On set

The village runs. You direct.

Picture, sound, takes, playback, and the notes that reach post– run from one position, in constant contact with the people making the day.

Inside a take

What happens between action and cut.

01
Signal and metadata

Every camera is brought up with its metadata and timecode registered at the point of connection, so anything recorded can be found again by anyone downstream.
02
Multi-camera input

One camera or sixteen at once into QTAKE, recorded together and held in sync as the day changes shape around you.
03
Production sound

Live audio taken from the sound mixer and synced to picture at record– so playback is the take as it actually happened, not a silent picture.
04
Marked as it is shot

In and out points set on every take while it is happening. Editorial receives usable material instead of a wall of unmarked clips.
05
Cue and playback

On “cut,” the best take of the series is already cued for the director, the producer, and the client. Nobody waits while somebody hunts for it.
06
Approval and notes

Notes taken on the floor, takes circled for post, and selects dropped into a sequence for the daily edit before the unit has moved on.
07
Compositing and look

Chroma key, wipes, blend modes, 50/50 splits, overlays, and match frames– so the creative can confirm the shot actually works while the set is still standing.
08
Wireless handheld monitoring

Untethered director and DP monitors for setups where being tied to the cart would slow the day down.

The signal path

Nine places a picture can go wrong.

Between the sensor and the monitor your client is watching, the image changes hands nine times. Every one of them is a connector, a power draw, or a setting that somebody has to get right. Scroll to follow it through.

01 Camera SDI out
02 Transmitter Wireless
03 Receiver Wireless
04 Patch SDI
05 Input System
06 Record System
07 Switcher System out
08 Director Monitor
09 Village Client monitor

On the floor

The central nervous system of the set.

Sound, video, network, proxy, and set streaming all terminate at one position. That makes video assist one of the few places on a set with the whole day in view– and the video technician and recorder the person who sees a problem first.

Constant contact with the AD, the producer, the director, and the keys– tracking the storyboards and shot list, watching continuity, flagging what will be a problem in the edit, and knowing what the next setup needs before it is called.

It is the difference between a cart that records and an operator who keeps the day moving.

Morgan Spadone at the video-assist position on location, QTAKE running on the laptop beside the router, headphones for production sound, and a camera monitor alongside.

Production environments

Different sets, different failure points.

01
Commercial and brand

Agency and client attendance means more eyes on more monitors. The village is planned around who needs to approve what.
02
Film and television

Department-heavy sets where continuity, playback, and clean handoffs between units matter more than any single piece of gear.
03
Music video

Fast turnarounds, performance playback, and setups that change shape between blocks.
04
Location and travel

Exteriors, night work, remote locations, and out-of-town shoots. Tell us where it is and we will scope power, transport, and crew accordingly.

Remote client viewing

The people who approve the work aren’t always on set.

Agencies, brand teams, and producers increasingly watch from another building or another city. That only helps the production if the feed is reliable and the expectations around latency and image quality were set honestly before the day.

Remote viewing is scoped as part of the package: how many viewers, what they need to see, what the location’s connectivity can actually support, and what the fallback is when it can’t.

Video-assist rack showing routing and transmission hardware feeding multiple monitor destinations.

Package overview

What comes with it.

Camera inputs: One camera through sixteen simultaneous inputs into QTAKE, scaled per production.
Metadata: Camera metadata and timecode registered per source as each signal is established.
Sound: Production audio from the sound mixer, synced to picture at record.
Take marking: In and out points set on every take for fast deployment and editorial handoff.
Playback: Cued selects played back on the floor for director, producer, and client approval.
Compositing: Chroma key, wipes, blend modes, 50/50 splits, overlays, and match frames.
Editorial: Circled takes, on-set notes, and sequences assembled for the daily edit.
Monitoring: Director and client monitors, dual-monitor carts, and wireless handheld monitors.
Transmission: Teradek Cube encoder and decoder packages for wireless and IP video paths.
Remote viewing: Streams for off-site producers, agencies, and clients. Scoped per production and venue connectivity.
Support: Power, cabling, networking, stands, and the accessories that otherwise get discovered missing on the day.
Insurance: Certificate of insurance requirements confirmed during scoping.