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Hello everyone! I’m not at the place of operating full time (still dolly gripping for larger shows) but I’ve had the pleasure of getting 4 features and 1 TV show under my belt as B cam/ steadicam. I’m starting to feel more confident with my abilities as an operator to achieve the shot and the role as an operator but now I want to take my shots from good to great. There’s this sorta float I see some of you achieve that I can’t put my finger on why or how it makes it more attractive and pleasurable to watch. It’s a touch and feel I can’t explain. Talking to some directors they’ve told my stories of going with operators that make the camera have an elegance. I wanted to see if anyone could touch on this and ways they’ve trained that part of their operating. Timing? Feel? Experience? Just looking for discussion. 🙂 Also, any words of advice for conventional operating. I struggle with feeling like I want to give life to the frame, micro pans for eye line shifts, floating on sticks, etc. Is this normal or doing too much and if so where is the line drawn. If anyone would like to touch on that it would be great. Thank you for your time reading this. Happy flying.

A few little notes here, and I won't try to be too proscriptive, since everyone is going to have their own unique perspectives here on this, but just to give you another perspective and opinion. I have grown to believe that less is more when it comes to operating. I believe that for my work to be the best it can be, it should completely and utterly disappear to the viewer. Larry McConkey terms it being a chauffeur for the viewer's eyeballs. Most of the time, you want the ride to be smooth. You want to point out the sights and scenes outside the windows, but you don't usually want the people in the back jostled around, unless there's a good reason for it. Usually, the more you're doing during a shot - little micro adjustments of headroom or look room - the more you're drawing attention to the camera. So I try to be decisive with when I do move the camera or change my frame. When an actor makes a significant move, or when someone looks up from something in their lap to the person across from them, or to accentuate some shift in power or tone in a scene. But the commonality between these is that I'm not doing it based on vibes, or based on trying to keep the frame "alive" or "cool". I'm doing it based upon when I want the viewers to feel something, or when the story needs it. A still frame allows the viewer to focus on what's going on in the frame, rather than feeling the movement I'm adding. I also believe firmly that the time for me to figure out little tweaks and decisive movements is not during the shot, but before the shot. I think you should have a clear idea of every beat of the shot before you ever roll the camera, and you should be able to see the frames you want in your head. That way, when an actor starts moving, you can just bring the camera elegantly to the next place it needs to be, and deliver the next frame, without the camera having any hesitancy or feeling like it's "hunting". Once you start rolling the camera, your job is to execute the perfect shot every take, or as close as your human self can get to that, so that you are not a variable - the performance is variable, the actors hitting their marks are variable, the line reads (and whether the actors are off book) is variable, but you shouldn't be. Yes, if the actor begins changing their performance, you may have to react, and as takes go on and you get notes from directors and DPs, you may adjust, but my ideal is to set up a shot and plan it through so well that my job is just to execute. Also, slightly controversially, I believe in not getting too caught up in "watching the movie" when I am actually shooting. When I am building the shot, I try to see the movie and imagine it on the end result screen (you shoot commercials for display on phones very differently than a theatrical film, for instance!), but when I am doing the shot, I try to actually focus on the technical aspects - watch the headroom, listen for cue lines, look at the eyes and figure out where they're looking or what tells their body gives me for when they'll be moving or changing performance. If I get too into watching the movie, I begin to resonate emotionally with the performance, and I'm no longer as sharp or precise. Again, these are just a few ideas from a slightly different perspective. There is no right or wrong, and from job to job we all adjust and change. But hopefully as you develop more in your career as an operator, you will begin to develop your own philosophies and style, and that can hopefully become something you will be recognized for. Best of luck!

Good on you for working on yourself! I think all of us still lurking on this forum are always trying to get better, keep learning and find old wisdom in remote corners of the forum. Or just trying to sell old gear and buy cheap gear off of legendary operators. My advice might be a little esoteric, but here it goes… I always try to watch the movie that I’m shooting as I’m shooting it. That movie you are watching informs what you, the operator, should be doing. In my opinion the only way to learn this is to watch a lot of movies. And have a good think about the operating. What it is that you like in a certain film and what it is that bothers you in another. Then when you frame up a shot on a job, you ask yourself what’s this movie we’re shooting? What’s the story we’re telling? How would I like to shoot it? (The director and the DP help with that obviously) And then you forget about all the techniques, and comfort and the way things should be… and you watch the movie and your eyes move around the frame and you follow the actor’s emotions and micro adjust your frame when the movie feels like it needs it. I always feel like the best shots are the ones that feel natural, like all of the techniques disappeared and the shot naturally happened and made sense. Dave Chameides always quotes Bob Crone : ‘The irony of what we do is if we have done it well, no one will know we did anything at all.’ Because it feels natural, it feels like the story was always supposed to be told that way. And in a way to you the operator it felt simple, even if you were standing on precarious ground in low mode and you legs were shaking in the long lock off at the end of the 4 minute take. If you think about timing, you’ll most likely be late… if you think about feel, you’re not feeling, you’re thinking about it… if you want more experience you can only get that by being on set and operating. In a way, the technical abilities are what make you a good operator, what makes you a great operator is really who you decide to be as a storyteller. That being said, learn all the tools, what they’re good for, how you like to set them up, use all the tools, go to the rental house and try new stuff, be healthy, sleep well, be flexible, watch a lot of movies, study what you love, take photos, shoot movies, read everything on theop.io, be on time, be humble, watch everything on the new ‘blocking’ page on theop.io again, spend time in the rig, be inspired. That little something you can’t put you’re finger on is that same little something that makes skateboarders cool, same little thing that made you have a massive crush on the cool Prop master on that indie film you were doing a couple years back. That same little something that makes a song hit you deeper than you thought music could hit. That little something might be confidence or trusting yourself to have a go and say something with your work… and then you find out who you are as an operator, and then the directors start telling people how they love the elegance with which you frame or move the camera or how solid your composition is when you decide not to move the camera even if it’s on a slider. Also, don’t think too hard about it… it’s the best job in the world, enjoy it! I’m sorry there were no real technical advice in this reply, but I got inspired…

Hi Elias Please, upload some photos so we can "see" the problem. I've made modifications to a flyer, maybe I can help. Fly Safe 🎥

Give me an email. I'll dig through my parts bin, I think I have a spare Steadicam Flyer sled with some missing pieces but a functional stage. willsvideo@gmail.com

For sale is my well looked after Gpi-Pro Cinelive Sled. Reluctantly selling as I cannot afford to keep this sled anymore! Read carefully below outlining upgrades, modifications and improvements made! Supply in Gold Mount or V-Mount - read on... Starting Price is £16,500 (+vat if UK based). Roughly $22,140 USD / €19,075 EUR. Additional options outlined below! One previous owner, bought new from Optical Support in 2018. Upgraded GPI gimbal to Volt system in 2020. Upgrade was done by optical support. Replaced main Pan Bearing in 2025. Performs wonderfully! Replaced threaded post connector and receiver in 2025. A great sled from GPI Pro. Check out what upgrades are possible, as the sled is still fully modular. In the future, one could add the superior new Lower Electronics, etc. Possibly 1.75" Post....? Info from top to bottom: Topstage & Upper J Box Betz Topstage & Plate Shimmed to correct clamp pressure on betz plate. Other 3rd party plates also fit well. Cinelive Upper J-Box Electronics Modified to add a 2pin accessory lemo (0B - pin 1 GND), wired into the main 12v line (rather than thinner inadequate wiring from the previous connector). Upgraded HD-SDI BNC 75ohm inputs to better Neutrik sockets. Less worn than previous stock parts. Volt Control Box Cam-Jam rigid control box mounting to betz topstage. (https://shop.cam-jam.de/product/volt-mounting-system-high/). Much better than stock tiffen rod mount (also included). Custom volt control box small power cable with angled lemo connector. (spare included) Custom volt control box front mounting plate for low-mode monitor or accessory. 3/8"-16 threaded insert with arri pin lock standard + 2x 1/4"-20 theaded holes. Easily removable if not required. Lightweight anodised green aluminium. Centerpost: Standard centerpost II 1.5" from Pro. Replaced threaded part, outpost receiver & locking ring (bayonet mount) 2025. Replaced nylon balls 2025 for inner post that run down the channels when extending post. Post Tool included. Gimbal: 1.5" Gpi Pro Gimbal with Tiffen Volt. Standard grip version. Originally upgraded 2020. Serviced in 2025 though optical support, new improved shimming/centering assembly at tilt bearings. Latest firmware. Added rubber grip racket tape around gimbal grip and gimbal handle for improved control and better feel. Can remove if needed! Nice in cold weather! Installed new Pan Encoder + cable 2026. (spare included) Installed new Pan Bearing 2025 purchased direct from Pro for improved performance. Makes a difference! (spare/old bearing included) Standard Volt gimbal control cable. (spare included) (Spare volt belts included) Previous Gpi-Pro Gimbals parts included (non-volt parts). Gimbal steadicam tool included. Monitor Bracket and Monitor 3 Options here: Option A (most OK-ish option) +£0.00 Gpi-Pro Telescoping Monitor Braket + Transvideo 6" Monitor 5/8" telescoping rods Cam-jam Yoke to Pro/XCS style legacy spud. Transvideo 6" monitor. Not as bright as most recent transvideo monitors. 2x Lemo Power cables and HD-SDI cables included. Good for a starter, or backup. May be able to use with latest Gen5 battery rack from pro with these rods... Option B (Better if you have another monitor) + £800 / $1070 / €925 Superior Cam-Jam Quattro II Monitor Bracket & Wide Yoke (no monitor). Great telescoping rigid monitor bracket and Yoke. Can include the mounting arms for SmallHD 703 (see picture) Other mounting parts for other monitors available at cam-jam.de Option C (best option) + £1800 / $2415 / €2080 Superior Cam-Jam Quattro II Monitor Bracket & Yoke + SmallHD 703 Monitor. Includes smallHD 703 monitor with matte screen protector. Used scratches & marks but functions fine. Includes custom flat weight plates for adding weight to the back of the monitor to help with dynamic balance. Stackable. Includes combination power and 2x HD-SDI cables. Use one to loop out of the monitor and back up the 2nd HD-SDI line in the post for an additional output in the topstage for a low mode monitor. Lower Cinelive J-Box Includes x2 Jumper Blocks. 12v all parallel block. Any plate combination can be used. 1, 2, or 3 batteries. 12v (14v) mode only. Shares the load between them. Standard 12/24v block. 14v from positions marked "C/M". Combine with battery in "A" position to create 24v. (Note: "A" position can change based on preference - see Battery Hanger section below). Upgraded HD-SDI BNC connectors 75ohm to Neutrik. Less worn than previous. Battery Hanger GenIV. Lighter weight than the previous GenIII, and makes a shorter sled ~25" fully collapsed (preferable operating feel to me). Modification: Quick change battery plates: Added thin custom aluminium plates with multiple hole patterns. Allows the following: Quick change from Gold Mount to V-mount by swapping plates. Can be done on set. Battery plates are on quick release connectors. Plates use M3 socket head cap screws. Great for travelling if you need to hire different battery types, eg different countries' or rental house's availability! Can change orientation of the battery plates. For AB V-Mount plates which have the same mounting hole pattern, the plate has to be attached backwards otherwise the battery can't be mounted due to the post/j-box in the way. Can move the plate under the post further back if more weight is required away from the monitor for dynamic balance. Good to have options! Can swap the rear 2 plates using the connector inside to determine whether the lower (default) or upper plate is designated "A" for 24v mode. Only weighs an extra 150g / 5oz in total for 3 plates which helps adding some mass to the lower stage of the sled. Upgraded Shottky diodes in Gold mount plates for slightly lower voltage loss. Can Supply AB Gold Mount or V-Mount Extra set of 3 other plates w/diodes installed (+£250 / ~$340 / ~€290) Case: Pelicase 1630 included with cut out foam Dock Tiffen Volt Dock Included Additional Cables 24v Rencher Cinelive -> Arri Alexa 35/265/Mini/MiniLF/Amira Coiled power cable included. Selection of HD-SDI BNC cables 14v Cinelive -> 4pin XLR power cable Spares: Spare Tiffen Volt Control Box Rod mount for Betz topstage Spare Post threaded connector Spare pan bearing (old bearing) Spare Volt control box power cable Spare Volt Gimbal Cable Spare Volt Pan Encoder+cable Spare 10A & 5A Klixon push pull fuses for Lower J Box. Spare volt gimbal shims and belville washers. Spare Volt belts. Please email me at jake(at)jakemcclean.com for more info, any questions or more pictures! Also available may have some Jerry Hill 1.5" docking rings if you already own or prefer to use a JH dock. spin1.mov

Hey Everyone! Selling my Tiffen G-50x Arm! Good condition, comes with: 5/8 & 1/2 pins T-tool Rain Cover Travel Bag Feel free to DM me! Pick up in Burbank/ Sherman Oaks

Selling my first steadicam rig. Complete kit including the sled, arm and zephyr vest (small socket block) Located in Melbourne, Australia, asking $9500AUD ($6300USD) - Buyer pays shipping. Kit includes: Marshall Monitor with improved monitor mount. Low mode bracket Low mode monitor mount Gold Mount to V-Lock Adapter Plate Hard mount Original monitor bracket Cables: Monitor Power + SDI D-Tap Splitter XLR Monitor Electronic Leveller Arri Power RED Power All comes in the original single case. All in good working condition. Can include the stand pictured if interested.

Pictures coming soon, but it's pretty much this as a package: GPI CineLive sled: (GPI DB3*, CineLive UJB, CineLive telescoping HD centerpost, Gimbal with arm, LJB, Gold mount Gen IV battery hanger, telescoping PRO monitor arm) Jerry Hill dock w/ 2x Jerry Hill docking rings 1x SmallHD 703U monitor + power cables Media Blackout Tally system (top and bottom, 8-pin bottom sled to power monitor and send tally signal, as well as LED bar for tally, and talent-facing tally LED bar) Included cables are 2x CineLive pigtails for GPI CineHD camera plugs, or convert to use your old cables. If you need a stand, I can throw one in. NO batteries NO vest *DB3 is the old version, not the DB3S. Has some cosmetic damage on the housing for the side/side knob, I can show you but does not impede use of the sled at all. I've got additional gak I can throw in to sweeten the deal (I'll give you a fiber jumper if requested, etc). Let me know what else you might need to make a deal. No vest. Asking $15,000, priced to move. Hit me up if you have questions, other offers, etc. 20240131_175118.heic 20240131_175123.heic 20240131_175127.heic 20240131_175132.heic 20240131_175145.heic 20240131_175202.heic 20240131_175215.heic 20240131_175219.heic 20240131_175223.heic 20240131_175228.heic 20240131_175236.heic

Hey AJ, what price are you listing this AR2 kit for?

Hi everyone. First of All thank Fisher for mentioning my name here. A bit late to the party but i will be active from now on forum also. So for those who are interested - i'm new MKV customer support, and omega operator who started helping the company because of the fact that in my opinion after many tests and searching is the best at least for my needs and thier bigest problem was actually customer suport, slow responses etc. So i decided to change it. If anyone have any questions or problems that needs to be solved i'm here to help my What's up number is +48 576 109 471 Quick update for the Level. if someone want to buy it i would highly sugest write to me so i can put you on my list and i will update you when i will be sure that they have units in stock and everything is working correctly. To avoid situation with deposits... Today ther are stesting final version of the level with couple ops in field will have more information tomorrow. I think that best would be to talk privately on whats up cause i can simply forget to checking forum and i like quick responses or a call more. quick update - Ashley is happy with final design and now it's operators to tell their final words. WHY LEVEL ORDER TAKING SO LONG ? Supplier of the motors extended production time from month to 6 month due to a problem in factory so the whole process took way longer than expected. MKV is not huge company with 100 workers so they can't everything at once - i'm on th ephone with them every day almost and i can ashure guys are working monday-sunday ( partialy) so they are doing everything they can to make sure you'll get the best product. at this moment if everything works as expected first 25 units will be out for delivery early february. So fingers crossed test will went well today. AGAIN FOR ANYONE WANT TO ASK ANY SPECIFIC QUESTION Whats up number is +48 576 109 471 Thank you all And have a great day

I know I missed some elements and I'm learning more about the tool every day, but this is an article I wrote for my blog (thevisualvagabonds.com) about DPing and Shooting my first full feature almost exclusively on Steadicam. I used my Axis. I'd love to hear your thoughts on experiences you may have had and I hope the article is interesting to somebody out there! I recently had the opportunity to DP my first full feature. The Sci Fi-Horror-Thriller will come out later this year and is set to be titled “Dead of Night.” Now, I’m no newbie to the world of video production. In my 10+ years working in various genres, I’ve worked on Live TV (Sports, Events, Concerts), Documentaries, Commercials, TV Mini Series and a whole slew of Reality TV Shows. What has eluded me, though, has been the narrative world, features and episodic. I worked on Goldenworks Entertainment’s last feature “Masquerade Mixup” as a First AC then Camera Operator and 1st Unit DP, which was a fantastic experience, but Dead of Night is my first chance to really put my fingerprints on a film. Having working on Masquerade together, Co-Directors Brandon Ho, Michael Merrell and I already had a strong relationship, which helped tremendously. I have plenty of confidence in my skills as an operator and DP, but there are always nerves and butterflies coming into new challenges. If you listen to any established DP or Op out there, the common thread is that they’re nervous going into a new job. But I believe the moment I stop feeling nerves is the moment it’s time to move on to something else. Anyways, the pieces all seemed to fall into place. Their script was fantastic, my schedule lined up great, amazing actors we worked with previously were available. Everything pointed towards this feature making sense for all of us. An interesting element came into play, however. In January I went down to LA to take a Steadicam Workshop from the Steadicam Operator’s Association. I had kicked around the idea of picking up Steadicam for years, but the pieces never lined up. This was a chance for me to learn from legends of the industry (Dave Chameides, Jerry Holway, Rey Reyes and the man himself Garrett Brown to name just a few) This changed my perspective on the industry. I didn’t feel rudderless anymore. I found a community passionate about the industry I love so much and it lit a fire under me. So much so that I came back committed to find a way to become a Steadicam Operator myself. Well, in an insanely down year, I found a way to put money down on my first Steadicam, an Axis. I chatted with Brandon and, as we discussed the movement philosophy of Dead of Night, I mentioned that I would like to put in some Steadicam shots if it arrived in time. Little did I know I just locked myself into one of the craziest experiences of my career: SHOOTING AN ENTIRE MOVIE ON STEADICAM! Because, as luck would have it, my kit arrived 2 days before our prep day. Big gulp. Here we go. Now, I fully expected to use the Steadicam for a few shots here and there, namely some more ambitious walking shots that carried us some distance through our house. Besides that it would be a balanced mix of dolly and tripod shots. On day one, though, that went out the window. One change over from sled to dolly quickly revealed that with our limited crew and time, that was going to be way too slow and we’d never get our film done in time. So I committed. And my awesome First AC, Alex Steiner committed to pulling for Steadicam. Also, I’d be remiss if I didn’t point out that Brandon, Michael, Rob and the rest of our cast and crew put total trust in me. I should remind you, I got the sled 2 DAYS BEFORE! Thank you all so much for the trust! And we made it happen! So, let’s talk the Pros and Cons of shooting a feature almost exclusively on Steadicam. PRO - It let me move REALLY FAST. I could walk through, light and block a scene and immediately strap on the sled. No laying dolly track. No plotting out tripod positions. And not time consuming adjustments if for some reason our blocking didn’t work out. Also, assuming I lit the scene correctly, minimal time resetting for other angles. We just talked adjustments take to take and off we went. In our case this meant we could get through an INSANE page count every day and hit our schedule with little to no overtime. CON - It could take away some of the intention of movement. One of my philosophies as DP is that just because you CAN move doesn’t mean you SHOULD. The fact that I wasn’t confined to track or tripod did cause me to treat some camera placements a little less intentionally than I would have otherwise. This showed me that on future films I want to have intention and motivation for where I put the camera and why/when I move it, whether on Steadi, Dolly or otherwise. I will say that I think Brandon, Michael and I were very cognizant of this, especially as the shoot went on. And I think that, although the temptation to throw intention out the window was there, we checked each other quite well and maintained the feel we were going for. PRO - Our film has a definite look and language because of the feeling steadicam offers. I love the sense of movement that comes with the tool. Like Garrett says, Steadicam is the closest thing to what our eyes see. We get to live in Dylan and Pepper’s (our protagonists) world. An uncertain but Real world full of realistic hopes, dreams and fears, but unsettled by a constant movement. And I contribute this partly to my inexperience with Steadicam. I’ve been operating for near a decade, so I understand camera movement, but there’s a certain dance with the Steadicam that as a newer Steadicam Operator, I’m still learning the intricacies of. There’s a bit of a frenetic nature to Dead of Night because I’m still learning that dance and wasn’t necessarily as stable as I will be. It’s interesting to think that this specific look of this specific film will only happen once. It gives a life and energy and flawed character that I think works very well with the story. I also think Steadicam allowed me to be an observer without the footsteps (other than mine as a new Steadi Op) that would come with handheld. We talked (the director and I) about making the house the observer and I think Steadi aided in this cause. CON - I wish we had the time to vary the language a bit. I think certain settings and story points would have benefitted from a steadier shot to change the tone and feel and add to the arc. But, as mentioned, time and budget did not permit. And again to our credit I think we did a good job in blocking, lighting and operating making the feel different enough when it needed to be, whether that was adding a bit more pace to my movement or whipping quicker to follow movement or even working some low angle creeping shots in using low mode. PRO - I was able to adapt to what the actors were doing. We didn’t have to stop down if an actor leaned in, which would have blocked a tripod shot. We didn’t have to confine movement as much as if we were locked to a tripod or even dolly or slider shot. This, along with the pace I was able to move, was probably my favorite side effect of Steadicam. Our actors were fantastic and I lit so that they could move in space. These subtle lean ins or the ability to push in or pull out based on performance I think add a lot to the film and allowed for a freedom that we wouldn’t have had otherwise. CON - Some moves just SHOULD NOT be done on Steadicam. We did some really weird things to varying levels of success, things that, given time and budget, should have been done with grip rigs, dollies, jibs or overhead mounts. We even did a Vertigo style double dolly type shot with our actress flying back on a skateboard dolly and me throwing the sled from one hand to another all while our first pulled focus and our director pulled zoom and our amazing props and art department blasted a leaf blower. It was chaos and I’m actually quite proud of it. It was absolutely ridiculous trying these things all on Steadicam, but fun working the puzzle and taught me a lot about the limitations and capabilities of my rig and myself. All that being said, I will absolutely be using the right tool for the job in future films. (Probably) PRO - Purely from a selfish point of view, this was Steadicam bootcamp for me. This was a chance to take everything I learned from Jerry, Dave, Rey and the SOA team along with the little bit of practice on my own and put it to the test in a real world real consequence environment. I got an insane amount of reaps and time in the vest over a very short period of time. Being DP as well, I got to design shots that challenged me. I learned what I can, should and will never do again with a Steadicam. It was an invaluable learning opportunity. I think it sets me up well for what comes next for me, both as an Operator and DP. CON - The big one. Shooting an entire film on Steadicam, even with the relatively small build we used, is incredibly demanding, both mentally and physically. I drove home every day totally wiped and immediately iced my back and stretched. My back hurt, my calves hurt, my brain was fried. There were several times I had to take off the vest and lie down after an especially demanding take or awkward angle. It made my decision making as a DP harder as well. Many times I was adjusting a light with one hand while I held the sled with the other because I wasn’t quite happy with the lighting. I don’t think I fully realized the mental toll operating Steadicam carries with it. You’re working to keep your whole body in the shot, not just your hands or shoulder. If I drop my hip, the sled goes one way. If I step too far out, there’s no where to go with my next move without jerking the shot. And physically, the weight distribution of these things is incredible and incredibly intuitive, but it’s still a lot of weight and takes a tremendous about of coordination. All of that takes a major toll. A fresh crew member is the best crew member and, at the end of the day, one of the biggest challenges to shooting an entire film on Steadicam is that I, as the Operator and especially as the DP am not totally fresh at any one time. Without the support of such a tight knit crew, that could have capsized this production. Overall, this was a wild experience. I’m incredibly grateful for the trust the whole team gave me to try this crazy experiment. And I think our results will speak for themselves and show how successful it was, especially given the time and budget constraints we had. We punched up for sure and I’m very excited to show off the finished product. Would I ever shoot an entire film on Steadicam again? No. I would not. Maybe if I was just the operator, but certainly not as Operator and DP. And at the end of the day, as amazing as the Steadicam is, it’s not the right tool for every job. Filmmaking is a visual artform with many different tools to tell the story. It takes a mix of tools to make a piece complete and with just one of those tools you will find yourself, as we did a few times, forcing one tool to be one that it is not. All that being said I’m very proud of the team for pulling this off and honestly I’m proud of myself for taking the challenge and pulling it together. This was a very unique experience I’m glad I got to be a part of. FOR THE NERDS. The tools we used on DEAD OF NIGHT: Camera - Black Magic Pocket Cinema 6K Full Frame Lenses - Vintage Nikon Nikkor Lenses AI and AIS (We lived a lot on the 35mm) My Steadicam Rig - Tiffen Steadicam Axis Filtration - Black Pro Mist 1/8 and 1/4