Techno Crane Services

Telescoping Jib Arm represents the next step in the evolution of the camera jib. Industry veterans created the Techno-Jib to offer the highest quality, most versatile and user-friendly jib available. With its ability to maneuver into inaccessible areas, and to smoothly, silently and quickly move in and out of a shot, the Techno-Jib permits innovative and creative shots that have previously been considered too expensive or technically challenging.

A techno crane is a telescoping, remote head camera crane built for shots a hand operated jib cannot reach. The arm extends and retracts on a motor while an operator on the ground pans, tilts and rolls the head from a remote console, so the camera can glide from a low creeping angle up to a high sweeping reveal without a single cut.

Because the arm moves in and out on its own axis, the shot holds a level horizon through the whole move, which a manual jib struggles to do past a few feet of extension. That precision is why techno crane services get booked for hero product reveals, entrance shots and any scene where the camera needs to arrive at the same speed and framing on every take.

Our techno crane package telescopes from a compact folded position out to a full extended reach, with a remote head rated for cameras from a lightweight GoPro up to a cinema body such as the ARRI Mini. The head runs on wireless pan, tilt and roll control, so the operator can work alongside the set or stand well back for a wide master.

• Reach: Telescopes out to a long sweeping arc for high reveal shots and low creeping approaches on the same move.
• Remote head: Wireless pan, tilt and roll, monitored from a video village so the director sees the shot live.
• Camera range: GoPro to ARRI Mini and comparable cinema bodies.
• Mounting: Ground based pedestal for stage and set work, or a vehicle mounted process trailer for moving shots.
• Crew: A crane technician plus a remote head operator on every booking.

For automotive work we mount the crane arm to a process trailer or camera car, so the head tracks alongside a moving vehicle at highway speed while the arm sweeps from a low wheel level angle up over the roofline. That is the setup behind most car commercial hero shots: the crane holds the framing steady while the vehicle does the work, so there is no shake to clean up in post.

The same rig handles chase and action scenes, where the crane keeps pace with a stunt vehicle through a turn or a near miss beat and the operator adjusts the head in real time to keep the actor’s eyeline or the license plate in frame. It is a faster setup than rigging a new car top mount for every angle, and the crew can reposition between takes in minutes instead of re-rigging.

When a scene calls for a fixed line instead of a moving mount, we pair the crane with our Agito robotic dolly and cable cam rig to cover the same chase from a track running alongside the action.

The telescoping arm earns its keep on stunt and action sequences, where the crane sweeps in on a fight or a foot chase and pulls back out just as fast without a bump in the move. Live events use the same reach for entrance and reveal shots, sweeping over a crowd and dropping down to stage level in one continuous take.

For sequences that need a low, fast pass through a tight space instead of a smooth crane arc, our high-speed FPV drone chase shots cover the same beat from a different angle, and productions often cut between both rigs inside a single sequence.

This crane has worked behind the scenes on productions like the Radio City Rockettes, where the reach and the quiet motor let it move through a packed stage without pulling focus from the performers.

The crane is one piece of the equipment set we bring to film, television and commercial production shoots across the city, alongside the rest of our NYC aerial and camera crane production lineup for productions that need both ground and air coverage in the same call sheet.