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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
  21. 2023Minimizing ARRI ALEXA Mini LF total weight for Steadicam® operation by removing or relocating non-essential components.DisputedFacebookThe Steadicam Group
  22. 2023Camera plates required for Steadicam® Ultra 1 with ARRI ALEXA Mini, Mini LF, and ALEXA 35FacebookSteadicam operators group
  23. 2023Mounting a Steadicam® rig with large, heavy lenses: long camera plate configuration and lens support setup.FacebookSteadicam operators group
  24. 2023Mounting an ARRI ALEXA 35 with Zeiss Super Speed lenses on Steadicam® with minimal height: mattebox options and rod support alternatives.DisputedFacebookThe Steadicam Group
  25. 2023Powering an ARRI Alexa 35 from a Steadicam® PRO sled with CineLive electronics: 24 V battery configuration.FacebookThe Steadicam Group
  26. 2022Operating ARRI Trinity with Sony Venice: battery capacity, counterweight, and accessory choices.FacebookArri Artemis Trinity
  27. 2022Powering the ALEXA 35 on the Trinity 1 and mounting plate options at market launch.FacebookArri Artemis Trinity
  28. 202212G-SDI connector protection on the ARRI ALEXA 35 at the sled, and mounting the camera while ARRI plates are unavailable.DisputedFacebookThe Steadicam Group
  29. 2022Mounting the ARRI ALEXA 35 on Steadicam®: plate options and balance considerations.FacebookThe Steadicam Group
  30. 2022Powering the Arriflex S35 camera from a PRO Sled with 24V batteriesGeneral Discussion
  31. 2022Gimbal compatibility with Fujifilm X-T2 camera and lensDisputedGeneral Discussion
  32. 2022Upgrading legacy video equipment post with HD-compatible connectors and extended lengthGeneral Discussion
  33. 2022Mounting HDMI to SDI converters on camera rigsSteadi-Newbies
  34. 2021Stabilizer rig choice in the €3,000–6,000 range for ARRI ALEXA Mini with anamorphic lenses on larger productions after entry-level equipment.FacebookSteadicam operators group
  35. 2021Powering a Blackmagic URSA Mini Pro G2 from a Steadicam® Aero sled via D-Tap and feeding a focus system through a D-Tap splitter.FacebookSteadicam operators group
  36. 2021Rigging a RED Komodo on Steadicam®: weight distribution, arm setup, and rig choice for a compact, lightweight camera.DisputedFacebookSteadicam operators group
  37. 2021Flying a RED Komodo on a Steadicam® PRO II and ARRI Trinity: weight, balance, rigging and accessory mountingFacebookThe Steadicam Group
  38. 2021Sony Venice with fast fixed focal-length photo lens on live broadcast: focus depth and remote control trade-offs in unpredictable motionFacebookThe Steadicam Group
  39. 2021Flying an ARRI ALEXA 65 on Steadicam®: weight, power supply voltage and mounting plate optionsDisputedFacebookSteadicam operators group
  40. 2021Power connector compatibility: 8-pin Lemo 2B input on Panavision ALEXA Mini Power-Distro-Box and standard sled cable fit.FacebookThe Steadicam Group
  41. 2021Setup considerations for 35mm film cameras (Panavision, ARRI, Moviecam) on Steadicam® rigs.FacebookThe Steadicam Group
  42. 2021Mounting a Betz Wave on a Tiffen Archer 2: feasibility with small top stage and lightweight bottom stage.DisputedFacebookThe Steadicam Group
  43. 2021Baseplates for VCT and broadcast cameras on XCS Top Stage sledFacebookThe Steadicam Group
  44. 2021Maximum camera payload capacity for Steadicam Aero 15 arm with sledSteadi-Newbies
  45. 2021Calculating resolution after cropping anamorphic 4K footage to a specific aspect ratioGeneral Discussion
  46. 2020Camera plate options for steadicam builds with cinema camerasSteadi-Newbies
  47. 2020Differences between Archer 2 stabilizer models and suitability for various camera systemsGeneral Discussion
  48. 2020Stabilization tools for film production: MKV Omega-R and Letus Helix Pro comparisonSteadi-Newbies
  49. 2019Balancing an ARRI Artemis Trinity with ALEXA Mini and Cooke 65 mm Macro anamorphic lens using two focus motors.FacebookArri Artemis Trinity
  50. 2019Framing solutions for film cameras without built-in monitors when used on camera stabilizersSteadi-Newbies
  51. 2019Operating a Sony Venice camera on a Zephyr stabilizer rigSteadi-Newbies
  52. 2019Mounting options for ARRI Mini EVF positioning on camera handleGeneral Discussion
  53. 2019Bright daylight-visible monitors suitable for mounting on Archer 2 camera rigGeneral Discussion
  54. 2019Payload weight capacity specification for Zephyr stabilizerSteadi-Newbies
  55. 2019Mounting the Arri Amira camera on Steadicam rigsGeneral Discussion
  56. 2018Lightweight camera stabilizer rigs suitable for carrying multiple mounted accessoriesGeneral Discussion
  57. 2018Suitability of Archer 2 sled with G50-X arm for typical camera setups in professional workGeneral Discussion
  58. 2018Operating experience with Sony Venice camera on professional productionsCameras (Film/Video/HD)
  59. 2018HDMI recording limitations with DSLR camerasSteadi-Newbies
  60. 2018Steadicam Aero 15 capacity for Red Scarlet W camera systemSteadi-Newbies
  61. 2018Power and remote trigger connectors differ between Phantom camera modelsCameras (Film/Video/HD)
  62. 2018Power requirements and limitations for Alexa LF and Alexa SXT cinema cameras with accessoriesCameras (Film/Video/HD)
  63. 2017Selecting and setting up a camera for recording practice footage on a weight cageGeneral Discussion
  64. 2017Power requirements and mounting challenges when operating the Alexa 65 camera on a Steadicam rigCameras (Film/Video/HD)
  65. 2017Power connector compatibility between Red Epic with Helium sensor and other Red camera modelsCameras (Film/Video/HD)
  66. 2016C300 MK2 HD/SDI monitor output failure during high frame rate shooting in 2K modeDisputedCameras (Film/Video/HD)
  67. 2016Selecting appropriate steadicam equipment for heavy cinema camerasGeneral Discussion
  68. 2016Gimbal and steadicam compatibility with Blackmagic URSA Mini 4.6KGeneral Discussion
  69. 2016Patent protection of Steadicam-compatible bridge plates in cinema camerasDisputedCameras (Film/Video/HD)
  70. 2016F55 camera SDI REC flag output for triggering external recordersDisputedCameras (Film/Video/HD)
  71. 2016Display glitches and power delivery issues with Alexa Mini cameraDisputedCameras (Film/Video/HD)
  72. 2016Lytro light field camera assessment and market viability compared to established cinema camerasGeneral Discussion
  73. 2016Compatibility of Cinetronics monitor and power distribution with F55 cameraCameras (Film/Video/HD)
  74. 2016Power connector pinout information for the ARRI ALEXA Mini cameraCameras (Film/Video/HD)
  75. 2016Lens selection and focusing techniques for stabilized video of moving subjects with a Nikon D5200Steadi-Newbies
  76. 2016Selecting a steadicam system for cameras in the 8-10kg weight rangeGeneral Discussion
  77. 2016Compatibility and practical considerations for using a Steadicam Pilot with Sony FS700 and PMW F3 camerasSteadi-Newbies
  78. 2016Operating the Sony F55 camera on a Steadicam rigCameras (Film/Video/HD)
  79. 2015Practical differences between Sony FS5 and FS7 cameras for production useCameras (Film/Video/HD)
  80. 2015Powering cameras and accessories with a Pro CineLive battery rigSteadi-Newbies
  81. 2015Visual differences between Flyer and Flyer LE steadicam modelsSteadi-Newbies
  82. 2015Connecting a Panasonic GH4 camera to SD and HD Pilot steadicam monitors via HDMI conversionSteadi-Newbies
  83. 2015Power supply options and voltage behavior for Alexa camerasDisputedCameras (Film/Video/HD)
  84. 2015Using Hitachi DK-H100 camera on multi-camera shoot with Steadicam EFPCameras (Film/Video/HD)
  85. 2015Arri Alexa Mini camera specifications and practical deployment considerations for camera operatorsCameras (Film/Video/HD)
  86. 2015Operating an Arriflex 416 film camera on a Steadicam rig for the first timeCameras (Film/Video/HD)
  87. 2014Budget baseplate options compatible with Steadicam Archer dovetail plates for indie productionsDisputedSteadi-Newbies
  88. 2014Mounting and balancing an Arri AMIRA camera on a Steadicam PRO sledCameras (Film/Video/HD)
  89. 2014Flying an Amira camera on a Zephyr aerial platformGeneral Discussion
  90. 2014Compatibility of Steadicam Zephyr HD with Arri Alexa camerasGeneral Discussion
  91. 2014Sony F55 camera specifications and compatibility with wireless monitoring and control systemsDisputedCameras (Film/Video/HD)
  92. 2014Stabilizing an Aaton Penelope camera on steadicam while managing film weight distribution during a hiking shotCameras (Film/Video/HD)
  93. 2014Using GH4 camera with Pilot stabilizer monitor via composite video connectionSteadi-Newbies
  94. 2014Converting SDI output from BMC 4K camera to composite and HDMI signals for Steadicam Pilot monitoringSteadi-Newbies
  95. 2014Electronic roll and tilt stabilization added to steadicam via brushless gimbal headGeneral Discussion
  96. 2014RED Dragon camera operational issues and workarounds during production useCameras (Film/Video/HD)
  97. 2014Setting up tally light and zoom control systems for live steadicam workSteadi-Newbies
  98. 2014Dovetail plate compatibility between Zephyr and Ultra steadicam sleds for Alexa camera mountingGeneral Discussion
  99. 2014Operating the Phantom Flex 4K high-speed camera on a music video shoot with steadicamCameras (Film/Video/HD)
  100. 2014Power and control connectors for Amira camerasCameras (Film/Video/HD)
  101. 2014Choosing between Canon 7D and Canon XF300 for multi-hour Steadicam work at a fixed-location performance eventDisputedSteadi-Newbies
  102. 2014Flying a RED Epic camera on a gimbal rig with proper weight distribution and stabilizationDisputedCameras (Film/Video/HD)
  103. 2014Displaying video from F55 camera on external monitors when using PSF output formatCameras (Film/Video/HD)
  104. 2014Sourcing 3-pin to 6-pin LEMO power cables for RED Epic camerasCameras (Film/Video/HD)
  105. 2014Selecting a used steadicam rig suitable for both DSLR and broadcast camera workSteadi-Newbies
  106. 2014Power distribution issues when operating an Alexa camera on 24V mode with auxiliary devices on a cinema rigDisputedCameras (Film/Video/HD)
  107. 2014Feasibility of operating an Alexa XT camera on a Steadicam Zephyr rig in low modeGeneral Discussion
  108. 2014Monitor signal loss when using AJA10MD3 converter with Red Epic cameraGeneral Discussion
  109. 2014AJA Cion camera initial impressions and technical limitationsDisputedCameras (Film/Video/HD)
  110. 2014Managing barrel displacement and focus motor coverage when using Hawk C-Series anamorphic lensesCameras (Film/Video/HD)
  111. 2014Finding and installing a dovetail plate for an SK2 Steadicam rigSteadi-Newbies
  112. 2014Panavision camera 200-degree shutter mechanism and exposure compensationOff Topic
  113. 2014Comparing Steadicam Scout and Zephyr for use with Sony F5 and similar camerasGeneral Discussion
  114. 2014Choosing a Steadicam Pilot model for a Canon 7D DSLR and understanding battery compatibility optionsSteadi-Newbies
  115. 2014Latency issues when monitoring RED Epic footage in 5K and 4KGeneral Discussion
  116. 2013Movi motorized camera head capabilities and limitations compared to Steadicam for professional productionsDisputedGeneral Discussion
  117. 2013Power connector specifications and wiring for Sony F65 cameraCameras (Film/Video/HD)
  118. 2013Remote start/stop control options for Canon C500 cameraCameras (Film/Video/HD)
  119. 2013Image flipping capabilities of the F65 eyepieceCameras (Film/Video/HD)
  120. 2013Wireless camera systems used in live television productionGeneral Discussion
  121. 2013Performance characteristics and practical issues with Leica Summilux-C prime lensesGeneral Discussion
  122. 2013Arri Amira camera design features and market positioningCameras (Film/Video/HD)
  123. 2013Cinematography workflow and equipment practices on major film productionsDisputedJournals
  124. 2013Suitability of Glidecam HD2000 for stabilizing a Canon 5D3 with various lensesDisputedSteadi-Newbies
  125. 2013Using PL-mount lenses with long base on Canon EOS cameras via adaptersGeneral Discussion
  126. 2013Methods for transmitting tally signals to camera operators and monitorsGeneral Discussion
  127. 2013Weight capacity and stabilization performance of the Glide Gear DNA 1000 with a Canon 60DSteadi-Newbies
  128. 2013High-speed camera testing at 5000 frames per second with practical subject suggestions and lighting considerationsCameras (Film/Video/HD)
  129. 2013Equipment options for fast-moving dog POV shots in film productionGeneral Discussion
  130. 2013Connecting a Nikon D800 camera to a Pilot monitor using HDMI to RCA conversionGeneral Discussion
  131. 2013Integrating wireless HDMI video transmission with SD camera slider monitoring using DSLR camerasDisputedSteadi-Newbies
  132. 2013Micro gimbal stabilizer for GoPro cameras using 3D printing technologyGeneral Discussion
  133. 2013GoPro camera capabilities, limitations, and practical solutions for extended useCameras (Film/Video/HD)
  134. 2013Using a Red Epic camera on a Steadicam Flyer stabilizerGeneral Discussion
  135. 2013Setting up onboard monitoring and HD output on Canon 5D Mark III for aerial camera workCameras (Film/Video/HD)
  136. 2013Motorized handheld camera stabilization system capabilities and practical limitationsDisputedGeneral Discussion
  137. 2013Balancing a Steadicam Pilot with Sony PMW EX1 cameraSteadi-Newbies
  138. 2013Mounting a cinema camera on its side on a steadicam rigCameras (Film/Video/HD)
  139. 2013Film scratch and jamming issues when operating cinema cameras in inverted positionDisputedCameras (Film/Video/HD)
  140. 2013Camera options for aerial broadcast on tethered aircraft with 6lb weight limitCameras (Film/Video/HD)
  141. 2013Sony F5 and F55 camera specifications and mounting considerations for steadicam operationCameras (Film/Video/HD)
  142. 2013Resolution capabilities of cinema distribution and human perception limitsOff Topic
  143. 2013Choosing between Glidecam X-10 vest system and Steadicam Pilot for DSLR work, with considerations for heavier cameras like Red Epic and ScarletSteadi-Newbies
  144. 2013Choosing between USB 3.0 and Thunderbolt RAID storage for video editing on a MacBook ProOff Topic
  145. 2013Choosing an appropriate Steadicam rig for professional workSteadi-Newbies
  146. 2012Mounting Hawk anamorphic lenses on Alexa cameras for Steadicam useCameras (Film/Video/HD)
  147. 2012Preparing to operate a Panavision Millennium XL2 35mm film camera for the first time after working exclusively with digital HDCameras (Film/Video/HD)
  148. 2012Compatibility of Super 16mm PL lenses with Sony F5 at 2K resolutionCameras (Film/Video/HD)
  149. 2012Connecting Panasonic AG-HPX250P and Sony FS700 cameras with SDI output to standard definition monitors on stabilizer sledsSteadi-Newbies
  150. 2012Remote wireless camera-mounted lighting systems for television productionGeneral Discussion
  151. 2012Operating the Sony F65 camera on steadicam, handheld, and conventional rigsCameras (Film/Video/HD)
  152. 2012Incorrect camera mounting screw on Steadicam MerlinSteadi-Newbies
  153. 2012Canon 5D Mark II HDMI signal loss when recording and workarounds for external monitoringCameras (Film/Video/HD)
  154. 2012Power supply options for Alexa camera on Steadicam rig during a single long-take shootDisputedCameras (Film/Video/HD)
  155. 2012Zoom gear pitch specification for Angenieux DP Rouge 30-80mm lensCameras (Film/Video/HD)
  156. 2012Identifying Flyer crane models and their distinguishing featuresGeneral Discussion
  157. 2012Building a versatile DSLR camera system suitable for stabilizer mounting and quick conversion to handheld or tripod useCameras (Film/Video/HD)
  158. 2012Compatibility and differences between standard and steadicam-specific film magazines for the Arri 435ESCameras (Film/Video/HD)
  159. 2012Lens selection for beginner Steadicam operators using DSLR camerasSteadi-Newbies
  160. 2012Steadicam rigging techniques for the RED Epic cameraCameras (Film/Video/HD)
  161. 2012Using a Steadicam EFP rig for television work and compatibility with modern cinema camerasSteadi-Newbies
  162. 2012Compatibility of Decimator 1 with RED EPIC cameraCameras (Film/Video/HD)
  163. 2012Power cable compatibility between RED ONE and RED Epic camerasCameras (Film/Video/HD)
  164. 2012Remote start/stop control options for Canon C300 cameraCameras (Film/Video/HD)
  165. 2012Vibration and jutter artifacts appearing when flying a Red Scarlet camera on a Zephyr SteadicamDisputedCameras (Film/Video/HD)
  166. 2012Blackmagic Cinema Camera specifications and early impressions from 2012 announcementCameras (Film/Video/HD)
  167. 2012Alexa camera firmware updates for image flipping capability and new anamorphic lens developmentDisputedCameras (Film/Video/HD)
  168. 2012Converting HDMI output from DSLRs to composite/analogue video for use with existing analogue monitors on Steadicam rigsSteadi-Newbies
  169. 2012Mounting the Sony F3 with Alura 18-80 zoom lens on a Polaris vehicle for rough terrain shootingCameras (Film/Video/HD)
  170. 2012Wireless connectivity requirements for ALEXA M camera in 3D production workflowsGeneral Discussion
  171. 2012Steadicam equipment and setups used during Super Bowl broadcast coverageJournals
  172. 2012Production specifications and camera workflow for a television sketch comedy series pilot and seasonJournals
  173. 2011Sony F65 camera operational characteristics, power requirements, and field deployment concernsDisputedCameras (Film/Video/HD)
  174. 2011Compatibility of RED One MX camera with Zephyr Steadicam sledSteadi-Newbies
  175. 2011Sony F3 simultaneous HD-SDI and SD output capabilities and limitationsDisputedCameras (Film/Video/HD)
  176. 2011Flying the RED EPIC camera with anamorphic lenses on a camera sledCameras (Film/Video/HD)
  177. 2011Troubleshooting Zephyr monitor connection and configuring the rig for 35mm film camerasGeneral Discussion
  178. 2011Low-mode mounting solutions for a professional video cameraCameras (Film/Video/HD)
  179. 2011Function and practical utility of the parallel/series power switch on steadicam rigsGeneral Discussion
  180. 2011Connecting Canon 7D video output to Scout monitor via BNCSteadi-Newbies
  181. 2011Remote start/stop cable compatibility between Preston controllers and RED Epic camerasCameras (Film/Video/HD)
  182. 2011Lightweight wireless HD camera system suitable for steadicam useGeneral Discussion
  183. 2011Production approaches and equipment choices for Walmart Soundcheck concert video seriesJournals
  184. 2011Compatibility between RED EPIC-M camera and IDX Camwave wireless video transmitterDisputedGeneral Discussion
  185. 2011Finding a non-extending zoom lens for Steadicam work with the NEX-FS100Cameras (Film/Video/HD)
  186. 2011Matching camera equipment cost to stabilizer rig cost as a selection guidelineDisputedSteadi-Newbies
  187. 2011Using DSLR stabilizers with non-DSLR cameras and understanding price differencesSteadi-Newbies
  188. 2011Using servo-controlled zoom and focus on Canon DSLRs for live video workCameras (Film/Video/HD)
  189. 2011Capturing HD footage from a DVR to a MacBook ProOff Topic
  190. 2011Sony F3 camera output compatibility with SD monitors and practical experience with the cameraCameras (Film/Video/HD)
  191. 2011Red Epic power connector specifications and compatibility with Steadicam cablesGeneral Discussion
  192. 2011Using tethered broadcast cameras for live concert shootingCameras (Film/Video/HD)
  193. 2011Selecting between Steadicam Zephyr and Flyer systems for studio use with larger broadcast camerasSteadi-Newbies
  194. 2011Remote start triggering for SL-35 film camera using external handsetCameras (Film/Video/HD)
  195. 2011Connecting Canon 5D video output to Steadicam Scout monitorSteadi-Newbies
  196. 2011Steadicam operation and camera setup for music performance recording at Walmart SoundcheckJournals
  197. 2011Sony F3 camera performance in production work and steadicam useCameras (Film/Video/HD)
  198. 2011Sony F65 4K camera development status and recording system specifications in 2011Cameras (Film/Video/HD)
  199. 2011Camera equipment used in television drama productionGeneral Discussion
  200. 2011Compatibility of Glidecam 4000 steadicam with Sony F900 broadcast cameraSteadi-Newbies
  201. 2011Single-camera 3D stereoscopic filming using a Phantom 65 with Russian dual-image lensesGeneral Discussion
  202. 2011Remote start/stop control options for Sony F3 cameraCameras (Film/Video/HD)
  203. 2011Mounting and balancing the Codex Onboard recorder with Alexa cameras on steadicam rigsCameras (Film/Video/HD)
  204. 2011RED ONE 12V auxiliary power ports insufficient voltage and current capacityCameras (Film/Video/HD)
  205. 2011Connecting external start/stop control to a RED cameraCameras (Film/Video/HD)
  206. 2011Thunderbolt technology capabilities and limitations for video production cable applicationsCameras (Film/Video/HD)
  207. 2011Comparison between original Flyer and Flyer LE stabilizers for different camera weightsSteadi-Newbies
  208. 2011Initial experience and technical specifications of the Panasonic AG-AF100 cameraCameras (Film/Video/HD)
  209. 2010Mounting cameras in portrait orientation on steadicam rigsGeneral Discussion
  210. 2010Trends in camera stabilization rig size as lighter professional cameras become viableGeneral Discussion
  211. 2010Connecting Canon 5D HDMI output to external monitors for video productionCameras (Film/Video/HD)
  212. 2010Sourcing tally lights and fiber-optic jumpers for Steadicam camera operationSteadi-Newbies
  213. 2010Video playback smoothness issues with Canon 5D Mark II progressive mode recordingGeneral Discussion
  214. 2010Steadicam operating techniques and workflow for a music video shot with Canon 5DJournals
  215. 2010Alexa camera eyepiece diopter adjustment looseness causing focus problemsCameras (Film/Video/HD)
  216. 2010Power and control cable compatibility for Arri Alexa cameras on Steadicam rigsCameras (Film/Video/HD)
  217. 2010Weight and configuration of Sony F35 cameras on Steadicam rigsCameras (Film/Video/HD)
  218. 2010Identifying an unmarked shoulder mount stabilizer and diagnosing balance issues with a Panasonic P2 camera.Steadi-Newbies
  219. 2010Using tally output connectors from broadcast cameras to trigger external tally indicatorsCameras (Film/Video/HD)
  220. 2010Choosing between Steadicam Pilot and Flyer rigs for a Canon 7D with multiple wireless accessoriesSteadi-Newbies
  221. 2010Pin polarity of Arri BAT connector for powering Alexa camerasCameras (Film/Video/HD)
  222. 2010Flying a Phantom HD camera on a cinema rigCameras (Film/Video/HD)
  223. 2010Preparing a Canon 7D camera for aerial filming operationsCameras (Film/Video/HD)
  224. 2010Arri Alexa power supply voltage display and external sled power compatibilityCameras (Film/Video/HD)
  225. 2010Connecting Canon 5D and 7D cameras to Steadicam Pilot monitors via composite video cablesSteadi-Newbies
  226. 2010Getting HD-SDI monitors working with the Alexa camera for video assistGeneral Discussion
  227. 2010Accidental reflections of steadicam operators becoming visible in shotGeneral Discussion
  228. 2010Arricam LT HD video tap system with IDX HD transmitter setup and operational considerationsDisputedCameras (Film/Video/HD)
  229. 2010Magazine jamming issues with Arricam LT 2 Perf cameras during productionDisputedCameras (Film/Video/HD)
  230. 2010Using a Black Bird stabilizer with a Merlin vest to carry a DSLR camera with telephoto lens and monitorSteadi-Newbies
  231. 2010Comparison of Steadicam Flyer/Zephyr versus Glidecam X-22 for educational use with various camera weightsSteadi-Newbies
  232. 2010Mounting a Canon 7D DSLR camera with wide-angle lenses on a Steadicam PilotSteadi-Newbies
  233. 2010Sony HDC-1500 HD camera setup for television production with SteadicamCameras (Film/Video/HD)
  234. 2010Weight and portability of the Arri Lite LT camera for handheld jungle shootingCameras (Film/Video/HD)
  235. 2010Mounting and configuration options for Arri 416 Plus camera on SteadicamCameras (Film/Video/HD)
  236. 2010Necessity and configuration of a low-mode bracket for an SR3 camera with IVSCameras (Film/Video/HD)
  237. 2010Balancing a JVC GYHM-700 camera on a Steadicam Pilot rigCameras (Film/Video/HD)
  238. 2010Weight distribution strategies for Canon 7D mounted on Steadicam PilotCameras (Film/Video/HD)
  239. 2010Powering external devices from RED camera systemsGeneral Discussion
  240. 2010Mounting the EX3 camera to a Flyer LE Steadicam sledgeCameras (Film/Video/HD)
  241. 2010On-camera lighting options for Steadicam work and narrative film productionCameras (Film/Video/HD)
  242. 2010Flying RED One cameras on Steadicam rigs and weight management strategiesSteadi-Newbies
  243. 2010Steadicam operating challenges comparing film versus digital camera systems on large-scale productionGeneral Discussion
  244. 2010Preparing for first 3D camera work with a beam splitter rig on SteadicamCameras (Film/Video/HD)
  245. 2010P+S Technik Freestyle Rig 3D for stereoscopic camera workCameras (Film/Video/HD)
  246. 2010Balancing a Canon 7D with Sigma 10-20mm lens on a Merlin gimbal mounted on a tripod docking stationCameras (Film/Video/HD)
  247. 2010Power delivery challenges when operating Sony F35 camera on MK-V Steadicam rigsCameras (Film/Video/HD)
  248. 2010Choosing between Flyer and Archer 2 steadicam rigs for XDCAM and 5D camera workDisputedSteadi-Newbies
  249. 2010Using two Steadicam rigs simultaneously on a music video shootJournals
  250. 2010Rolling shutter distortion in Canon 5D and 7D video recording during camera movementGeneral Discussion
  251. 2010Using high-speed video cameras at 900 fps on Steadicam rigsCameras (Film/Video/HD)
  252. 2010Connecting a Sony EX1 camera to an external monitor via SDI outputSteadi-Newbies
  253. 2010Operating an Arri SR2 film camera on steadicamCameras (Film/Video/HD)
  254. 2010Steadicam Mini weight capacity and arm balance adjustment for camera with wide-angle adapterSteadi-Newbies
  255. 2010Aaton Penelope-D digital 35mm hybrid camera specifications and field experienceCameras (Film/Video/HD)
  256. 2010Flying a RED camera on a Flyer LE gimbal while staying within weight limitsSteadi-Newbies
  257. 2010Stabilizing the Laigle Titan gimbal with a Sony PMW EX1R cameraSteadi-Newbies
  258. 2010Flying a Panavision Platinum camera on a Steadicam rigCameras (Film/Video/HD)
  259. 2010Feasibility and practical experience of flying stereoscopic 3D camera rigs on Steadicam equipmentCameras (Film/Video/HD)
  260. 2010Stabilization systems for the Canon 7D in entry-level filmmakingDisputedSteadi-Newbies
  261. 2010Connectivity and power supply challenges when transitioning to Canon EOS 7D for film productionCameras (Film/Video/HD)
  262. 2010Nikon D5000 compatibility with Steadicam Pilot LCD monitoring and video performance limitationsCameras (Film/Video/HD)
  263. 2010Balancing a Steadicam Merlin with a Sony HDR-SR1 camcorder to eliminate pendulum motionSteadi-Newbies
  264. 2010Powering a Sony EX3 camera from a Flyer stabilizer rig's batteriesCameras (Film/Video/HD)
  265. 2009Rigging and stabilization techniques for Canon 7D video camera workCameras (Film/Video/HD)
  266. 2009Slide plate orientation for dual-camera stereo rig on SteadicamSteadi-Newbies
  267. 2009Compatibility issues when using H.264 video files with Flash and different editing softwareOff Topic
  268. 2009Panavision 16mm Elaine camera specifications and operational characteristicsCameras (Film/Video/HD)
  269. 2009Flying a Panasonic VariCam on a Flyer stabilizer rigCameras (Film/Video/HD)
  270. 2009F35 camera downconverter and auxiliary power outputsCameras (Film/Video/HD)
  271. 2009Flying RED cameras on EFP stabilizers with weight management strategiesGeneral Discussion
  272. 2009Building a 3D stereoscopic camera rig based on the Merlin stabilizerSteadi-Newbies
  273. 2009Running SR2 camera from steadicam rig power instead of on-board batteriesDisputedCameras (Film/Video/HD)
  274. 2009Weight of a Panavision Gold camera configured for Steadicam useCameras (Film/Video/HD)
  275. 2009Using Canon 1D Mark IV still camera for video work with professional monitoring and focus pulling solutionsGeneral Discussion
  276. 2009Selecting an appropriate Steadicam rig for stepping up from a Glidecam system to handle professional feature film work with heavier cameras like the RED.Steadi-Newbies
  277. 2009Steadicam rigging and preparation for operating with a BL4S film cameraDisputedCameras (Film/Video/HD)
  278. 2009Follow focus gear compatibility and mounting setup for JVC GY-HD200U cameraCameras (Film/Video/HD)
  279. 2009Wireless microphone and camera setup for a Taylor Swift live performance recorded on a subway trainGeneral Discussion
  280. 2009Power connectors and cable requirements for Panavised and stock Sony F35 cameras on Steadicam rigsDisputedCameras (Film/Video/HD)
  281. 2009Using a Steadicam rig with a Canon 1D Mark III for still photography with strobesGeneral Discussion
  282. 2009Whether the F900R camera with downconverter board can output NTSC standard video when used in the UK with NTSC-only receiversDisputedCameras (Film/Video/HD)
  283. 2009Arri HD camera line introduction with built-in recording capabilityCameras (Film/Video/HD)
  284. 2009SSR-1 NTSC output signal quality issues when used with Genesis in Panalog modeCameras (Film/Video/HD)
  285. 2009Power consumption comparison of portable flash-based HD recorders for professional camerasCameras (Film/Video/HD)
  286. 2009Managing weight limitations on a Flyer LE steadicam with a heavy cameraSteadi-Newbies
  287. 2009Equipment for controlling zoom on HD broadcast cameras during live aerial shootsCameras (Film/Video/HD)
  288. 2009Remote start/stop control cables for RED ONE and SONY EX3 camerasCameras (Film/Video/HD)
  289. 2009Follow focus solutions for cameras without mechanical lens teethCameras (Film/Video/HD)
  290. 2009Sony Z1U HD camera output options to SD monitoringCameras (Film/Video/HD)
  291. 2009Flying Sony EX-3 with cinema adapters and remote control challengesCameras (Film/Video/HD)
  292. 2009S.Two OB-1 on-board flash recorder for digital cinema camerasCameras (Film/Video/HD)
  293. 2009Setting up a Canon 5D Mark II for use on a Flyer camera stabilizer with follow focus and monitoringSteadi-Newbies
  294. 2009Using Canon 5D Mark II on Steadicam rigs for professional video productionCameras (Film/Video/HD)
  295. 2009Varricam 3700 camera setup and operational considerations for steadicam workCameras (Film/Video/HD)
  296. 2009Flying a Viper camera on a crane or remote rigCameras (Film/Video/HD)
  297. 2009Canon 5D and Red cameras as production tools for music video and film work in 2009Cameras (Film/Video/HD)
  298. 2009Video cable connections for RED One cameraGeneral Discussion
  299. 2009Cinematography techniques and equipment configuration for a feature film shot with Canon 5D Mark II in KenyaJournals
  300. 2009Motion blur photography techniques on film and video setsPicture and History Archives
  301. 2009Achieving dynamic balance on a camera support sled with lightweight camera bodiesCameras (Film/Video/HD)
  302. 2009Using perspective correction lenses on video cameras for architectural and full-length subject framingDisputedCameras (Film/Video/HD)
  303. 2009Composite video output configuration on Sony EX1 cameraCameras (Film/Video/HD)
  304. 2009Sony EX series cameras produce image jitter when mounted on Steadicam rigs due to insufficient contact between camera base and mounting plateCameras (Film/Video/HD)
  305. 2009Using Panavision anamorphic lenses on digital cinema camerasCameras (Film/Video/HD)
  306. 2009Using Canon 5D Mark II as a video camera on professional productions with Steadicam and other rigsCameras (Film/Video/HD)
  307. 2009Weight considerations and payload limits when mounting RED cameras on aerial stabilization systemsCameras (Film/Video/HD)
  308. 2009Sony SRW-9000 camcorder specifications, design, and field performanceCameras (Film/Video/HD)
  309. 2009Configuring a lightweight RED camera rig for extended concert filming on a SteadicamCameras (Film/Video/HD)
  310. 2009High-definition video assist for film cameras and practical implications for production workflowsDisputedCameras (Film/Video/HD)
  311. 2009Adapting Panavision Lightweight camera mount to standard 3/8 inch tripod screwsCameras (Film/Video/HD)
  312. 2009Panavision SSR-1 recording deck specifications and comparison of Genesis and F35 camerasDisputedCameras (Film/Video/HD)
  313. 2009Upgrading a Steadicam Pilot to handle heavier cameras with lens adaptersSteadi-Newbies
  314. 2009Mounting an Arriflex 16mm BL camera on a Steadicam rig and solving related technical challengesCameras (Film/Video/HD)
  315. 2009Zoom control options for Sony EX3 camera with external controllersCameras (Film/Video/HD)
  316. 2009Mounting camera and stabilizer rig in low mode without dedicated low mode bracketCameras (Film/Video/HD)
  317. 2009Lighting equipment selection for high-speed video recording at frame rates from 500 to 10000 fpsCameras (Film/Video/HD)
  318. 2009Practical experience using the Silicon Imaging SI-2K camera on steadicam rigsDisputedCameras (Film/Video/HD)
  319. 2009Genesis camera integration with Steadicam: power, cabling, mounting, and recording optionsCameras (Film/Video/HD)
  320. 2009Connecting Sony FX1 camera to Steadicam Pilot stabilizer and powering setupSteadi-Newbies
  321. 2009Fiber optic jumper cable specifications and sourcing for Sony HDC1500 camera use with steadicamCameras (Film/Video/HD)
  322. 2009Evolution of Steadicam operator equipment responsibilities and industry standardsCameras (Film/Video/HD)
  323. 2009Using Canon EOS 5D Mark II as a video camera for film productionCameras (Film/Video/HD)
  324. 2009Sourcing fiber optic jumper cables for the Sony HDC1500 cameraCameras (Film/Video/HD)
  325. 2009Choosing a Steadicam model for the Sony EX-1 camera and handling video outputSteadi-Newbies
  326. 2009Compatibility of Sony HVR Z1 camera with Steadicam Pilot stabilizer systemCameras (Film/Video/HD)
  327. 2009Power socket pinout specifications for RED cameraCameras (Film/Video/HD)
  328. 2009Downconversion capability of the Panasonic HDX900 cameraCameras (Film/Video/HD)
  329. 2009Cable and fiber optic connectivity options for the Arri D-21 camera in remote operation setupsCameras (Film/Video/HD)
  330. 2009Lightweight Steadicam rigs for running shots with modern HD camerasGeneral Discussion
  331. 2008Sony F35 camera performance and handling for Steadicam and handheld useCameras (Film/Video/HD)
  332. 2008Using ARRIFLEX 35-III camera on Steadicam EFP rig with power and mounting considerationsCameras (Film/Video/HD)
  333. 2008Mounting a RED camera on a GPI PRO rig and baseplate stability issuesCameras (Film/Video/HD)
  334. 2008Using the Arri D-21 camera on steadicam rigs and with recording systemsCameras (Film/Video/HD)
  335. 2008Recording start/stop controller options for Panasonic HPX500 camera with manual cinema lensesCameras (Film/Video/HD)
  336. 2008Connecting a Sony PMW-EX1 camera to a Steadicam Pilot monitor via video outputSteadi-Newbies
  337. 2008Connecting HD cameras to standard definition stabilizer sledsSteadi-Newbies
  338. 2008Operating a RED camera on a V-25 steadicam armCameras (Film/Video/HD)
  339. 2008Using the Steadicam Pilot with a Canon HV20 camera and considerations for adding accessoriesSteadi-Newbies
  340. 2008Image inversion options on a 235 camera systemCameras (Film/Video/HD)
  341. 2008Setup and power requirements for the Arri SR2 camera in aerial filmingDisputedCameras (Film/Video/HD)
  342. 2008Managing multicamera cable connections on the Panasonic HPX2000 camera rigCameras (Film/Video/HD)
  343. 2008Understanding payload weight ratings and arm capacity for stabilizing rigsSteadi-Newbies
  344. 2008Interference between Thompson HD wireless camera and Bartech wireless focus system on MK-V stabilized rigDisputedCameras (Film/Video/HD)
  345. 2008RED camera setup considerations for Steadicam and commercial workCameras (Film/Video/HD)
  346. 2008Steadicam rig selection and configuration for RED One cameraSteadi-Newbies
  347. 2008Removing the handle from a Sony HDW790P cameraCameras (Film/Video/HD)
  348. 2008Letus Extreme 35mm adapter performance and limitationsCameras (Film/Video/HD)
  349. 2008Carrying capacity and suitability of Clipper Steadicam rigs for RED One camera packagesCameras (Film/Video/HD)
  350. 2008Choosing between Steadicam Pilot and Flyer rigs for different shooting scenariosDisputedSteadi-Newbies
  351. 2008RED Drive RAID compatibility issues with gyroscopic stabilization systems on camera rigsCameras (Film/Video/HD)
  352. 2008Operating the RED One camera on film productions with Steadicam and as handheld cameraDisputedCameras (Film/Video/HD)
  353. 2008RED camera power supply failures caused by V-Mount battery connection issues and cable voltage dropCameras (Film/Video/HD)
  354. 2008Sony HVR-Z7U camera features, capabilities, and workflow comparison with other HDV modelsCameras (Film/Video/HD)
  355. 2008Weight limits for F900 camera setup on Archer steadicam sled with G-50 gimbalCameras (Film/Video/HD)
  356. 2008Monitoring options when Sony EX1 camera outputs HD-SDI signal that disables other video outputsSteadi-Newbies
  357. 2008Finding replacement lens support rings and rods for older Cooke PL mount zoom lensesCameras (Film/Video/HD)
  358. 2008Power cable and control connector specifications for Panavision Millennium XL cameraCameras (Film/Video/HD)
  359. 2008Operational differences between Arri SR1 and SR3 film cameras, with practical guidance for field useCameras (Film/Video/HD)
  360. 2008Panasonic HPX3000 camera setup, power consumption, and output capabilities for professional productionsCameras (Film/Video/HD)
  361. 2008Panavision F23 camera setup for handheld and Steadicam work with two-piece recording configurationCameras (Film/Video/HD)
  362. 2008SD output capability while recording in HDV on JVC GY-HD111E cameraCameras (Film/Video/HD)
  363. 2008Choosing a used Steadicam rig for returning operators with budget constraintsSteadi-Newbies
  364. 2008Operating a 535B camera on a Steadicam 3A armCameras (Film/Video/HD)
  365. 2008Steadicam operator experience with Panavision G2 conversion kit suitability and rental house communication issuesDisputedCameras (Film/Video/HD)
  366. 2008Multiple cameras mounted on a single steadicam for specialized shooting purposesCameras (Film/Video/HD)
  367. 2008Feasibility of operating a Moviecam SL camera on a Glidecam V25 rigSteadi-Newbies
  368. 2008Practical challenges of using early HD and digital cameras on steadicam work compared to film camerasCameras (Film/Video/HD)
  369. 2008Stability issues with RED camera standard plate and practical solutionsCameras (Film/Video/HD)
  370. 2008Fiber optic cable adapters for camera connectionsCameras (Film/Video/HD)
  371. 2008Compatibility and operational considerations for mounting a BL 2 film camera on a stabilized rig systemDisputedCameras (Film/Video/HD)
  372. 2008Image flipping capability and low-mode operation on the Varicam cameraCameras (Film/Video/HD)
  373. 2008Monitoring RED One camera output on Steadicam rigs using SDI conversionCameras (Film/Video/HD)
  374. 2008Operational guidance for flying an ARRI SR3 camera on a stabilized rigCameras (Film/Video/HD)
  375. 2008Steadicam rigging experience with RED cinema camera in 2008Cameras (Film/Video/HD)
  376. 2008Selling or donating a Canon XL-1 camera in 2008Cameras (Film/Video/HD)
  377. 2008Steadicam options for the Canon XL H1 camera with budget constraintsSteadi-Newbies
  378. 2008Practical experience using the ARRI D-20 and D-21 cameras on Steadicam rigsCameras (Film/Video/HD)
  379. 2007Comparison of HVX and Sony EX1 cameras for professional video productionCameras (Film/Video/HD)
  380. 2007Stereoscopic 3D camera systems and shooting techniques for 3D video productionCameras (Film/Video/HD)
  381. 2007Practical comparison of shooting 16mm film versus HD cameras on professional Steadicam workDisputedCameras (Film/Video/HD)
  382. 2007High-speed cameras capable of 1000fps and above for film and video productionDisputedCameras (Film/Video/HD)
  383. 2007Panavision SSR-1 solid state recorder performance and specifications on Genesis cameraCameras (Film/Video/HD)
  384. 2007Using RED cameras with AR (aerial rig) stabilizers and monitoring setupCameras (Film/Video/HD)
  385. 2007Selecting a stabilization vest system for wedding and event videography with Sony camerasSteadi-Newbies
  386. 2007Mounting and operating the Aaton XTRprod camera on a Steadicam rigCameras (Film/Video/HD)
  387. 200735mm sync sound film cameras for steadicam work with limited budgetCameras (Film/Video/HD)
  388. 2007Kinor 35h Russian film camera weight and suitability for handheld steadicam operationCameras (Film/Video/HD)
  389. 2007Selecting a video camera for handheld Merlin stabilizer useCameras (Film/Video/HD)
  390. 2007Camera equipment thermal shutdown in extreme heat conditions and preventive measuresGeneral Discussion
  391. 2007Operating a Panasonic HDX900 camera on a 12V Flyer steadicam rigSteadi-Newbies
  392. 2007Workflow solutions for tethered Silicon Imaging SI-2K MINI camera operation with SteadicamCameras (Film/Video/HD)
  393. 2007Mounting a Canon XL2 camera on a Steadicam Flyer without fishtailingSteadi-Newbies
  394. 2007Practical experience with Sony F23 camera on Steadicam rigsCameras (Film/Video/HD)
  395. 2007Operating a Steadicam with Sony F900 camera and P&S Tech Pro 35 adapter setupCameras (Film/Video/HD)
  396. 2007Maximum payload capacity and balancing of the Steadicam Flyer stabilizerSteadi-Newbies
  397. 2007Power supply options for Arri 435 camera and compatibility with different battery systemsCameras (Film/Video/HD)
  398. 2007Power requirements and practical considerations for using a Sony F900 cinema camera on a Steadicam rig with Pro35 lens adapterCameras (Film/Video/HD)
  399. 2007LDK 6000 HD camera weight specifications and suitability for broadcast sports productionCameras (Film/Video/HD)
  400. 2007Safety considerations when inverting film cameras for low-angle shotsCameras (Film/Video/HD)
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