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TVC w @bradpowers.kg @chris.van.lieshout and it was @moscow.asian birthday

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These days, when I’m not shooting, I’m key gripping - probably with handsome Texan gaffer @cameronsonsini. When director @ethan.newmyer and DP @seanniebryan approached us with a rigging challenge for @pacificobeer we only had one thought: this is gonna make a great instagram post.

The creative pitch was a revolving 180 degree shot around a Pacifico bottle that needed to be perfectly matched across three different locations and buttery smooth. Weight wasn’t much of an issue because our camera was a built out iphone, however I knew almost instantly I wanted to use @buildmodulusx truss. Although beefy for a comically small camera, it would be rigid and stable enough for precise replication of distance and speed to recreate the same shot in three different locations.

shoutout @skyeshowoff for the handwritten slides

client @pacificobeer
agency @d1a
producer @keatonsavage

director @ethan.newmyer

dp @seanniebryan
1st ac/DIT/VTR @forrest_gibson

gaffer @cameronsonsini
key grip @jake__brody
bbg @bwchampagne

truss/rigging vendor @precisioncinemasolutions
G&E vendor @express_lighting_grip

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𝗧𝗛𝗘 𝗠𝗕𝟮𝟰𝗫 𝗜𝗦 𝗛𝗘𝗥𝗘 and it’s the most rigid 24 foot telescoping crane you can put on a set. Here’s what you’re working with: 24 feet of reach. Full cinema payload, DSLR to IMAX. Straight Line Compensation in both axes for true horizontal and vertical moves. A foldable scissor base that folds narrow, turns tight, and runs on both 100cm and 62cm track. And it’s encoder ready for AR and virtual production.

What sets it apart: every other crane in this class rides its arm on rollers, which means a little play at the nose. The MB24X locks its triangular arm onto guide rails on three sides. No lift, no flex, fully locked in. That rigidity is what holds your image steady at full extension and on a moving vehicle, and it’s why this arm outperforms anything its size.

It’s roughly 200kg lighter fully loaded than the standard 24. More rigid and lighter at once means faster setups and easier moves without giving up stability.

If you’re planning a shoot that needs precise, repeatable, rock steady camera movement, this is the crane. Call TCC to get the MB24X on your next job.

#Cinematography #Filmmaking #CameraMovement #DirectorOfPhotography #GripLife

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𝗠𝗼𝘃𝗶𝗲𝗕𝗶𝗿𝗱, 𝗦𝗲𝗿𝘃𝗶𝗰𝗲𝗩𝗶𝘀𝗶𝗼𝗻 𝗦𝗰𝗼𝗿𝗽𝗶𝗼, 𝗼𝗿 𝗦𝘂𝗽𝗲𝗿𝗧𝗲𝗰𝗵𝗻𝗼. Which crane is best? It’s the question we get asked the most. And after all these years, here’s the honest answer: they’ve all caught up to each other. The technology is incredible across the board. Any one of these cranes will get you the shot.

So what actually makes the difference? The team running it.

A crane is only as good as the hands operating it. The communication on set, the trust between departments, the read on what a shot really needs, the commitment to doing it safely. That is where a day is made or lost. Not the badge on the arm.
Filmmaking is a team sport. It always has been. Every shot you love was made possible by a crew of people who showed up, problem solved, and pulled it off together. We’re grateful to work alongside the best in the business, the men and women who make this craft what it is.

Pick the crane you want. Then surround yourself with people you trust. Want a team that delivers? Give us a call.

@moviebird_international @servicevision_scorpio @supertechnocom @christianhurley05 @rudykey

#filmcrew #grip #film #technocrane #filmmaking

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𝗘𝗫𝗢 𝗖𝗔𝗠𝗘𝗥𝗔 𝗖𝗔𝗥 + 𝗚𝗘𝗡𝗘𝗦𝗜𝗦 𝗛𝗘𝗔𝗗 𝗖𝗨𝗦𝗧𝗢𝗠 𝗦𝗢𝗟𝗨𝗧𝗜𝗢𝗡 for @steve.lacy “doom” video, the shot needed the camera to live directly above Steve safely. So we built it. A custom truss rig with the Genesis Head mounted overhead, holding the camera locked in exactly where it needed to be.

This is the stuff we love. Getting in with a great team, figuring out how to make the impossible possible, and pulling it off safely. Big thanks to everyone on this one for having us on the job and trusting us to make it happen.

The Genesis Head and EXO Camera Car is one of the best combos in the game. Got a shot that doesn’t exist yet? Give us a call today.

“doom” by Steve Lacy. Shot on Kodak 35mm, 500T 5219. Arriflex 235. @arri @kodak_cameraclub @kodak_shootfilm

Directors @caobingdongmani @ryleypaskal
DP @kubsssssssss
Creative Director @maddydenley
EP @hillgs
Producer @dylanpalley
1AD @cinemacowboy.rb
Key Grip @bradpowers.kg
Rigging Key Grip @chris.van.lieshout
Grips @cinemeon, @birdman_burdick
Head Technician @covarrubiaserik399
Driver @deezmixworldwide
Production Design @sadiejeanspezzano
Art Director @daniellioooo
Edit @katyiii
Color @jacktashdijan
VFX Supervisor @maxcoltt
VFX @the_frender

#filmmaking #cinema #cinematography #filmproduction #stevelacy

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Mercedes TVC, key grip @bradpowers.kg

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We would like to thank everyone that stopped by our booth at #CINEGEAR . We had a great time , see you next year ! Thanks for all the support !
Special thanks to :
Expo: @cine_gear_expo
Gaffer/CG Ambassador : @litbyeli
Best Boy / CG Ambassador: @darryljuste
Truss: @covarrubiaserik399
Truss: @precisioncinemasolutions
Friends : @studiocarts
Friends: @normsstudio
Hats/Merch: @qualitycustom_prints
Coffee: @cameraloungela

#cinegear #canvasgrip #keygrip #cinegear2026

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Chris Brown - For The Moment

DP - @bbthedp
Key Grip @cinemeon
Best Boy Grip - 😡🇷🇺
Rig Key @chris.van.lieshout
Rig Best @valtabianjr
Techno @elifranks.dp
Grip Chargehand @griptips
Grips: @bevenstuehler @richie07241982 @kingofrebels @televisiontony @moscow.asian @kaleighschoen @donttouchmyapple @gavin__samples @biggs.riggs @dwhid @kellybpong David Gamble @maclainedirksen @ryanblons

Rigging Grips
@javaunlovesbangers @niktosian Steve Samuelson @matthewseest @hannahryd Sean Hunt, Matthew King @tgrshaffer @petermaxfieldsiemens @hugo_jmd11 Tiara Olsen

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The perfect lazy Suzan Rig for shooting various people at a table for a commercial shot in Los Angeles #sasgrips #keygrip #local80 #cinematographer #local600

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the lost files

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