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Technocrane
Technocrane
Technocrane
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Technocrane used for filming a Visa Black Card commercial in 2010[1]

A technocrane is a telescopic camera crane widely utilised in the film industry and in television production. Originally commissioned, manufactured, named and marketed by Technovision Ltd. in London, United Kingdom, the first TechnoCrane was exhibited by Technovision during Photokina Expo in Cologne, Germany in September 1986.

Today, TechnoCrane derivatives are available from several different manufacturers, such as SuperTechno, MovieBird, Filmotechnic, Servicevision among others, and come in many different sizes and various specifications, with extended arms reaching 10 feet (3.0 m) to 100 feet (30 m).

The camera is mounted on a remote head on the end of the crane arm and is remote controlled by a camera operator at a control desk. The Technocrane can telescope at variable speeds on demand. It allows camera moves that cannot be achieved using a jib arm crane and camera dolly,[2] and the telescoping can be used to compensate for the camera moving in an arc called "arc compensation".[3]

History

[edit]

The Technocrane was first introduced to Hollywood by Simon Jayes in the late 1980s who was one of the first Technovision trained crane technicians in London. Similar camera crane technology was also introduced to the Soviet film industry by Ukrainian Academy Award winning cinema engineer Anatoliy Kokush ( Filmotechnic ) at the same period of time.

In 1999, the Society of Camera Operators (S.O.C.) presented their technical achievement award to Technovision, Gyula Mester and Keith Edwards for the "First Telescopic Camera Crane" and for their significant contributions to the Art, Craft and Safety of the Camera Operator.

In 2005, the Academy of Motion Picture Arts and Sciences presented Academy Awards to Horst Burbulla, Gyula Mester and Keith Edwards for the invention and development of the Technocrane.[4][5][6]

Usage

[edit]

Productions that have used the Technocrane or the later SuperTechnocrane include Titanic, the Harry Potter films, the Lord of the Rings films, and all the James Bond films of the late 1990s and 2000s, among many others.

[edit]
  • Technocrane used during the filming of X-Men: First Class (2011)
    Technocrane used during the filming of X-Men: First Class (2011)
  • Technocrane with remote camera head
    Technocrane with remote camera head
  • Technocrane in production
    Technocrane in production
  • Moviebird 52, telescopic camera crane with stabilized head to control the camera at a live TV show in Norway
    Moviebird 52, telescopic camera crane with stabilized head to control the camera at a live TV show in Norway
  • SuperTechno 30
    SuperTechno 30
  • MovieBird 45 (45 feet (14 m))
    MovieBird 45 (45 feet (14 m))
  • MovieBird Crane mounted inside airplane
    MovieBird Crane mounted inside airplane
  • Technocrane used during the filming of Ghost Protocol
    Technocrane used during the filming of Ghost Protocol
  • The incrdedibly versatile TechnoDolly10/12 installed with PGA Tour Studios.
    The incrdedibly versatile TechnoDolly10/12 installed with PGA Tour Studios.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Technocrane

View on Grokipedia
from Grokipedia
A Technocrane is a telescopic and programmable camera crane system primarily utilized in the film and television industries to achieve dynamic, sweeping camera movements with precise control and minimal setup time. Developed by German filmmaker and inventor Horst Burbulla in the mid-1980s during the production of his film Liebe und Tod (1985), the Technocrane revolutionized cinematography by introducing a compact, electronically extendable arm that compensates for focus shifts during extension, enabling seamless shots without traditional jib limitations. Manufactured by TECHNOCRANE s.r.o., a company based in Plzeň, Czech Republic, the system has evolved into a range of models, including the lightweight Technocrane 15 (up to 15 feet reach, supporting cameras up to 35 kg) and the heavy-duty SuperTechno 100 (up to 100 feet, handling up to 36 kg payloads), often integrated with remote heads for pan, tilt, and roll control. In recognition of its technical innovation, Burbulla, along with engineers Gyula Mester and Keith Edwards, received a Scientific and Technical Academy Award from the Academy of Motion Picture Arts and Sciences in 2005 for the invention and ongoing development of the Technocrane. The Technocrane's versatility has made it a staple in high-profile productions, facilitating complex sequences in films such as Titanic (1997), (1999), the trilogy (2002–2007), Van Helsing (2004), the series (2001–2011), (2001), (2008), (2017), and (2015). Its programmable features, including repeatable paths for visual effects integration, have also proven essential in commercials, music videos, and live events, where it supports both manual operation and computer-controlled automation for unlimited movement complexity.

History

Origins and Development

The Technocrane was invented by German filmmaker Horst Burbulla in collaboration with engineers Gyula Mester and Keith Edwards at Technovision Ltd., a camera rental company based in , . This development addressed the inflexibility of traditional fixed-length jibs, which limited dynamic camera positioning during shoots, by introducing a telescoping arm capable of variable reach for more fluid and versatile movements. The first Technocrane prototype was constructed in 1986 and publicly exhibited at the trade fair in , , in September of that year, where Technovision commissioned its production and assigned the name "Technocrane" to the device. This debut marked a pivotal shift for Technovision from camera rentals toward specializing in innovative systems. Early adoption in Hollywood began in the late 1980s, spearheaded by Simon Jayes, a trained Technovision technician who helped build initial prototypes and relocated to around 1990 to integrate the technology into American productions. Concurrently, parallel advancements in the Soviet film industry emerged under Anatoliy Kokush at Filmotechnic, a Kyiv-based firm founded in 1986, where he pioneered the Cascade series of motion picture cranes, including traveling and gyro-stabilized models that expanded options for complex aerial shots. Over time, manufacturing transitioned to TECHNOCRANE s.r.o. in , , which continues to refine and produce the cranes for global use.

Key Milestones and Awards

Following its foundational debut at the Expo in , , in 1986, the Technocrane achieved early recognition for its innovative design. A significant occurred in the early with the introduction of remote-controlled heads and arc compensation technology, which allowed for precise motion control by adjusting for the camera's arc during telescoping movements, enhancing operational accuracy in dynamic shots. In 2005, the Academy of Motion Picture Arts and Sciences awarded a Scientific and Technical Achievement Academy Award to Horst Burbulla, Gyula Mester, and Keith Edwards for the invention and continuing development of the Technocrane, acknowledging its profound impact on the art and science of . During the 2000s, manufacturing shifted to , with TECHNOCRANE s.r.o. established in , , in 2003 to produce updated versions of the crane, supporting expanded global production capabilities.

Design and Technology

Core Components

The Technocrane features a telescopic arm constructed from lightweight aluminum alloy sections, typically consisting of three to ten rectangular segments that enable extension capabilities reaching up to (30 meters) in advanced models. This design allows for compact storage when retracted—often as short as 4 feet 11 inches (1.5 meters) for smaller variants—and provides structural integrity for overhead shots while minimizing overall weight, with arm masses ranging from 103 pounds (47 kg) in 22-foot models to 706 pounds (320 kg) in 30-foot configurations. At the base, a system ensures balance for payloads up to 80 pounds (36 kg), incorporating adjustable sliding weights (typically 10 pounds or 4.5 kg each) and larger counterweights (around 30 pounds or 13.6 kg per unit, with up to 45 units available) along with stabilization arms or donuts (15.5 pounds or 7 kg each) to maintain equilibrium during extension. This modular setup, often totaling several hundred pounds in aggregate, is positioned rearward to offset the forward load of the camera and head. The dolly base provides mobility through pneumatic wheels or track-compatible systems, with weights around 286 pounds (130 kg) for standard models, allowing integration with walking dollies or rail setups for precise positioning on set. Mounting points at the arm's end accommodate remote-controlled camera heads, including gyro-stabilized gimbals, via standard interfaces like Mitchell plates, supporting payloads from DSLR to cameras and enabling attachment of control elements such as joysticks or software panels for head operation.

Operational Principles

The Technocrane employs a telescoping mechanism driven by electric actuators, enabling smooth extension and retraction of its arm sections at variable speeds up to 1.45 meters per second (4.9 feet per second). This design incorporates digital electronics for precise motor control, allowing operators to adjust speed dynamically to reduce vibrations and shake during motion, ensuring fluid camera paths without mechanical jitter. A key feature unique to the Technocrane's telescopic design is arc compensation technology, which automatically adjusts the camera's angle in real-time as the arm extends or retracts. This counters the natural arc formed by the pivoting arm, maintaining level horizons and straight-line movements to prevent distorted or curved shots that would otherwise occur. Operation is facilitated through remote controllers, available in wired or configurations, that integrate seamlessly with dedicated software. This setup supports pre-programmed paths via keyframe programming, enabling repeatable crane and camera movements, as well as synchronized lens control for complex shots. Safety is prioritized with built-in features such as emergency stop mechanisms and structural safeguards like secure locking to maintain stability under high payloads, preventing overloads and ensuring crew and equipment protection during dynamic operations.

Models and Variants

Early and Standard Models

The Techno 15 is a standard model tailored for broadcast applications, with a reach of 15 ft (4.6 m), a 10 ft (3.1 m) telescopic range, and a maximum of 80 lbs (36 kg). Its total weight is approximately 1,153 lbs (523 kg). The SuperTechno series represents advanced standard models with electric drives for smoother operations. Shorter variants reach up to 30 ft (9.1 m) and support payloads up to 80 lbs (36 kg). These models are compatible with heavier cinema cameras and are available through rental specialists.

Advanced and Specialized Models

The SuperTechno 15-75 is a versatile telescopic crane with reaches from 15 ft (4.6 m) to 75 ft (22.9 m) and payloads up to 80 lbs (36 kg). It features digital motion control for synchronization in AR/VR productions. TECHNOCRANE s.r.o. provides custom configurations up to 100 ft (30.5 m) in arm length, often integrated with walking dollies like the TechnoDolly for mobility in live events. These emphasize quiet operation to reduce set noise. Recent models include the battery-powered Technocrane 10+, offering a 10 ft (3 m) travel and 18 ft (5.5 m) maximum lens height for portable . It supports planning, tracking, and export for repeatability. As of 2023, it is available in various configurations. Advanced models are compatible with remote heads for pan, tilt, and roll control, enabling automated and fluid movements. The SuperTechno 35 offers a reach up to 35 ft (10.7 m) with payloads up to 80 lbs (36 kg), suitable for mid-range productions.

Applications

In Film and Television Production

The Technocrane has become an essential tool in film and television production, enabling cinematographers to capture intricate, fluid camera movements that elevate narrative storytelling. Its telescopic arm allows for precise control over vertical and horizontal positioning, facilitating shots that would be challenging or impossible with traditional cranes or dollies. This capability is particularly valuable in scripted media, where maintaining continuity and emotional immersion is paramount. The setup process for a Technocrane typically involves a dedicated , with roles including a head for assembly and , a "pickle" operator to control the arm's extension and pan-tilt functions, and support grips for positioning and safety. The number of personnel varies based on the production's scale and budget, often ranging from a core team of three to five members for standard operations. is engineered for efficiency, allowing the crane to be deployed and ready for use in under an hour on most sets, minimizing during shoots. One of the primary advantages of the Technocrane in narrative is its ability to execute seamless transitions from wide establishing shots to tight close-ups without requiring cuts, which preserves the flow of the scene and reduces reliance on visual effects for or stabilization. This versatility supports dynamic tracking shots, such as dramatic reveals or aerial-like flyovers, enhancing visual depth and pacing in . By consolidating multiple camera movements into a single rig, it streamlines workflows, saving time and costs compared to combining separate jibs, dollies, or Steadicams for similar effects. In large-scale productions, the Technocrane is frequently integrated with complementary gear like stabilizers or track-based dollies to form hybrid rigs, enabling extended sequences that blend handheld intimacy with mechanical precision across expansive sets. Early adoption of the Technocrane in Hollywood is exemplified by its use in the 1997 film Titanic, where operators captured key dynamic sequences amid the production's elaborate ship recreations. More recent applications include its use in the 2025 film 28 Years Later for complex action sequences and in a 2024 production shoot on for rapid, controlled movements during intermittent traffic control.

In Commercials and Live Events

The Technocrane's telescoping design enables rapid adjustments in commercial productions, facilitating dynamic product reveals and orbiting shots that enhance visual storytelling within tight schedules. For instance, in the 2010 Black Card advertisement featuring model Donna Feldman, the crane supported fluid 360-degree movements around the subject, capturing luxurious settings in and set to AC/DC's "". This quick telescoping capability allows for seamless transitions without repositioning the entire setup, making it ideal for advertising campaigns requiring high-impact visuals in limited timeframes, such as the Skechers Men's USA commercial where the Technocrane 22 delivered sweeping motions for energetic product showcases. In live events, the Technocrane excels in providing overhead and crowd-panning shots for awards shows and broadcasts, offering real-time adaptability in unpredictable environments. It has been deployed at high-profile gatherings like the Oscar Awards Pre-Show from 2000 to 2002, capturing expansive stage and audience perspectives for ABC Entertainment. Similarly, during in 2020, a 55-foot Technocrane variant supplied sweeping aerial views of the studio setup for , integrating graphics for immersive coverage. Models such as the SuperTechno 30, with its 30-foot reach and compact footprint, are particularly suited for applications, enabling overhead shots of crowds and action in events like the Indy 500, where the Technocrane 22 provided live feeds of racing sequences for . Portable variants of the Technocrane incorporate quick-release bases and modular dollies, allowing for swift assembly and disassembly on one-day shoots, which supports multi-camera payloads up to 80 pounds for versatile setups in commercial and event videography. These adaptations, including narrow bases and short post kits, ensure stability in confined spaces while integrating with existing dollies for rapid transitions. The Technocrane's cost efficiency bolsters its appeal for short-duration commercial productions, with rental rates typically ranging from $1,000 to $5,000 per day depending on model and location, covering operator-inclusive packages that make advanced crane work accessible for 1- to 2-day projects. This pricing structure, as seen in rentals for the Techno-Jib 24 at $1,250 daily, allows advertisers to achieve cinematic quality without the extended budgets required for scripted film integrations.

Impact and Legacy

Innovations and Industry Influence

The Technocrane pioneered telescopic in camera cranes, introducing a system capable of variable-speed extension and retraction that integrates seamlessly with computer-controlled camera heads for precise, repeatable movements. This innovation, developed by Horst Burbulla and collaborators, enabled filmmakers to achieve dynamic shots—such as sweeping overhead arcs and rapid extensions—without the limitations of fixed-length jibs or the setup time of traditional dollies. By facilitating on-set execution of complex trajectories, it has significantly influenced workflows in high-budget productions, allowing practical camera placements that minimize reliance on costly CGI reconstructions in . Its adoption has streamlined production processes, reducing setup and shooting times for intricate sequences while enhancing operational efficiency on location. For instance, the Technocrane's single-operator capability and integrated controls eliminate the need for extensive track laying or multiple crew adjustments, thereby saving both time and budget compared to conventional rigging methods. This efficiency has contributed to its integration into industry standards, with dedicated training courses offered through organizations like IATSE Local 80's Camera Crane program and the Society of Camera Operators, which emphasize safe and proficient operation to meet professional demands. The Technocrane's advancements have spurred broader developments in cinematography equipment, inspiring hybrid motion control systems that combine telescopic arms with robotic automation for enhanced precision in virtual production environments. Recent iterations, such as the TechnoDolly series, incorporate direct-drive motors and synchronized VFX tracking, reflecting its role in evolving tools for 2020s streaming and broadcast workflows. In 2025, the introduction of the TechnoDolly 10 and TechnoDolly 25 models further advanced fully automated telescopic capabilities for precise motion control in modern productions. Economically, as a product of Czech manufacturing, it has bolstered Eastern European engineering sectors by facilitating exports to multiple international markets, including and , supporting global infrastructure growth. The system's contributions were honored with the Society of Camera Operators' Technical Achievement Award in 1999 and an in 2005.

Comparisons to Other Camera Cranes

The Technocrane distinguishes itself from fixed jib arms, such as those paired with a Fisher Dolly, primarily through its variable telescoping reach, which extends from approximately 15 feet to over 75 feet depending on the model, enabling dynamic shot compositions that surpass the static 6- to 40-foot extensions typical of fixed s. In contrast, fixed jib setups on a Fisher Dolly offer robust payload capacities up to 1,200 pounds for the dolly itself but limit vertical and horizontal variability, making them better suited for straightforward arcs or booms in constrained spaces. However, the Technocrane's modular assembly requires about one hour of setup time with a team of technicians, compared to the quicker 10- to 20-minute deployment of a Fisher Dolly with , which can be a drawback on fast-paced shoots. Compared to vehicle-mounted systems like the Russian Arm or the Louma Crane, the Technocrane provides superior smoothness in telescoping movements due to its precision-balanced arm and adjustable speeds up to 6 feet per second, allowing seamless in-out extensions without the gyro-stabilization dependencies of vehicle-based rigs. The Russian Arm, often configured for 12- to 20-foot reaches, excels in high-speed vehicle chases with payloads around 55 pounds but demands a full custom vehicle setup costing $200,000 to $550,000, far exceeding the Technocrane's more accessible pricing for standalone units around $200,000 used for comparable models. Similarly, the Louma Crane offers a 32-foot reach and 100-pound payload with rigid construction for overslung or underslung operation, yet its higher complexity and legacy design result in elevated operational costs and less emphasis on rapid telescoping variability. The Technocrane and Louma both support payloads adequate for most cinema cameras, typically up to 100-165 pounds depending on configuration and extension. In opposition to drone alternatives, the Technocrane delivers highly stable and repeatable shots in controlled studio or indoor environments, free from FAA regulations and the interference that can disrupt audio capture during drone flights. Drones offer unparalleled aerial mobility for outdoor or expansive tracking shots but struggle with precision repeatability and are restricted by battery life, wind conditions, and line-of-sight rules, limiting their use in tight or enclosed sets where the Technocrane's grounded stability shines. This makes the Technocrane preferable for narrative film and television productions requiring consistent without the logistical overhead of drone certification. As of 2025, the Technocrane, produced by Supertechno, maintains a leading position among telescopic camera cranes, competing with established players like Moviebird and Filmotechnic. Its ongoing innovations in integrated tracking and synchronization continue to differentiate it from older fixed or non-telescoping competitors.

References

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  60. https://www.quora.com/Have-drones-largely-replaced-booms-in-the-film-and-TV-industry
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