My VTR Setup: Juan Navarro Yañez

In this episode of our interview series, we sit down with VTR Operator Juan Navarro Yañez, who has been working in video assist for the past 15 years. Having started with analog systems and cable-based workflows, he has worked through many changes in production technology and now relies on Reeltime as part of his day-to-day setup.

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 Reeltime 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!