Video assist

Video assist is a system used in filmmaking that allows filmmakers to view and distribute a video version of a take immediately after it is filmed. On set, the location where the assist is reviewed is called a video village.

Modern video assist refers to a sophisticated system utilized on film and television sets for the monitoring, recording, transmitting, switching, and managing of video signals generated by the camera during production. Originally developed to enable multiple individuals to observe the camera's view—beyond the single person looking through the eyepiece—contemporary video assist encompasses an array of equipment, including monitors, recorders, video transmitters, video switchers, IT and radio frequency (RF) devices, as well as an extensive network of cables that can occupy the space of a medium-sized truck.^[1]

The video assist crew typically consists of the video assist operator, assistant operator, cable technician, and trainee. Their responsibilities include setting up, connecting, and troubleshooting all components of the system, as well as ensuring reliable operation throughout production. Central to their work is the establishment of the video village—a dedicated area featuring the main video cart alongside various monitors designated for the director, producer, and occasionally the director of photography (with the latter task increasingly managed by the Digital Imaging Technician, or DIT).^[2]

In addition to facilitating real-time signal distribution and monitoring, modern video assist systems support functions such as on-set recording, preliminary editing, visual effects previsualization (previz), and live streaming, further expanding their integral role in contemporary filmmaking workflows.^[3]

All the camera connections coming into the video village go into the video trolley. On the cart are the video recorders, the most important equipment of a VA op. The cart usually holds a video matrix, for making quick interconnections, two small operator monitors, a powerful computer, an Uninterruptible Power Supply (UPS) and a collection of small tools. The camera images are fed to the larger monitors for the director, and sometimes for secondary arrays of monitors for the producers, clients, etc. More often than not the director and DP request a smaller, more private monitor set, and then the second array can be watched by everyone else. Hair, make-up, costume or Art Department members can watch streamed video on iPads. Off-set crew members like producers or clients from remote locations can watch and give notes/directions over video streams. On-board monitors, mounted directly on the camera, helps the focus puller to follow the shot.

Comedian and director Jerry Lewis is widely credited with inventing the precursor to this system,^[4] although some similar systems existed before Lewis first used a video camera to simultaneously record scenes alongside his film camera during production of The Bellboy in 1960.^[5] Director Blake Edwards was the first to use the beam-splitter single-camera system invented by engineer Jim Songer in the 1968 film The Party.^[5]

Originally a small device, called the Video tap, was installed inside a movie camera that allows (with the addition of a monitor) the director to see approximately the same view as the camera operator, and thus ensure that the film is being shot and framed as desired. This is done by using a small charge-coupled device (CCD) (similar to ones in consumer camcorders) inside the viewfinder. On modern film cameras, the assist is fed off a beam splitter, which splits the beam between the optical viewfinder and the video tap. The light enters through the lens, and hits the rotating mirror shutter, which bounces the light to the horizontal ground glass. The beam splitter is directly over the ground glass and turns the light again 90 degrees, and projects it onto the chip of the video assist camera—through its own lens system. The chip, together with its electronics, lens system and mounting hardware, is the video tap, and was commonly called video assist until the video assist industry grew large.^[6]

In Steadicam, remote head, or crane operations, the optical viewfinder and beam splitter are frequently removed, as they are not required. This allows the full image to be projected onto the video tap, producing a brighter image—approximately twice as bright—with improved quality and lower noise. Under these conditions, the camera operator typically uses a video monitor to frame and control the camera.^[7]

Though the quality of the film video assist feed can vary greatly based on both the camera and the assist, it is always used as a guide and nothing more. Because the assist has its own controls for exposure, contrast, focus and color correction, it is not possible to use it to learn anything more than the frame lines. The video assist camera is usually significantly lower in resolution than the film camera as well, so critical focus is still usually determined by distance from the lens to the subject via a tape measure.^[8]

After the revolution of the electronic HD cameras, film camera manufacturers added HD resolution video taps to their cameras.

While the traditional video tap no longer applies to modern CCD based cameras, large-scale productions with HD cameras still use video assist in its wider meaning. In this case, the video signal is fed from the camera's own video output, and is a significantly better quality than the original video tap technology. HD cameras can output HD-SDI video signals, which, when presented on a high-grade calibrated monitor, is an almost what-you-see-is-what-you-get quality. Because the video cameras are often less tolerant of images with high contrast and quick light changes, and their behavior is harder to foresee than a film camera, DPs shooting HD cameras are often found in darkened tents, watching expensive HD monitors to make sure the image is captured correctly. This situation is getting better as newer cameras tend to simulate film gamma curves better.

While very simple video assist equipment is only capable of showing a live image, the modern VA equipment does much more than that. In the past, image feed from cameras were recorded onto an inexpensive medium (usually MiniDV or Hi8). Today hard disks are used. The VA software used by the operator keeps a precise log about which take was recorded where, noting the time code or file name. The operator then enters scene and take data, and then able to play back any shot in a short time, even right after the shot. This is essential for a director to show actors where to change their moves, or to recheck dialogue lines, check shooting angles, correct overlaps, and time camera or stunt actions. The VA recorder can usually simulate the under-cranking or over-cranking of the camera, and speed up or slow down the action. Ramps (speed changes in the shot) can be shown also.

Video Assist also helps the script supervisor and other departments with continuity requirements. By having all the recorded takes in the system, and often being supplied by cuts from the editors and previz videos from VFX dept, the VA operator can call up a continuity shot that was maybe shot weeks ago, but happens right before the current take in the movie. This helps costume to check how a garment was buttoned, make-up to check a fake scar's position, and helps the actors to exactly continue their previous actions. Using Video Assist can save expensive hours of post-production cleanups.^[9]

Contemporary film productions often employ multiple shooting units—parallel crews working on different parts of the same scenes. Video Assist (VA) operators for each unit are responsible for transferring video files between units, allowing each unit to reference the work of the others. This system also enables the main unit director to review the work completed by the second unit. In modern productions, synchronization is frequently handled by automated software, which copies the relevant files based on metadata.^[10]

Modern VA systems often integrate editing software, enabling operators to perform rough cuts directly on set. This integration allows for immediate playback and review, facilitating quicker decision-making and ensuring continuity. For instance, operators can create simple edits, such as A/B rolls, and apply basic effects like keying and blending, which are essential for evaluating VFX shots in real-time. This capability is particularly beneficial when dealing with complex scenes that require immediate feedback and adjustments.^[11]

Advanced VA systems support real-time previsualization of VFX, allowing directors and VFX teams to assess shots as they are being filmed. This is achieved through the use of portable video mixers or integrated functions within the VA software that enable keying, blending, and other compositing effects. Such tools are invaluable for scenes involving motion control or programmable remote heads, where synchronization between live action and VFX is crucial. For example, when portraying multiple characters played by the same actor, these systems can trigger motion control systems to align live and playback images, providing a real-time preview of the final effect.^[12]

In more complex setups, VA systems can interface with motion control or programmable remote head systems. This integration allows the VA system to send or receive triggers, synchronizing live action with playback footage to demonstrate VFX in real time. Such synchronization is essential for scenes requiring precise alignment between live action and computer-generated imagery, ensuring seamless integration in the final product.^[11]

These advancements in VA technology not only enhance the efficiency of on-set workflows but also contribute to the overall quality and coherence of the final production.

During the COVID-19 pandemic, the film industry rapidly adapted to remote production methods to comply with health guidelines and travel restrictions. One significant innovation was the enhancement of Video Assist (VA) systems to facilitate live streaming of camera feeds, enabling real-time monitoring and collaboration from remote locations.

Traditionally, Video Assist systems allowed on-set personnel to view camera feeds via monitors. However, with the onset of the pandemic, there was a need to minimize on-set personnel to reduce the risk of virus transmission. This led to the development of live streaming capabilities within VA systems, allowing directors, producers, and other key personnel to monitor shoots remotely using personal devices such as phones and tablets. This approach not only adhered to social distancing protocols but also enabled international collaboration without the need for travel.^[13]

For instance, encrypted live feeds were transmitted from the set to decision-makers' homes, allowing them to participate in the production process without being physically present. This capability proved invaluable when borders were closed, and travel was restricted, ensuring continuity in production and decision-making .^[13]

Modern VA systems, such as QTAKE, have integrated advanced features that support live streaming, real-time playback, and remote collaboration. These systems can stream both video and audio from the set, providing a comprehensive view of the production to remote participants. Additionally, some systems offer features like live chat alongside the video feed, facilitating immediate feedback and communication between on-set and remote teams .^[14]

The integration of live streaming into VA systems has not only addressed the immediate challenges posed by the pandemic but has also set a precedent for future productions, offering a flexible and efficient approach to filmmaking that can accommodate various logistical constraints.

The enhancement of Video Assist systems to include live streaming capabilities during the COVID-19 pandemic marked a significant shift in film production practices. By enabling remote monitoring and collaboration, these advancements ensured that productions could continue safely and efficiently, regardless of physical location. As the industry moves forward, the integration of such technologies is likely to remain a standard practice, offering greater flexibility and accessibility in filmmaking.

• On the Set with Video Assist by Michael Frediani
• Jerry's Crazy Tool: How Video Assist Came To Be by Mark Adler
• Handbook on video assist