My VTR Setup: Ian Castañeda

On set, video assist sits right at the intersection of technology and storytelling, translating camera signals into meaningful, real-time feedback for creative and technical review. We spoke with Mexico City–based video operator Ian Castañeda to get a closer look at his VTR setup and workflow. 

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!