Steadicam & Gimbal Services

Stabilised camera operation in Peru runs at a smaller scale than Brazil, Mexico, or Argentina, and our roster reflects that honestly. We field a tight bench of Lima-based Steadicam owner-operators who carry classic Tiffen and Glidecam sleds up to ARRI Trinity hybrid rigs. Alongside them sits a deeper community of DJI Ronin 2, Freefly MoVI Pro, and DJI RS 4 Pro gimbal ops. These crews train on commercial, music-video, and documentary sets out of Tondero, Cinesphere, and Audiovisual Project Perú.

For prestige feature work and tricky long-take sequences, we routinely bring in certified Brazilian, Chilean, or Argentine Steadicam operators. They arrive on current Peruvian work permits, with SUNAT ATA carnet support for their rigs. This is the same path Claudia Llosa, Salvador del Solar, and visiting global shoots have taken on major Peruvian shoots. Camera packages route through RentCam Perú and Filmotechnik, with ARRI Alexa 35 and Mini LF, RED V-Raptor, and Sony Venice 2 bodies prepped and balanced before call.

Productions might brief a one-take walk through Barranco's Bajada de Baños, a Plaza de Armas reveal in Cusco's colonial centre, or a Sacred Valley terrace traverse at Pisac or Ollantaytambo. Others want a Lima Miraflores cliffside follow, a Mercado de Surquillo run-and-gun, or a Sechura desert car-to-ground transfer. For each one, our operator picks tie to camera weight, lens choice, vest type, altitude tolerance, and shot length rather than a generic quote.

Our coordinators set up rehearsal blocks for choreographed sequences and plan car-to-ground transfers on Pan-American Highway tracking work. They manage altitude prep for Cusco-based shoots, which need 24-48 hours at elevation before heavy rigging. Our crews also combine Steadicam with crane, jib, cable cam, or car process work when the brief calls for it. Insurance is structured to Peruvian production standards. Contracts handle IGV 18% with DAFO accreditation where the project qualifies.