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510 threads in the archive

Based on 536 threads · 91 cited

AI draft, not reviewedDraft, written by AI from the archive, every statement linked to its source — not yet reviewed.

Weigh the whole rigged package, not just the body, and compare it to your rig's rated payload 12. Then check voltage and mounting, because a camera can pass on weight and still not work 34. Fully built, most film and HD cameras land between 22 and 35 pounds, so expect to do the math before you commit 62.

The questions 8

Will my camera fly on my Steadicam® or stabilizer?62 threads · latest 2025

In short

Weigh the whole rigged package, not just the body, and compare it to your rig's rated payload 12. Then check voltage and mounting, because a camera can pass on weight and still not work 34.

How the pros do it

  1. Verify the listed weight against the real in-operation weight 1. A RED Epic with motors, mattebox, filters, transmitters and batteries can easily reach 25 lb or more 5.
  2. The Pilot is 10 lb including battery and weights 6, the Flyer LE is 19 to 20 lb 7, and the Zephyr is 23 lb 7. The Axis is 9 kg (20 lb) 8, and the Aero 30 is 20 lb recommended with a 30 lb maximum 3.
  3. Check power. An ALEXA 35 needs 24 V, which the Aero 30 does not supply natively 3. The Axis gives about 14 V, not 24 V as the Zephyr does, though 12 V loads are fine 9.
  4. An HDX900 flew on a Flyer without onboard battery and viewfinder, using a clip-on matte box 10. Powering a RED from the sled instead of separate camera batteries also helps manage arm weight 11.
  5. Check the mounting. A Panavision XL on a low mode plate alone vibrates, so add a third support point 12. An EX3 has a base that isn't flat, so use a rigid baseplate 13.
  6. Test the complete rig before the shoot to confirm weight, power draw and handling 2. Do it at a rental facility if you can 14.
Caution

Overloading an arm risks catastrophic failure that could injure the operator 17. On smaller rigs the gimbal, bolts and bearings are proportionally smaller, so keep one hand ready to catch the rig 3.

Opinions differ here

Operators split on how far past the rating you can go 215. Some report flying over it: a Venice on a Zephyr likely approaches or slightly exceeds the 23 lb payload 2, and a RED with sled at 32 lb flew on a V-25 whose spec is 26 lb for the camera 16. Others treat the limit as hard 10, warn that constant overloading causes gradual damage 15, and advise staying below 9 kg on the Axis 9.

What changed

Earlier, in 2008, a fully configured RED One was judged better matched to a Clipper than a Flyer 11, today, in 2025, operators fly a Sony Venice 1 and an ARRI ALEXA LF on the Axis while staying under its 9 kg limit 8.

Ask a follow-up
What power connector and voltage does this camera need on my rig?57 threads · latest 2025

In short

It depends on the body, but current ARRI cameras want 24 V, and the ALEXA 35 is a native 24 V camera 18. The Alexa Mini, Amira and Venice share one 8-pin Lemo 2B power connector 19.

How the pros do it

  1. ALEXA 35: switch the sled to 24 V mode and feed the camera through a 24 V cable 18. On a Trinity 1 that is ARRI camera cable K2.0010540 20.
  2. Alexa, Alexa SXT and Alexa LF: the 2-pin power connector takes 12 V or 24 V 21. Run 24 V, because it roughly halves the amperage and cuts voltage drop in the cables 21. An SXT with wireless focus, motors and video transmission overloaded a 12 V connector, and 24 V from the sled fixed it 22.
  3. Alexa 65: it needs 24 V only, safe range 22 V to 35 V, about 200 W continuous 23. External rig power must deliver 24 V at up to 10 A 23.
  4. Alexa Mini, Amira and Venice: all use the 8-pin Lemo 2B connector, so the standard sled power cable fits 19. The Panavision Power-Distro-Box for the Mini takes 12 V only on that same connector 19.
  5. Sony F65: it uses an 8-pin Lemo, the same as Genesis, F23 and F35 24. The connector carries 12 V and 24 V, the camera runs on 12 V, and the 24 V passes through to a 3-pin Fischer output 24. You can power it through the sled with a Y-cable made for the F35 or Genesis 25.
  6. RED Epic: it uses a 6-pin Lemo that differs from the RED ONE connector 26. The Epic with Helium sensor uses the same power connector as the standard Epic, Dragon and Weapon 27. Power your accessories from the battery D-taps, not from the camera body 28.
Caution

Feeding a 24 V cable into a battery eliminator puts 24 V on the P-Tap and 12 V accessory outlets and can destroy attached gear 30. Don't run 26 V batteries on a 24 V sled either, because that creates unsafe voltage on the 12 V and 24 V outputs 31.

What changed

Earlier in 2010 the Alexa took 11 to 34 V through the BAT connector 29, today in 2018 later firmware makes the Alexa LF take 24 V exclusively 22.

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How do I get SD or HD-SDI video from my camera to my monitor?40 threads · latest 2016

In short

Match the signal to the monitor: SD sled monitors want composite analog, and SDI is digital even though it uses the same BNC connector 32. Use the camera's own SD output if it has one, and put a converter in line if it doesn't 3334.

How the pros do it

  1. Check what your monitor takes, because SD sled monitors typically accept composite analog via BNC, not digital SDI 32.
  2. Use a built-in SD output where the camera has one: the F3 sends SD out of the video out connector, the HDX-900 has a built-in downconverter, and the XL H1 downconverts on its BNC 333536.
  3. The EX1 composite output only works with SDI disabled, and the HPX250P cannot give you HD-SDI and composite at the same time 3732.
  4. The Alexa has HD-SDI only, and an AJA or Decimator takes it down to SD 38.
  5. A Decimator takes a 2.1mm DC plug, fed by a D-tap cable or by the DC output of a Pilot 34.
  6. For HD, skip the conversion and run a dedicated SDI monitor straight off the camera's HD/SDI output, as operators did with the RED One 39. Use 75 Ohm cable with as few connectors and adapters as possible 40.
Caution

Don't run a downconverter off the Varicam Hirose port, because it risks blowing the camera fuse 40. Reversed polarity cables can blow the soldered fuse in a Decimator, and a technician has to replace it 38.

Opinions differ here

Operators disagree on delay: one saw none on the Sony 750's downconverted SD feed on Steadicam® 41, while others report about 5 frames from down-conversion 4241. They also disagree on the F3: some got HD-SDI and SD at once through two SDI ports 43, while another could not reproduce it across several bodies and rental house help 43.

What changed

Earlier (2004), Varicam setups needed an external SDI-to-NTSC converter such as an Evertz or AJA 40, today (2011) a camera like the Sony F3 puts SD out of its video out connector with no external converter 33.

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How do I balance this camera on my sled?23 threads · latest 2024

In short

Set static balance with the camera about one inch behind its center of gravity, then tune drop time and dynamic balance by moving the plate, batteries and weights 44. Light cameras need firmly attached extra weight 45.

How the pros do it

  1. Start the camera about one inch behind the center of gravity for static balance 44. With a heavy body and big lens, start at the center of the post so you have room to move batteries backward 44.
  2. If the rig is front-heavy, slide the dovetail plate backward on the camera bracket so the Steadicam® plate extends forward under the lens 46. A rigid plate like the XCS avoids the image vibration a flexible plate gives when extended far forward 46.
  3. Aim for dynamic balance with the whole setup's center of gravity about one to two inches behind the center post 44. One source gives roughly 0.75 inches behind the gimbal post as a rough target 46.
  4. Check drop time on a Merlin2: it should reach at least one second even with light gear 47. If the camera falls over and feels top-heavy, add counterbalance weight 47. If the drop is too fast or the camera pendulums, take counterbalance weight off 47.
  5. On a lightweight camera, add weights that are firmly attached, not sliding or loose 45. Spread them out and put them farther from the pivot, because that adds both balance and rotational inertia 45. A weight plate of around 11 pounds suits small bodies like the HVX200 48.
  6. Keep batteries low and toward the rear instead of stacking them on top 49. If rear counterweight won't fit, as with the Cooke 65 mm Macro and two focus motors on a Trinity, put the weights forward and beneath the lens 50.
Caution

The RED Bottom Plate has thin metal around the screw holes and no washers, so it can fail after repeated mounting, which is a safety risk 49. Don't run past your arm's weight limit as standard practice 52.

Opinions differ here

On a light camera like the RED Komodo, one operator advised keeping a lightweight rig such as the Flyer or Aero 30, because cameras keep shrinking 51. Another accepts a larger rig with the plate weighted down when you need boom range 51.

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How do I fly my camera in low mode or flip the image?19 threads · latest 2026

In short

Low mode turns the camera upside down, so the image has to be flipped, ideally in the camera on a user button 53. Mechanically, use a proper bracket rather than the handle, or shoot upside down and flip in post 5455.

How the pros do it

  1. Before the day, check whether your specific camera body and firmware allow the flip on a user button 53. Have it assigned in prep with the assistant so you don't hunt through menus while the crew waits 53.
  2. Establish which device does the flipping 53. If the camera flips, every downstream monitor sees the flipped signal, but if it doesn't, some monitors can flip their own display while the recorded file stays upside down 53.
  3. Mount with a dedicated low-mode bracket instead of the handle screws 55. A bracket adds significant rigidity and cuts vibration, and brackets that mount to the chassis are more rigid and faster to set up 5554.
  4. Pick a bracket over a cage if you can 54. A cage raises the attachment point, adds leverage and can magnify shimmy 54.
  5. With no suitable bracket, put the plate on the camera bottom, shoot upside down and flip the footage in post 56. Standard tripod adapter plates on newer cameras are rigid enough for this, but older plates with play can add instability 57.
  6. On a camera without a quick flip, plan low mode as one block of shots instead of switching back and forth 53. On a Varicam, scan-reverse can cut the setup to under 60 seconds 57.
Caution

Don't hang the rig off a plastic or swing-away handle, because the handle can break if struck and upside-down flying without proper brackets risks mag adaptor damage and battery loss 60. Film cameras can also jam or scratch film when inverted, so check your model first 61.

Opinions differ here

Some operators say post flipping is acceptable on most jobs and can even be preferable to save time 58. Another thread says most productions still prefer low-mode equipment, despite its vibration, over accepting upside-down image capture 59.

What changed

Earlier, in 2007, operators flipped the rig in post when no bracket was available 54, while today, in 2026, current cinema cameras can put the flip on a user button for a one-press change 53.

Ask a follow-up
How much does a camera weigh when fully built for Steadicam®?23 threads · latest 2015

In short

Fully built, most film and HD cameras land between 22 and 35 pounds 62. A D-21 is about 32 pounds 63 and an F35 with an SSR deck is about 30 pounds 64.

How the pros do it

  1. Count everything, not the body, because published weights are body and magazine only, without film, lens or matte box 62.
  2. Add every top-platform accessory, such as P2 cards and quick-release plates, but leave out counterweights and the monitor 65.
  3. For film, the 2005 figures with 400 feet of film, low mode bracket, prime and clip-on matte box are Arricam LT 23.5 lb, Moviecam SL 22.5 lb, Arricam ST 29.0 lb and Moviecam Compact 29.5 lb 66. A Panavision Gold runs 33 to 37 pounds and can reach 40 to 46 depending on lens and configuration 67.
  4. For HD, a D-20 or D-21 with low mode bracket, Preston motors, matte box and 40mm lens is about 32 pounds 68. An F35 with SSR deck, two Preston motors and matte box is about 30 pounds, and an SRW tape deck pushes it over 40 pounds 64.
  5. For the light end, an Alexa Mini body is about five pounds 69. Real productions typically load it to about ten kilograms 69.
  6. Check the total against your rig, and on a Zephyr do not go over 24 pounds net camera weight 65.
Caution

A Panaflex X exceeds the weight spec for low mode, and the load can cause stage separation and equipment damage 70. Several F35s with ultra primes, motors and 3D rig parts can push the total past the arm's rated capacity 64.

Opinions differ here

Operators disagree on how heavy a Panaflex X really is 70. Some report specs close to lightweight cameras, while others describe weights approaching Gold conversion specs 70.

What changed

Earlier, in 2006, fully built Steadicam® cameras typically ran 22 to 35 pounds 62, while today, in 2015, a loaded Alexa Mini is about ten kilograms 69.

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Which baseplate or dovetail plate fits my camera and sled?18 threads · latest 2024

In short

Match the plate to both your sled and your camera, because dovetail sizes differ between sleds 71. For an ALEXA Mini, Mini LF or ALEXA 35 on an Ultra, the plate depends on the camera model 72.

How the pros do it

  1. Check the sled first: Zephyr and Ultra dovetail plates are different sizes 71. Zephyr plates share the width of Archer plates 71.
  2. On an old SK2, modern plates may not fit 73. A Zephyr plate fits the slot after you remove a safety screw, but the SK2's rack and pinion fore-aft control won't work with it 73.
  3. For ALEXA cameras on an Ultra, the Mini mounts directly to a standard Steadicam® plate 72. The Mini LF needs an ARRI SAM-2 adapter 72. The ALEXA 35 takes an ARRI SAM-7 or an Apex Cinema Gear A35 plate, and operators favor the longer, more rigid SAM-7 72.
  4. On an ARRI Trinity 2, the SAM-6 is the correct plate for the ALEXA 35 74. An Apex plate with a SAM-0 adds about 1/4 inch of height and needs the camera exactly centered in the head 74. For Sony cameras in a Trinity T1, one operator sells custom riser plates at about EUR 80 (small) and EUR 125 (large) that center an F55 precisely 75.
  5. For ENG or broadcast Sonys, avoid VCT plates because they add movement and vibration 76. On an XCS Top Stage, the Zalex Longplate mounts directly into the dovetail for about 300 USD 77. The CamJam Railway plate also works when you don't need lateral adjustment 77.
  6. On a budget, a cheeseplate costs around sixty dollars and works with smaller cameras on 15mm rails 78. Zacuto Universal baseplates run around six hundred dollars for newer models 78. On a Merlin, use a 1/4 inch screw with about 1/4 inch of thread, and replace any screw that is too long to seat the camera 79.
Caution

Carbon fiber support rods may suffer stress damage from the clamping force of follow focus motors, according to field experience 82.

What changed

Earlier, in 2008, operators fixed a loose RED plate with paper tape or switched to an Element Technica dovetail 8081, today, in 2023, you pick a SAM plate or an Apex plate made for the specific ALEXA model 72.

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How do I set up remote start/stop on my camera?11 threads · latest 2013

In short

There is no universal cable, so match the cable or interface to your camera's run port 8384. Film bodies close a run pin, RED needs a menu setting or a signal, and the F3 and Canon bodies need extra gear 85868788.

How the pros do it

  1. On ARRI-type film cameras, the 11-pin run/stop contacts use pins 7 and 11, but a P+S Technic modified body may need a custom run cable 83. On an SL-35 rebuild, you trigger run by connecting the remote run pin to the 12V pin, which are pins 2 and 5 on the 5-pin Fischer or pins 7 and 11 on the 11-pin Fischer 89. If you adapt a Bartech handunit, test both momentary and continuous switch settings 89.
  2. On a RED, use one of the two trigger ports, commonly the 4-pin on the rear, and set the GPI menu to enable remote run 85. The connector is a Lemo FGG0B304CLAD52 90.
  3. On a RED Epic, you need a 3.3 volt signal through the sync port, so a simple mechanical cable won't do 86. Preston's Epic start/stop cable (about $210) plugs into the white BNC on RED's medusa breakout 3BNC-TO-00 (about $100 more) 86. On linked multi-camera Epic setups, the command can also travel over the GigE cables between cameras 86.
  4. On a Sony F3, the rear Hirose MXR-8P remote needs a serial protocol, so basic relay cables don't work 87. Velcro the included DV remote on top of your Preston or Bartech controller 87. If you record to an external recorder like a NanoFlash, use the recorder's own remote interface 87.
  5. On a Canon C300, the WFT-E6 Wi-Fi transmitter can give you start/stop, though it has quirks 91. On a C500, use the LANC port with a converter that turns an ARRI run cable trigger into LANC, so your Preston or Bartech keeps working 88. That converter also works with Blackmagic cinema cameras and the AJA Ki Pro Mini 88.
  6. On a Panasonic SDX900, the lensport is a 12-pin Hirose with pin 2 as ground and pin 3 as record/stop 84. Sony or Panasonic HD cables may not fit because the VTR control and ground pins are reversed 84.

What changed

Earlier, in 2004, remote run on ARRI-type cameras meant closing pins 7 and 11 on the 11-pin contact 83, today, from 2011 to 2013, digital cameras need a 3.3 volt signal on the Epic, serial on the F3, or a LANC converter on the C500 868788.

Ask a follow-up

Sources 91

  1. 1Weight specifications and operational considerations for flying an AJ-HDC20A HD camera on a Steadicam® FlyerSteadi-Newbies forum · 2006
  2. 2Operating a Sony Venice camera on a Zephyr stabilizer rigSteadi-Newbies forum · 2019
  3. 3Operating an Alexa 35 camera on a Steadicam® Aero 30 systemSteadi-Newbies forum · 2024
  4. 4Feasibility of operating a Moviecam SL camera on a Glidecam V25 rigSteadi-Newbies forum · 2008
  5. 5Flying a RED Epic camera on a gimbal rig with proper weight distribution and stabilizationCameras (Film/Video/HD) forum · 2014Disputed
  6. 6Using the Steadicam® Pilot with a Canon HV20 camera and considerations for adding accessoriesSteadi-Newbies forum · 2008
  7. 7Choosing between Glidecam X-10 vest system and Steadicam® Pilot for DSLR work, with considerations for heavier cameras like Red Epic and ScarletSteadi-Newbies forum · 2013
  8. 8Camera payload specifications and setup limits for the Steadicam® Axis; comparison with Sony and ARRI cameras.Facebook · The Steadicam Group · 2025
All 91 sources
  1. 9Maximum camera payload on Steadicam® Axis: ALEXA Mini LF with Signature Primes and power limitations.Facebook · The Steadicam Group · 2025Disputed
  2. 10Flying a VariCam or HDX900 camera on a Flyer camera stabilization systemCameras (Film/Video/HD) forum · 2007Disputed
  3. 11Steadicam® rig selection and configuration for RED One cameraSteadi-Newbies forum · 2008
  4. 12Mounting Panavision XL cameras to Steadicam® systems with proper stabilizationCameras (Film/Video/HD) forum · 2007
  5. 13Mounting the EX3 camera to a Flyer LE Steadicam® sledgeCameras (Film/Video/HD) forum · 2010
  6. 14Feasibility of operating an Alexa XT camera on a Steadicam® Zephyr rig in low modeGeneral Discussion forum · 2014
  7. 15Suitability of Archer 2 sled with G50-X arm for typical camera setups in professional workGeneral Discussion forum · 2018
  8. 16Operating a RED camera on a V-25 steadicam armCameras (Film/Video/HD) forum · 2008
  9. 17Using Panavision film cameras on Steadicam® EFP rigs for vehicle-mounted workCameras (Film/Video/HD) forum · 2005
  10. 18Powering an ARRI Alexa 35 from a Steadicam® PRO sled with CineLive electronics: 24 V battery configuration.Facebook · The Steadicam Group · 2023
  11. 19Power connector compatibility: 8-pin Lemo 2B input on Panavision ALEXA Mini Power-Distro-Box and standard sled cable fit.Facebook · The Steadicam Group · 2021
  12. 20Powering the ALEXA 35 on the Trinity 1 and mounting plate options at market launch.Facebook · Arri Artemis Trinity · 2022
  13. 21Power supply options and voltage behavior for Alexa camerasCameras (Film/Video/HD) forum · 2015Disputed
  14. 22Power requirements and limitations for Alexa LF and Alexa SXT cinema cameras with accessoriesCameras (Film/Video/HD) forum · 2018
  15. 23Power requirements and mounting challenges when operating the Alexa 65 camera on a Steadicam® rigCameras (Film/Video/HD) forum · 2017
  16. 24Power connector specifications and wiring for Sony F65 cameraCameras (Film/Video/HD) forum · 2013
  17. 25Operating the Sony F65 camera on steadicam, handheld, and conventional rigsCameras (Film/Video/HD) forum · 2012
  18. 26Red Epic power connector specifications and compatibility with Steadicam® cablesGeneral Discussion forum · 2011
  19. 27Power connector compatibility between Red Epic with Helium sensor and other Red camera modelsCameras (Film/Video/HD) forum · 2017
  20. 28Powering external devices from RED camera systemsGeneral Discussion forum · 2010
  21. 29Arri Alexa power supply voltage display and external sled power compatibilityCameras (Film/Video/HD) forum · 2010
  22. 30Powering an ARRI ALEXA 35 on a Tiffen M1 rig with 24 V: dedicated cable versus battery eliminator trade-offs.Facebook · The Steadicam Group · 2023Disputed
  23. 31Powering the Arriflex S35 camera from a PRO Sled with 24V batteriesGeneral Discussion forum · 2022
  24. 32Connecting Panasonic AG-HPX250P and Sony FS700 cameras with SDI output to standard definition monitors on stabilizer sledsSteadi-Newbies forum · 2012
  25. 33Sony F3 camera output compatibility with SD monitors and practical experience with the cameraCameras (Film/Video/HD) forum · 2011
  26. 34Converting SDI output from BMC 4K camera to composite and HDMI signals for Steadicam® Pilot monitoringSteadi-Newbies forum · 2014
  27. 35Panasonic HDX-900 HD camera capabilities and downconversion featuresCameras (Film/Video/HD) forum · 2006
  28. 36Operating the Canon XL H1 camera on a steadicam rigCameras (Film/Video/HD) forum · 2006
  29. 37Composite video output configuration on Sony EX1 cameraCameras (Film/Video/HD) forum · 2009
  30. 38Getting HD-SDI monitors working with the Alexa camera for video assistGeneral Discussion forum · 2010
  31. 39Monitoring RED One camera output on Steadicam® rigs using SDI conversionCameras (Film/Video/HD) forum · 2008
  32. 40Connecting a Varicam camera to a monitor with SDI output and downconversion to standard definitionCameras (Film/Video/HD) forum · 2004
  33. 41Signal delay characteristics of Sony 750 HDCAM downconverted SD outputCameras (Film/Video/HD) forum · 2006Disputed
  34. 42Display options for HD video monitoring on set using down-converters versus native HD monitorsSteadi-Newbies forum · 2004
  35. 43Sony F3 simultaneous HD-SDI and SD output capabilities and limitationsCameras (Film/Video/HD) forum · 2011Disputed
  36. 44Balancing camera rigs when mounting Preston focus controllers or ARRI cameras to donkey boxesCamera Stage/Donkey Box forum · 2010
  37. 45Adapting a lightweight camera to operate on a Steadicam® rig designed for heavier loadsCameras (Film/Video/HD) forum · 2005
  38. 46Balancing a heavily front-loaded camera rig on a Steadicam® by repositioning the dovetail plateOperating forum · 2004
  39. 47Balancing a lightweight camera on a Merlin2 Steadicam®Steadi-Newbies forum · 2012
  40. 48Achieving dynamic balance on a camera support sled with lightweight camera bodiesCameras (Film/Video/HD) forum · 2009
  41. 49Operating the RED One camera on film productions with Steadicam® and as handheld cameraCameras (Film/Video/HD) forum · 2008Disputed
  42. 50Balancing an ARRI Artemis Trinity with ALEXA Mini and Cooke 65 mm Macro anamorphic lens using two focus motors.Facebook · Arri Artemis Trinity · 2019
  43. 51Rigging a RED Komodo on Steadicam®: weight distribution, arm setup, and rig choice for a compact, lightweight camera.Facebook · Steadicam operators group · 2021Disputed
  44. 52Operating a Steadicam® with Sony F900 camera and P&S Tech Pro 35 adapter setupCameras (Film/Video/HD) forum · 2007
  45. 53Low mode and flipping the image: what to check on the camera before the dayOperator practice forum · 2026
  46. 54Choosing between cage and bracket systems for low mode on Steadicam® rigs with video camerasBrackets/Widgets forum · 2007
  47. 55Necessity and configuration of a low-mode bracket for an SR3 camera with IVSCameras (Film/Video/HD) forum · 2010
  48. 56Mounting camera and stabilizer rig in low mode without dedicated low mode bracketCameras (Film/Video/HD) forum · 2009
  49. 57Image flipping capability and low-mode operation on the Varicam cameraCameras (Film/Video/HD) forum · 2008
  50. 58Low-mode mounting solutions for a professional video cameraCameras (Film/Video/HD) forum · 2011
  51. 59Low mode mounting solutions for Genesis camera on Steadicam® rigsCameras (Film/Video/HD) forum · 2007
  52. 60Attaching dovetail plates to Arri SR camera handles for low-mode operation and alternativesCameras (Film/Video/HD) forum · 2005
  53. 61Film scratch and jamming issues when operating cinema cameras in inverted positionCameras (Film/Video/HD) forum · 2013Disputed
  54. 62Weight specifications for 35mm, 16mm, and HD cameras configured for Steadicam® operationCameras (Film/Video/HD) forum · 2006
  55. 63Using the Arri D-21 camera on steadicam rigs and with recording systemsCameras (Film/Video/HD) forum · 2008
  56. 64Weight and configuration of Sony F35 cameras on Steadicam® rigsCameras (Film/Video/HD) forum · 2010
  57. 65Selecting between Steadicam® Zephyr and Flyer systems for studio use with larger broadcast camerasSteadi-Newbies forum · 2011
  58. 66Weight comparison of film camera bodies for Steadicam® operationCameras (Film/Video/HD) forum · 2005
  59. 67Weight of a Panavision Gold camera configured for Steadicam® useCameras (Film/Video/HD) forum · 2009
  60. 68Practical experience using the ARRI D-20 and D-21 cameras on Steadicam® rigsCameras (Film/Video/HD) forum · 2008
  61. 69Arri Alexa Mini camera specifications and practical deployment considerations for camera operatorsCameras (Film/Video/HD) forum · 2015
  62. 70Panaflex X camera characteristics and operational considerations for Steadicam® workCameras (Film/Video/HD) forum · 2004Disputed
  63. 71Dovetail plate compatibility between Zephyr and Ultra steadicam sleds for Alexa camera mountingGeneral Discussion forum · 2014
  64. 72Camera plates required for Steadicam® Ultra 1 with ARRI ALEXA Mini, Mini LF, and ALEXA 35Facebook · Steadicam operators group · 2023
  65. 73Finding and installing a dovetail plate for an SK2 Steadicam® rigSteadi-Newbies forum · 2014
  66. 74Initial equipment specification for ARRI Trinity 2: camera plates, power cables, and battery selection.Facebook · Arri Artemis Trinity · 2023Disputed
  67. 75Centering Sony cameras in the ARRI Trinity T1 using custom-made riser plates instead of ARRI factory plates.Facebook · Arri Artemis Trinity · 2024
  68. 76Mounting Sony ENG cameras to Steadicam® dovetail plates without using VCT broadcast platesCamera Stage/Donkey Box forum · 2014
  69. 77Baseplates for VCT and broadcast cameras on XCS Top Stage sledFacebook · The Steadicam Group · 2021
  70. 78Budget baseplate options compatible with Steadicam® Archer dovetail plates for indie productionsSteadi-Newbies forum · 2014Disputed
  71. 79Incorrect camera mounting screw on Steadicam® MerlinSteadi-Newbies forum · 2012
  72. 80Stability issues with RED camera standard plate and practical solutionsCameras (Film/Video/HD) forum · 2008
  73. 81Mounting a RED camera on a GPI PRO rig and baseplate stability issuesCameras (Film/Video/HD) forum · 2008
  74. 82Camera support systems and mounting plates for video and film camerasBrackets/Widgets forum · 2005
  75. 83Run/stop cable compatibility between ARRI cameras and P+S Technic modified camerasCameras (Film/Video/HD) forum · 2004
  76. 84Pinout configuration for VTR Start/Stop control on Panasonic SDX900 camera lensport connectorCameras (Film/Video/HD) forum · 2006
  77. 85Remote start/stop control cables for RED ONE and SONY EX3 camerasCameras (Film/Video/HD) forum · 2009
  78. 86Remote start/stop cable compatibility between Preston controllers and RED Epic camerasCameras (Film/Video/HD) forum · 2011
  79. 87Remote start/stop control options for Sony F3 cameraCameras (Film/Video/HD) forum · 2011
  80. 88Remote start/stop control options for Canon C500 cameraCameras (Film/Video/HD) forum · 2013
  81. 89Remote start triggering for SL-35 film camera using external handsetCameras (Film/Video/HD) forum · 2011
  82. 90Connecting external start/stop control to a RED cameraCameras (Film/Video/HD) forum · 2011
  83. 91Remote start/stop control options for Canon C300 cameraCameras (Film/Video/HD) forum · 2012

What operators found

Still argued about

  1. 2025Maximum camera payload on Steadicam® Axis: ALEXA Mini LF with Signature Primes and power limitations.FacebookThe Steadicam Group
  2. 2023Initial equipment specification for ARRI Trinity 2: camera plates, power cables, and battery selection.FacebookArri Artemis Trinity
  3. 2023Mounting non-ARRI cameras (e.g. RED Komodo) on an ARRI Trinity at optical center using stacked riser-plates.FacebookArri Artemis Trinity

Often in the same threads

Low Mode79, Top Stage23, ALEXA 3513, Zephyr27, Artemis8, Base Plate32, MDR16, Dovetail Plate28, Follow Focus54, BFD17, Modulus9, G-706

All threads

  1. 2026Training camera setups and weight configurations for Steadicam® practice.FacebookThe Steadicam Group
  2. 2026Rig setup for 180-degree immersive camera operation with Blackmagic URSA Cine Immersive: minimizing rig and monitor visibility in ultra-wide field of view.FacebookThe Steadicam Group
  3. 2026Mounting the RIA-1 wireless receiver on ARRI Trinity with ALEXA 35FacebookArri Artemis Trinity
  4. 2026Low mode and flipping the image: what to check on the camera before the dayOperator practice
  5. 2026Wave versus MK-V The Level: what actually differs in practiceOperator practice
  6. 2025Maximum camera payload on Steadicam® Axis: ALEXA Mini LF with Signature Primes and power limitations.DisputedFacebookThe Steadicam Group
  7. 2025Camera payload specifications and setup limits for the Steadicam® Axis; comparison with Sony and ARRI cameras.FacebookThe Steadicam Group
  8. 2025Power distribution on ARRI Artemis 2 Live: dual voltage supplies, connector voltages, and feeding broadcast cameras with auxiliary equipment.SteadiHub
  9. 2025External motor solutions for zoom and focus control on cinema lenses without servoGeneral Discussion
  10. 2024Centering Sony cameras in the ARRI Trinity T1 using custom-made riser plates instead of ARRI factory plates.FacebookArri Artemis Trinity
  11. 2024Operating an ARRI 16SR3 16mm film camera on Steadicam®: grounding, video taps, balance shifts, and mounting options.FacebookSteadicam operators group
  12. 2024ALEXA 35 Live compatibility with the ARRI Trinity: standard body versus fibre-return moduleFacebookArri Artemis Trinity
  13. 2024Mounting Sony Venice 2 on ARRI Trinity with SAM-0 plate: build configuration and balancing strategies.FacebookArri Artemis Trinity
  14. 2024Operating an Alexa 35 camera on a Steadicam Aero 30 systemSteadi-Newbies
  15. 2023Initial equipment specification for ARRI Trinity 2: camera plates, power cables, and battery selection.DisputedFacebookArri Artemis Trinity
  16. 2023Mounting non-ARRI cameras (e.g. RED Komodo) on an ARRI Trinity at optical center using stacked riser-plates.DisputedFacebookArri Artemis Trinity
  17. 2023Camera compatibility with ARRI Trinity 2: mounting options and weight limits.FacebookArri Artemis Trinity
  18. 2023Balancing and shortening a Steadicam® rig with a heavy zoom lens (14–15 lbs).FacebookThe Steadicam Group
  19. 2023Reducing weight of Sony Venice 2 rental power plate for Steadicam® work while maintaining accessory power distribution.FacebookThe Steadicam Group
  20. 2023Powering an ARRI ALEXA 35 on a Tiffen M1 rig with 24 V: dedicated cable versus battery eliminator trade-offs.DisputedFacebookThe Steadicam Group
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