producer's advantage a / v, event & production equipment sales and rentals

Check the "MORE"  tab above to go right to AUDIO VISUAL & EVENT SERVICES page.

Our Education Series is featured below !!!

What's new at PA ???

Welcome to our Communications Department

WITH SUMMER UPON US AND OUTDOOR EVENTS & VACATIONS BEING PLANNED YOU NEED TO GET PREPARED !!!


Last summer we sold quite a few 2-way radios for every possible situation. 

  • FAMILY VACATIONS
  • SECURITY & EVENTS
  • WAREHOUSES
  • PUBLIC SERVICE
  • RETAIL / VALET / PARKING
  • and MORE

We have brought back in our popular $20.00 Special for you again:

16-channels, 4-watt UHF

  • Rechargeable Battery with Charger 
  • Covert Earpiece

WE'VE UPPED OUR GAME TO INCLUDE HIGH POWER HANDHELD HAM RADIOS; STOCKING VHF / UHF DUAL-BAND TRANSIEVERS !!! 


Description:

Full Internal Upgrade. An Expanded Frequency Range and a stronger antenna; have a Vfo/Mr button;  can be programmed with or without a PC to also work on private repeater systems. It is a compact, economical HT that includes a special VHF receive band from 65 - 108 MHz which includes the regular FM broadcast band. Dual watch and dual reception is supported.


You get up to 128 memories. Other features include: 25KHz/12.5KHz Switchable FM Radio (65.0MHz-108.0MHz) Large LCD Display : 65-108Mhz (FM Receive Only) 136-174Mhz And 400-520Mhz (TX/Rx) Simple Or Semi-Duplex.


Complete after-sales technical support as well as our US based replacement warranty and return services. 


Highly respected by professionals and campers / survivalists


A complete assortment of optional accessories including SpeakerMics, Extended Capacity Batteries, High Gain Antennas; Acoustic Tube Earpieces and more.


>>>>> UNBELIEVABLE DEAL <<<<<

$39.95 each

Producer's Advantage welcomes its newest vendor LEE FILTERS !!!

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:


WHITE DIFFUSION

LAVENDER TINT

PALE YELLOW

STRAW TINT

DEEP STRAW

DARK AMBER

LIGHT LAVENDER

PALER LAVENDER

SKY BLUE

JUST BLUE

LIGHT AMBER

STRAW

HEAVY FROST

SLATE BLUE


And 45 others. New colors arrive daily. Come on by and pick your favorites.


HP Broadcast Monitors

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.



Check out our Audio Visual & Event Packages

We offer complete A/V and Event packages that are perfect for back yards, parks and special locations.


Producer's Advantage provides everything needed for a great event.

When we say complete - we mean it. Check out this popular complete package:


  • High Output Video Projector
  • 6ft. x 8ft. Projector Screen
  • 2 Amplified Speakers on Stands
  • 3 Microphones on Mic Stands
  • Multi-channel audio mixer
  • 8ft. x 8ft. Canopy with matching 8ft. x 8ft. background
  • Banquet table and 4 chairs
  • All necessary cables / cords and connectors
  • Delivery and Set-up. Operational training and Instruction

Please ask for a quote !!!





Delivery and Set Up Services

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.

Creative Camera Control

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 PRODUCERS'S ADVANTAGE ongoing Education Series

Camera Department Hierarchy Explained

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!

 

Director of Photography

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.  


Camera Operator

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. 


Digital Imaging Technician (DIT)

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.


1st Assistant Camera

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!


Loader
When I told people I was working as a  loader, a lot of them assumed that meant I was loading film, but I’ve  loaded less film magazines than I can count on two hands. The term is still used on union jobs though, and duties can include anything from swapping out media cards to running batteries and setting up the director’s monitor. The loader will also take on camera PA duties if  there isn’t one. On larger productions there can be multiple loaders, especially if the shoot day involves a company move or if there is a second unit. Basically, a good loader ensures that the AC’s never have to leave the set (except for 10-1 — film set speak for “bathroom break”). 


Camera Production Assistant 

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.

(720) 484-6972 or rentals@producersadvantage.net

Our experience speaks for itself.

 

Operating out of a warehouse location allows us to keep costs down.  Those discounts are passed down to you.

It's a nice place, but it's no jewelry store. Just a good basic location for renting the gear you actually need.

This allows us to bills 1 day over 3. By example, if you pick-up Monday "pick-up day", Tuesday is the "use" day, and Wednesday is the "return day". That's a 1 day billing.

If you keep an order for 7 days (say, Tuesday to the next Tuesday) your are billed 2 days.

Equipment Consignment Program

Generally, you can't use all of your owned equipment all the time. Vacations or just taking a break make your equipment available should another professional user have need.


At Producer's Advantage, we can rent your unused gear for you. You receive a Certificate of Insurance, we store it securely until rented out and will promote it on our web site.


The best part is you receive 70% of the rental rate. PA only gets a 30% cut.  


Better than others who offer only a 50/50 deal.


For more information call or email us.

Student, Educator and Indy Packages

We have very special programs for Educators, Students and Schools.


Simpler HD camera systems that introduces young creatives to film-making with no technical intimidation.


We provide them with all the equipment necessary to tell their story. We also provide whatever instruction is necessary to operate the equipment safely and successfully.


Best part is that we may provide the equipment and instruction at no charge.


We support the young creatives IN A REAL WAY. For more information please call us.



Call us: (720) 484-6972

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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. 


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Producer's Advantage

565 E 70th Ave. Unit 6E Denver, Colorado 80229, United States

(720) 484-6972

Hours

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.

Expendables worksheet

Application to Rent or request an Open Account

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Credit Card Authorization

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Rental Agreement Form

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