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Telescoping Camera Cranes

@tccranes

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The Craft Of Camera Movement, 40 Years Deep
Film, TV, Live Broadcast and Events
Built by Crew. Operated by Veterans Los Angeles, CA

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𝗕𝗜𝗚 𝗖𝗥𝗔𝗡𝗘𝗦. 𝗘𝗩𝗘𝗥𝗬 𝗦𝗜𝗭𝗘 𝗣𝗥𝗢𝗝𝗘𝗖𝗧. Let’s clear something up. A telescoping crane looks intimidating. It’s a massive piece of machinery, and if you’ve never worked with one, it’s easy to assume it’s out of reach. Reserved for the studio lots. Not for your budget.

It’s not true, and we’d love to prove it to you… 🤙

TCC has spent over 40 years moving cameras on everything from major features to student films, and we’ve learned how to make this equipment work for any budget and any size production. Studio pictures, indie passion projects, thesis films, music videos, and everything in between. If you’ve got a shot in your head, we want to help you get it.

Because we know what it feels like to have a project you’d do anything for. That passion is why we’re here, and we’ll be right there in it with you.

Call us at 818-582-3022 and let’s figure out what’s possible.

#griprigs #setlife #filmmaking #cameracrane #cinematography taken in Los Angeles, California by @tccranes

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𝗪𝗘’𝗥𝗘 𝗕𝗔𝗖𝗞. And we’re just getting started! You may have noticed things went quiet for a while. That’s behind us now. TCC is back with the same crew, the same cranes, and a lot more coming your way.

Co-owners Christian Hurley (@christianhurley05) and Rudy Covarrubias (@rudykey), along with the rest of the team, have been heads down behind the scenes with one goal: making TCC the best crane shop in Los Angeles. Forty plus years in this industry, every crane built with the technician in mind, ready for features, television, and everything in between.

And a big shout out to our partners at Ghost Machine Works (@ghostmachineworks) for bringing our specialty needs to life.

This is just the start. More dropping soon, so hit follow @tccranes to keep up. Want the latest on the fleet? Give us a call. We’d love to work with you.

#filmmaking #cinema #technocranes #telescopingcranes #film taken in Los Angeles, California by @tccranes

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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 taken in Los Angeles, California by @tccranes

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Join us for an afternoon with some of the most advanced tools in camera movement. taken in Denver, Colorado by @tccranes

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𝗘𝗫𝗢 𝗖𝗔𝗠𝗘𝗥𝗔 𝗖𝗔𝗥. We couldn’t rent the platform we wanted, so we built it. Custom made in house with our friends at Ghost Machine Works @ghostmachineworks, the EXO “exoskeleton” is a fully modular camera platform that’s become one of the most requested pieces in the shop. And once you see it work, you get why.

Put the MovieBird MB12 on top. Hang a GFM jib off it. Mount the Genesis Gimbal off the side. Rig it for process work and tow the trailer. Walk and talks, car chases, off road terrain, it does 40 mph carrying 2,000 pounds of payload and keeps asking for more. Every job it goes out on, it comes back configured a different way. That’s the whole point.

Here’s a few years of builds on this thing. It’s been one of the most fun tools we’ve ever put into the world, and it started as a sketch and a stack of speed rail.

Big shoutout to Ghost Machine Works for helping us make it real.

Want the EXO on your next one? Link in bio, or call 818-582-3022.

#cinematography #cameracar #griprigs #setlife #filmcrew taken in Los Angeles, California by @tccranes

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𝗦𝗘𝗥𝗩𝗜𝗖𝗘𝗩𝗜𝗦𝗜𝗢𝗡 𝗦𝗖𝗢𝗥𝗣𝗜𝗢 𝟯𝟴. Every crane in our fleet is built to move. This one is built to remember. The Scorpio 38 is the most feature dense arm we run, a crane filmmakers around the world turn to, and the one we reach for when a shot has to be precise, repeatable, and data driven.

𝗪𝗵𝗮𝘁 𝘀𝗲𝘁𝘀 𝗶𝘁 𝗮𝗽𝗮𝗿𝘁. ServiceVision has built a global reputation for a reason, and the Scorpio is why. Where a lot of cranes are about a clean, powerful mechanical move, this one is about brains. It can memorize a move and play it back identically, take after take, and it interfaces directly with the Scorpio Head so the crane and head work as one synced system. That unlocks back panning, programmed trajectories, and repeatable moves you simply can’t do by feel alone.

𝗕𝘂𝗶𝗹𝘁 𝗳𝗼𝗿 𝘄𝗵𝗮𝘁’𝘀 𝗻𝗲𝘅𝘁. It outputs tilt, pan, and arm encoder data for motion capture and virtual production, so this is the arm you want when the camera move has to feed a virtual set or an AR pipeline. As the industry leans harder into virtual production, this is the crane that’s ready for it.

𝗧𝗵𝗲 𝗲𝘀𝘀𝗲𝗻𝘁𝗶𝗮𝗹𝘀. 38 feet of reach from four telescoping sections, which is how it packs over 30 feet of travel into an arm that folds down to just about 7. It holds 70 kg under slung, compensates for the arc of the arm in both horizontal and vertical, and runs a noise reduction system on the telescopic movement for shooting with sound.

𝗪𝗵𝗲𝗿𝗲 𝗶𝘁 𝗳𝗶𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗳𝗹𝗲𝗲𝘁. If you need reach and raw payload, we’ve got the MovieBird 50. If you need to go vertical, that’s the MB12. And when you need precision, memory, and virtual production readiness, this is your crane. Different tools, one team that knows how to run all of them.

Want the Scorpio 38 on your next job? Give us a call. 📞 818-582-3022

#ServiceVision #Scorpio38 #Technocrane #CameraCrane #Cinematography taken in Los Angeles, California by @tccranes

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𝗠𝗢𝗩𝗜𝗘𝗕𝗜𝗥𝗗 𝗠𝗕𝟱𝟬𝗫𝗟. If we had to pick one crane that does it all, this is it. The MB50XL is our most requested, most versatile, and most used arm, project to project.

𝙒𝙝𝙖𝙩 𝙞𝙩 𝙞𝙨. Fifty feet of reach carrying a full cinema package on the nose, rock steady even fully extended, with a compact back end that clears a standard door and fits where most 50 foot cranes simply can’t. It recently got even better with new Straight Line Compensation electronics for cleaner, more precise moves, and new motivators that let the team reposition it around set faster and with fewer hands.

𝙒𝙝𝙮 𝙘𝙧𝙚𝙬𝙨 𝙡𝙤𝙫𝙚 𝙞𝙩. It is endlessly versatile, adapting to nearly any shot, set, or camera package without flex or bounce. The new SLC electronics make programmed, repeatable moves smoother than ever, and it remains one of the safest arms on the market.

𝙏𝙝𝙚 𝙝𝙤𝙣𝙚𝙨𝙩 𝙩𝙧𝙪𝙩𝙝. This is a serious piece of equipment. It needs room to work and time to build right, and for a simple jib move it is overkill, in which case we will happily point you to a smaller arm. It is not grab and go. Getting the most out of it takes a crew who knows the arm inside and out.

And that is the whole point. The crane is just a tool. What makes a 50 foot arm safe, efficient, and effective on the day is the team running it. That is where we come in, with years of experience on this exact crane across every kind of production.

Want to learn more or book the MB50XL for your next job? Give us a call!

📞 818-582-3022

#cameracrane #cinematography #filmmakers #griplife #onset taken in Los Angeles, California by @tccranes

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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 taken in Los Angeles, California by @tccranes

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𝗠𝗢𝗩𝗜𝗘𝗕𝗜𝗥𝗗 𝗠𝗕𝟭𝟮 𝗩𝗘𝗥𝗧𝗜𝗖𝗥𝗔𝗡𝗘. The only telescopic crane in the world that moves straight up. Every other technocrane telescopes along the angle of its arm. The MB12 folds its yoke and travels true vertical, which means it gets shots nothing else can.

Made by @moviebird_international

𝗪𝗵𝗮𝘁 𝗺𝗮𝗸𝗲𝘀 𝗶𝘁 𝗼𝗻𝗲 𝗼𝗳 𝗮 𝗸𝗶𝗻𝗱. A tilt range from negative 25 degrees all the way to a true 90 degrees vertical, with full uninterrupted pan the entire time. That vertical move is what lets it work in the places a normal arm can’t reach, tight interiors, narrow staircases, cramped sets where there’s no room to swing a jib.

𝗧𝗵𝗲 𝗲𝘀𝘀𝗲𝗻𝘁𝗶𝗮𝗹𝘀. Twelve feet of reach with 8.5 feet of telescopic travel, carrying up to 60 kg on the nose. A triangular arm with a three point guide rail system built to take the stresses and shocks of moving on a vehicle. Its own over and under slung leveling head with adjustable offset, and an optional gyro leveling add on for when things get bumpy.

𝗧𝗵𝗲 𝗱𝗲𝘁𝗮𝗶𝗹 𝘁𝗵𝗮𝘁 𝘀𝘂𝗿𝗽𝗿𝗶𝘀𝗲𝘀 𝗲𝘃𝗲𝗿𝘆𝗼𝗻𝗲. In its most compact setup on the scissor dolly, it clears a 0.8 meter opening. A telescoping crane that fits through an office door. Run it off a 48V battery or wall power, so it isn’t chained to a generator when it doesn’t need to be.

𝗪𝗵𝗲𝗿𝗲 𝗶𝘁 𝘀𝗵𝗶𝗻𝗲𝘀. Pair it with a camera car and you get a move that travels with your subject then rises straight off the platform, ground to air in a single take. It’s small, it’s agile, and it does something no other crane in the world can.

And like always, the arm is only half of it. Getting a move like this safely takes a crew who knows the crane. That’s where we come in.

Got a shot that needs to go vertical? Give us a call. 📞 818-582-3022

#CameraMovement #OnSet #GripLife #Cinematography #Filmmaking taken in Los Angeles, California by @tccranes

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𝗖𝗥𝗔𝗡𝗘 𝗠𝗢𝗧𝗜𝗩𝗔𝗧𝗢𝗥𝗦. We know. A motorized drive unit isn’t the flashiest upgrade we’ve ever announced. But we’re genuinely fired up about this one, and here’s why.

We’ve put motivators on all of our big cranes. What that means in plain terms: instead of a crew of people muscling a 2,500 pound arm across a stage, one person can now drive it into position. That’s it. That’s the upgrade.

Now think about what that actually changes on your day.
Faster repositions between setups, which means less time waiting on the crane and more time shooting. Fewer hands needed to move the rig, so your grip department stays free for everything else they’re juggling. And it’s safer, because moving that much weight by hand carries real risk, and taking that out of the equation protects the people doing it.

Want to see what this looks like on your next job? Give us a call. 📞 818-582-3022

#filmmaking #setlife #filmcrew #cinema #cinematography taken in Los Angeles, California by @tccranes

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𝗧𝗛𝗘 𝗚𝗘𝗡𝗘𝗦𝗜𝗦 𝗚𝗜𝗠𝗕𝗔𝗟. The head that never locks up. Most gimbals have a weakness. Point them straight down, flip through vertical, or mount them at a weird angle, and you hit gimbal lock or the controls flip polarity on you. The Genesis from Gyro Motion (@gyromotiongmbh) was engineered to kill that problem entirely.

Here’s what you’re working with:

A patented 4 axis design, three stabilization axes plus one redundant, which means gimbal lock is gone in any orientation. Unlimited 360 degree continuous pan, tilt, and roll. Mount it upright, underslung, sideways, or change the mounting orientation mid move, and the controls always stay correct. Stabilization accurate enough to hold a clean image on lenses up to 500mm. Two control modes, horizon relative or camera relative. It remembers positions in space and returns to them. Programmable limits, motion recording, auto roll flip through vertical. And it’s ready the second you power on. No calibration dance, no startup ritual.

On the end of a telescoping crane, that’s everything. The crane gives you the reach and the move. The Genesis keeps the frame locked no matter how aggressive the arm gets. Together it’s one continuous, unbroken shot from ground to 50 feet with the horizon exactly where you put it.

And here’s the part we’re proud of: TCC is one of the few companies in North America with access to this technology. This is the kind of gear we chase, because it’s the kind of gear that changes what a shot can be.

Want the Genesis on your next job? Call us at 818-582-3022.

#cinematography #filmmaking #griplife #setlife #cameracranes taken in Los Angeles, California by @tccranes

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𝗦𝗢𝗠𝗘 𝗖𝗥𝗔𝗡𝗘𝗦 𝗥𝗘𝗔𝗖𝗛. 𝗔 𝗦𝗖𝗢𝗥𝗣𝗜𝗢 𝗦𝗧𝗥𝗜𝗞𝗘𝗦. Swipe through for ServiceVision’s finest out on our jobs. The Scorpio family has been part of the TCC story for years, and what the team in Barcelona builds is special: telescoping arms with speed, precision, and a feel operators swear by, backed by some of the best stabilized head engineering in the world.

And here’s the part that matters when you’re booking: whatever Scorpio your shot calls for, we can put it on your set. Tell us the move, and we’ll bring the arm that makes it, with techs who know the system inside and out.

Scorpio on your next job? Call us at 818-582-3022.

#technocrane #cinematography #filmmaking #setlife #filmcrew taken in Los Angeles, California by @tccranes

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