In this interview, Juan talks about his work on set, the setup he uses across different types of productions, and how he helps directors and cinematographers stay connected to the action. So, let’s meet Juan!

Thanks for taking the time to share some insights into your setup and work with us! To start, could you tell us a bit about yourself and your professional journey?

Juan: “Thank you for this interview and for acknowledging our department. I still feel like it’s often underestimated, even though it’s just as important as every other department on set. So I’m very proud to be here answering these questions.

My name is Juan Navarro Yañez, I’m 40 years old, and I’m from Mexico City. I’ve been working in the film industry for about 15 years. At the beginning of my career, everything was still analog—we didn’t have the advanced camera monitoring systems we have today.”

What was it like to specialize as a VTR operator during the transition phase of analog to digital? 

Juan: “I started my career assisting my brother, who was already working as a video operator. When he brought me onto his team, it was my first time stepping onto a film set, and I immediately fell in love with the magic happening behind the cameras.

I learned the basics little by little, like how to run cables, getting familiar with the equipment, understanding its role in the workflow, and seeing just how important video assist is for the directing and cinematography departments. Since everything was analog, a big part of the job was being attentive to connecting and disconnecting the cable that went directly to the cameras’ video assist. As digital technology developed, I kept learning alongside it. I became more familiar with wireless systems and the latest video equipment, always looking for ways to improve the service we provide.”

What would you say is most important about that service? 

Juan: “As video operators, we’re usually the first people who can show clients and filmmakers the image they’ve been planning. It’s incredibly satisfying when someone looks at the monitor and says, ‘That’s exactly what we had in mind‘, or when you support them as they make adjustments that bring them even closer to their vision.

As video operators, we’re usually the first people who can show clients and filmmakers the image they’ve been planning.

To make that possible, my responsibility is to deliver a reliable video assist workflow. That means maintaining a stable signal, making sure the image accurately reflects the camera’s framing and look, and being ready to pull up the right playback whenever it’s needed. The better I understand the production plan, the faster I can respond to whatever the set demands.”

Since every production comes with its own demands, what types of projects do you typically work on these days?

Juan: “I spent many years working in advertising, shooting commercials for both national and international brands. Later, I moved into feature films and television series, again working on productions from both Mexico and abroad, as well as short films. I’ve been fortunate enough to work across almost every area of video assist.

Along the way, I’ve also had the chance to collaborate with one of the masters in this field, Gastón Álvarez, most recently on a virtual production project. He’s my mentor and has been an inspiration since the very first day I met him. He has taught me so much of what I know today, so I want to extend a special thanks to him.”

You’ve seen video assist evolve quite a bit over the years. Why did you decide to integrate Reeltime Pro into your setup?

Juan: “We chose Reeltime Pro because we needed a solution that could adapt to the evolving needs of different sets and projects. We tested various VTR software options, and Reeltime turned out to be the best fit for us thanks to its features and its user-friendly approach to setup, monitoring, and playback workflows.It far exceeds our expectations and is now our favorite tool on set.”

What types of productions have you used Reeltime Pro on so far?

Juan: “I’ve mainly used Reeltime in advertising, where everyone is in a rush and wants to review playback quickly and accurately, jump back to the live feed for the next take, and so on. Reeltime Pro helps us handle those fast-paced workflows and adapts well to the different demands on set, making our work more efficient.”

How did you integrate Realtime into your setup and workflow? 

Juan: “It was really easy to integrate Reeltime Pro —so much so that several directors and cinematographers have already told us that our work has become smoother and more efficient thanks to the features this software offers.

Several directors and cinematographers have already told us that our work has become smoother and more efficient thanks to the features this software offers.

My setup runs on an M5 MacBook Pro and, for commercial shoots, usually looks like this: audio is fed into Reeltime Pro via the Focusrite Scarlett 2i2,  while video comes in via our Teradek or DJI receiver and is sent directly to Camera A’s feed in Reeltime Pro through a Blackmagic DeckLink Quad 2. 

From there, we manage two SDI outputs for each camera. The first goes to the director’s monitor, while the second passes through a Blackmagic Video Assist 12G, which we use as a reference monitor, before being routed to the client monitor. The client output includes both the live feed and playback, but we also show a custom splash screen with the brand, production company, and client logos while the lighting and camera departments are preparing the next scene. It works well for us because it gives us control over what clients see on set, and they enjoy having their branding on screen while they wait for the director to call the set ready.”

Which Reeltime Pro features do you use most frequently? Are there any that you find particularly valuable?

Juan: “In general, all the features play a role in our work, but the one we use most often is the ability to set in and out ranges within clips. It lets us jump straight to the important parts of a take during playback and quickly focus on what the director wants to review. That saves time and makes the whole process much more efficient. I think that’s the feature I use the most, and it’s very useful. 

I’ve also used the chroma-key and compositing filters successfully on a couple of projects where blending the real world with a green-screen environment was an essential part of the commercial. Both the director and the clients were completely satisfied with the result. It’s a very useful feature that I hope to continue using and adapting to the needs of future projects. 

In terms of script and data management, Reeltime has also been a huge help. It allows us to generate detailed reports for every take and clip, making it easier to identify the best shots and provide the editing team with that information when they need it.”

How do you handle streaming? 

Juan: “We’ve been using Reeltime Viewer on set, and the crew has responded very well to it. It allows them to monitor scenes in greater detail from their own devices and capture stills of specific shots for their work. We’ve also added an iPad for the assistant director, giving them their own dedicated view of the set. It helps them follow the actions of both the talent and the extras more closely and work more efficiently throughout the day.”

Did you encounter any technical or workflow challenges on set?

Juan: “Every project has its challenges, and part of our job is to stay one step ahead to identify them early on so we can avoid or resolve them in the best way possible.

With Reeltime Pro, we can be much more flexible and adapt to each set— whether setting up a complete system on large sets or putting together a portable setup in complex locations.

With Reeltime Pro, we can be much more flexible and adapt to each set. For example, we recently worked on a music video where we had to climb onto the roof of an abandoned shopping mall. We were able to adapt our system into a portable setup and continue providing the same functionality as the full system. Such problem-solving is part of my day-to-day work on set as a VTR operator.”

Speaking of your day-to-day work, what would you say is the most challenging part of being a VTR Operator? And what’s the most rewarding?

Juan: “The biggest challenge is adapting to the different equipment and workflows you encounter on every project. You have to understand what the team is trying to achieve so you can contribute ideas, help solve problems on set, and use your experience to support the production.

The most rewarding part comes at the end of a project, when the directing, production, and other teams come up to thank you at wrap. Knowing that you went the extra mile and that your team delivered a good result is very satisfying. For me, teamwork is essential and at the heart of the way I work.”

Is there anything we haven’t mentioned that you would like to add?

Juan: “I love my job. I love having the opportunity to work closely with the director and the director of photography, and helping them feel confident that what they’re seeing on the monitor is exactly what the camera is capturing.

I hope to continue growing with Reeltime Pro, which gave me the upgrade I needed to perform my job better.

Being a VTR operator is my passion, and I hope to continue growing with Reeltime Pro, which gave me the upgrade I needed to perform my job better. I’d like to thank the entire Pomfort team for recognizing us.”

Big thanks to Juan for sharing these insights with us! 

The post My VTR Setup: Juan Navarro Yañez appeared first on Pomfort.

Karol G’s history-making performance as Coachella’s first Latina headliner fully embraced that scale. Towering LED walls, pyro effects, vibrant visuals, an extensive light show, and even a giant parrot (yes, you read that correctly) transformed the stage into an explosion of color and energy. 

As part of the wider technical team, DIT Chuck Pappas managed a 36-camera setup using Livegrade 7 to create a consistent cinematic look across the festival’s massive IMAG screens. The goal was not just to broadcast the performance but to make the audience feel fully immersed. In this interview, Chuck breaks down the technical workflow behind the show, shares insights into the growing world of cine-live production, and explains the challenges of delivering a production at Coachella scale.

A cinematic look for Karol G 

When it comes to live music, Coachella has become one of the biggest festivals in the world. But today, it’s about much more than the music itself. Audiences increasingly expect live shows to reflect an artist’s wider visual identity. 

Artists want their live performances to look as cinematic and meticulously crafted as their music videos.

DIT Chuck Pappas is experiencing this shift firsthand: „Through my company, Witty Phoenix, I’m seeing a massive, industry-wide shift in what clients and audiences expect from live events. The days of accepting a flat, clinical, standard broadcast look for massive concerts are ending. Artists want their live performances to look as cinematic and meticulously crafted as their music videos.“  

Delivering that aesthetic in a live environment requires a great deal of technical skill and ambition. But according to Chuck, the challenge is also what makes the work so rewarding. 

„It requires a tremendous amount of high-end hardware, incredibly robust software like Livegrade 7, and crews who are willing to push the boundaries of what is technically possible in real-time. It’s an incredibly demanding space to work in, but getting to be at the forefront of the “cine-live” movement is a brilliant place to be.“

It’s an incredibly demanding space to work in, but getting to be at the forefront of the “cine-live” movement is a brilliant place to be.

So how did he end up there? Chuck tells us that his experience across both traditional film production and large-scale live events naturally led him toward this kind of hybrid workflow:

„Having spent two decades building my foundation in LA, my roots are deeply tied to traditional cinema, documentaries, and high-end commercial work. Las Vegas, on the other hand, is an incredibly dynamic hub for high-end live events, massive concert residencies, and large-scale activations. This dual-city presence perfectly mirrors my career. I frequently bounce between the meticulous environment of traditional single-camera film sets and the fast-paced, high-pressure world of massive live music festivals and global broadcast events.“ 

From the second Chuck joined the Karol G project, it became clear that it would demand every last bit of his expertise.

„Director of Photography Keyan Safyari brought me on board with a single goal to make Karol G’s finale of Coachella the most cinematic live concert anyone has ever experienced“, he shares. 

With this ambitious goal in mind, let’s take a closer look at how Chuck and the wider team made it happen. 

Crew constellation and responsibilities

„For a show of this magnitude, the department has to be highly modular but tightly integrated,“ Chuck explains. He worked in a dual role that connected several parts of the production: 

„As the DIT and Technical Director, I sat at the nexus of several specialized teams, bridging the gap between the camera department, lighting, and the broadcast truck.“

Each department had a clearly defined role within the overall pipeline:

„The heavy lifting of the overall cable infrastructure, fiber runs, and dedicated camera control was expertly handled by the team at Wide + Close, where I worked closely with their dedicated DIT, Jordan Harriman. Meanwhile, the massive IMAG screens were driven by the company Vis A Vis. My guest DIT booth was actually integrated directly into their footprint, allowing me to coordinate seamlessly with our IMAG DIT, Casey Bornhell, and their two incredible booth engineers—specifically Joe Huntley, who was an absolute lifesaver during the run of the show. On the lighting side, ensuring our color science reacted perfectly to the live stage dynamics meant working hand-in-hand with our Associate Lighting Designer, Sam Paine.“

Keeping all of those moving parts aligned required constant communication throughout the show:

„Being in constant dialogue over dedicated, isolated comms channels allowed us to function as a single organism and ensure the cinematic aesthetic matched the shifting stage lighting perfectly across all 36 angles.“ 

Given the nature of live events, thorough preparation was required to test both the technical setup and team collaboration aspects of the production. 

„In a cine-live environment, prep is about engineering an absolute safety net. Because there are no second takes, our rehearsal process is incredibly rigorous and leaves no room for assumptions. You have to anticipate the unpredictability of a live concert.“ 

Preparing for the unpredictable 

During prep and rehearsals, Chuck and DP, Keyan Safyari established nine foundational looks—the primary show LUTs and baseline CDLs used to harmonize the different camera families across various portions of the show. But unlike a traditional film production, those looks also had to remain flexible enough to adapt to constantly changing stage conditions:

„You have to design LUTs that are robust and flexible enough to handle deep, saturated concert lighting, aggressive strobes, and pyro across entirely different sensor types. On a film set, you have the luxury of time to precisely flag a light or tweak a node tree for a single, perfect angle. You are building a look in a controlled vacuum. In a cine-live environment like the Coachella Main Stage, you are building a look in a hurricane“, Chuck explains. 

In a cine-live environment like the Coachella Main Stage, you are building a look in a hurricane.

As it turned out, that hurricane metaphor became very literal, forcing the team into the live show with far less rehearsal time than planned:

„The high winds at Coachella are notorious, and they put the production schedule massively behind. Because of the delays, our on-stage rehearsal was cut short, meaning I lost my dedicated four hours of lighting and color rehearsal. As a result, the baseline looks we built during prep were never able to be integrated into the main stage environment before we went live. When I say I live-graded 36 cameras, I mean I legitimately graded 36 cameras in real-time from scratch. It was a high-wire act, but I relied heavily on my scopes and the foundational knowledge I had of the performance to execute the job.“

Harmonizing that complex of an ecosystem under the pressure of a live festival environment couldn’t have been executed with anything but Livegrade 7.

The challenge became even greater because the production relied on cameras from multiple manufacturers.

„What made this uniquely challenging was the hardware diversity; the camera bodies came from four different manufacturers, including Sony, RED, DJI, and Blackmagic. That meant managing a massive amount of color space and sensor variation in real-time. Harmonizing that complex of an ecosystem under the pressure of a live festival environment couldn’t have been executed with anything but Livegrade 7.“ 

Signal routing and Livegrade 7 workflow 

Chuck’s guest DIT booth was directly integrated into the Vis-a-Vis footprint, the company in charge of the massive IMAG screens with their additional DITs. 

„This physical proximity was crucial. It allowed me to be within arm’s reach of Joe Huntley and Casey Bornhell, ensuring that as I was managing the color pipeline, we were in perfect lockstep with what was hitting the massive IMAG screens.“ 

The signal path itself was carefully structured to keep the workflow efficient while maintaining image integrity from stage to screen.

„Everything was organized around a strictly fully redundant 12G-SDI pipeline, meaning every primary monitor, router, and control surface had an immediate, hot-swappable backup. The camera feeds came via fiber from the stage and first hit the Camera Control Units (CCUs), where Jordan Harriman and the Wide + Close team handled the foundational iris shading and exposure. Immediately after that CCU shading, the clean signals were routed directly into our array of AJA ColorBoxes.“

At the center of the infrastructure was a routing system designed to handle the scale and complexity of a 36-camera live production.

„Our routing core relied heavily on Blackmagic routers, which provided the matrix size and reliability needed for a 36-camera shoot. For the actual real-time color processing, we deployed a fleet of AJA ColorBoxes in OpenGear racks. These are absolute workhorses in a cine-live environment, allowing us to process high-fidelity 4K signals with near-zero latency. We also utilized various Blackmagic Design converters and distribution amplifiers to handle localized handoffs and ensure complete signal integrity across the different technical departments.“

On top of this physical infrastructure sat the central control layer that tied everything together and made real-time decision-making possible.

„The absolute brain of the color operation was Pomfort Livegrade 7. When you are wrangling 36 different cameras and trying to maintain a cohesive cinematic aesthetic under wildly dynamic stage lighting, Livegrade is the only software robust enough to manage that many active CDL and LUT pipelines simultaneously without lagging or crashing.

The absolute brain of the color operation was Pomfort Livegrade 7. 

„I used Livegrade 7 to actively network and control the ColorBoxes in real-time. We applied our show LUTs, adjusted the CDLs, and reacted to Sam Paine’s live lighting cues. Once the signal passed through that Livegrade-controlled ColorBox node, the cinematic look was permanently baked in. From there, that polished, color-graded feed was pushed out simultaneously to the broadcast switcher for the global live stream and handed off to Vis A Vis for the massive festival IMAG screens. Which were finalized through our IMAG DIT Casey Bornhell.“ 

With its complete architectural overhaul and expanded functionality, Livegrade 7 now extends naturally into cinematic live productions involving large numbers of cameras. Alongside its well-established LUT box-based workflows and integration with a wide range of devices, it easily bridges broadcast color standards such as Rec. 709 and HLG with established cine grading workflows based on CDL, LUT, and ACES.

For Chuck, one of the most critical aspects of Livegrade 7 was its ability to simplify simultaneous multi-camera grading under extreme time pressure. Building on Livegrade’s proven multi-camera capabilities, the new multi-view and multi-grade functionality enables even faster and more comfortable simultaneous real-time iteration across multiple cameras. 

„While the sheer robustness and stability of Livegrade’s integration with our AJA ColorBoxes were lifesavers, the absolute game-changer for me was the multi-grade functionality by linking nodes. When you are sitting at the helm of a 36-camera ecosystem featuring Sony, RED, DJI, and Blackmagic sensors, the sheer math of managing those different color spaces simultaneously is staggering. When the stage lighting at Coachella shifts drastically, you don’t have the time to adjust 36 individual nodes. By linking the nodes in Livegrade, I was able to group specific camera families and apply sweeping, relative CDL adjustments instantly. I can say without a doubt that linking is the only way a single operator could possibly grade 36 disparate cameras on the fly at a show of this magnitude.“ 

Another key feature proved invaluable when the team encountered an unexpected technical issue during the second festival weekend.

„The SDI feed for Camera 25 never made it to my monitors, but I still had network control over its LUT box, which meant I had to grade the camera blindly. I used the AJA ColorBox’s internal frame capture and fed that directly into Livegrade 7’s internal scopes to match the camera at the start of the show. We achieved a flawless image because of it; it’s a massive testament to Pomfort that their digital scopes are that precise.“

Incidents like this underline what defines cine-live work: there is no margin for hesitation, and every decision carries immediate, visible consequences

„You are making instantaneous color decisions for 36 cameras in front of millions of global viewers. There is no undo button, and as we experienced with the wind delays, you don’t always get a rehearsal. That lack of a safety net is an incredible weight to carry.“

We ultimately delivered a near-perfect cinematic experience that I am quite proud of.

Despite that pressure, those constraints are also what make successful outcomes especially meaningful. Looking back, Chuck emphasizes both the result and the people behind it:

„We ultimately delivered a near-perfect cinematic experience that I am quite proud of. But honestly, when the dust settles, the most memorable experience isn’t a specific technical triumph—it’s the people. Over my twenty years in this industry, I’ve been lucky enough to build an amazing film family. Coachella was this beautiful collision of getting to work alongside dear friends I have known and collaborated with for years, while also making incredible new ones in the trenches together.“ 

Big thanks to Chuck for sharing all these insights with us! 

The post DIT Chuck Pappas on delivering a cine-live workflow for Karol G’s Coachella headline set appeared first on Pomfort.

As the film explores a troubled creative relationship on screen, the reality behind the scenes looked almost like the opposite. DITs Severin Schultze and Jonas Karg worked in a textbook example of collaboration, building a tightly integrated workflow that split live grading and dailies creation across two dedicated stations, while our cloud system ShotHub kept both sides seamlessly connected. The result was an efficient set-to-lab pipeline that kept OCF, looks, metadata, and transcodes flowing smoothly from production through post. In this interview, Severin walks us through the technical considerations behind the workflow, their setups, and why staying in the Pomfort ecosystem made all the difference. 

Crew and workflow design

Severin joined the production through existing contacts, but his role evolved during the early conversations. As he explains, expectations around the role of a DIT can vary significantly depending on the market and production background. With Mother Mary being a visiting production shot primarily in Germany and supported by a mixed international crew, those differences in expectations became part of the early alignment process: 

„I had been introduced to DP Andrew Droz Palermo as a DIT, which caused some confusion during our first conversation — my credits didn’t exactly match that of a traditional live-grading DIT“, Severin remembers. „However, he mentioned that they were also planning to have a dailies colorist/operator in a near-set setup, which suited my background perfectly. Ultimately, the production brought on an additional DIT for live grading: my colleague Jonas Karg“, Severin recalls.  

That distinction quickly became the foundation of the workflow, with responsibilities clearly divided. 

„We essentially worked with two workstations and split tasks: Jonas handled live grading on his cart using Livegrade on set, while I used my setup to tackle the dailies tasks near set in my van“, Severin describes. 

Editorial requirements added another layer of specificity to the workflow design. Severin typically runs a split setup across Silverstack Lab and DaVinci Resolve, but this production called for a different approach. 

„Normally, I handle all data and metadata management in Silverstack and the dailies color in DaVinci Resolve. However, on this project, editorial requested fully synchronized ProRes files, and they were working in Adobe Premiere instead of Avid Media Composer. So I adapted my workflow and did everything within Silverstack Lab, which allowed me to deliver synchronized sound along with all necessary metadata (via sidecar files) directly to editorial“, he explains. 

The biggest advantage was the fully integrated software ecosystem. The workflow with Livegrade, Silverstack, and ShotHub is exceptionally well thought out and makes the dailies process streamlined and efficient.

With Jonas using Livegrade on set and Severin handling dailies in Silverstack Lab, adding ShotHub was the natural next step. ShotHub mirrors Livegrade and Silverstack libraries to the cloud in real time, keeping looks, clip metadata, and project information instantly accessible to authorized team members. Every look created in Livegrade was automatically uploaded to ShotHub, allowing Severin to pull the latest grades directly into Silverstack Lab for fast look matching and dailies creation.

„The biggest advantage was the fully integrated software ecosystem. The workflow with Livegrade, Silverstack, and ShotHub is exceptionally well thought out and makes the dailies process streamlined and efficient. I never had to switch tools or export and reimport footage or metadata. Since ShotHub is implemented in both Livegrade and Silverstack Lab, the system is blazing fast, extremely reliable, and easy to manage,“ Severin explains.

That kind of operational simplicity on shoot days doesn’t happen by accident, though. It was earned during prep, as Severin tells us:

„During preproduction, my primary responsibility was designing and implementing the workflow setup. It was essential to align all technical requirements and creative preferences from both production companies as well as the entire post-production team. This involved an extended testing and optimization phase before shooting so that, once principal photography began, I could focus entirely on dailies processing.”

Severin’s setup with Silverstack

So what did his near-set dailies station actually look like then? Severin’s van setup was built around a workhorse that’s been with him for a couple of years. 

„Since 2022, I’ve been working with a fully maxed-out Mac Studio M1 Ultra paired with an Apple Studio Display. This combination offers an ideal balance of performance, I/O, size, power consumption, and thermal management“, he explains. 

His storage and monitoring setup was equally robust, and his power system made him fully self-sufficient.

„For backups, I used an Areca ARC-8050T3U-8 with eight 22TB drives; an OWC 4M2 with four 4TB WD Black SN850x NVMes as a scratch drive; and eight additional 4TB WD Black SN850x NVMes in Accusys TB3 enclosures as shuttle drives. The dailies pipeline was built in HD/SDR, so I worked on my trusted FSI DM240 monitor and used a Tangent Wave2 panel. My entire van setup runs completely off-grid with two EcoFlow Delta 2 Max units. For summer shoots, I also used an EcoFlow Wave air conditioner, which kept the internal temperature perfectly stable. For uploads, I relied on a Zyxel 5G router with an external antenna, providing excellent upload performance almost anywhere,“ Severin recounts. 

With everything set up close to the action, the handoff between set and van ran continuously throughout the day. From there, Severin followed a clear sequence of steps, as he explains:

„As soon as the cameras reloaded, I ingested the footage in Silverstack Lab. I imported the script supervisor’s metadata via Lockit Network, performed A/V sync, and matched looks by pulling the grades Jonas created with Andrew on set via ShotHub.“

QC and LTO archiving were handled by an external post facility that received shuttle drives twice per day, so Severin didn’t need to deal with those steps at all. With Silverstack managing backups in the background, he was able to focus fully on the dailies creation process. 

„Before the backups were even finished, I had already completed metadata management, A/V sync, and look matching, allowing me to move straight into fine-tuning colors. Jonas pre-matched the shots so that, once imported and synced on my side in Silverstack Lab, I rarely needed to make major adjustments. For look approval, I exported stills to an iPad Pro and showed them to Andrew on set. Andrew occasionally gave me notes to refine the live-grading changes he had implemented with Jonas. After approval, I launched the transcodes, uploaded the dailies to Moxion, and sent the editorial rushes via MediaShuttle“, Severin explains. 

Integrating ShotHub was a major advantage. I was able to access Jonas’ Livegrade corrections immediately after each camera reload and sync them to the corresponding shots […].

The ShotHub integration was more than just a convenience and had a clear impact on turnaround time, as Severin notes:

„Integrating ShotHub was a major advantage. I was able to access Jonas’ Livegrade corrections immediately after each camera reload and sync them to the corresponding shots, which made the workflow extremely efficient. By the end of each shooting day, I could hand David Lowery (Director) and Andrew Droz Palermo (DP) an SSD with finished ProRes rushes covering around 90% of the day’s footage to take back to their hotel.“ 

Jonas’ setup with Livegrade 

While Severin handled data management and dailies creation, Jonas focused on image continuity and creative intent right next to the camera. The production was primarily shot on two ARRI Alexa 35, with additional cameras added for specific sequences, as Severin recalls:  

„Some days, a 2nd Unit shot with a third Alexa 35, and during the stage performance sequences, we also used a third Alexa 35. For specific slow-motion shots, we brought in a Phantom Flex 4K. Unlike many series productions that rely on drones, GoPros, or smartphones, this setup was relatively straightforward.“

To establish a consistent starting point, the DP worked with Color Collective NY to develop a creative LUT, which became the base look in Livegrade on set. From there, Jonas took over live adjustments using Livegrade in CDL/LUT mode. As Severin relayed to us, Jonas describes his setup like this: 

“My workflow on set was built around my cart, where my MacBook Pro with Livegrade and the ARRI control units for exposure lived. First, the show LUT was applied, and then I did the corrections via the CDL node in Livegrade. Whenever possible, we tried to solve color and exposure continuity through lighting, aperture, and optical filters though. The exposure tools and still library in Livegrade were extremely helpful. The signal was sent as an ARRI LogC4 stream via Teradeks and color-transformed with the FSI BoxIO.“ 

For Jonas, the tight integration across the full pipeline was felt just as directly as it was on Severin’s side. 

„ShotHubs integration with both Livegrade and Silverstack Lab made the workflow seamless – definitely a game changer for an efficient set-to-lab pipeline”, he concludes. 

Final reflections 

Asked what stood out most from the production, Severin didn’t hesitate. The large-scale music performance sequences were the creative and technical high point as they were ambitious in design and complex in execution.

„The performance sequences were definitely the most fascinating — not only creatively, with the stage design, lighting design, and coordinated dance choreography, but also from a technical standpoint. Syncing the huge LED wall to the camera shutters and integrating automated lighting with camera and crane movements were complex challenges. On top of that, the VFX team had to capture all the plates needed to crowd up the entire stadium later on.“ 

And none of it would have come together without the tight-knit team, as Severin points out: 

„Overall, it was an impressive collaboration between many departments. It was technically and logistically demanding, but incredibly rewarding to see everything come together so smoothly thanks to so many talented and dedicated people.“ 

Big thanks to Severin Schultze for taking the time to walk us through the workflow on this production! 

The post Two DITs, one pipeline: Inside the seamless set-to-post workflow for  “Mother Mary” appeared first on Pomfort.

That’s why we’ve taken things a step further. With the introduction of scripting, Silverstack now gives you the flexibility to extend and adapt workflows with your own custom logic. Whether you want to automate repetitive tasks or enforce production-specific conventions, scripting opens up an additional level of control that seamlessly integrates with Silverstack’s workflow concept.

In this article, we’ll explore the new scripting feature through two practical use cases. These examples should be seen as a starting point for your own exploration, since scripting can be applied in many different ways. You can decide how and when it fits into your workflow, depending on your specific needs. It is simply another option in Silverstack’s toolkit, alongside presets, templates, and configurations, all designed to help you shape Silverstack to match the way you work. Let’s take a look! 

Scripting in Silverstack: What’s new?

Silverstack now includes a Lua API for accessing some of the data inside Silverstack, and a built-in script editor. Lua is a lightweight, self-contained scripting language designed for embedding into applications. Its small footprint and simple core make it well-suited for implementing extensible scripting features, while Silverstack defines the available functionality and environment. When opening scripts from the workflow configuration window, you can access the workflow context to gain relevant information for your scripts, such as clip metadata and more. Your added scripts will then run as part of your configured workflow. We will look at the script editor in more detail further below, but first, let’s clarify how scripts work conceptually. At a high level, scripting lets you extend workflows in two ways: during ingest or as a post-step after a job has finished. Let’s quickly look at both cases.

a) Metadata adjustment scripts: 

These run during ingest and let you automatically adjust or enrich clip metadata. A typical request DITs get from post-production is to gather consistent, exhaustive metadata across different camera models. So these scripts could be used to clean up metadata, such as removing leading zeros from take numbers. You can recognize these scripts by the functions onStampVideo and onStampAudio: 

1 function onStampVideo(videoClip)
2  local take = videoClip:metadata():getTake()
3  local n = tonumber(take)
4  if n then videoClip:metadata():setTake(tostring(n)) end
5 end

b) Post-step scripts: 

These scripts are added as post-steps to a job and automatically respond to workflow events like a completed backup or a transcode. The script below, for example, would write a small log file to the job’s working directory. As you can see here, those scripts can trigger actions outside Silverstack. All post-step scripts run using the onFinish function: 

1 function onFinish(_, _, workingPath)
2  local logFile = workingPath .. "/Silverstack_Log.txt"
3  os.execute('echo "Silverstack Job Finished" >> "' .. logFile .. '"')
4 end

The great thing about scripting in Silverstack is how flexible these two approaches are, allowing you to apply them in a wide range of scenarios. Before we continue diving into a few more concrete examples, here’s a quick heads-up.

A quick heads-up: this is not a coding tutorial

Please note that this article is not about teaching you how to code – and it doesn’t have to be. You don’t need to be a software developer to benefit from the new scripting feature. If you have a basic understanding of the underlying concepts or if you’re comfortable adapting existing examples, you can already put scripts to good use in your daily work.

Besides that, nowadays, it’s easier than ever to learn coding with the help of Large Language Models (LLM) that can provide you guidance with writing your first Lua scripts. 

That said, the main goal of this article is to explain why scripting can be useful and what kind of problems it can help you solve. Further details and step-by-step instructions can be found in the Knowledge Base, while an in-depth scripting documentation is available on GitHub.

Two real-world examples

Without further ado, let’s look closer at two common scenarios where custom scripts can make a real difference in your day-to-day work.

Example 1: Automatically adjust metadata during ingest

Metadata is a constant companion on set. Some values come directly from the camera; others need to be added, changed, or normalized during ingest. Doing this manually for every card or clip can be repetitive and error-prone: small inconsistencies easily slip in.

With metadata adjustment scripts running during the ingest step, these adjustments can happen automatically. A script can check whether a certain metadata field is already set and only fill it in if it’s missing or different from what’s required. This keeps existing information intact while ensuring that important fields are always populated. This is especially important when working in multi-camera setups where metadata can differ between manufacturers or even cameras.

For example, you’re shooting with an ARRI ALEXA 35 alongside an ARRI ALEXA Mini LF as your second camera. When ingesting the footage, Silverstack extracts the first camera’s letter as “A_” while the second camera’s letter is simply “B”. A script can help you adjust the camera letters to the desired pattern. To achieve this, the ingest script could look like this:

1 function onStampVideo(videoClip)
2  local cameraIndex = videoClip:metadata():getCameraIndex()
3  if cameraIndex == nil then return end
4  local newCameraIndex = string.gsub(cameraIndex, "_+$", "")
5  videoClip:metadata():setCameraIndex(newCameraIndex)
6 end

For now, don’t bother too much if you don’t fully understand the syntactic details of the script yet. In line 2, the clip’s current camera letter is extracted, and in line 3, the script will stop if the clip does not contain any camera letter. Line 4 replaces any underscore character in the camera letter with an empty string and stores it in the variable newCameraIndex, which is then set as the clip’s new camera letter in line 5. It’s as easy as that!

Instead of modifying workflows or relying on manual checks, the logic can be encapsulated in a small, focused script that runs during ingest. The ingest workflow itself remains unchanged, and the additional logic operates within clearly defined boundaries.

Example 2: Triggering external communication after a job finishes

The work does not end when a workflow (or job) is complete. Jobs finishing successfully (such as backups or transcodes) often cause follow-up actions: informing the production office, notifying editorial, or simply confirming that footage is safely backed up. A post-step script can react automatically when a job finishes, for example, by sending an email that includes relevant workflow information, such as the job state and on which volume the data was written to:

1 function onFinish(_, _, workingPath, success)
2
3    local to = "production@example.com"
4    local subject = "Silverstack job finished"
5    local status = success and "Successful" or "Failed"
6    local body =
7        "The job has finished.\n\n" ..
8        "Working path: " .. workingPath .. "\n" ..
9        "Result: " .. status .. "\n"
10
11    local url = "mailto:" .. to .. "?subject=" .. subject .. "&body=" .. body
12
13    os.execute('open "' .. url .. '"')
14 end

This script will create an email draft without sending it. The email informs the recipient that the job has finished, including information about the job’s working directory (line 8) and the job result (line 9). You could think of many other valuable pieces of information for the email, but for the sake of demonstration, we keep this example simple.

Here, too, the emphasis is on controlled behavior. Post-step scripts can only be executed within post-steps that are started when the associated jobs finish, and according to the logic you specify. You determine which actions are triggered and under which conditions. By automatically embedding your own logic into the workflow, you reduce repetitive steps while maintaining oversight and responsibility.

Why scripting matters

These examples highlight a common theme: scripting allows you to extend and personalize workflows while keeping them consistent and overseeable. Instead of maintaining multiple slightly different workflows or introducing ad-hoc variations, you can keep a clean, structured setup and use scripts for the specific adjustments that reflect a production’s needs.

That said, scripting is not required to use Silverstack effectively, but it can be a valuable extension for cases where additional automation or customization is needed. Whether you are a data manager or DIT on set looking to reduce manual intervention and streamline your processes, or a company building custom tools around Silverstack as the main engine, there will be situations where scripts can come in handy. 

The script editor: where custom logic lives

To support this level of extensibility, Silverstack 9.2 introduces a dedicated script editor. It’s a place where you can create, edit, and manage your scripts without leaving the application.

The script editor is closely tied to workflows. You can work on a script while configuring a workflow, adjust it as requirements change, and reuse it across projects when needed. Scripts are organized into three locations, each serving a specific purpose:

• Default: scripts provided by Pomfort, which can be used as-is or as a starting point for your own adaptations
• Project: scripts that belong to a specific project and ensure project-specific reproducibility over time
• Shared: scripts that are available across projects to support consistent results for multiple projects

This structure reflects a deliberate design choice and supports reproducibility, traceability, and shared standards. All scripts are stored as regular files in the file system, allowing you to also access them with Finder and create versions as needed. Within the script editor, you can duplicate scripts from the default into the project or shared location, e.g., to start an iteration from the provided default scripts. 

Most importantly, the script editor is designed to make learning manageable. It includes an API reference and features such as auto-completion or a preview of the edited variables, helping you explore supported functions while staying within a clearly defined scope. That is why it was important to us to design an editor that allows users to create scripts quickly and interactively.

Yet, for those aiming to work on more complex setups, the script editor allows opening scripts in an external IDE of your choice. On top of that, technical users and developers can make use of shared functionality by creating modules that can be loaded with the help of require(). 

Conclusion

Scripting introduces a new degree of versatility to Silverstack’s workflow concept. It gives you a clearly defined extension layer to reflect the real-world challenges of your production without reinventing your setup. Silverstack continues to function exactly as it always has. Scripting simply gives you the choice to adapt it, but on your own conditions. Let us know: What would you extend in your own Silverstack workflows?

The post How to use Silverstack’s scripting feature appeared first on Pomfort.

Ian first adopted our on-set playback system, Reeltime Pro, while working on Accidente 2, one of Netflix’s most-watched series in Latin America. After proving its reliability in this demanding production environment, Reeltime has become a core part of his workflow. In this conversation, Ian walks us through his current setup and explains how his approach ensures that every department on set has the views and tools they need to make informed decisions. 

Thanks for taking the time to chat with us, Ian! To start, where are you based, and what’s the production landscape like there? 

Ian: „I am currently based in Mexico City. The film production industry in Mexico is very large and continuously growing. It is a highly demanding environment, especially when it comes to image monitoring and color accuracy on set. At the same time, it is a very dynamic market, with highly talented crews and a wide range of impressive productions, from international series and films to high-end commercials.“ 

Given the range of productions in Mexico, what kind of projects do you mostly work on these days? 

Ian: „I mainly work on television series and productions for streaming platforms. Throughout my career, I have joined several projects for streaming platforms such as Netflix, HBO Max, and Amazon Prime Video. I have also collaborated on feature films, both in national productions and international projects, which has allowed me to work with different teams, workflows, and technical demands on set.“ 

As you built your career, what led you to specialize as a VTR operator?

Ian: „I first came into the industry as a TV intern during my time at Uni. Over the years, I decided to specialize as a VTR operator because it is a department I’m truly passionate about. It is an area on set where each day brings new challenges, as every production has different technical needs and workflows. In addition, it is a key position within the filming process – it allows close collaboration with the directing team, the cinematography department, and the script supervisor, ensuring that image monitoring is accurate and that takes can be reviewed efficiently during filming. Over time, I developed my skills in this field and specialized in the systems and tools that make a reliable and well-organized video workflow on set possible.“

Great transition! What does your VTR setup look like to support such a well-organized video workflow on set?

Ian: „My video assist setup is designed to be compact, portable, and flexible so it can easily adapt to different production environments. I usually work with a Mac Mini or MacBook Pro as the main workstation running Reeltime Pro, connected to a DeckLink Quad 2 to handle multiple video inputs and outputs. 

My video assist setup is designed to be compact, portable, and flexible so it can easily adapt to different production environments.

For signal routing, I use a Blackmagic Videohub 12×12, which allows me to distribute camera feeds to different monitors and departments depending on the needs of the production. I also use a Scarlett 2i2 for audio monitoring and capture when required. The entire system is mounted in a 4U SKB case, allowing me to maintain a portable, organized, and fast-to-deploy workstation in any location.

In addition, I use a Stream Deck XL, which has become a very important tool in my station. Thanks to its integration with Reeltime, I can control functions such as starting recordings, stopping them, or triggering playback with a single button. I can also operate the system through a local network, even when I’m away from my workstation, or send commands from devices like my iPad or Apple Watch. It all helps make the on-set workflow faster and more efficient.“ 

What were your reasons for integrating Reeltime Pro into your setup? 

Ian: „A main reason for choosing Reeltime Pro was that it enables me to stay within the Pomfort ecosystem. For me, it is very important that the tools used on set work effectively side by side, and most DITs already use Livegrade and Silverstack. Another key point is how intuitive the software is, which makes it easier to operate during filming and allows us to focus on the video workflow and the needs of the set.“ 

Can you share some example projects where Reeltime Pro has been part of your workflow?

Ian: „So far, I’ve mainly worked on fiction series for digital streaming platforms, although I have also used Reeltime on several feature films and short films. Reeltime’s flexibility allows it to be easily adapted to various types of productions, from smaller sets to more complex multi-camera setups. In my experience, it integrates very naturally into different workflows, as it adapts to various camera configurations, monitoring needs, and on-set processes. It just makes managing and reviewing footage during filming much easier and therefore has become an essential tool within the video assist department.“ 

On your past projects, how has the video assist department worked within the overall on-set workflow and collaborated with other departments?

Ian: „In several of the projects I have been part of, we have worked with a Pomfort-based workflow, using Livegrade, Silverstack, and Reeltime. This workflow allows for strong coordination between different departments during filming, especially regarding image monitoring and the review of footage on set. 

So usually, the video signal first goes to the DIT station, where the DIT manages color and applies the look on set. Then the DIT provides me with a video output that already includes that look. That signal then enters my VTR station, where I use Reeltime Pro to capture, organize, and manage the footage. 

From my station, I distribute the signal to the different departments that need to monitor the image, such as the director’s team, script supervisor, VFX, and clients, allowing them to review takes through immediate playback when needed. During filming, I also organize the material by scene, take, and camera, and add the appropriate metadata to keep everything well-structured. I support the camera department by generating reports for each clip and adding metadata for any camera changes during the shooting day, which is very useful for the data manager and the post-production team.“ 

Reeltime was designed to be flexible and handle a wide range of monitoring needs. How many outputs do you typically provide?

Ian: „It depends on the project, but I typically work with up to four video inputs for cameras. In terms of outputs, I usually manage at least four main outputs, depending on the production’s workflow. For example: 

• Individual outputs for each camera
• One multi-view output, where two or three cameras can be viewed at the same time
• Outputs dedicated to the director, clients, or streaming

That way, I’m enabling each department to access the image according to their specific needs.

How do those needs differ across departments? 

Ian: „Directing and continuity always appreciate simultaneous playback, along with metadata integration in their monitoring to track exactly which scene or take we are on. They also value on-set video editing to review the scene immediately, so I also perform basic editing tasks directly on set to prepare references or quick cuts. They also appreciate having everything organized into folders—whether by shoot day or the ability to locate any scene in seconds, even if it was recorded days ago. So a key responsibility is also to maintain a continuous backup of the incoming signal, which allows all the footage captured during the shooting day to be available for instant playback whenever it is needed. 

With the DP, we work extensively on compositions to ensure every shot is perfectly framed. We also use overlays of previously recorded scenes and apply live grading (or coloring the live signal) for perfect visual alignment. VFX and other departments appreciate the ability to capture stills, both within the companion app for instant sharing via AirDrop and through Reeltime itself.“ 

How do you loop in people who aren’t on set or are moving locations a lot? 

Ian: „Thanks to Reeltime’s streaming features, members of the production team can follow the shoot remotely when necessary. I mainly use internet streaming when producers or crew members need to leave the set but still want to follow what is happening during filming. For local streaming, I use the companion app, Reeltime Viewer, quite frequently. In some productions, we had up to 20 people connected simultaneously, using local routers on set so different crew members could monitor the image from different points of the location.“ 

Considering all the technical, logistical, and collaborative demands of your role, what’s the biggest challenge you face as a VTR operator?

Ian: „One of the main challenges of being a VTR operator is constantly adapting to the pace of a set and the various technical needs that arise during filming. The flow of information is constant, and you often have to react quickly to ensure that all the material is available, properly cataloged, and ready to be reviewed whenever any department needs it.“

Today, video assist work goes beyond simple playback, and tools like Reeltime Pro allow the VTR to have a more active role in the creative process on set.

And on the flip side, what’s the most rewarding aspect of the job?

Ian: „The most rewarding aspect of the job, however, is knowing that the VTR is an essential tool for visualizing the image on set. Being able to provide a clear and immediate reference of what is being filmed allows the creative team to evaluate the result in real time and make informed decisions. Being part of that process and contributing directly to how the image is viewed and analyzed during production is, without a doubt, one of the most satisfying aspects of the role. Today, video assist work goes beyond simple playback, and tools like Reeltime Pro allow the VTR to have a more active role in the creative process on set.“

Thanks, Ian, for sharing these insights with us! 

The post My VTR Setup: Ian Castañeda appeared first on Pomfort.

Part 1 focuses on common on-set scenarios that the standard edition can already cover, starting with a typical two-camera setup and scaling up to larger configurations, so you can understand the capabilities available without adding extras.

Part 2 explores how Livegrade 7’s optional modules expand functionality. We take a look at which scenarios each module addresses and what the corresponding hardware setup could look like. By comparing standard and extended setups, this section provides a clear view of what you really need for advanced or very specific production requirements, such as very large camera setups, VFX compositing, or streaming functionality.

Part 1: Why Livegrade 7’s standard edition might be all you need

The standard edition of Livegrade already includes a comprehensive set of features and might already cover most of your needs. Extensive hardware integrations allow direct control of look devices such as LUT boxes, cameras, and monitors, as well as seamless integration of video I/O devices on the DIT cart. Within the software, well-thought features support a DIT’s typical on-set activities: a comprehensive library for managing looks and reference stills, automatic SDI metadata readout, image analysis tools such as scopes, EL Zone, and false color, multi-view modes, node linking, markers, dual-pipeline looks, and an interactive router panel. The standard edition is designed to manage up to 8 camera signals, capture 4 feeds, and display independent, tailored views on 3 monitors simultaneously.

1. Inside a typical two-camera setup

We begin with a common two-camera workflow, exploring the hardware and demonstrating the standard procedure for configuring inputs and outputs in Livegrade’s slot manager, using this smaller setup as an example.

Here’s what a typical hardware setup could look like:

• 2 monitors: Displaying either a live signal, reference, playback, or a multi-view.
• 1 LUT box per camera signal: Processes the live camera feed to display a graded image on a monitor or passes it on to video village.
• 1 video input device per camera signal: Captures each camera’s SDI signal.
• 1 video output device per monitor: Feeds each monitor on the DIT cart with references, playback, multi-views, or filtered views.
• Grading panels and controllers: Provide quick access to the most important functionality of Livegrade, such as color grading the live signals.
• SDI router: Enables fast, flexible signal routing from the DIT cart.

Configuring inputs and outputs with the slot manager

The slot manager is very similar to the device manager in previous versions of Livegrade. It allows you to set up and manage your input slots (LUT boxes and camera feeds) as well as outputs in one place.

• For each camera signal, you create an input slot in Livegrade 7, add a LUT box as a look device, and assign a port of the video input device as the image source. 
• This enables you to provide graded images from both cameras for the video village, while simultaneously receiving the SDI streams in Livegrade, where you can also record them.
• To keep the monitors on the DIT cart as flexible as possible, for example, for using a multi-view or applying a filter, you make use of Livegrade’s ability to create multiple outputs.
• Create one output per monitor and assign each to a port on the video output device.

2. Scaling up to the largest possible setup

With its standard feature set, you can handle up to 8 camera signals, capture 4 camera feeds, and provide independent, tailored views on up to 3 monitors simultaneously.

In a maxed-out setup, you can:

• Use 4 of the 8 input slots to capture SDI image streams, while the remaining slots can receive a frame grab from an assigned look device.
• Use all 8 input slots to access multiple look devices, such as LUT boxes, cameras, and/or monitors.
• Use 3 outputs to feed video output devices with independent, tailored views.

3. Optimizing your workflow with SDI routers and controllers

In production, everything comes down to speed and efficiency. Working with Livegrade’s custom routing presets, and integrating physical controllers offers a significant productivity advantage. 

Interactive router control and routing configurations
With the interactive router control, you can instantly change the physical signal routing on your cart with a video router or video switcher – For example, displaying a LUT box output onto your monitors instead of the video output device. You can save these routing configurations and trigger them on the fly using Stream Deck or Tangent controller actions, making complex setups feel effortless. Livegrade integrates with various SDI routers from AJA and Blackmagic.

Tangent panels and Stream Deck devices
Livegrade integrates seamlessly with Tangent grading panels and Stream Deck devices. Once connected, you can use a comprehensive set of buttons and dials, giving you instant access to key functions, building muscle memory, and therefore significantly speeding up interaction with your entire DIT system.

4. What you can do with Livegrade’s standard feature set

Now that your hardware setup is good to go, Livegrade 7’s standard feature set gives you the tools to handle all major DIT tasks on set, whether it’s live grading, providing references, applying looks, supervising the pipeline, or sharing references, looks, and metadata. Here’s a closer look at what you can achieve.

Build the look pipeline
You can flexibly set up the look pipeline to ensure post-production specifications while staying aligned with industry standards. Saved looks can be exported in formats that work across platforms, as Livegrade uses grading modes with standard nodes like CDL and various curve tools. A comprehensive set of manufacturer LUTs and ACES transforms ensures compatibility with the most common cinema cameras.

Ensure correct exposure
For precise exposure control, several scopes provide you with a detailed reading of your images, while the EL Zone system and false color tools quickly show brightness ranges. These tools help you consistently support your DP’s decision-making by ensuring everything is on track.

Dynamically change the look
Respond to creative ideas or changing shooting conditions on the fly. Integrations with LUT boxes, monitors, and cameras let you adjust the look of live signals interactively. The fine-tuned look preview is immediately available to the crew at all times. 

Match live signals and maintain look consistency
As a live grading DIT, you’ll often focus on matching live signals and keeping the look consistent across the entire shoot. Multi-view modes make this central task easy by displaying multiple live signals and reference images in a single grid. You can freely configure these multi-views to work exactly the way you and your DP feel best supported.

Grade multiple signals and shots
The “Link Nodes” feature lets you adjust multiple camera signals at once. It also works for regrading multiple stored shots in the library. It not only guarantees purposeful and efficient adjustment of live signals, but also provides the most accurate preparatory work possible for dailies grading.

Create multiple tailored views
Displaying camera metadata, framelines, or a log image can be helpful but also distracting. With multiple outputs and configurable filters, you can display metadata, framing, or looks differently for each monitor or viewer. Adapt to individual needs without interrupting anyone’s workflow. Your crew will thank you for making their workflow smoother.

Collect data about your images
Livegrade helps you ensure all metadata is collected correctly with each shot, supporting post-production as comprehensively and reliably as possible. Automatic SDI metadata readouts, slot-specific and global metadata input masks, and the stages feature, which groups cameras into units, make data collection fast and accurate.

Build a visual memory
The shot library lets you collect looks, stills, and metadata throughout the entire shoot. You can browse, skim, and recall past looks and references, or research how individual shots were captured, giving your DP a powerful visual memory of the production.

Review and highlight what matters
Record-and-playback functionality lets you quickly check specific parts after each take and support developing a look for the entire scene. Additionally, setting markers helps highlight critical moments or frames for technical review or as look references, including notes and ratings. 

Sharing references, looks and metadata
You can share collected references, looks, and metadata for each scene in a well-organized package with downstream post departments. Paired with Silverstack Lab, look matching for dailies can be fully automated. You can also send stills— even via AirDrop— to the DP and other crew members to help maintain visual consistency across the project and further build on what has already been achieved.

Manage dual monitoring workflows for HDR/SDR
Dual pipeline looks support HDR productions by allowing two pipelines per camera while managing only one look per camera. You can decide which pipeline is applied on the look or output device, keeping complex workflows simple and efficient.

As you can see, Livegrade 7’s standard feature set already leaves you well-equipped to handle most live grading and digital imaging tasks. However, some productions go beyond these common workflows, with advanced requirements such as synchronized playback for your DP, VFX compositing previews, grading LED walls, streaming, or setups that exceed the standard edition’s input/output capabilities. This is where Livegrade 7’s purpose-built extension modules and flexible licensing come into play, keeping you in control without cumbersome workarounds and avoiding the need to invest in features you might only need occasionally.

Part 2: When to extend your Livegrade 7 setup with modules

Let’s walk through real-world scenarios that push beyond the standard workflow and explore how Livegrade 7’s optional modules help you handle them. 

Scenario 1: Your DP wants to review takes across cameras

If your DP needs to evaluate how multiple camera angles work together, or how camera movement and focus align with dialogue, reviewing a single feed isn’t enough. 

With the Multi-Playback and Audio module, you can:

• Record and playback multiple camera angles in sync. Playheads of input slots will be synced as soon as you load a group recording. Using the play controls within the viewer, JKL or controller actions, apply to all slots of the group.
• Include audio for timing-sensitive decisions. Record and playback streams from multiple audio devices to check how dialogue and camera movements interact.
• Define multiple in and out ranges while recording to highlight the relevant parts of the take. Playhead controls interact with these ranges. For example, you can set a clip to replay only within the set in and out ranges.
• Even run independent playbacks on different outputs. Let the DP review one take while you check another on your cart, without interfering with each other.

Scenario 2: You need to provide monitoring beyond the DIT cart

As productions grow, so do the monitoring needs. Your DP needs an independent monitoring setup in addition to the DIT cart, and other stakeholders may need access to the live-graded images or references.

With the Outputs and Streaming module, you can:

• Provide additional, tailored outputs for different viewers (up to 6 outputs, compared with 3 outputs in the standard edition). While your DP preps the next scene, you can continue fine-tuning shots from the previous location. Or supply any other roles, like the gaffer or art department, so they can contribute to the intended look.
• Manage multiple outputs efficiently. A dedicated “All Outputs” window layout allows you to see all outputs at a glance and configure them individually. Composite slots enable a static multi-view configuration for a specific output (for example, a quad view on a dedicated monitor). Quick routing actions let you switch to live signals or display the current viewer configuration on a specific output with a single click or Stream Deck action.
• Stream locally to mobile devices. Send low-latency live-graded feeds or references via a local network to your DP’s iPad on set for faster access anywhere on location. The free companion app, Livegrade Viewer, is available on the App Store for iPad and iPhone. 
• Enable remote viewing via internet streaming. Let producers, clients, or other stakeholders follow your DP’s creative work in real time, even from off-site.

Scenario 3: Your DP needs to check fore- and background separation for VFX in real time

When working with green or blue screens, a well-lit foreground that blends smoothly with the background in post-production is crucial. Live previews help your DP visualize how elements will come together and make confident on-set decisions.

The Key and Mix module enables you to:

• Key foreground elements to check spill and separation.
• Blend foreground and background into live composites using a dedicated composite slots (up to 3, not available in the standard edition) that combine two slots.
• Apply a blur filter to refine previews, either reducing the sharpness on the foreground or softening the background plate. 
• Record previews for further review or to user as a reference.

Scenario 4: You need to manage a large-scale production with more than 8 cameras

Some productions simply operate on a different scale. Whether it’s a cine-live production with more than 20 cameras or a large-scale feature: more cameras, more signals, more complexity of the monitoring setup.You’ll need to keep everything organized and under control without feeling overwhelmed.

With the I/O Pack module, you can:

• Handle live-grading for up to 50 cameras. Create up to 50 input slots (compared to 8 input slots in the standard edition) and keep track of them all with the help of a dedicated “Tiny” slot size in the Livegrade UI, even for large cine-live workflows.
• Record up to 6 SDI streams simultaneously. (Standard edition comes with 4 SDI streams).
• Expand your output setup for larger monitoring configurations. You can feed up to 6 individual SDI output devices and manage them with the previously mentioned dedicated “All outputs” window layout and quick routing actions (see Scenario 2).

Scenario 5: You need to balance colors on LED walls for virtual or cine-live productions

In virtual production and LED-based live environments image processing doesn’t stop at the camera. Whether ensuring a seamless blend in virtual production or perfectly balanced colors for a live show, using Livegrade, your DP can participate in controlling image processing and work with familiar tools to bring their creative intent across quickly.

The LED Processing and Control module allows you to:

• Integrate with a variety of processing hardware and software. Adjust LED wall content with supported systems such as Tessera processors (Brompton), HELIOS processors (Megapixel), MX series processors (NovaStar), Colorlight processors, and Disguise Designer.
• Adjust colors across multiple panels. Even calibrated LED walls at live-event locations may need fine-tuning to ensure a homogeneous image across panels and a balanced combination with other on-set or location light sources.
• Integrate with Unreal Engine via the Pomfort Virtual LUT Box plugin. Achieve a seamless blend of foreground and background with real-time CGI content displayed on the LED walls.

A few words on licensing options

Livegrade 7’s module licensing options is designed to adapt to your changing production needs. Here are some recommendations based on different usage pattern:

• You regularly need multiple modules throughout your subscription period but want flexibility. If your workflow often exceeds the standard features but you want to be flexible with every production, you can include one or more modules when purchasing a subscription or add them later via your Pomfort Account. You’re never locked into a specific module. Choose which modules are active and switch them on the fly using the software’s license manager.
• You need Livegrade 7 for a specific project but want flexibility. If your short-term project requires several modules, you can include them when purchasing a temporary license. You’re free to choose which modules are active and switch them at any time in the license manager, keeping your setup lean and flexible.
• You need a specific module only for a short-term task. If you already have a subscription or temporary license, you can add a module license as needed. You’ll receive a separate module license key that can be activated directly in the software.

To explore all options in detail visit the Pomfort Store.

Putting it all together: Start building your ideal Livegrade 7 setup

Livegrade 7 equips you to handle your workflow efficiently, starting with the standard feature set and expanding with optional modules for advanced or highly-specified needs. Flexible licensing lets you add only what you need, when you need it, so you never pay for features you won’t use. We hope this article helps you navigate what’s possible with Livegrade 7 and make confident choices for your next productions.

To plan your setup check out the Livegrade Slot Calculator for a precise overview of available input slots, outputs, and other slot types for each module compared to the standard edition. For operating Livegrade 7 dive into the Knowledge Base for step-by-step guidance.

The post Find your best Livegrade 7 setup for common to complex scenarios appeared first on Pomfort.

In this interview, we shift the spotlight to the camera department as DIT Krzysztof Zawieja takes us behind the scenes, lifting the curtain on his setup and workflow with Livegrade and Silverstack Lab. Let’s go! 

Joining the production 

The rural setting of Hamnet, filmed across England and Wales, feels pretty close to home for Krzysztof. He also lives in a quiet village in southern Poland, so the landscapes and slower pace are something he knows well. That said, he often leaves home to work on major productions, especially long-form features, which are where he finds the most creative satisfaction, as he explains:

„I mostly work on long-form projects; I love co-creating feature films. People talk about them, discuss them, exchange opinions, and often these films stay with us.“ 

Hamnet is clearly one of those films, as its award nominations and wins show. For Krzysztof, getting to witness Jessie Buckley’s Oscar-winning performance live on set was a memorable experience that left a lasting impression.

„Watching Jessie Buckley in the scene where her character, Agnes, loses her son was absolutely staggering. I have never experienced anything like that on set before; she was incredible. It was a massive privilege to witness her performance live on set. Thankfully, no AI can ever replace genuine human emotions.“

I have never experienced anything like that on set before; she [Jessie Buckley] was incredible.

So how did he end up on set of Hamnet? „I was invited to join Hamnet by the phenomenal Cinematographer Łukasz Żal, following our previous collaboration on the technologically demanding The Zone of Interest by Jonathan Glazer“, Krzysztof tells us. 

Their existing relationship made the collaboration much smoother, since they could skip the usual period of figuring each other out that comes with working with a new DP. As Krzysztof explains: 

„It’s a great privilege to collaborate with cinematographers from all over the world and observe their approach and how they see things. The most challenging, but also one of the most interesting aspects of working as a DIT on set, is adapting to a cinematographer you haven’t worked with before. You have to figure them out, find the right balance between creative input and technical support, adapt to their way of seeing, understand how they perceive contrast and color, and balance all of that—while simultaneously keeping a close eye on the strictly ’technological side’ of the image.“ 

It’s a great privilege to collaborate with cinematographers from all over the world and observe their approach and how they see things.

Successfully finding that balance is what gives Krzysztof the most satisfaction in his work, and it can often lead to the next opportunity.

„It might sound trivial, but what gives me the most satisfaction is when, at the end of the shoot day, the DP is happy and says, ‘Thanks for the help, man, good job.’ And, of course, getting THAT call for the next job!“ 

In Krzysztof’s case, that call did come, bringing him onto Hamnet and into a diverse, international camera team. „We had a mixed crew“, Krzysztof begins describing his team. „From Poland, we had Łukasz’s regular collaborators: Staszek Cuske (Camera Operator), Radek Kokos (Focus Puller), and myself as DIT. Łukasz also brought his famous chef/Key Grip, Tomek Sternicki. We were joined by Rami Bartholdy (1AC B Cam), Juliette Carton (2AC), Lara Diamond (Camera Trainee), and my phenomenal team: Data Manager/invaluable support Carrie Cooksley, and our talented Video/DIT Trainee Susannah Ireland.“

Oh, and there was one more essential crew member who kept spirits high on set.

„I absolutely cannot forget one very important crew member: a dog named Stich! The whole crew loved petting him, but his main base was with us on the DIT/video truck.“

Setup and workflow

To create a setup that could support both the creative vision and the realities of the shoot, Krzysztof started by aligning closely with the cinematographer: „I obviously started with discussions with Łukasz regarding formats, camera choice, lenses, and filters“, he explains.  

From there, they worked closely with their post-production studio, HARBOR, to refine the camera and color pipeline so everything was locked before filming began. Once on set, Krzysztof settled into his usual responsibilities.

On set, my main task is to relieve Łukasz [Żal, DP] of the technological burden so he can focus on what matters most: THE image.

„On set, my main task is to relieve Łukasz of the technological burden so he can focus on what matters most THE image“, he explains. For Krzysztof, this translated into a classic DIT workflow: „For me, it was standard work: CDL, iris control, continuity, monitoring levels and contrast, and matching lenses“, he recaps.

Technically, the production was straightforward, with most of the filming done on a single ARRI Alexa 35. „It’s a technological work of art“, Krzysztof adds. However, some challenges came from the film’s dynamic shooting style and outdoor environments. 

„The biggest challenge was adapting to shooting in a forest in Wales where the cart had to be light“, he says. „Łukasz asked for maximum mobility, so I had to rebuild my kit to the smallest possible footprint. Chloé (the director) wanted to shoot some things in a ‘documentary‘ style, catching incredible moments and rolling the camera without informing. Full readiness and high mobility were crucial“, Krzysztof concludes.

That flexibility meant scaling down even further – a big shift from Krzysztof’s usual multi-cart setup, which he already had to leave behind. 

„The only thing that perhaps took me slightly out of my comfort zone was that I couldn’t bring all my own equipment from Poland. I usually have three different carts prepped in various configurations, one vertical and two horizontal ones, depending on the planned shots, the locations, and the number of cameras on set. For this project, I had to limit myself to just one small, universal cart“, he remembers. 

So what did that all-in-one cart look like on Hamnet?

„My setup consisted of the essential tools: Livegrade, a Konvision 2460D monitor, Convergent Design Odyssey 7Q, Stream Deck, my custom DIT box loaded with LUT boxes, network and video routers, and Heltec’s Wi-Fi HaLow camera communication. The entire system was powered by an EcoFlow/ DJI Power. I also had my own mini tent.“

For the remote shooting locations, the team relied on CineArk, a UK-based rental company that supplies specialist film equipment, including their Eagle communication system for long-distance video monitoring and control.

„CineArk’s Eagle communication system was a huge support. Often in Wales, Staszek and Łukasz were working and capturing nature – quite a distance away, and thanks to Eagle and HaLow, I maintained full control over the image at all times “, Krzysztof explains. 

Livegrade was central to maintaining that control, allowing Krzysztof to precisely shape the image on set and realize the DP’s vision.

Honestly, I can’t imagine working without Livegrade.

„Honestly, I can’t imagine working without Livegrade,“ he says before going on to describe his favorite features. „The most important feature for me is recording in log. This allows me to make corrections even after a scene is shot, if we decide it should look slightly different. The ability to make adjustments on pre-defined nodes is also a crucial feature. Besides that, Livegrade is incredibly stable and transparent.“ 

While Krzysztof refined the grades, Data Manager Carrie Cooksley ensured their seamless integration into the asset pipeline.

„Usually, Carrie would receive the PFLA files from me during breaks, and then again at wrap. All data was imported into Silverstack Lab in the blink of an eye and linked with the OCF. After making three copies, the prepared shuttle drives went straight to the lab.“ 

However, it’s not just about speed or simple file sharing with Livegrade. Krzysztof trusts Silverstack Lab to keep every bit of data organized and safe.

„Silverstack Lab simply means a peaceful night’s sleep after shooting! Carrie used it to import my color decisions, handle backups, perform preliminary QC, extract stills, and generate all the necessary reports.“

Silverstack Lab simply means a peaceful night’s sleep after shooting!

Beyond the technical memories from working on Hamnet, this project also held personal significance for Krzysztof. During production at London’s George Lucas Stage, where a full-scale replica of Shakespeare’s Globe Theatre was built, he found himself reflecting on the beginnings of his filmmaking journey.

„My first steps in film were heavily influenced by Star Wars and my older brother, who was also into filmmaking. As an 11-year-old, I learned how to use After Effects just so I could replace broomsticks with my own lightsabers on footage recorded on VHS-C,“ he recalls. 

That childhood fascination now came full circle as he found himself working in the same space where scenes from his favorite film franchise were shot.

„As a kid awkwardly painting lightsabers in After Effects, I never even dreamed that almost 25 years later I would be working on such a unique project, and on top of that, in the very place where scenes for Star Wars were created.“ 

Big thanks to Krzysztof for sharing these insights with us! 

The post Lifting the curtain on ‘Hamnet’: Behind the scenes with DIT Krzysztof Zawieja appeared first on Pomfort.

Grant has worked across features, commercials, and high-end television, including eight seasons of Outlander, while helping shape Scotland’s digital production infrastructure. An early adopter of Livegrade, he has followed its evolution from the earliest versions to today’s Livegrade 7. In this interview, he shares his journey breaking into the industry, building practical DIT setups for demanding environments, and why the real skill of the job lies in collaborating with people as much as mastering technology. Let’s dive in! 

Thanks for taking the time to speak with us! To start, how did you first get into the film industry? 

Grant: „I didn’t know anyone in the film industry when I started out. My first opportunity came through a community video charity that produced political documentaries, focusing on underrepresented people in deprived areas and giving them access to video equipment. That early experience still shapes how I approach the film industry today. 

After joining a local authority training scheme, I landed a job as a camera trainee on a large feature shooting locally. It was a huge learning curve. I quickly realised that even though I thought I knew about film, I really didn’t. That humbling lesson, that there’s always more to know, has stayed with me.“ 

How did that path lead you toward becoming a DIT?

Grant: „I’d worked on around 200 commercials in my video assist role, witnessing the transition from analogue tape recording to digital hard drive recorders. I found that evolution fascinating and was very engaged with it, while many others weren’t. I realised that being interested in something most people were less so could keep me employed.“

Seems like that curiosity really paid off, doesn’t it? 

Grant: „Yes, things really changed for me in 2007 when I worked on a Scottish feature shot on the Viper camera. It was my first experience with a digital cinema camera. The camera was tethered to a van full of hard drives, and we had to radio the team inside to ‘turn over.’ It seemed cumbersome but fascinating, so I started talking to the people in that van. 

I realised that being interested in something most people were less so could keep me employed.

One of them was Marc Dando, who later co-founded Codex. His role was called a ‘Digital Imaging Technician’, a title I had never heard before. I felt like I was witnessing a revolution and wanted to be part of it.

Not long after, I worked as focus puller on the first RED shoot in Scotland, a short film by the brilliant DP Robbie Ryan. There was no DIT on set and the camera owner handled the data, but I made sure to learn the camera and workflow inside out. Soon I noticed visiting camera owners being replaced by people with laptops calling themselves DITs. One of them, Vlad Martins, taught me a great deal. When he became busier in London, a gap opened up in Scotland. Since I was a terrible focus puller, it was the perfect time to switch. From then on, my career changed completely. My phone did not stop ringing for years.“

You’ve worked on so many sets since then. How would you describe the film industry in Scotland today? 

Grant: „Most large productions here are service-based, like U.S. films shooting in the U.K., with varying levels of local crew involvement. In some ways, we get the best of both worlds: Scotland’s scenery attracts commercials and big-budget features, and we also have a healthy level of high-end TV production thanks to strong local crews.

These big productions provide great experience, while local films and serial dramas offer opportunities for the same crew to “step up” and grow their skills. That said, because the service industry is so dominant, there’s less investment in nurturing a fully independent local filmmaking sector. Thankfully, several local producers are doing excellent work despite those challenges. So generally, it’s very strong and busy.“

What kinds of projects do you typically work on?

Grant: „It’s changed a lot. I used to work mostly on features, but that’s shifted dramatically with the rise of high-end TV. Medium-budget features have almost disappeared over the past decade. Now, there are huge superhero films at the top, HETV dominating the mid-level, and an indie sector below. It’s a healthy mix overall. 

I recently worked on a series of large superhero films as a data manager. Before that, I spent eight seasons, over 1,200 days, as the main DIT on Outlander, running a Livegrade setup. Afterward, I worked as a second unit DIT on a major feature covering dailies. It was directed by someone I had admired for years, and I got to collaborate with DIT Laura Redpath, whom I respect immensely. Even over a few days, I learned a lot from her.”

So, let’s talk about your gear for servicing these different productions! How would you describe your setup overall? 

Grant: „Completely modular. It changes depending on the job and its requirements. At the moment, I use an Adicam cart, but on Outlander I needed a Senior Magliner because nothing else could survive the mud, hills, and Scottish weather. The Magliner isn’t flashy, but it’s indestructible. My gear is always practical, simple, and robust. All the small embellishments and home comforts get destroyed when being moved up in Haaglunds, an hour from the nearest phone signal.“

Let’s break it down further. Which monitors do you typically use? 

Grant: „That usually depends on the DP. Most have a preferred monitor brand they trust. Flanders is the most popular in my experience, though some still prefer Sony PVMs or SmallHDs. What matters most is consistency and accuracy. It is not just about calibration but matching the look across the entire pipeline. I like to ensure the DP sees the same image on their lighting monitor, at my cart, at the data management set-up, and later in post. 

I like to ensure the DP sees the same image on their lighting monitor, at my cart, at the data management set-up, and later in post.

It’s not always easy, but using the same monitor models across departments helps hugely. If a DP joins a pre-existing setup, we’ll discuss and find a solution that works for them— often by adding a monitor they’re comfortable with.“ 

What other tools and hardware do you rely on in your setup? 

Grant: “Macs are the backbone of everything. For Livegrade, I use a switcher, usually a Blackmagic 20×20 or 40×40 with physical buttons. I prefer that over software controls because my brain just works that way. LUT boxes vary; visually, there’s little difference, so I choose based on reliability, durability, and flexibility. I like Terradek COLR boxes for ease of use and Flanders BoxIOs for their robustness once configured. 

Other key tools include a Leader waveform monitor, Blackmagic recorders for playback, Blackmagic mini-monitors and recorder for screengrabs, Tangent panels as they have great Livegrade connectivity (I like the Wave2, and especially the Element Kb when using old NDs to shift green/magenta bias), and various Blackjet readers. 

Our data carts use a Mac Studio M3 Ultra and an IBM rack-mounted LTO. Power is handled by EcoFlow batteries now.They’ve made life much easier compared to the old days of leisure batteries, inverters, and modified UPS setups. I’m surprised I’ve not been electrocuted. I still keep a Honda generator as backup just in case. “

When did you first start using Livegrade, and how did it change your workflow? 

Grant: „I checked my emails recently and found I was using a beta version as early as 2011. To me, it was as revolutionary as the introduction of digital cinema cameras. Before that, I’d seen Iridas Speedgrade Onset used with extremely expensive LUT boxes — far beyond what most Scottish productions could afford.

When I realised that Livegrade could do something similar with a simple, inexpensive HDLink box, I was amazed. For a fraction of the cost, I could own a professional grading setup, and it worked better than I could have imagined. It took a while for it to be adopted, but by 2014, more and more productions were using it, and it’s now almost universally expected.

“Livegrade 7 is wonderful. It has everything I need […]. I think we really are getting close to a digital standard (finally!), and Pomfort has done huge work to achieve this.“

And today, what can I say: Livegrade 7 is wonderful. It has everything I need, works in stops, and integrates beautifully, not just with other Pomfort products but those from other companies. I think we really are getting close to a digital standard (finally!) and Pomfort has done huge work to achieve this.“

You’ve also been instrumental in helping establish digital workflows in Scotland. How did that come about? 

Grant: „I’d spent years trying to help establish a digital infrastructure in Scotland that could support big productions. I’d seen how other regions outside London had done it successfully, and I wanted the same for us. Outlander proved that we could sustain major productions locally with a skilled, homegrown crew. The local producer, David Brown, was instrumental in helping develop this, and his trust paid off. 

What did that mean for your live grading workflow? 

Grant: „Our first DP, David Higgs, was incredibly technically minded and had his own 3CP. I’d started using an early Livegrade system in season one, mainly for my own experimenting. The DIT team then consisted of me, a trainee, and a dailies colourist, so we could confidently ensure that a) what the DP, Director, and Editor saw was the same, and b) that what was being sent to producers, execs, show runners, and writers was what had been seen and approved on set.

By season two, in 2014, we had an American DP, Steve McNutt, who was very experienced with Livegrade. In fact, the very first thing he asked me was ‘Do you know Livegrade and can you use it?’. The previous two years of experimenting allowed me to confidently say ‘Yes‘, and from then on, it was a fully fledged Livegrade show. 

Many trainees and assistants learned the system there, which helped make Scotland ‘Livegrade ready.’ Visiting U.S. productions could come here and work exactly as they did at home. I think some of them expected we would all be wearing kilts with straw in our mouths. I’m pretty proud of that.

And we had some great Outlander DPs after – Owen McPollin, Stijn Van Der Veken, Nic Lawson, Mick Coulter, and Neville Kidd, who were all Livegrade experienced. We had a really neat setup, a little hybrid alternative development of the DIT world. We had an excellent Video Assist, Mihail Ursu (who eventually became the data manager), who understood the simpatico world of DIT/Video. Towards the end, Pomfort had developed Realtime Pro. We had a Beta copy and were on the road to having a fantastic integration between both worlds – which is something I think is absolutely inevitable anyway.“ 

Having worked with so many different DPs, what does your collaboration usually look like? 

Grant: „My collaboration with DPs is never consistent, and that’s part of the skill base that can only be learned from experience. The technical aspects are easy, but you have to accommodate multiple personalities, multiple expectations, multiple interests, and they can all change depending on many other factors. It’s chaos theory.

My collaboration with DPs is never consistent, and that’s part of the skill base that can only be learned from experience.

I’ve worked with DPs who want to operate Livegrade themselves and know it far better than I do. Others have literally no interest in a LUT; far less in manipulating one live. Some give you the iris handsets and a gaffer (including an Oscar-winning DP, which was nerve-wracking), others don’t even want you to look at an Iris handset. But generally, there’s a very pleasant level of building trust that I enjoy.

I think everyone is now getting more comfortable with how the role is changing, and I think that’s for the best. My primary task is to assist the DP in whatever it is they are trying to achieve. Whether that be being quiet, taking the iris and filters so they can dedicate time to something else, providing facts about obscure post-punk bands, being an agony uncle, or whatever it needs for them to make a better picture and tell better stories.

The DIT role isn’t purely technical. It’s about creative collaboration and communication.

You’re just aiding them in one of the many tasks they have that they could do themselves, but by taking something off their plate, it helps them concentrate on other areas. They’re your boss, and you’re there to help them; everything else works backwards from that. And you learn to understand that in your job (dealing with the technical aspects), there are times when the technology gets in the way. Sometimes, perfect exposure is not best for the story, that clipping is not best for the story, and so on. When you build up trust and understanding with experience, you learn that unlearning is sometimes a better approach.

The DIT role isn’t purely technical. It’s about creative collaboration and communication. Especially when it comes to exposure, interpretation, and consistency, the DIT’s input can make a huge difference (well, at least that’s what DITs think).“

Speaking of your thoughts, are there any set memories (scary, weird, funny…) that stand out?

Grant: On one film in the Highlands, a very drunk farmer arrived on a quad bike carrying a loaded shotgun and tried to shoot a sheep in front of the crew. That definitely ticks both the weird and scary boxes! 

Another strange moment happened on a supposedly self-funded short film. For my sins, I used to always do a few freebies a year, and this was one. The shoot seemed quite glitzy despite those involved seemingly having little means to support such an endeavour. On the last day, the producer’s father drove the editor and me to the train station. He suggested we stop for a pint first. When we walked into the pub, everyone went silent and stared at him like a scene from An American Werewolf in London. Later at the station, he gave us each a book he had written, an autobiography about being a big-time bank robber. That probably explained the budget…”

Ok, wow.. After everything you’ve seen and done, what’s next for you?

Grant: „My biggest move is a new collaboration with Serious Facilities, Scotland’s biggest post-production company, based in Glasgow. Together, we’ve created a company called Vault by Serious — the first (and currently) only Scottish company covering the entire imaging pipeline from set to post. 

Their backing has allowed us to invest heavily in a storeroom of kit: multiple rigs for Livegrade, carts for offloading, Baselight suites, Resolve suites, MCR datalabs, and a highly experienced team ready to train up an entirely new team. We use our extensive experience to listen to what producers want and offer a modular approach that ranges from a bespoke personal project to a giant superhero project. I think it’s going to be the biggest game-changer for Scotland in terms of digital shooting.“

Good luck with these endeavors, and thanks so much for sharing these insights with us!

The post My DIT Cart: Grant McPhee appeared first on Pomfort.

Behind the scenes of the production, Mihail Ursu ensured, as a playback operator and video technician, that directors, the script supervisor, DIT, and crew had consistent, real-time access to images across monitors. Shooting a historical fantasy series with a layered narrative in remote Highland locations under unpredictable weather conditions posed unique challenges. A robust, well-organized video assist solution was essential, to ensure that directors, the script supervisor, DIT, and crew could reliably view the images they needed on monitors and iPads. We spoke with Mihail about his journey into film, the evolution of video assist from Outlander (S04) to Blood of my Blood (S02), and how he built a highly sophisticated Reeltime Pro setup in just eight days.

A lifelong fascination with images

Mihail’s path into film production began long before he stepped on set. “It may have started as a child with a Lomo Smena 8M and a Fed 3, both kept out of my reach,” he recalls. “They fascinated me and left a lasting impression.” Eventually, his curiosity evolved into photography and photojournalism, including a stint in wedding photography. “Great resilience training, as weddings can last 18–20 hours in Romania, ” he laughs. 

From there, he pursued formal studies, completing a degree in Cinematography at the I. L. Caragiale National University of Theatre and Film in Bucharest, followed by a Master’s degree at Screen Academy Scotland in Edinburgh. Along the way, he met influential industry professionals, including Grant McPhee, an established DIT who would mark his career. Mihail then joined the Screen Nets One training program as a Camera Trainee, which gave him the chance to connect with more industry professionals and build his career in film production. “Today I work mostly in Scotland, across a range of productions from low to high-budget films, high-end TV, and commercials. I’m happy to get stuck in wherever I’m needed,” he says.

The evolving demands of modern video assist and streaming

“In most of the jobs at the beginning, as a camera trainee, I also did video assist,” Mihail recalls. “The essentials remain the same: providing monitors, playback, keeping track of the kit, and assisting the camera, but the scale and complexity have changed dramatically. Today, wireless networking, on-set streaming are essential, also fibre optics came in a bit more and the playback sources have evolved from Pix 240i to solutions like QTAKE and Reeltime Pro. And of course, all of these additional changes these days require a dedicated team to deliver a great result.” 

Mihail’s collaboration with Outlander began with Season 4 as a video assistant. He eventually became data manager on the original series. His current work on Blood of My Blood (S02), sees him leading the video department and handling playback on set with Reeltime Pro. 

The essentials [of video assist] remain the same: providing monitors, playback, keeping track of the kit, and assisting the camera, but the scale and complexity have changed dramatically.

Over several seasons, Mihail has introduced numerous improvements to the video department. “From Outlander, Season 4 to now, I’ve implemented a motorized Senior Magliner with an added front cage to hold all the stands needed for the day,” he explains. “It has dramatically sped things up. There’s a lot of joy in not having to push a Magliner stacked with six lead-acid batteries, four 17-inch monitors, accessories, and Teradeks up a steep, muddy hill. On occasion, it even pulled the Livegrade rig in tow.” He also secured an additional trainee, acquired a van, started designing custom monitor mounts and accessories, and adapted to changing technology.

Inside the Blood of my Blood video department

“On this show, the video department handles the wireless setup, provides a picture to the DIT working with Livegrade, and supports the entire crew, including building tents and ensuring monitors are everywhere they need to be,” he explains.

On this show, the video department handles the wireless setup, provides a picture to the DIT working with Livegrade, and supports the entire crew, including building tents and ensuring monitors are everywhere they need to be.

In practice, Mihail, his video assistant, DIT Marc Campbell and the data manager operated as a single department, following the signal chain as a clear order of priorities: First setting up the Livegrade/DP tent, assembling the rest of the kit, setting up tents for video assist, other departmens and the director, running cables, checking that every monitor had a reliable picture, and preparing everything to be ready for the next moves.

“Our priority was speed and proximity to the action,” Mihail explains. He made sure the director, script supervisor, and crew had comfortable viewing conditions, even in rainy or stormy weather. As with all good collaborations, he maintained clear communication and continuously sought ways to provide support. “For the script supervisor, probably the cornerstone of the job, we provided two Ovide Koko monitors on auto-record with their own receivers, a very large and solid monitor hood to keep the paperwork dry, and a large umbrella standing by.” Therefore, she was able to run her own playback, with Mihail and his team stepping in whenever recordings or documentation was needed from a scene that was shot another day.

Building a Reeltime Pro setup from scratch

Mihail’s choice to use Reeltime Pro was deliberate and informed by years of experience with various playback solutions. “Across the years, I had tested a few different playback solutions, like Live Assist, OKTO, and anything else I could find. And while they seemed to be competent, none of them did on-set streaming”, he recalls. When Reeltime Pro entered beta, he ran tests on Blood of My Blood, Season 01. “It performed very well, and I knew I could put together something much better than the Pix 240i recorders we had, with relatively little cost. […] Very importantly, the Hair/Make-up and Costume said the quality of the streamed picture was better than what they were used to”, he summarizes.

Across the years, I had tested a few different playback solutions, like Live Assist, OKTO, and anything else I could find. And while they seemed to be competent, none of them did on-set streaming.

About 10 days before the start of prep for Blood of my Blood, Season 2, Mihail was offered the video technician position and proposed building a basic Reeltime setup that would outperform the existing recorder solution. This meant he had just a few days to design and build a rig capable of standing in. “I ended up with a multi-camera setup in 8 days, which we used for the entire six-month shoot,” he says.

His video assist rig, built into an SKB Flyer 4U case, included:

• 1 x MacBook Pro M4 running Reeltime Pro 
• 1 x AJA Kumo 16×16 12G
• 1 x AJA IO 4K
• 1 x Sonnet Dual NVME Thunderbolt dock, which in turn had 2 x Blackmagic DeckLink Micro SDI cards inside it
• 1 x Scarlett 2i2
• 3 x distribution amplifiers and power distribution for everything
• power from an EcoFlow Delta 2 (even though is not UPS rated actually switches fast enough that the 220watt 12v power supply keeps everything running)
• TP-Link routers creating mesh networks, later upgraded to Ubiquity Outdoor access points
• Stream Deck controller

“I am currently replacing the Blackmagic Design Decklinks with an AJA IO 4K plus, the distribution amplifiers with a Blackmagic 16×16 3g router with an inbuilt control panel, improving cooling, changing the cables inside to Belden 4855R with 12G rated connectors, and revamping the networking side with more output ports and a smaller router,” Mihail notes.

Operating Reeltime Pro on set

Mihail’s workflow with Reeltime Pro was built around keeping the crew connected and the footage organized. He recorded and labeled every take, ran local streams to monitors and iPads, played back shots when needed, and occasionally handled overlays for VFX-heavy scenes.

Reeltime Pro’s central user interface is designed around slots to easily manage and route multiple live and playback signals. “We maxed out the slots available in the 3-channel option of Reeltime Pro with 3 camera outputs and 3 local streams, and the feedback was extremely positive. Everyone appreciated the live picture with minimal delay, especially the sync-sensitive sound department.”  

We maxed out the slots available in the 3-channel option of Reeltime Pro with 3 camera outputs and 3 local streams, and the feedback was extremely positive. Everyone appreciated the live picture with minimal delay, especially the sync-sensitive sound department.

With all cameras equipped with Teradek 6LT transmitters sending signals to close-to-set 6Max receivers connected to the DIT cart, the workflow was built around a structured and resilient signal path. From the receivers, feeds travelled via a 3-core loom into the DIT workstation, before being passed through a 6-core loom to the video assist workstation.

To maintain efficiency on set, Mihail organized separate routing groups for fast and flexible signal distribution. Group 1 returned A, B and C camera feeds to the DIT and DP. Group 2 supplied the same feeds to the director. Group 3 distributed A, B and C via distribution amplifiers to the sound department and additional crew monitors. This structure allowed playback to be viewed at the DIT cart while the director and other departments could continue receiving uninterrupted live feeds. Mihail’s Stream Deck served as the primary control for switching between playback and live signals, either per group or across all outputs simultaneously. In addition, three dedicated camera streams via a local network were maintained, typically remaining live and switching to playback only when the assistant script supervisor or other crew required specific reviews. With Reeltime’s companion app, Reeltime Viewer, they could conveniently monitor on their iPads and save stills whenever needed.

What did he value in his work as an operator? He appreciated the features that kept the workflow organized and efficient, such as creating folders for each shooting day, grouping shots into Smart Groups for quick access, and managing the router to switch seamlessly between live feeds and playback.

“What I liked in particular was, that a week in, I had little doubt it would work. The system had been more reliable than I had hoped, especially considering that it was built in 8 days. And the occasional 3-times-a-week random crash was resolved by the excellent technical support team through daily builds and subsequent software updates.”

What I liked in particular was, that a week in, I had little doubt it would work. The system had been more reliable than I had hoped, especially considering that it was built in 8 days.

His advice for other professionals considering Reeltime? “I’d say give it a go and get a testing license. It seems to run with pretty much any video capture card, from an older Thunderbolt 2 IO 4K to a Kona 5. It gives you the freedom to customise your setup however you like, the automations work, and the support has been brilliant from the testing stage.”

I’d say give it a go and get a testing license. It seems to run with pretty much any video capture card, from an older Thunderbolt 2 IO 4K to a Kona 5. It gives you the freedom to customise your setup however you like, the automations work, and the support has been brilliant from the testing stage.

Reflections on the job

No day on set is ever predictable. “Some days, we’re wading through rivers, moving trucks up steep hills, or braving storms with large ground anchors and four-stage weights just to keep the receiver stands upright,” Mihail recalls with a laugh. His approach? “Pack everything you might need, plus spares, and stay safe and in good humor.”

Mihail’s favorite moments on Blood of my Blood (S02) are as much about people as technical achievements. “We had some of Scotland’s most beautiful locations and many laughs. The people absolutely made it, Marc the DIT has been fantastic, my assistant Ieuan Carlyle, the DPs Ali Walker and Scott Napier, and all the others who make many challenging days become doable and fun.”

At its core, his role is about enabling others to do their best work. “For the crew, getting a picture on a monitor or iPad whenever they need it is key. People are focused on their own roles, and my job is to be as invisible as possible, which means everything has to run extremely smoothly. If nobody comes on the radio looking for my assistant or me, then we must be doing something right. That’s why I rely on tools that are capable of delivering that, tools like Reeltime Pro.”

People are focused on their own roles, and my job is to be as invisible as possible, which means everything has to run extremely smoothly.

In three words, Mihail sums up what he loves most about his job: “Often unexpected challenges.”

Big thanks to Mihail for sharing all these insights with us!

The post Making the image travel: Video assist on Outlander-prequel “Blood of My Blood” (S02) with video technician Mihail Ursu appeared first on Pomfort.

To meet those demands, Yuji has built his workflow around Pomfort tools. As a long‑time user familiar with our ecosystem, he recently decided to integrate our on-set playback system, Reeltime Pro, into his workflow. In this interview, Yuji shares how Reeltime supports his daily work, the features he values most, and why it has become an integral part of his cart and workflow. Let’s dive in! 

Thanks so much for taking the time to speak with us! To begin, where are you currently based?

Yuji: „Thanks for having me! I was born in Tokyo, Japan, and I’m still based here today. Most of my work is also here in Tokyo.” 

How did your journey into the film industry begin?

Yuji: „I have always loved films, so I decided to study filmmaking at university, where I mainly worked with 16mm film. After graduating, I started my career as a camera assistant and, through that experience, became really interested in color management. 

That eventually led me to work as a Video Engineer (VE) on TV shows and feature films, where I was responsible for building on-set recording workflows and handling on-set color correction. As digital cinematography became more common in films and commercials, I transitioned into working as a DIT.“

What kinds of projects are you focusing on these days? 

Yuji: „Today, I mainly work on feature films, TV dramas, commercials, and streaming productions. Recently, I’ve been involved in an action film and a science fiction drama. Both projects are shaping up to be very exciting and rewarding.“ 

Sounds interesting; maybe we’ll have to invite you back for a deeper Production Insight once they are released! Looking at the bigger picture: how would you describe the current film production landscape in Japan?

Yuji: „Japanese film sets often operate under tight schedules and limited budgets, so efficiency is very important. I think this kind of environment has strengthened teamwork and on-set problem-solving skills. Everyone understands that we need to move quickly, so workflows tend to be very practical and streamlined.“

When both speed and accuracy are essential, the roles of DIT and video assist become even more important.

How does that way of working impact your role on set?

Yuji: „When both speed and accuracy are essential, the roles of DIT and video assist become even more important. In my work, I try to act as a bridge between production and post-production. By supporting on-set monitoring and designing the workflow, I help create an environment where the director and camera department can make better, more informed decisions.“

What does that look like in practice? How do you support those decisions on set?

Yuji: „Most projects I work on place strong emphasis on real-time image review on set and clear visual communication among all stakeholders. I’m responsible for making that possible. 

So while my exact responsibilities vary depending on the project, they usually include on-set grading, exposure control, proposing color matching between the shooting environment and lighting, video signal management, building monitoring setups for each department, LUT management, support for reviewing recorded footage, media copying, and daily color correction.

I work closely with the camera department throughout the shoot. During takes, I’m always paying attention to continuity and the overall flow of the scene. Fine framing adjustments, exposure balance, and color consistency often require immediate on-set decisions, and in those moments, Reeltime plays a crucial role.

Reeltime allows me to share the same image in real time with the cinematographer and director, so we can quickly align on creative intent and direction.

Reeltime allows me to share the same image in real time with the cinematographer and director, so we can quickly align on creative intent and direction. That helps reduce miscommunication and minimizes corrections later in post. I feel this significantly improves the overall on-set workflow.“ 

What initially made you decide to try Reeltime? 

Yuji: „I was very interested in this new application because I already use Pomfort software regularly. What first caught my attention was Reeltime’s ability to share video in real time and manage outputs very flexibly. I found that it allows the crew to review and confirm footage more efficiently.“

After using Reeltime on set, did it meet your expectations? Could you share an example from one of your shoots? 

Yuji: „I’ve now used Reeltime on multiple projects, including short films and commercials. Rather than one specific project, what stood out to me was that across different productions, my decision-making speed on set improved.

For example, when I used Reeltime during a Virtual Production workshop, the ability to compare footage from two different cameras on the same monitor in a split-screen view was extremely useful. Being able to instantly share and check differences is a major advantage in a fast-paced production environment. 

It might sound quite basic, but being able to play back two synced recorded clips simultaneously was very important for confirmation tasks and to ensure the entire crew shared the same understanding […].

A different example would be a science fiction television drama I worked on. There were many green screen shoots, and Reeltime’s easy-to-use compositing features proved invaluable.

Also, it might sound quite basic, but being able to play back two synced recorded clips simultaneously was very important for confirmation tasks and to ensure the entire crew shared the same understanding.“ 

Let’s dive a bit deeper into your workflow. How do you typically integrate Reeltime into your process?

Yuji: „I usually start by creating looks from the camera’s log footage in Livegrade. Then I import those looks into Reeltime and output tailored views for each department, such as directors, cinematographers, production staff, and so on.

Because each role requires a different level of information, the ability to separate overlays and displayed data was particularly well received.

Because each role requires a different level of information, the ability to separate overlays and displayed data was particularly well received. On set, we often use a dual-output setup so different screens can show optimized information simultaneously.

Changes like adding frame lines or adjusting settings are reflected instantly, allowing for very smooth operation during shooting. Reeltime offers a new and flexible option for on-set operations.“

Were there any other features that stood out to you? 

Yuji: „When it comes to managing multiple outputs at once, I think Reeltime is exceptionally well designed. Switching signals and checking each output feels intuitive, which really helps reduce stress on set and allows for confident decision-making even in fast-paced situations.

Switching signals and checking each output feels intuitive, which really helps reduce stress on set and allows for confident decision-making even in fast-paced situations.

In addition, the UI design is very similar to Livegrade, so it was easy to use right away without any confusion. Feature-wise, the ‘Composite Slot’ is especially useful. I found it invaluable when comparing and reviewing multiple looks and settings.“

Every production comes with challenges. What was one technical or logistical challenge you faced, and how did you handle it?

Yuji: „Time! With limited setup time, preparing all monitoring environments is a challenge. However, thanks to Reeltime’s flexible configuration options, we are able to respond quickly and efficiently.“

What hardware do you use with Reeltime for your monitoring setups?

Yuji: „On my DIT cart, I use multiple reference monitors, with signals fed into Reeltime via the AJA IO 4K Plus. Depending on the scale of the production and on-set conditions, I design the monitor configuration and output routing accordingly. 

For larger projects such as feature films, I typically equip the cart with three monitors, enabling simultaneous monitoring of multiple cameras regardless of location. For streaming I usually use either wireless transmitters from Teradek or ACCSOON.  

In contrast, on shoots with challenging terrain or frequent movement, I switch to a more mobile setup using monitor stands and a PC stand, prioritizing agility and adapting the workflow to the specific demands of the set.“ 

Thinking back across your projects, is there one moment on set that really stands out where Reeltime made a difference? 

Yuji: „During a shoot involving large-scale effects such as explosions, there was a moment when we urgently needed to confirm the continuity of the actor’s performance. By using Reeltime, everyone on set was able to instantly share and review the same footage, allowing us to accurately assess the situation and make the right call on the spot. As a result, we were able to continue shooting without stopping, and it truly felt like Reeltime ‘saved the set’.

Reeltime provides a solid foundation for DITs and video assist operators to accurately share intent and context with the directing and camera departments. As a result, unnecessary checks and reshoots are reduced, helping the entire crew stay focused and maintain momentum on set.“ 

Thanks so much for sharing your perspective on Reeltime with us, Yuji!

The post Reflections on Reeltime: How DIT Yuji Fukazawa delivers on-set playback in Japan appeared first on Pomfort.