ProPhoto 1KW fresnel with barndoors, EGT globe, upgrade Hubbell plug (new) ...... $125.00
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
ARRI 750PLUS open face with ARRI speedring, HPL 750 globe, barndoors (new) ...... $295.00
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: $32.50 Half: $30.00
Quarter: $27.50 Eighth $27.50
Full family set of 4: $110.00
Sandbags - 20 pound, Courdura, Black Saddle EZ-Lift:
$20.00 each, 5 for $85.00
Stay in communications with family and friends no matter your location.
We stock these 16-channel 5-watt UHF walkies for ski patrol, public safety, business and warehousing, law enforcement and any other situation where high-grade communications is required.
They come pre-programmed (we can re-program frequencies in-shop free of charge) along with a USB base charger, rechargeable battery, antenna, belt clip, wrist strap, owner's manual and even a surveillance earpiece.
They inherently co-ordinate with Motorola UHF walkies (CP200 and others) and a vast assortment of accessories can be customized for your unique application.
While the basic kit is very extensive, we offer other accessories as well:
Litepanels continues to expand and enhance their formidable LED line with the introduction of the Astra Bi-Color LED Panel. The Astra 1x1 SOFT has variable tungsten to daylight color temperature with negligible color shift, 0-100% dimming. You can also run the fixture on Anton/Bauer batteries. The gold mount plate has been pre-installed.
Easily located in hard environments, they also have an Anton/Bauer battery solution:
A/B Dionic 90 and Chargers available
3 Dionic 90 batteries and a Tandem charger:
$55 with Astra rental
For longer operations up to 8 continuous hours, add a Pelican portable battery with Smart Charger for $35.00 per day
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 carries many projectors and screens but this packages is the RENTER'S FAVORITE.
High grade brand name equipment insure a perfect experience, easy set-up and transport.
BenQ 3200 lumen Full HD projector (1080p, HDMI, remote) and a professional Da-Lite 72262 Versatol 60 in. x 60 in. Da-Mat white portable tripod-type screen.
Suitable for small to medium sized groups of up to about 50 people.
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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