 pound, Courdura, Black Saddle EZ-Lift:
$20.00 each, 5 for $85.00
THE EVERYTHING ELSE DEPARTMENT
Neewer NW129 Boompole holder for grip stand mounting. Under $20
Zeiss large lens cleaner bottle 8 fl.oz. Under $10
Gerber Bear Grylls compact multi-tool. Under $20
Compressed air duster. Large 10 oz. No moisture - No residue. Under $5
Everyone knows LEE FILTERS for top quality industry-standard gels and filters.
Now we're a dealer for Denver and all of Colorado !!!.
We now stock a vast assortmemnt of gels in the most popular 20" x 24" size. Perfect for gell-ing up your favorite lighting fixture.
We now carry standard diffusion and color correction as well as the most attractive theatrical colors. Here is just a small sample:
And 45 others. New colors arrive daily. Come on by and pick your favorites.
Here's a reason the professional sports officials select HP Broadcast monitors for replay - bright, accurate and full HD !!!
The HP Elite monitor series is the go-to monitor in broadcast, television and very popular with film makers.
And so it should be. On the set, a 17 inch monitor may simply be too small for a director, producer and other necessary viewers to see. No need to crowd around. HP Elite Broadcast monitors have a 160 degree viewing angle.
The HP Elite is 23 inch diagonal, backlit LED, TFT Active Matrix, real 16x9 aspect ratio, 1920x1080 (1080p) resolution, direct HDMI input and is provided with a 200 mHz 3G HD-SDI converter for high bandwidth signals.
Contrast ratio is 1000: 1 (5000000:1 dynamic) !!!
PLUS it supports 16.7 million colors. Inherent color temperature is 6500 degrees for perfect whites and employs and anti-glare screen.
We provide a VESA mount directly attached for use on you favorite C-stand or light stand.
Audio Visual means many things to different people, but we can all agree it's a presentation that includes both visual and sonic elements.
The variety of applications are quite vast, from boardroom presentations and conferences, to trade shows, weddings, birthday parties and back yard movie nights.
Happily, we have it all covered. Sure, we carry projectors and screens, several of them in fact, but we also carry amplified PA loudspeakers, mics (wired and wireless), stands, CD and BluRay players, audio mixing consoles and more fun stuff like spotlights, black lights, fog machines, strobe lights and more.
Text a couple hundred of your closest friends, and when the work day is over - LET'S PARTY !!!
Producer's Advantage can deliver, set up and operate everything we carry.
Generally, there is a small delivery charge and your order is dispatched from our Denver location.
We can ship almost anything from here to anywhere in the USA via Fedex Services.
Set up may have some charges, but we are expert at it and if you prefer, we will provide instruction here at the store for the do-it-yourselfer.
A few days notice is generally required and we can e-mail over a quote very quickly. Weekends and holidays is no problem.
Kessler's new Rocker Jib Arm can get you into, above and away from your shot smoothly and with a professional look.
Designed for cameras up to nine pounds the arm reach is 51 inches (over 4 ft.) and can extend well over 12ft. vertically.
Includes the jib arm, counter weight, tripod, dolly and tripod head.
Creates a complete system !!!
$75.00 per day
The camera department, or camera crew, is the group of people on a film set that’s responsible for setting up and using the (you guessed it) camera. It’s a complex machine, and all the different terms and job titles can get confusing! Wondering why there is a loader on a digital shoot? Or what the heck a DIT does when he’s hanging out in that tent? Obviously if you’re on a really small set where there isn’t a whole camera crew everyone might be jumping in to help different departments, but on bigger sets you’ll want to know exactly what is expected of your job and stick to that. Whether you’re trying to break into the camera department, are transitioning from non-union to union work, or just want to understand who does what, this guide will help clear things up!
The cinematographer, DP, or DoP calls the shots, literally. They typically manage the camera, grip and electrical departments to achieve the look of the film. The DP works closely with the director to make all of the visual creative decisions, which begins during pre-production and usually continues on through the color correction in post-production. On indie shoots, it’s likely that they’re operating the camera as well. On larger shoots or union shoots, the DP may not ever actually touch the camera and instead will work with a camera op.
The camera operator (or cameraman or camerawoman) is the person who actually operates the camera on larger shoots. On TV shows, there will often be at least three camera operators who help carry out the DP’s vision and make smooth, timely camera movements as rehearsed in the blocking. They work closely with the 1st AC and also cue the actors to let them know the framing of the shot. The job can be very physically demanding as the operator is often asked to shoot handheld or hunch over the camera on a dolly for long periods of time.
On indie shoots the terms loader and DIT are sometimes interchangeable, but on union shoots that couldn’t be further from the truth (hint: don’t expect a DIT to get anyone coffee). Rather than downloading media cards, the DIT is applying real-time color corrections and coming up with look up tables (aka LUTs) while consulting with the DP. The DIT is often paid a similar rate as the camera operator and also gets a hefty kit rental fee for their cart. For budget reasons, you won’t see one on every set.
The 1st AC has one of the most important jobs on set and that is focus pulling. Focus pulling can be an extremely difficult and high pressure job, especially during intense scenes shot on long lenses with a wide open aperture. All of these factors mean that if focus is off by half an inch, the shot is no good. Only an experienced 1st AC can appreciate the beauty of a well-executed rack focus in a shot. The 1st AC also builds the camera with help from the 2nd AC and is sometimes expected to “check the gate” after a scene, which in digital terms means to play back the last clip.
2nd Assistant Camera
You may think the 2nd AC just slates each shot, but on a union shoot he/she actually runs the camera department. This person does all the paperwork including camera reports and timecards, helps the 1st AC build the camera, coordinates rentals and anticipates any gear that might be needed later in the day, keeping it on standby. They also handle most of the hiring, which is why if you’re looking to break into the camera department you should make an effort to meet as many 2nd AC’s as you can. These are the people who will actually call you for work, so skip the schmoozing with the DP and make the 2nd AC your friend!
The camera PA is an entry-level position in the camera department and it’s how most people start out. They help the camera department, including every position listed above, with any necessary duty. This position is slowly disappearing, which is not necessarily a bad thing. Arguably, if you’re working in the camera department on a union shoot then you a deserve a union rate. Camera PA’s are paid a day rate with no meal penalties and less overtime. However, it’s a great way to get a foot in the door and learn how a set operates. Camera PA’s are usually expected to keep the rest of the department stocked on drinks and snacks and assist the loader with anything they may need. Learning the 1st AC’s favorite beverage and making sure they always have one will take you far!
If you’re lucky enough to be part of a great camera crew, you’ll quickly learn that they’re usually a close-knit group who look out for and greatly respect each other. Each person plays a crucial role in the success of the production, no matter how big or small their job may seem. The more you understand each person’s job, the better you’ll be able to do your own and ensure you don’t step on anyone’s toes in the process. Working well with the rest of your crew will help guarantee you a long and successful career in this crazy industry.
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We love our customers, so feel free to visit during normal business hours. New working set-up's of gear on display for your inspection.
VISA, MASTERCARD, AMEX, DISCOVER, JCB, CASH & CHECKS ACCEPTED
565 E 70th Ave. Unit 6E Denver, Colorado 80229, United States
Monday - Friday: 9am - 5pm
Saturday: By appointment
Sunday: Closed But if you need to pick-up or return on a Sunday or Holiday we'll come in. No extra charge.
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