Video village setup

Video village setup DEFAULT

Great Wireless “VIDEO VILLAGE” Setup for Indie Filmmakers

In this video we look at an excellent indie-friendly wireless video system from Hollyland called the MARS 300 PRO that works with mobile devices (via an app) as well as traditional video monitors.

Hollyland Mars 300 Pro Wireless Video System

The streaming series “Morganville” was directed by Blake and if interested check it out here:

▶︎ Smartphone Cinematography 101 (SAVE 10%):
▶︎ The Complete Guide To FiLMiC Pro (SAVE 10%):
▶︎ LumaFusion Color Grading 101:

🎥 Making movies with FiLMiC Pro? Check out our LUT Packs!

▶︎ MUSIC We Use (get 2 months free):
▶︎ EDITED with Adobe Premiere Pro

▶︎ FAVORITE Apps & Gear:
FiLMiC Pro (camera app)
LumaFusion (editing app) on iOS:
Smartphone Gimbal or
Small Smartphone Gimbal
Hybrid Gimbal
Large Gimbal
Universal Camera Cage/Grip
Hand Grip/Tripod Mount
Mini Tripod
Bendy Tripod
Battery Pack
Small LED Light
Camera Mount Mic
Moment Lenses
Anamorphic Lens
Moondog Universal Filter Mount
ND Filters (works with Ultra Wide lens!)

Need more smartphone filmmaking gear ideas?

Tweets by iFilmmakers

▶︎ SUBSCRIBE & listen to our companion PODCAST

If you’re new to our channel we’re all about taking mobile & DIY filmmaking to the next level. We share tools, tips & techniques to empower indie filmmakers, YouTube creators, mobile journalists and really anyone who wants to create better videos and movies. We primarily use iOS devices – but most of our tips will work with any smartphone – so if you’re an Android user there’s plenty of good info here for you, too! 🙂

Disclaimer: Some links used are affiliate links. We get a small commission on any sales which helps support our channel – and it costs you nothing extra.

#indiefilm #filmmaking

Thanks for watching!
©2020 Splashbox Studios

Directing Tips from The Video Village

As summer approaches, you get a call to produce a seasonal series on backyard grilling. While the thought of shooting a food show like this sounds appetizing, the actual logistics present a real challenge.

The shoot will entail both indoor and outdoor locations using two cameras in a relatively confined space. Despite your best attempt at organization, you fully expect an obstacle course of cameras, cords and crew members to arise before you even start rolling. The production has the potential to be as messy as the BBQ ribs you’re filming.

As the director, you need to get your shots without getting in everyone’s way and contributing to the chaos. The solution lies in one of the classic film direction techniques: Direct the shoot from a video village.


See What the Camera Sees

As you try to create the best video production possible, you’re well aware of the never-ending list of questions you must confront. Did you get the right permits? Do you have signed talent releases? Have you set up scouting locations? Are you shooting on the right equipment? Is the crew on time? What are you going to feed everyone? It’s a lot of hassle, but it’s worth every minute if you get the one thing you really need: The best shots.

As you try to create the best video production possible, you’re well aware of the never-ending list of questions you must confront.

So how to ensure you come home with all the footage you need? Unless you’re the camera operator, you’ll have to rely on a freelance videographer or a crew member to compose and capture your shot. This generally isn’t a problem if the shoot is relatively small and you have time to trade peeks in the lens until they get everything framed correctly. Unfortunately, that’s not always the case. There’s too much going on, not enough time, you have more than one camera or the shots are constantly changing.

But – as with so many aspects of the digital revolution – advances in video cinematography technology have created the perfect solution to seeing what the camera sees in real-time without hovering over your camera person. Video monitors.

Observing your shoot through a video monitor gives you an instant view of what the camera is seeing. You can keep tabs on whether the shot is really in focus, if the camera is actually rolling and if the image on screen is the image you discussed and had in mind.

If you plan to use multiple cameras, be sure to budget in one monitor per camera. Assemble those monitors into a group so you can see them all at once. This will give you a terrific sense of the footage you’ll be taking to your editor once the shoot is over.

It Takes a Village

In its simplest form, the video village is a monitor connected to the camera. Ideally, the monitor is placed out of the way, separate from the cameras, crew and action on set. This setup allows the director and other personnel to keep tabs on the production without getting in the way.

In its most complicated form, the video village is comprised of several high-end video carts residing in tent cities feeding dozens of monitors that run the expanse of the set. On some big studio shoots, there’s even a satellite feed to beam the video to offsite producers. In each of these cases, one fact remains the same. The video village is an isolated location that allows key personnel to monitor what the camera is capturing.

Whether it’s a set designer, make up artist, producer or client, a well set video village gives any and all stake holders the opportunity to confirm they’re getting it right. Does the make-up still look realistic? Is the actor playing to the camera? Does the lighting feel appropriate? Whether you’re working with a freelance videographer you’ve never met before, or crew members you know better than your own family, a video village allows a number of people to get crucial information at the same time. Directing this way isn’t a necessity, but once you employ this directing tip, you’ll quickly realize why it’s done so often.

Building Your Camp

The type of video village you construct depends mostly on how much funding and gear you have. If you’re directing a single camera shoot, all you’ll need is cable running from your camera out to a monitor on a stand. Make sure you have enough slack, that the cable is clearly marked and that the cable is tucked well out of the way.

If you’re using more than one camera, set up a monitor feed for each. This is crucial for multicam shoots as it allows you to see in real-time how easy the cut between the camera angles will be, make sure you’ve got coverage and that both cameras aren’t refocusing or reframing at the same moment. If your camera A is zooming in a bit at the same time your camera B is refocusing then you’ll be out of luck when you edit the scene. You’ll have nothing to cut to.

As your budget increases, the options begin to expand. Wireless monitors are great since they remove the need to run cables between the village and the rest of the set. Bigger monitors, recording and playback decks and more stands are also options used by larger productions when budgets are less of an issue.

Location, Location, Location

In most cases, you’ll want to build your village close enough to the set that you can get to your talent quickly and effortlessly but far enough away that your crew has enough space to work. When out scouting location, consider not just the stage for your action but the space for your crew. If you expect a crowd, give yourself enough room behind you so folks can gather comfortably to watch. Without that buffer zone, people will crane necks and bunch in to catch a peek, which can ultimately create a distraction to you doing your job.

Another important tip is to face the monitors away from the set. Do not allow talent the temptation of watching themselves while you roll camera or you’ll be dealing with a lot of peeks in the monitor’s direction as you record.

What You See is Not What You Get

One crucial aspect of using monitors on shoots – whether physically attached to the camera or connected remotely via cables – is to understand that they’re meant primarily for reference.

What you’re seeing on the monitors in terms of contrast and color isn’t necessarily what the camera operator is seeing through the lens or what the camera is actually capturing. Yes, you can control the color balance, brightness and contrast on most monitors, but you’ll be hard pressed to get a perfect match between that and what shows up in the edit bay.

Check your camera settings before the shoot to make sure you’re properly color balanced. Use the monitor to gauge composition, review action and get a general feel of the how a shot looks. Many news stations pre-set colors using a chip-chart on the set that both cameras see to match the monitors similar to how you’d set up a clap board for audio.

Directing From Afar

As you direct your production from the village, pay close attention to what you’re seeing on those monitors. Before you start rolling take a moment to inspect the images in front of you. Ask yourself the following questions:

  • Is the shot in focus?
  • Is it framed the way you intended?
  • Look closely at the background – is there anything there that will be a distraction?
  • If using two cameras, are the shots different enough from each other? Should one camera be in tighter? Zoomed farther out? More off angle?

Once you give the all clear to start rolling, check the monitors again to make sure the cameras are actually recording.

Staying Mobile

If you’re shooting in the field, that doesn’t mean you have to ditch the village when rapidly changing locations…take the village with you! Leave the stands but keep the cord and the monitor and start walking with your camera operator. Once you find the next shot and your camera operator is set, plug back in and observe away. Most professional camera operators are happy to oblige since a happy director means they’re doing their job correctly. The one tricky aspect to this setup is that tethering yourself to a mobile camera operator can be restrictive for both of you. If your cameraperson needs to move through a space quickly and randomly to get the best angle, it’s better to stand back and let them do their job.


A great way to stay on top of your production in realtime is to employ a tenet of film direction techniques: The video village. It allows you see what the camera is seeing while staying out of the crew’s way. It gives the other players in your production a chance to monitor their contributions and offer input if needed.

Setting up a video village to try to get the best video production out of your crew as possible doesn’t have to be a big deal – a simple monitor on a stand is the best place to start. The larger your production and budget, the more you can scale your video village up in size. Whether you’re shooting a backyard BBQ or straightforward studio interview, the directing tips in this article should help you stay focused on getting your shot.

Sidebar: Who To Invite Into Your Village

Once you’re up and running, you may find more people than you’d like buzzing around your monitors. Don’t be afraid to pare down the audience around you. Not only do you risk unwanted advice and input, having too large a crowd can be a distraction for the people who need the monitors to get their jobs done.

Ideally, you’d want to make sure the following have
access to your village:

  • Producers
  • Directors
  • Camera Operators (when they aren’t shooting)
  • Clients
  • Gaffers and grips
  • Make-up artists
  • Anyone assigned to ensure scene continuity

James Williams is a digital video producer for a broadcast production company.

  1. 2d shape powerpoint
  2. Onewheel demo
  3. Nimbus coffee

What's in a "Video Village"?

Setting up a "video village" can be a real livesaver on long shootdays.  Think of it as your "home base" for your production crew and client to hang out and get work done during your shoot.  Here is an example of a simple video village:

A simple "video village" setup.

So, what makes a great video village?  For starters, placement is key: it is important to setup your video village near to where you are shooting so that you and your clients can have easy access to the action when appropriate (offering critiques and encouragement between takes, tweaking lights & sound, etc.).  However, you also need to take care not to set up anywhere that is within your acting/interview talent's field of vision as this could distract them during shooting.  Similarly, you'll also want to setup at a safe enough distance so as to prevent any conversations or other noises from your video village from leaking into the recorded sound at your shoot location.

Next, you'll need the right gear.  Start with a sturdy, portable table that you can setup easily and packs away easily.  This 4 Foot Solid Plastic Folding Table works well for our needs. 

Another crucial piece of gear is a video monitor to allow clients and crew to watch and listen to what's being shot.  We use this Flanders Scientific, Inc. monitor for our shoots:

A Flanders Scientific, Inc. CM 171 monitor in action.

This monitor has handy professional features such as video evaluation scopes, exposure check, and timecode display.  And while it's great to have a pro-grade video monitor with these types of features as a part of your video village, even a consumer-grade HDTV can work in a pinch.  You'll also need durable HD-SDI cables or HDMI cables to connect your video monitor to your camera(s).

A pair of high-quality over-the-ear headphones such as these from AKG can be plugged into the video monitor.  Again, any headphones (such as the "earbuds" that come your mobile phone or portable music player) will do, but professional headphones are preferable because they can deliver a fuller range of sound frequencies and can also block out the ambient sound and noise at your location. 

Lastly, and this is optional, is a PC or Mac laptop equipped with a card reader such as this one from Kodak.  This comes in handy for offloading footage from tapeless media formats such as SD cards, etc.  You or your client can also use the laptop to type up production notes, log footage from the shoot, and access the internet if there's accessible Wi-Fi nearby.

 A laptop computer equipped with a card reader.
Offloading video footage from an SD Card onto the laptop via the card reader.

Hope you found this helpful!


Using a Video Village on Set

It Takes a Virtual Video Village: Remote and Near-Set Viewing While Social Distancing

It doesn’t take an engineer to tell you that the current pandemic presents some interesting challenges to filmmaking. Setups we took for granted, like craft services, or in this case, video village, have to be approached in a way that allows the same number of people to see the screen while reducing the amount of bodies gathered around a single monitor or a group of monitors on set. So how can we make sure everyone who needs to see the action has access, without creating a crowd?

In the ever-growing world of remote production, there are largely 2 scenarios. In the first, near remote, the crew and those watching are on-set, practicing distancing as best as possible, and typically waiting in another room or rooms when not directly needed. They may be controlling remote pan/tilt heads, or adjusting lighting settings over WIFI, but largely they are not in the actual room where filming is happening while the camera is rolling. In the second remote production scenario, far remote, you have various members of production watching and even potentially controlling equipment from a home or office. In both examples, crew members need to be able to see what the camera sees so they can make adjustments on the fly or communicate notes and changes.

For the near-remote scenario, the obvious solution is to either run a longer SDI cable to a monitor in the room or rooms the crew members are working, or relying on a wireless video system like a Teradek Bolt. Unfortunately, even though this removes the personnel directly from the set where the unprotected actors are performing, it can still encourage a gathering around a screen. An alternative would be to use the Teradek Serv Pro – this device takes an HDMI or SDI signal and distributes it to mobile devices over a WIFI network it creates. Up to 10 Android, iOS and MacOS devices can all connect to this WIFI network and monitor the video feed live, with a latency of only 2 frames. Teradek’s free VUER app allows the user to monitor up to 4x live video feeds in quad-split screen mode, as long as each camera has a Serv Pro sending the signal. If you combine this with the Teradek Link, you can create a much more powerful WIFI network on set, combining multiple Link routers to cover an entire stadium or campus – this allows users to monitor the same signal without dropout no matter where the camera or user moves during filming.

For far-remote situations, the goal is to get the signal to the internet as efficiently as possible, while making it simple for the end users to access it. The simplest approach is to use a USB capture device, like the AJA UTap, or Epiphan AV.IO boxes, which take an SDI or HDMI signal, and convert it to USB. With this conversion, any laptop or computer should see the camera’s signal as a webcam, which can then be selected as the video input for programs like Zoom, Skype, Teams, and more. While this is not the highest quality solution, it does give far-remote viewers access to live video, in an environment they will largely be familiar with. 

In situations where frame-accurate, color-accurate, high-resolution video is needed (up to 4K), you will need to use an encoder to convert to HAVC (H.264) or HEVC (H.265). The Teradek Serv Pro can do the former, and when paired with a Teradek Core Account, a link can be sent to anyone in the world, allowing them to pull up a live video stream wherever they’re at, from the Serv Pro on set. The Teradek Cube 755 can encode at an even higher quality, into HEVC, which uses only half the data rate of HAVC. This is especially beneficial when on-site internet is limited by very slow upload speeds or has to rely on a throttled service such as LTE. HEVC can stream 4K at upload speeds as low as 3Mbps, an incredible feat. Similar to the Serv Pro, the Cube also requires a subscription to Teradek’s Core service, from which you can generate and issue links to viewers. The Core service also allows a user to send the encoded video stream to places like Facebook & YouTube, should viewing with those services be required. The Teradek Cube 755 Encoder can also be paired with the Cube 775 decoder – the benefit of this combo is the decoder can be anywhere in the world apart from the Encoder, and as long as it’s also plugged into an active internet connection, it will find the encoder’s signal on the internet, decode it live, and output it via SDI. This would allow a DIT, or another detail-specific position like script supervisor, art director, and more, to watch the video feed live with a standard production monitor, and not over a browser.

As mentioned before, one of the challenges of streaming over the web is the quality, speed, and consistency of one’s upload speed. Having intermittent or unreliable speeds can severely limit the ability to seamlessly send a signal to the web for others to watch, and laggy video makes it difficult to give frame-accurate notes. If slow upload speeds or a bad internet connection are preventing a stable video stream from being uploaded, you would need to use a connection outside of the location’s on-site internet, such as a MiFi device from Verizon or Sprint – the MiFi gives the user a single LTE connection, that you can then connect to via WIFI or Ethernet. If that connection isn’t fast or stable enough, you can rely on something called bonding. Bonding can take internet connections from multiple sources, such as ethernet and multiple sim cards, and create one single, stable, and fast connection. Teradek makes a device called the Teradek Bond designed to work specifically with the Teradek Cube to provide this. Beyond that, there are companies such as TVU who make devices specifically designed to stream video over a bonded connection, all-in-one. For example, the TVU One combines up to 6x sim cards into one rock-solid connection that can stream 4K video in 10-bit color space completely wirelessly. This option is necessary when a solid, stable connection in the middle of nowhere is needed, without much setup time, such as for a 2nd unit, or remote news shooters.

There are many different options available for productions to get the camera’s signal to as many screens as possible, without inviting an overcrowding of a video village setup. Whether you’re needing to stream to multiple distanced monitors on set, various cell phones and smart devices, or whether you need to get your signal to the internet as smoothly as possible, there are products that can assist you with these setups. From the simplest build to a complex network, you can make sure everyone who needs to see the image is covered.

Find your next project on Tongal


Written by Matthew Giblin, AbelCine's Rental Operations Manager in Los Angeles. AbelCine offers a full spectrum of high-end offerings to the filmmaking world, with sales, training, rental, repair finance, and integration services for the professional production community. In the new and ever-changing world of remote requirements, they offer everything from preconfigured remote packages, including live engineering and remote control solutions, to customizable packages based around your specific project and company needs. Contact AbelCine today with your needs, they’d love to work with you! 


Setup video village

I was impatient to use a small toilet, went to the one in the building of the Yaroslavl railway station, down the stairs. The time was so decently late. There is no movement in the toilet.

Great Wireless \

I felt tired and weak. Memories of the incredible feelings to which the senora had brought her, humiliating and tormenting her, were spinning in her head. The line between an excellent girl, an inveterate athlete, a young wife and a whore - a nymphomaniac was finally erased.

You will also like:

All burning, that look and the foam will go through your mouth. The horses are being driven away at the crossing, they shoot. Drew folded her fingers with a pistol and directed them into Isa's heart, which was going from arrhythmia. Open your mouth, malacholny. She said in a businesslike manner and looking into To be continued: Cypride's necklace.

1693 1694 1695 1696 1697