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Showing results for tags 'Technocrane'.
Found 5 results
Super Techno 22
Barbara Holler posted a topic in Cine Marketplace$160,000 without head with head $174,000 choice of Ronin or Movi Comes with Telescopic jib Maximum lens height: 6.6m (22 ft.) Maximum telescopic reach: 4.7m (15.5 ft.) Adjustable telescopic speed: 0-1.5 m/sec. Adjustable fluidity of telescopic start and stop Automatic deacceleration at telescopic ends Weight: 89 kg 1-Electronic unit Linear Amplifiers with real-time operation system Adaptable for 230 V or 115 V 1-1 Mains cable 25 m 3-1 Control unit for telescope / Hand Rocker 1-1 Control unit for telescope 2-1 Cable for telescope control unit - 3m 3-1 Cable for telescope control unit - 10m 4-1 Autohorizon unit 1-1 Autohorizon motor unit 2-1 Autohorizon cable Counterweights 1-14 Counterweights (21) 2-1 1/2 Counterweight 1 1/8 Counterweight 3 Sliding weights Tools 2 Ratchet Strap 1 Set of Allen Keys 1 Set of Spanners - 10, 13, 19, 24 1 Ratchet with 24 + 18 nuts 1 Case for Tools 1 Cutter 1 Electric drill with adapter (Only for voltage of 220 V) 4 Screw 3/8 inch x 20 2 Screwdriver 1 Spirit Level 4 Nut M16/half Additional material 1-Set of gloves 1-Tin of Vaseline 1-Cable ties medium 10-Velcro medium 1 Manual (English language) Buyer is given a 2 day check out period on all equipment. Take a look at the rest of our gear at Newprovideo.com
Alien (1979) Stabilization
Frank Poole posted a topic in In Production / Behind the ScenesAlien is a great go-to when talking about effective handheld work, but it really uses about every technique you can think of, brilliantly, I might add. I recently read Derek Vanlint's ASC magazine article about shooting the film and he mentioned they were offered a Panaglide, but refused because he and Ridley wanted to be the sole operators and couldn't learn the rig in time. Upon watching it the other night for the billionth time, I noticed I never gave much thought to one of the first shots. In the opening sequence, when the Nostromo receives its special order, and the camera is giving us an ominous tour of the ship's interior, it's all dolly work, of course, until the final slow push through the white hallway, settling on the door that opens to reveal the cryopods, before we push all the way to the threshold of that room. Was the camera underslung on some rig? Maybe a crane? the crane seems hard to fathom with the cramped four wall sets
Technocrane 30' vibration problem
Ozgur Baltaoglu posted a topic in Grip & RiggingHello everyone, Technocrane is a great tool, and I try to use it whenever the logistics and budget allows for it. I recently shot a commercial on a soundstage in Istanbul where I had to hang actors on wires where they would spend the whole day so Technocrane with a zoom was an obvious choice. I could be versatile and fast. I designed a shot where we did a straight pull back from a window over a sofa. The lens was 25mm. The distance traveled was about 6-7 meters. The problem was that the beginning and end were too shaky. We talked this over with my DOP and the conclusion was that either the Flighthead was not able to accommodate the large 16.5-100mm (i doubt it) master zoom and/or the operator was not 'sensitive' enough to handle the shot (which is more likely since technocranes don't get rented quite often, so the crews don't have enough manhours). The speed was set to '6' at first. At that speed the shake was too much to stabilize and strangely on the z-axis too, I don't know how they did it. Then we gradually came down to 3! and even at that speed there was significant vibration during start and stop. The grips kept saying the lens was too heavy and that everybody stabilizes but I have my reservations. I don't think post stabilization is or should be the 'natural side-effect' of a technocrane shot. I mean I should be able to use it like a smooth dolly right? Supertechnocrane 30' - Flighthead- ArriAlexa - 16.5-100mm Master zoom. --
Technocrane or 2nd Camera for Indy Feature?
Chaz Olivier posted a topic in General DiscussionIm up to DP my third feature and we are shooting for 20 days. Its pretty ambitious for the budget but we arent doing anything super crazy - it is very much like the movie Prisoners in tone, story and cinematography. The Producer is wanting to shoot single camera, as to not have to spend money on the extra B camera, crew and post costs that come with more footage, and instead is in favor of getting more gear to make a better A camera. My initial thought was that we would need two cameras to make our days (I shot two cameras on my last feature, which was a comedy, and being able to leap frog with setup/shooting and get extra shots in when needed I felt saved us alot of time, and that is what I am pretty comfortable with. my first feature was single camera, but it was all handheld and a much much smaller scale.) This show is 100 percent sticks and dolly, some jib with occasional steadicam. Another thought was to shoot single camera mostly from a small technocrane (thinking the mini 6'-12' technocrane ,moviebird 17 or chapmans Hydrascope 15', I want to use it for interiors and my thought was anything larger might be too large for int scenes.) now I have never used a technocrane, but from what I have read and talking with my Key grip, I have heard they can save alot of time on set, and much are faster than dolly and sticks because I could get most if not all all my shots from a single setup. but they are expensive for sure.. Something to consideration is that I am working with an awesome first time director, but for his sake I thought single camera might be easier for him so he can focus on the one frame and not have his(and my own) attention shift between two cameras, so I feel the end product could benefit from single camera. And making him as comfortable as possible is high on my priority list (I normally operate, but Im choosing to get an operator so I can be with him at video village and support him the best I can) Another idea is having a remote head on a fisher 23 Jib arm on the Fisher 10 dolly in place of a technocrane like deakins does. I have my own thoughts, but in yalls opinion, how would that compare to the technocrane approach? I would love some opinions and advice! Getting a 2nd camera package and crew for it, or single camera on a small technocrane or remote head on jib? The producer is pretty open and trusts me, and I know if I make my case for either one, there is a good chance I'll get what I ask for. Thank you all so much! Chaz
If anyone is interested in buying a used 24ft techno crane that works and looks new just email me ....