Here is an excerpt from the article entitled "Motorized Slider":
“I was recently challenged in a car spot by a shot of a badge that needed to start clean and resolve in a move across the grill ending in a heroic beauty shot of the logo,” explains cinematographer Jeff Cronenweth, ASC. “Naturally we didn’t want to compromise our natural light, interfere with any interactive reflections or worry about seeing our camera in the shot. The Original Slider's 8-foot motorized unit was the answer. Not only is it directly attachable to the vehicle in order to reduce any potential stability issues, it afforded me the opportunity to effortlessly pan, tilt and slide laterally at will. It was the perfect solution to this complicated shot.”

Under the headline, "Best Supporting Camera," Nelson Jones writes: “The Mini-Slider is another gizmo that is perfect for small camera adjustments....” He continues, “DP Robert F. Smith, who was also the B-camera operator on the Sarah Silverman Show, uses the Mini-Slider a great deal. ‘The Slider, they make the best unit out there as far as dependability. I’ve used other companies but it’s the ball bearings, the rigidness of the unit…just everything is done well,’ says Smith.”

In the column “Tips and Tools,” Pauline Rogers writes: “This month, ICG Magazine has gathered an eclectic group of tools designed to make the shooting experience easier and more creative.”

In an article on the making of the 2006 version of Poseidon, David Williams writes "Each of [DP John] Seale's Panavision units - Gold Ils, a Millennium, and assorted PanArris used in HydroFlex soft splashbags and hard underwater housings - was always fitted with a zoom and mounted on sliding plates, dollies or cranes." As you can see in the photo below, he shot Poseidon using the Slider camera-movement system.

In the article, John Seale says this method allows the operators to "follow the action or track out of trouble if they were picking up another unit correcting a dicey over-the-shoulder, all within the shot and under their control. This reminded me [John Seale] of a phrase Larry Kasdan coined... In describing the coverage he wanted, he said, 'The cameras are there by invitation, not by design.' That's the feel I wanted on Poseidon as well, so I hammered my operators with that. I told them, 'You haven't seen the walk-through; you haven't seen the rehearsal; you don't know what's going to happen. Now shoot, and be nervous about it!' We wanted that with every take. I wanted the cameras to be nervous; I wanted them to track the action and seek out shots as opposed to designing them."

Under the title “Poseidon,” Bob Fisher writes: “After the Poseidon is upside down, the main cameras were on slider plates and dollies with fluid heads that were used to create a rolling movement. [John] Seale explains that Peterson wants the audience to sense that the ship is unstable and could suddenly sink....”

“The nervousness of the cameras moving on dollies and slider plates helped to create a claustrophobic feeling,” he says.