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Ted - S2-E11

Visible crew/equipment: When Giles and Buffy are talking at the beginning of the episode in the park, whenever Giles looks up at Buffy, you can see a light bounce card being reflected in his glasses.

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Prophecy Girl - S1-E12

Visible crew/equipment: When Buffy meets Giles in the library after the opening credits, and they start talking, throughout the scene, you can see set lights and reflectors reflected in Giles' glasses multiple times. This happens often throughout the series, but is particularly noticeable here.

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Visible crew/equipment: When Elise is talking to Ted Garza over the phone, she walks into another room and the camera follows. As the camera goes through the doorway, you can see the shadow of the cameraman pass by on the wall next to doorway on the left side of the screen. True, Specs is following her, but you can see in the next shot that he's not close enough to her to have cast a shadow on the doorway yet.

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Visible crew/equipment: When Elise has a vision of Gerald holding a girl captive in the basement, after he makes her drink the fluid to make her sleep, he turns and walks out of the room. As he does so, you can briefly see the tip of a boom mic dip into frame twice from above camera.

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Visible crew/equipment: When Elise and Tucker open the hidden door, in the closeup of Elise, you can faintly see set-lights reflecting in her and Tucker's eyes. The the room in front of them is totally pitch-black, so there's no other light source that could be creating these light reflections.

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Out Of Mind, Out Of Sight - S1-E11

Visible crew/equipment: After Cordelia wins May Queen, Buffy, Xander and Willow are talking, and right before she walks away, you can blatantly see an on-set light reflector being reflected in Buffy's sunglasses.

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Out Of Mind, Out Of Sight - S1-E11

Visible crew/equipment: When Giles, Willow and Xander are trapped in the storage room with the leaking gas, at one point you can blatantly see a massive set-light reflected in Giles glasses. (This is fairly common, as often lights are reflected in his glasses, but it's particularly noticeable here).

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Out Of Mind, Out Of Sight - S1-E11

Visible crew/equipment: When Angel and Giles talk in the library, in multiple shots you can see stage lights and light reflectors being reflected in Giles' glasses. (This is actually fairly common in many of his scenes, but it's particularly noticeable here).

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Visible crew/equipment: In the opening action-scene, as Rick backs away from the wall when the raiders start to leap over, there's a shot behind him where the camera pulls back... and you can see a near-perfect row of white markers (likely for the extras or actors) in the sand. There's at least five of them in a line.

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Visible crew/equipment: In the opening action scene, when the raiders start firing their guns towards the French Foreign Legion, there's a wide-shot of several French troops being killed, and a few of them fall over a balcony to their death. As some of the soldiers on the left side of screen fall of screen and land behind some piles of sand, you can briefly see the edge of an air bag (or some other form of padding) pop up a few times with each one. (00:09:06)

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Visible crew/equipment: In the beginning of the film, when Ardeth Bay is first seen and talking about how "We, the Medjai, the descendants of pharaoh's bodyguards, kept watch," look closely. You can see the shadow of the camera move up Ardeth's horse's head as it closes in on him.

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Visible crew/equipment: When Al's arm is lit on fire, you can see what looks to be some sort-of sparking device on his arm that started the flame. It's not the cigarette that Wynn just threw... it's too big to be that.

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Visible crew/equipment: When Ginger and Brigitte find the dead dog in the park while they're going to prank the mean-girl, there's a dramatic shot where the camera moves between them and tilts down to reveal the dog. When this happens, you can blatantly see the shadow of the camera move over Ginger's back/arm.

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Visible crew/equipment: When Jason approaches Ginger and Brigitte and suggests they should "get together," you can subtly and briefly see the shadow of the camera on the back of his head. When it cuts to the opposite angle, there's nothing else behind him that could be casting the shadow. (It happens very quick and can be hard to catch).

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Visible crew/equipment: As Kirsty exits the storage room (where the corpse spewed maggots on her), you can see a boom-mic shadow appear on the wall behind her in the upper left corner of the screen, and even follow the actress slightly as she moves. It's only on screen for a couple seconds and can be hard to catch, but once you see it, it's super obvious. (01:19:36)

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Visible crew/equipment: When Joey enters the nightclub at the beginning of the film, you can see the camera's shadow pass over the doorman on the right side of screen as it follows her inside.

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Visible crew/equipment: When Kirsty is going up the stairs at the house (right before she finds Frank), at one point, she rounds a corner and walks by camera in extreme closeup... and you can see her walk through the shadow of the camera. (The scene then cuts to an opposite angle, and there's nothing else that would have cast the shadow she walks through). (00:57:24)

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Visible crew/equipment: As Frank is killing the last victim Julia brings him (the meek man), Kirsty slowly opens a door and slinks through. As she does, in the bottom left corner of the screen, you can see part of a shadow from either the camera or a cameraman. It's definitely a camera/cameraman shadow, since the shadow is wavering in a similar way to the camera's movement. (00:57:12)

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Visible crew/equipment: When Julia sees the vision of Frank being tortured by the cenobites, at one point "Butterball" turns and looks at camera, and you can see a set-light reflected in his glasses for a brief moment.

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Never Kill A Boy On The First Date - S1-E5

Visible crew/equipment: When Buffy and Giles are in the cemetery, right before Buffy bails to go meet Owen, you can blatantly see a number rectangular studio/set lights reflected in Giles' glasses coming from various angles. (There wouldn't be dramatically-angled lights like that in a cemetery, let alone after dark).

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