Cranes and jibs serve one purpose: lifting the camera off the ground — aerial shots, vertical moves, angles unreachable any other way. Between a Jimmy Jib renting for €800 per day and a Technocrane at €2,000, the gap is not only about price. It comes down to reach, payload capacity, the level of control available, and the logistical constraints each machine imposes on set.
This guide compares the main tools available on professional productions, with the parameters that drive the choice.
What is the difference between a cinema crane and a jib?
The distinction is both technical and practical. A jib is a cantilever arm mounted on a tripod or dolly head. It raises or lowers the camera along a predefined arc, with no horizontal translation. Quick to set up. Limited reach — from 1.5 to 4 metres for most standard models.
A cinema crane is a self-supporting or vehicle-mounted machine whose arm can exceed 10, 15, even 20 metres. Complex simultaneous moves: translation, elevation, head rotation. Most professional cranes incorporate a gyro-stabilised remote head — the camera operator is no longer physically behind the camera during the shot.
“The real question is not crane or jib — it is what trajectory the director has in mind. If the shot calls for rising 8 metres while advancing 5 metres, the jib is out of the picture. If it is a simple elevation move to 3 metres in an interior, bringing in a Technocrane would be disproportionate.”
The confusion between the two terms is common in production briefs. It leads to significant under- or over-estimates of the grip budget.
Technocrane: the standard on high-budget productions
The Technocrane is the reference telescopic crane on major productions. Made by the German company of the same name, it comes in several versions depending on the required reach (from 7 to 21 metres). On HBO and Netflix shoots, it is often the machine executing opening shots or large-scale sequences.
Technical specifications
The Technocrane 20T — the most common model in international production — offers a telescopic arm reaching 20 metres. The stabilised head accepts camera packages up to 30 kg. It travels on a motorised platform that can be towed or pushed during the shot, allowing horizontal translation simultaneously with elevation.
Total unladen weight: over 600 kg. Transport requires a dedicated truck. Installation mobilises four to six grips and takes two to four hours depending on the set configuration.
Rental cost
A Technocrane rents at approximately €1,800 to €2,200 per day, excluding transport and grip crew. In regional locations or on Paris shoots, the logistics cost can represent 30 to 40 per cent of the total. These are budgets for feature films and premium series — not short commercial shoots, except in rare cases.
Jimmy Jib: the accessible crane for mid-range productions
The Jimmy Jib is a modular aluminium jib whose reach varies from 2 to 9 metres depending on the section configuration. It has become standard on television productions, music videos, commercials, and high-end documentaries.
What sets the Jimmy Jib apart
Its primary advantage is assembly speed — one hour maximum for a short configuration. Transport in standard cases, no specialist truck required. The remote pan/tilt head allows the frame to be controlled from a distance. In its longest configuration (9 metres), the moves visually approach those of a lightweight crane.
Its limitation: payload capacity. Heavy camera packages — an ALEXA 35 in full configuration with anamorphic lens — sit at the limit of the standard Jimmy Jib specifications. Beyond 10 to 12 kg, stability at the end of the arm becomes problematic.
Rental cost
A complete Jimmy Jib with remote head operator rents for €700 to €900 per day. The gap with the Technocrane is not only about price — it concerns reach, payload capacity, and the smoothness of complex moves.
Supertechno: power and mobility on a vehicle base
The Supertechno is a crane mounted on a motorised base. Its arm can reach 24 metres. The platform advances, reverses, and turns autonomously — enabling moves of an amplitude that fixed-base cranes cannot achieve.
It is the tool for landmark shots: starting at ground level on an actor’s face, rising 15 metres while tracking back and pivoting to reveal a large-scale set. This type of shot appears in premium series title sequences, feature film openings, and event sequences.
“On a shoot for Agat Films, we had an opening shot that required a 12-metre elevation with an 8-metre simultaneous translation. The Supertechno was the only solution. We spent an entire day calibrating the speeds, working out the coordination with the first assistant camera. But the result was exactly what the director had envisioned from the storyboard.”
The Supertechno demands rigorous ground preparation: load-bearing surface, absence of overhead obstructions (electrical cables, trees), road permits for urban exteriors in certain cases. Its rental generally exceeds €2,500 per day excluding transport.
MovieBird: the compact crane for confined spaces
The MovieBird is a range of compact cranes designed for indoor shoots or cluttered environments. Less well known than the Technocrane, but highly valued by key grips who regularly work in practical locations.
Its telescopic arm reaches 10 to 15 metres depending on the model. Its compact base allows it to pass through standard doorways and set up in medium-sized rooms — where a Technocrane would require walls to be removed.
The MovieBird addresses a specific need: achieving crane moves within constraints that rule out heavy machinery. Its pricing sits between the Jimmy Jib and the Technocrane, generally €1,200 to €1,600 per day.
Comparative table: professional cranes and jibs
| Tool | Max reach | Payload | Setup | Rental/day | Best for |
|---|---|---|---|---|---|
| Jimmy Jib | 9 m | ~10 kg | 1h | €700–900 | TV, music videos, commercials |
| MovieBird | 15 m | ~25 kg | 2–3h | €1,200–1,600 | Confined interiors |
| Technocrane | 20 m | ~30 kg | 2–4h | €1,800–2,200 | Drama, premium series |
| Supertechno | 24 m | ~35 kg | 4–6h | €2,500+ | Wide shots, exteriors |
These prices are for equipment rental only, excluding transport and grip crew. On a feature film, the grip department — key grip, set grips, drivers — represents a separate budget line.
When to use what: the key grip’s decision
The choice between these tools is never purely theoretical. It results from a cross-reading of the storyboard, set constraints, the schedule, and the budget allocated to grip.
Questions to resolve before ordering equipment
The height required. If the shot needs more than 8 metres of elevation, the Jimmy Jib is ruled out. If elevation does not exceed 4 metres and the load is light, a simple jib will suffice.
The nature of the move. A purely vertical move does not justify a Technocrane. As soon as a horizontal translation is added, the options narrow to full cranes.
Camera weight. An ALEXA 35 with anamorphic lens and accessories can exceed 15 kg. The stabilised head must be specified accordingly — this parameter often eliminates the Jimmy Jib from high-end configurations.
Installation time. A tight schedule — three sets in one day — favours fast-rigging solutions. A single long take on a dedicated day justifies heavy solutions.
Available space. In practical locations, low ceilings, staircases, corridors — the MovieBird often wins over the Technocrane for purely logistical reasons.
The key grip’s contribution to the decision
The final decision belongs to the key grip, in dialogue with the director of photography and, earlier, during the scout. This role goes well beyond simple equipment selection.
The key grip assesses the feasibility of the shot the director has planned. He identifies the risks associated with each configuration — unstable ground, electrical constraints, weight on set structures. He coordinates the grip crew and anticipates rigging times in the schedule.
On international productions — HBO, Netflix, Prime Video — this upstream dialogue is systematic. The grip brief is established several weeks before the shoot, based on the annotated storyboard. Each crane or jib is assigned to a specific sequence, with a budgeted installation time.
Discover our cinema grip services or contact us to discuss your production’s requirements. For the choice of associated dollies and tracking systems, see our guide on dolly and travelling.
FAQ
What is the difference between a jib and a cinema crane?
A jib is a cantilever arm mounted on a tripod, enabling elevation moves along a limited arc (reach 1.5 to 9 metres). A cinema crane is a self-supporting machine with a telescopic arm, gyro-stabilised remote head, and reach that can exceed 20 metres. The crane allows combined moves — simultaneous elevation, translation, and rotation — that a jib cannot execute.
How much does a Technocrane rental cost for a film shoot?
A Technocrane rents for between €1,800 and €2,200 per day, excluding transport and grip crew. On shoots in remote locations, transport can add €600 to €1,000. It is an investment that fits the budgets of feature films and premium series — productions on tighter budgets generally turn to the Jimmy Jib (€700 to €900 per day).
Can a cinema crane be used indoors?
Yes, provided the right tool is chosen. The MovieBird is designed for confined spaces — it passes through standard doorways and sets up in ordinary-sized rooms. The Technocrane can also work indoors, but its dimensions and weight require large volumes (high ceilings, load-bearing floors). In apartments or tight practical locations, the Technocrane is often unusable without preparatory work.
Which jib or crane for a shoot with an ALEXA camera?
The ALEXA 35 in full configuration (lens, accessories, monitor) can exceed 15 kg. The standard Jimmy Jib then reaches its payload limit, which affects stability at the end of the arm. For this type of camera package, the Technocrane or MovieBird are better suited — their stabilised heads accept 25 to 30 kg without loss of smoothness. The final choice also depends on the reach and type of move required.
Does a cinema crane require a dedicated key grip to operate?
A professional crane requires a minimum of two people: a remote head operator and a key grip who supervises the whole machine. On heavy models (Technocrane, Supertechno), the crew often numbers four to six during installation. Operating this equipment without an experienced key grip represents a genuine safety risk, particularly regarding machine stability and counterweight management.