My VTR Setup: Kevin Binnemans

Meet Brussels-based VTR Operator Kevin Binnemans, whose credits span television, commercials, feature films, and live productions. With experience across multiple areas of the industry, Kevin brings a broad technical perspective to every workflow he builds. In this interview, he shares his journey into video assist, his VTR setup, and how he supports productions ranging from fast-paced commercials to VFX-driven feature films.

Thanks for taking the time to give us a glimpse into your setup and experience! To begin, we’d love to hear a bit about yourself and the path that’s led you to where you are today.

Kevin: “Hi Pomfort! I’m Kevin Binnemans, I’m 40 years old and based in Brussels, Belgium. I’ve been working in the audiovisual industry for more than 15 years. After studying cinematography, I started my career at a production company working on television and corporate productions. I was initially trained as a camera operator and video technician, but I quickly became fascinated by everything happening between the camera and post-production: codecs, workflows, signal processing, media management, and the technical side of image acquisition.

Over the years, I have taken on a wide range of roles, including camera operator, PTZ camera operator, multicam mixer, data manager, near-set DIT, and more recently VTR operator. Working across commercials, television, feature films, and live productions has allowed me to build a broad technical skill set and adapt to very different production environments.
As productions became increasingly digital, my focus naturally shifted toward data management, near-set DIT, and eventually video assist. What I enjoy most about these roles is the combination of technical problem-solving and collaboration, working closely with camera, production, and post-production teams to create reliable and efficient workflows on set.”

What sparked your interest in VTR operation, and how did you move into this role?

Kevin: “My work is quite varied. Adapting to different production environments and providing the right technical workflow for each situation is what I enjoy most about my job. While managing media and on-set workflows – I’ve been a proud Silverstack Lab user for around 8 years – I naturally became more interested in live image distribution.

In Belgium, many productions don’t have the budget for a dedicated VTR operator. Recording and playback are often handled by the 2nd AC or Video Assistant using standalone recorders, which work well for basic playback but are limited when productions need more advanced features such as live streaming, compositing, or instant review. Larger commercial productions sometimes require dedicated video assist systems, but there are relatively few specialized operators locally, and traditional solutions can be expensive and complex to deploy and are available only through rental companies.

When I discovered Reeltime Pro about two years ago, I immediately started testing it and was genuinely impressed by how intuitive and well-designed it was. It provided the professional tools I was looking for while remaining lightweight, mobile, and quick to set up.

When I discovered Reeltime Pro about two years ago, I immediately started testing it and was genuinely impressed by how intuitive and well-designed it was. It provided the professional tools I was looking for while remaining lightweight, mobile, and quick to set up. For me, it fills an important gap by offering a flexible, modern solution that fits the needs of many productions without the complexity and costs of traditional systems. Since then, I’ve integrated Reeltime Pro into my own kit alongside my data management workflow and gradually started taking on dedicated VTR jobs.”

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

Kevin: “Recently, I worked as a VTR Operator using Reeltime on a major French feature film shooting in Belgium, as well as on a US commercial production in Paris. The two projects were quite different in terms of their workflows and production environments.”

How so? What where the main differences? 

Kevin: “For the commercial production, the main requirements were on-set streaming, data management, and fast playback while the camera team was preparing the next setup. The workflow was very fast-paced, with frequent company moves during the day, so mobility and quick deployment were essential. Being able to review takes immediately without slowing down the production process was a real advantage. The combination of Reeltime and Silverstack Lab allowed me to manage both playback requirements and dailies workflow efficiently.

For the feature film, the workflow was different. The production was looking for a flexible VTR solution that could integrate smoothly into the camera workflow while supporting the VFX requirements on set.”

Can you share some more insights about how you approached that specific workflow?

Kevin: “The camera department was structured with the usual hierarchy: the Director of Photography, camera operators, 1st and 2nd ACs, along with the VTR/Video Assist position working closely with the camera and VFX teams. My role was to provide a reliable playback and review system for the director, while also supporting the VFX workflow.  

As the VTR Operator, my main responsibilities were recording and managing playback, quickly reviewing takes with the director and VFX team. I worked closely with the VFX supervisor to review the plate shots and perform live compositing checks on set. In this type of environment, accuracy and reliability are critical because the footage will later be integrated into complex visual effects workflows, and there is often no opportunity to repeat a shot.”

Let’s take a closer look at the bits and pieces. What does your VTR system look like?

Kevin: “I designed my VTR / DATA setup with one main goal in mind: to have a professional but highly mobile system that could adapt to different production environments.

The core of my setup is a MacBook Pro M2 Max combined with a Blackmagic DeckLink 4K Pro capture card, with an SDI-based workflow. Everything is integrated into a custom-built Peli case, so I have a complete all-in-one system that is easy to transport and quick to deploy on set.

I also use a Stream Deck XL as a control surface for Reeltime Pro (and Silverstack if needed). The Stream Deck XL has become an essential part of my workflow. I use it to control almost every operation: recording, playback, clip navigation, markers, and layout changes. Having the Reeltime interface and shortcuts directly mapped on the controller makes the operation much faster and more intuitive, especially when working under pressure on set.

The Stream Deck XL has become an essential part of my workflow. I use it to control almost every operation: recording, playback, clip navigation, markers, and layout changes.

For commercial productions, the workflow is mainly focused on speed, flexibility, and remote viewing. I provide streaming for both the agency and the production team, with remote access through Vimeo when required. At the same time, the video feed can be viewed locally at the video village and in the combo area.

I also use Reeltime Viewer on iPad, mainly for the director and the MUA team, allowing them to have direct access to the live image while keeping the main SDI workflow available for the video village. This flexibility is very useful on fast-paced commercial shoots where different departments need access to the image without interrupting the camera workflow.”

After using Reeltime Pro on these projects, what stood out to you most?

Kevin: “Across both types of productions, the main advantage of Reeltime Pro is its flexibility. The same compact system can support a fast commercial environment with streaming and multiple viewers, or a feature film workflow requiring precision and VFX collaboration.”

What do you find most challenging about being a VTR Operator? Any key advice you’d like to share?

Kevin: “The most challenging part of being a VTR Operator is probably balancing speed, reliability, and the expectations of many different departments at the same time. On set, everything happens very quickly, and you need to provide a stable workflow while staying flexible and ready to adapt to last-minute changes. The director, DP, camera team, VFX, production, and clients all have different needs, and the VTR operator is often the person connecting these different worlds.

The director, DP, camera team, VFX, production, and clients all have different needs, and the VTR operator is often the person connecting these different worlds.

One thing I would also add is that modern productions are constantly evolving. The need for flexible, mobile, and efficient workflows is growing, especially with remote collaboration, VFX integration, and faster production schedules. Tools like Reeltime Pro are interesting because they make professional video assist workflows accessible to more productions while adapting to the realities of today’s industry.

And lastly: My advice for keeping workflows smooth is PREPS, PREPS, and PREPS!”

Big thanks to Kevin for sharing these insights with us!