Steadicam Camera Systems | 96 Titles
The Thin Red Line (1998)
 Directed by | Terrence Malick | Cinematography by | John Toll | Editing by | Leslie Jones, Saar Klein, Billy Weber 
 
  Cameras | ARRIFLEX 35 III Camera, Panavision Panaflex Gold Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera 
  Lenses | Panavision C100 100 mm T2.8 Lens, Panavision C40 40 mm T2.8 Lens, Panavision C50 50 mm T2.3 Lens, Panavision C75 75 mm T2.5 Lens, Panavision Primo AL100 100 mm T2.0 Lens, Panavision Primo AL40 40 mm T2.0 Lens, Panavision Primo AL50 50 mm T2.0 Lens, Panavision Primo AL75 75 mm T2.0 Lens 
The Shining (1980)
 Directed by | Stanley Kubrick | Cinematography by | John Alcott | Editing by | Ray Lovejoy 
 
  Cameras | ARRIFLEX 35 BL Camera 
 Reuniting the Rubins (2010)
 Directed by | Yoav Factor | Cinematography by | Miles Cook | Editing by | Ben King, Anthony Stadler 
 
  Cameras | ARRICAM Studio (ST) Camera 
  Lenses | Cooke S4/i Lenses 
Measure of a Man (2018)
 Directed by | Jim Loach | Cinematography by | Denson Baker | Editing by | Dany Cooper 
 
  Cameras | ARRI ALEXA Camera 
  Lenses | Cooke S4/i Prime 100mm T2.0 Lens, Cooke S4/i Prime 135mm T2.0 Lens, Cooke S4/i Prime 18mm T2.0 Lens, Cooke S4/i Prime 25mm T2.0 Lens, Cooke S4/i Prime 32mm T2.0 Lens, Cooke S4/i Prime 40mm T2.0 Lens, Cooke S4/i Prime 50mm T2.0 Lens, Cooke S4/i Prime 75mm T2.0 
Rattlesnake (2019)
 Directed by | Zak Hilditch | Editing by | Merlin Eden 
 
  Cameras | Sony CineAlta VENICE Camera 
  Lenses | Kowa Cine Prominar Spherical Lenses 
The Librarians (2014)
  | Cinematography by | David Connell | Editing by | Ron Stanik, Tom McQuade, Brian Gonosey, Sonny Baskin, Chris A. Peterson, Eric L. Beason 
 
  Cameras | Red Epic Dragon Camera, Red One MX Camera 
The Rock (1996)
 Directed by | Michael Bay | Cinematography by | John Schwartzman | Editing by | Richard Francis-Bruce 
 
  Cameras | Pan-Arri III Camera, Panavision Panaflex Gold II Camera, Panavision Panaflex Platinum Camera 
 Cougar Town (2009)
  | Cinematography by | Andrew Rawson, Sylvain D'Hautcourt | Editing by | Roger Bondelli, John Michel, Martin Wilson 
 
  Cameras | ARRI ALEXA Camera, Panavision Genesis Camera 
 Ice (2016)
  | Cinematography by | Robert Aschmann, Christos Bitsakos, Maz Makhani | Editing by | Lisa Binkley, Stein Myhrstad, Jamie Alain, Daria Ellerman, Luis Carballar, William Paley, Adina Moore 
 
  Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera 
  Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Angenieux Optimo Anamorphic 44-440 mm A2S T4.5 Lens, Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 135 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 40 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 60 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens, Zeiss Master Prime Lenses 
R.L. Stine’s The Haunting Hour (2010)
  | Cinematography by | Michael Balfry | Editing by | Lisa Robison, Charles Robichaud, Jana Fritsch, Jeanne Slater, Jana Fitsch 
 
  Cameras | Red Epic Camera 
  Lenses | Cooke S4/i Lenses, Fujinon Alura Lenses, Fujinon Alura Zoom 18-80 mm T2.6 Lens, Fujinon Alura Zoom 45-250 mm T2.8 Lens 
Key of Brown (2013)
 Directed by | Vaughn Christion | Cinematography by | Oscar Patino | Editing by | Vaughn Christion 
 
  Cameras | Sony PMW-F3 Camera 
El Último Suspiro (2017)
 Directed by | Joan Girbau Xalabarder | Cinematography by | Joan Girbau Xalabarder | Editing by | Xavi Morcillo 
 
  Cameras | Blackmagic Design Cameras, Canon Cameras 
  Lenses | Canon Lenses, Leitz Lenses 
Postpartum (2016)
 Directed by | Richard Bakewell, Lale Arpaci | Cinematography by | Chun Ming Huang 
 
  Cameras | Panasonic VariCam 35 
 Legends of the Hidden Temple: The Movie (2016)
 Directed by | Joe Menendez | Cinematography by | Tom Harting | Editing by | Damon Fecht 
 
  Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA Plus Camera 
  Lenses | Panavision Lenses, Panavision PMZ 14.5-50 mm T2.2 Lens, Panavision Primo Primes Spherical Lenses, Panavision SLZ11 24-275 mm T2.8 Lens 
Before I Fall (2017)
 Directed by | Ry Russo-Young | Cinematography by | Michael Fimognari | Editing by | Joe Landauer 
 
  Cameras | ARRI ALEXA Plus 4:3 Camera 
  Lenses | Hawk V-Lite 110 mm T3.0 Lens, Hawk V-Lite 140 mm T3.5 Lens, Hawk V-Lite 28 mm T2.2 Lens, Hawk V-Lite 35 mm T2.2 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens, Hawk V-Lite Lenses, Hawk V-Plus 45-90 mm T2.8 Lens, Hawk V-Plus 80-180 mm T2.8 Lens, Hawk V-Plus Lenses 
Status Update (2018)
 Directed by | Scott Speer | Cinematography by | Russ T. Alsobrook | Editing by | Sean Valla 
 
  Cameras | ARRI ALEXA Camera 
  Lenses | Angenieux Optimo 24-290 mm T2.8 Lens, Cooke S4/i Lenses, Fujinon Cabrio (ZK4.7x19) 19-90mm T2.9 Lens, Fujinon Lenses, Fujinon Premier ZK Cabrio PL Compact Lenses 
I, Timon (2017)
 Directed by | Bramwell Noah, Dan Noah | Cinematography by | David Baldini 
 
  Cameras | Canon EOS-C300 Mark II Camera 
  Lenses | Zeiss Compact Prime CP.2 Distagon 18 mm T3.6 Lens, Zeiss Compact Prime CP.2 Distagon 21 mm T2.9 Lens, Zeiss Compact Prime CP.2 Distagon 28 mm T2.1 Lens, Zeiss Compact Prime CP.2 Distagon 35 mm T2.1 Lens, Zeiss Compact Prime CP.2 Planar 50 mm T2.1 Macro Lens, Zeiss Compact Prime CP.2 Planar 85 mm T2.1 Lens 
The Father and the Bear (2016)
 Directed by | John Putch | Cinematography by | Keith J. Duggan | Editing by | John Putch  
 
  Lenses | Zeiss Lenses, Zeiss ZE Prime Lenses 
I’m Off Then (2015)
 Directed by | Julia von Heinz | Cinematography by | Felix Poplawsky | Editing by | Alexander Dittner, Georg Söring  
 
  Lenses | Fujinon Alura Zoom 45-250 mm T2.8 Lens, Tokina AT-X116 Pro DX 11-16 mm f2.8 Lens, Zeiss Master Anamorphic 100 mm T1.9 Lens, Zeiss Master Anamorphic 35 mm T1.9 Lens, Zeiss Master Anamorphic 50 mm T1.9 Lens, Zeiss Master Anamorphic 75 mm T1.9 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Ultra Prime 8R 8 mm T.2.8 Lens, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Distagon 14 mm T1.9 Lens 
The Finest Hours (2016)
 Directed by | Craig Gillespie | Cinematography by | Javier Aguirresarobe | Editing by | Tatiana S. Riegel 
 
  Cameras | ARRI ALEXA XT Plus Camera 
  Lenses | Leitz Summilux-C Series Lenses 
 
  
 




























































