Equipment Planning Services

Here is what that looks like on the ground. Gear planning in Colombia means matching creative intent to a rental landscape concentrated in Bogotá and Medellín, with regional pickups along the Caribbean and Pacific coasts. Our coordinators build kit lists against the live inventories at Cinetech Bogotá, 5.1 Cine, LaBu Films, and Reel Films — the houses that hold the ARRI Alexa 35, Sony Venice 2, and RED Komodo / V-Raptor bodies most global features and Netflix series have shot on for the last three production cycles.

Lighting packages typically anchor on Aputure LS, Nanlite Forza, and Astera Titan/Helios tubes, with HMI counts scaled to EUR-style night exteriors in Bogotá's Zona G or daylight-balance work inside Cartagena's Walled City. We map dollies, jibs, Ronin 4D and Trinity rigs against the schedule before locking quotes, so producers see real-world openings rather than catalogue fantasies, and we structure pickups around the altitude-rated battery counts a Sierra Nevada or Andean shoot demands.

Cross-border productions add a DIAN customs layer that our team handles from start to finish via ATA carnet. We set up broker filings at El Dorado (Bogotá), José María Córdova (Medellín), and Rafael Núñez (Cartagena) airports, schedule gear releases against the shoot calendar, and stage redundant kit at the Cinetech bond store for replacement runs during principal photography.

Generators, distro, and grip trucks come through Reel Films and partner vendors with operators familiar with Colombian power infrastructure (110V residential, 220V industrial), and drone packages are booked with Aerocivil-licensed pilots who already hold the flight plans needed for restricted zones over Cartagena's military harbor, the presidential corridor in Bogotá, and the airspace surrounding El Dorado. Each plan ships with a backup column — a second body, a duplicate lens set, replacement lighting — so a failed unit in Tayrona or the Eje Cafetero doesn't cost a shooting day.