Visible crew/equipment: There are two men in the flat near Elizabeth, even though Elizabeth and Mr. Kaplan are alone in the room. (00:18:35)
Visible crew/equipment: As Camille rushes to help drunken Amma into the house, a crew member can be seen crouched inside the house manipulating the door. (00:02:39)
A.K.A I Have No Spleen - S3-E3
Visible crew/equipment: Jeri Hogarth and her ex Kith Lyonne are alone in Hogarth's apartment. Lyonne takes her cello and walks across the room. The next shot is of Jeri. To Jeri's right, a crew member is crouching in the shadows behind the room divider. As the shot continues, the crew members stands up. (00:38:30)
Let the Great World Spin - S4-E2
Visible crew/equipment: Marty visits the FBI agent at her home. The camera starts far away from them in another room, and pushes in through the door frame. On the left side of the frame, the camera's shadow becomes very obvious as the shot moves.
Death Takes a Curtain Call - S1-E9
Visible crew/equipment: During the press conference, a stage light is reflected on the actress' sunglasses.
The System - S1-E2
Visible crew/equipment: Jim Phelps gets the disk system from the locker. He then takes a step back and looks around the room figuring out where to sit to play the recording. As the camera moves to follow, a boom mike gets in frame in the right corner. (00:03:00)
Visible crew/equipment: Shadows of the boom, crew, and cameras can be seen moving about in overhead shadows during varied scenes.
All for One - S5-E4
Visible crew/equipment: When Malia points the gun to the dealer, for a second you can see two finger tips at the right edge of the screen. There is no other in the alley and it can't be the dealer because the angle would be wrong. (00:29:20)
Visible crew/equipment: At the very end of the episode, as Poirot's car drives off headed to the harbor, filming equipment is neatly reflected in the door. (00:51:40)
Visible crew/equipment: After Raines shares details with Kellett about Semien's crew, when it cuts to Semien waking everyone up, just as he announces his contact with Belgian Federal Police, there's a visible T-mark taped to the floor behind Andre's cot. (00:24:25)
Visible crew/equipment: In the final minutes, it is possible to see a drone flying between the camera's point of view and the subject being filmed, the DEA agents' van going into Mexico. Likely filming equipment, but even if recreational it's hardly appropriate for the 80's. (01:06:30)
Visible crew/equipment: As Friday and Gannon get out their car to talk to the officers, you see a boom mike at the top of the shot. (00:08:45)
Visible crew/equipment: When Detectives Velcoro and Bezzerides enter the victims home crime scene you can briefly see a clear reflection of the camera in the glass set of drawers next to the front door. (00:15:11)
Visible crew/equipment: At Goody's, while Stan is on the phone with Francine she tells him to turn around, and there's an actor's mark taped to the floor at Francine's feet. (00:39:30)
Episode #1.3 - S1-E3
Visible crew/equipment: As the camera pans over Gate's car once Arnott searches it for the whiskey glass, you can see a person's face lying in the back seat of the car.
Visible crew/equipment: While Michael sits outside of a hospital room in the hallway, there is a clear reflection of equipment in front of him. (00:21:00)
Visible crew/equipment: Season 4, Episode 22, "Bonds of Steele": When Laura jumps from the moving car, a considerably more muscular stunt woman is apparent as she rolls down the hill and runs across the beach. (00:28:30)
Visible crew/equipment: At the end, when Aunt Vi and Delilah return home, just as Miles walks into the house, the green T-mark is visible on the floor.
Visible crew/equipment: In the Skype call with Celeste and Perry, you can see two people in the camera. (00:45:07)
Mondays Are for Murder - S2-E13
Visible crew/equipment: Magnum and TC are hurrying to catch an elevator in the parking garage. As they approach the elevator, you can see a cameraman against the wall on the right side that should not be there. The next shot shows the scene from that cameraman's perspective. (00:39:30)