Video village on set is crucial—especially in current times when the ability to stream to remote clients sets your production apart. In this Gear n' Gadgets, David George takes a deep dive with Kimbrough Davis on how he easily shares the feed from set to the different departments.

Video village on set is crucial—especially in current times when the ability to stream to remote clients sets your production apart.

In this Gear n’ Gadgets, David George takes a deep dive with Kimbrough Davis on how he easily shares the feed from set to the different departments. Kimbrough is a video assist on commercial shoots for companies like Apple. 

In this Gear n’ Gadgets deep dive, learn how Kimbrough easily splits the audio and video feeds for different departments. He also shows his latest technology on how to stream feeds to remote clients. 

Listen now to learn how Kimbrough easily splits the audio and video feeds and the latest technology on how to stream feeds to remote clients. 

Key Points
:55 – Job title & responsibilities for video assist 
1:54 – How he got started
4:41 – What kind of work he does
8:33 – New technology because of COVID
13:13 – Video Assist Cart
16:54 – Value on set
18:43 – QTAKE features 
20:17 – Favorite technology  Cube 655

Gear
Blackmagic Web Presenter 
QTake Software 
Blackmagic Smart Hub
Presonus Audio Box
Cube 655

Transcript

David George (00:00):
Hey everybody, David George here, your Gear ‘n Gadgets guy. Today we’re trying something a little bit different, a Gear ‘n Gadgets deep dive. Let us know what you think, because we’re going a little bit further down the rabbit hole today. If you’re listening to the audio only version of this, I’m sure you’ll still get a lot out of it, but you may want to jump over to our YouTube channel so you can see some of the things we’re talking about.

David George (00:22):
I was on a shoot a couple of weeks ago with Kimbrough Davis. Usually these are on set, but the set that we were on and the nature of the various responsibilities that I had and that Kimbrough had, and also the big red letters on the call sheet that said no social media, kept us from being able to really get much there. So that’s why we’re here away from the hubbub of set. And I thought, you know what? Not everybody knows what this crew position is. And there’s a lot of interesting technology that goes with your position. Like if you look at the call sheet, what will it generally say, or what would you have on your business card or website or whatnot?

Kimbrough Davis (00:59):
Got you. So on the call sheet, it typically just says video assist. Other people call us VTR or VTR operators. It stands for videotape recording way back in the day, where this whole thing started.

David George (01:10):
[crosstalk 00:01:10] Yeah, right. With Betacam and U-matic and all that stuff. Yeah.

Kimbrough Davis (01:13):
My job is basically to handle all of the video distribution in and around the set. On location, in a studio, if there’s a monitor to be had, I’m usually the one that’s got to provide picture and sound to those monitors. And I do that by my computer system here, all of my gear, I use a system called QTAKE, which stands for quick take. It was developed probably around 10 years ago when the whole digital rubber illusion happened. In my career, I only do TV commercials. I don’t do any long format movies, although I could, I just choose not to.

David George (01:52):
Okay. Where’s home and where do you work? Do you work in more than one place as a local or do you travel quite a bit? Or?

Kimbrough Davis (01:59):
I travel all the time. So my home is here in Chattanooga. I actually live on Signal mountain. Got a wife and I have two children, but I was born and raised in Atlanta, and that’s where I got all my production chops. I mean, I started in the business in 1992, right after I graduated college. Was not in this part of the industry at all. And I never thought I’d be technically minded at all. I was in the art department, I was a set painter and a construction guy. And there was this new department on set called video assist. And I started looking at ways of getting out of this basically backbreaking labor that I was in. Saw these guys running the VHS machines and the monitors and they looked like they had a pretty good gig going.

Kimbrough Davis (02:48):
So I hung out with them for a while and eventually just learned it. Just learned how to do it by doing it. One guy hired me with his gear, sent me out. I was horrible at it for a couple years. And then I just eventually started listening to people and they told me how they expected the job to be done. It was a new position at the time, and nobody wanted to see video assist on set, because it was one of the departments that really lifted the veil off of the cinematographers. And now all of their techniques are exposed for everybody on set to judge them. So there’s no more, “Hey man, did you get the shot?” Everybody can see what it’s going to look like. But anyways, I got to my start in Atlanta and then decided probably about 18 years ago that we didn’t want to raise kids in Atlanta.

Kimbrough Davis (03:40):
We moved to Chattanooga and have been here ever since. And we love it. Now, I work very rarely in Chattanooga. Almost all my work happens in Atlanta. Georgia is a gigantic film market, but I also work in Nashville. I’ve been in the Nashville market now probably 14, 15 years. And it’s a fantastic crew base in Nashville. I also do work in Knoxville and some in Birmingham because in Chattanooga, I’m two hours from everywhere. So I work in all of those places around the Southeast and every once in a while I get to go further a field. I just did a job in Memphis, Tennessee, two weeks ago and I’ve got clients in Cleveland, Ohio. I’ve got clients in New Orleans that’ll call me every once in a while. Charlotte, North Carolina, that kind of thing.

David George (04:28):
Gotcha.

Kimbrough Davis (04:29):
But mostly keep it within two hours of here. And I’m good.

David George (04:33):
You said you only do television commercials.

Kimbrough Davis (04:35):
Yes.

David George (04:36):
Right? So what is it about that that makes your services… Is that your choice as far as the kind of work that you want to do? Or is it that’s the kind of work that needs your services the most?

Kimbrough Davis (04:46):
It’s a little bit of both. So the reason why I chose to do TV commercials only is number one, I have a family and I want to be able to enjoy my family life. Commercials typically last one day to maybe five days. I’ve been on longer. Seven, eight day commercials, but really commercials only last so long. You only have so many days to shoot the commercial and get it on air. So it limits my time on set and maximizes my time with my family. That’s the number one priority. Commercials pay way more than movies or episodic TVs, whatever. So I make a very good living doing TV commercials. And that’s why I chose to go into commercials only. Plus I just don’t want to spend my whole life on set. In a movie, you’re there for months and months and months.

Kimbrough Davis (05:37):
And as we know, they’re overworking their employees and I’m not going to get into a big political discussion, but I really enjoy my time on set. I have a lot of friends on set. We come and we go on set and we see each other here and there. And sometimes the pace is brutal. Sometimes it’s very, very hard work, but other times it’s just, it’s really, really pleasant. Like the other day, you and I had that commercial with those clients. It was no problem at all. I mean, it was great. Me, in my department, I am a one man band. So you see those guys out on the street with the drums and they’re playing the trumpets and they’re doing the symbols and all that stuff all by themselves? That’s me. I do not have an assistant. I rarely ever get an assistant.

Kimbrough Davis (06:22):
So I have to manage all of this gear and all of this tech all by myself. It’s a lot of work. It’s a lot of responsibility, but it’s a fantastic job for me. One of the things that I really like about what I do is that I’m one of the only people on the crew that gets to bridge the gap between the clients who are paying for the commercial spot and the agency who create that spot and the production side with the director and the producer. So I am that bridge between both worlds and I treat it with a great deal of respect and responsibility. And I’m really, really glad to have it.

David George (07:02):
You put that very diplomatically because it’s my observation that oftentimes those two worlds, anybody cut right in the middle, there can be friction between those two worlds. That’s what I’m trying to say.

Kimbrough Davis (07:16):
Yes.

David George (07:17):
And if you’re right there in the middle of that friction, that could be maybe stressful at times? I don’t know.

Kimbrough Davis (07:23):
It can be, but I also look at every project I do is we’re part of a team. And so, yes, it’s interesting because I have to constantly remember the corporate side of what I’m doing. In my video village, there are people there that deal with million dollar accounts every single day. They speak a corporate language and they live in that corporate world. Whereas on my side of things, the production side, we’re not really aware of all of the money stuff that happens, but I have to be. I do not wear logo t-shirts, I come clean shaven, I present myself to that corporate world that somebody that can work with them and will respect them. And then to my production side, where a director might be, I have to respect that they’ve already collaborated, they know what’s going on, and I’m going to bridge the gap. I’ll deliver notes from the village to the director and tell him what they’re thinking or I’ll do visa versa. I’ll explain to the village what the process of production is so that they can feel at ease that their project is well in hand. That’s my job. That’s another part of my job.

David George (08:30):
Gotcha.

Kimbrough Davis (08:31):
And it’s a lot of fun too.

David George (08:32):
So how was COVID? Was that a boost or was it a detriment or both?

Kimbrough Davis (08:39):
So 2020 and the pandemic. Everybody panicked. Everybody in the world panicked. My last job was in Nashville on an Apple spot, March 15th. Three days later, I got calls that four of my jobs had evaporated. All of my work had gone away. And this was… I get booked out six weeks in advance, because I’m good at what I do. I hate to say that on camera.

David George (09:07):
But your services are in demand.

Kimbrough Davis (09:08):
Yeah. I’m in demand. I’m an expert in my field. And so when those calls came in and everything evaporated, you’re just like, what is going on? Everybody panicked. But I knuckled down, after my initial panic was over, I knuckled down and I knew that the future was in streaming. I knew that that’s where production had to go if we were ever going to get back to work.

Kimbrough Davis (09:32):
And I thought there were people out there on YouTube who stream live all the time. So what technology are they using to get their jobs done? And I started researching that and I found technologies that they were using. And I started calling guys from around the world, video assist people, and say, “Hey, we need to get together and start figuring out what’s going to work for us.” And that’s what we did. I basically gave myself a master’s degree in IT technology. And I started playing around with all kinds of streaming software and streaming hardware to figure out like, is this going to work? No, we can’t use that. That’s too time-consuming. Oh look, this piece of gear looks like it’ll work really well. That’s where I bought my web presenter, which is stuffed down in here in my cart.

Kimbrough Davis (10:18):
This is a Blackmagic Web Presenter, and what it does is take SDI video or HDMI video, compresses it into H.264 files and I can just take a USB cable like this and I can go straight into my computer on a Zoom meeting. So Zoom became one of the biggest technologies ever for everybody. But I can take this little guy and I can literally just compress the video and send it straight into a Zoom meeting, just as if I were a participant. When I learned Zoom and I learned how it works, I was one of the first guys back to work because I understood what technology was going to allow us to continue doing commercials. I elevated my position on set to one of the most important people and helped us to get all back to work. There were some people who were going off in all different directions with different cameras and stuff.

Kimbrough Davis (11:17):
I was like, Blackmagic Web Presenter. QTAKE software has its own streaming service, which was fantastic. And they kept improving it every other week. We would get an update on our QTAKEs that allowed us to do more functionality. By the time we were three or four weeks into the lockdown, I had about a dozen people, video assist people from all over the world, and we were streaming with each other and we literally had nine systems connected together. So all streaming at the same time, we could line them all up on a TV and we could punch through each. We could literally click through each one’s unit, is what we would call ourselves. I was in Chattanooga. We had guys in LA, New York, Bratislava, Turkey, Israel, I mean, on and on and on. And we could see each other’s streams.

David George (12:08):
Oh wow.

Kimbrough Davis (12:09):
Just like that. And that’s when we knew this is going to work. But the things, technology like the web presenters and Zoom were what allowed the commercial, the village, the agency, and the clients to collaborate while watching the commercial, as we shot it on set live. It was a major breakthrough.

David George (12:30):
Wow.

Kimbrough Davis (12:30):
And because I was one of the first guys that learned it, I mean, when the gates opened, I started working again in May of 2020, May 10th. And I haven’t stopped since. And it’s just been the greatest boon to my career. Just figuring it all out, how to stream and the internet technology, because people don’t understand that internet just doesn’t happen. I mean, it sort of happens, but to stream video and audio in sync at almost real time, if it’s not reliable, you’re going to go down in flames fast and you better know how to fix it. That’s where I bring my value now to the set.

David George (13:08):
Right. Okay. Give us an overview of the technology here that you use to do it.

Kimbrough Davis (13:14):
Okay. So this is what I call my main cart. There is another smaller cart that goes off to the set and it’s attached with this snake over here. This is a hundred feet of SDI cable. I have five channels in here. My cart is built for two camera, okay, two camera version. So this will snake out to the set and there’ll be a separate monitor for our director out there.

David George (13:40):
Okay. So this guy, this is a snake that has a bunch of, like five SDI and power looks like. Okay.

Kimbrough Davis (13:48):
So it would be two channels of video going into the cart and two channels of video going out, plus a spare SDI, just in case something crazy happens. The computer is capable of doing up to four cameras. I just don’t have that hooked up right now.

David George (14:05):
So is your heart, is your IO also capable of four?

Kimbrough Davis (14:09):
Mm-hmm (affirmative).

David George (14:10):
Okay.

Kimbrough Davis (14:10):
So, let’s see. To start off, this is the main cart. I use Flanders Scientific monitors. This would be considered a village monitor. And out here would be our agency and clients watching the spot as we shoot it. They would sequester us all in a room away somewhere.

David George (14:28):
So shoulder to shoulder with me, where I’m standing with the camera, would be the clients.

Kimbrough Davis (14:33):
Yes.

David George (14:34):
Yeah.

Kimbrough Davis (14:34):
And this is where all of my stuff happens. The heart of the system is called QTAKE, and QTAKE is my video assist software. It can literally manipulate the image in any way, shape, or form you see fit. It’s got a DBE function where I can take this video image, I can scale it up, and I can scale it back down. I can rotate it all around. I can literally produce anything you want to see at any given time. And it really aids in the pre-visualization of the spots or whatever project we’re doing. If the director or the director of photography needs something specific, I can give them that. I can do overlays. I can do green screen work. I can do all of it. And the key behind QTAKE is that any of the digital imaging manipulation that I can do happens in real time. I don’t have to render anything. It happens like that, on set, here, wherever I decide to put that image, and its processes, happens instantly. And then I can, of course, render that out if I need to add more layers on top of it. But QTAKE is just, it’s the state of the art, fantastic video software. It is hooked to a 16 by 16 Blackmagic video smart hub.

David George (16:02):
So that’s this guy here.

Kimbrough Davis (16:03):
Yeah.

David George (16:04):
So 16 by 16, that means you have 16 in and 16 out?

Kimbrough Davis (16:07):
Yeah. It is a matrix switches. So any 16 input can go to any 16 output. I have maps set up where I can tell the image, the outputs to go into any input, anywhere I want to. So for example, I hit village dark, the village goes dark. Director live, the village will stay live. That kind of thing,

David George (16:31):
Obviously monitoring, right? That’s a big part of it, but you also do playback on set. I work frequently in the camera department and you hear on your radio, okay, playback on camera B or whatever. And it’s like, oh, well that’s great but I’m carrying the camera right now.

Kimbrough Davis (16:48):
Yeah, that’s a good point. You were asking me earlier about the value of my position on set. So the value is, of course I can do playback. That’s my job. And it allows the camera department to change their lenses, to get the camera set for the next shot or the next setup, without having to mess around with playback. Because if they call for playback on the camera, well, everything in the camera department stops, and they have to play it back. That’s time wasted. And as I like to say in the commercial business, you’re going to want those minutes back at the end of the day. That’s where I come in, because all of those little minutes will pile up, and by the end of the day, you’re out of time and you wonder why. Well, it’s because the camera department can’t do anything while they’re playing back. They just can’t. They can’t change the lens because there are decisions that might be made that they have to keep the lens on or reshoot whatever they just did. I can do playback. I can even keep the set live while I’m playing back for the village to make sure that everybody’s on board and we have what we need to move on. That’s where my benefit lies.

David George (17:51):
I was DPing the project that we were on together in Atlanta, and I remember, I was looking back through our text message thread and I’d sent you, just I shot with my phone, a shot off the monitor and said, “Hey, there was a shot like this that we shot yesterday. Can you pull that up for me for reference?” And I think you did, as I recall.

Kimbrough Davis (18:14):
Yeah, absolutely. QTAKE, it’s extremely powerful in what it can do. I have a browser here, all my scenes and all my scene numbers are here, and my take numbers and I can literally, it also has color thumbnails of everything that we’ve shot, so I can quickly reference it and then I can go straight back to live.

David George (18:38):
So one of the things that you were showing me the other day when we were on set is that this picks up the metadata from the camera for record and cut. So you don’t even have to roll and cut. Your machine automatically rolls and cuts with the camera every time.

Kimbrough Davis (18:54):
Yeah. So QTAKE also allows me to… As I’m setting up the project settings, this is the window that you do it in, and so I just choose whatever camera we’re going to use. I just go ask the camera team, “Hey, what are we using today?” And they can tell on me. This will pick up metadata from all of these different cameras.

David George (19:13):
So you have to know what language it’s speaking.

Kimbrough Davis (19:17):
Yep.

David George (19:17):
Basically.

Kimbrough Davis (19:19):
I’m expected to play back with sound, so I’ll get with the sound mixer and I’ll ask them, we can use embedded audio on the SDI lines or they’ll hand me a contact with an XLR cable and I’ll do it that way.

David George (19:34):
So is that the PreSonus device you have here?

Kimbrough Davis (19:37):
Yes. It’s a Core Audio device. I’ve got it hooked to a splitter because I also, these days, I also have to get sound to Zoom or to a video conferencing app. And so the Blackmagic Web Presenter will allow me to use embedded audio or XLR audio.

David George (19:56):
Okay. So it’s the magical bridge between hardware and software?

Kimbrough Davis (20:02):
Yes.

David George (20:02):
One of the questions oftentimes that we ask when we’re talking about technology for these little really bite size things is like, what’s your favorite new piece of tech? Or what’s your favorite old, reliable? And I did ask you that the other day. You had an answer.

Kimbrough Davis (20:14):
Yes.

David George (20:15):
I think this is the time. What’s your new favorite piece of technology?

Kimbrough Davis (20:19):
So aside from QTAKE, all that it can do, which would take a while to go through everything, the newest thing that I’ve seen is my cube. It’s made by Teradek and it’s called a Cube 655. And so what it does is it compresses video and audio files into H.264 files that are uploaded to Teradek’s Core Cloud service. And I can pull high quality video and audio from anywhere in the world as long as I have reliable internet service. We were doing a very large job with a Russian arm and a process trailer and all the big boy toys and that little Cube 655 saved my tail, because they would literally load up a camera onto the Russian arm, take a car out and drive around the city streets of Atlanta. Okay? Well I was not invited along.

Kimbrough Davis (21:14):
So I was at base camp several blocks away and with the Teradek Bolts and those kinds of things, even there’s a gizmo called a MicroLite, which could go long distances, never would’ve worked in and around the city streets of Atlanta. With the Cube 655, I simply streamed it. I hooked it to a modem, a cellular modem, inside the Russian arm car, hooked video to it from the Russian arm people, and streamed it to the internet. QTAKE was able to pull it off of the Core Cloud, decode the information and display it in high quality video and audio back for the clients and agency who were eagerly awaiting footage of their cars running around the city streets of Atlanta. It was absolutely mind-blowing and it was fantastic. It was the biggest thing that I had seen since I learned how to do Zoom.

David George (22:09):
Wow.

Kimbrough Davis (22:09):
I mean, it was incredible.

David George (22:11):
So let me just see if I understand. Normally you’re coming in, you’re on set, you have two Teradeks, a transmitter or receiver or maybe multiples of those things, but in its basic form, you’ve got a transmitter that lives on the camera. You’ve got a receiver that lives on or close to your cart. You get SDI out from that receiver. You come into your Magic hardware here, your 16 by 16, and from there, it comes into your computer and you put it on the monitor for the clients and so on. So it’s like, there’s a wireless jump, but it’s mostly hardwired except for that one wireless jump. You’re talking about a whole new idea basically where you put the Teradek on the camera and it goes straight from the Teradek to the internet.

Kimbrough Davis (22:58):
Yes.

David George (22:59):
And then from the internet, you can bring it back down wherever you are that has internet in the universe.

Kimbrough Davis (23:04):
Anywhere in the world that I have internet, solid internet at both ends, I can receive high quality video and audio. It is just amazing. Just amazing. I think we measured it right now with the Teradek Core at about four seconds of delay.

David George (23:22):
Four seconds. Okay.

Kimbrough Davis (23:23):
And then of course, when I get it into QTAKE, I can re-stream that feed to anybody else with zero delay in QTAKE.

David George (23:31):
Oh, okay. Gotcha.

Kimbrough Davis (23:32):
Or I can put it through Zoom or I can re-stream that wherever I need it to go.

David George (23:38):
So let’s take a look at the actual unit here. It looks like it came in this little Pelican case you got here.

Kimbrough Davis (23:44):
Yeah. I just, it’s standard Pelican case, just to protect it.

David George (23:48):
We’ve got a little Komodo set up here in this super precarious rig here, where we’re using the Cube itself. Here, you can pull it out there. I’ll hold the camera.

Kimbrough Davis (23:59):
All right. You got it?

David George (24:00):
Yep.

Kimbrough Davis (24:00):
So here she is.

David George (24:03):
Famous last words.

Kimbrough Davis (24:07):
So you see, my credentials are already signed into Teradek’s Core service and I can show you what that looks like on the computer in just a minute.

David George (24:17):
So this is, if you’ll turn it over and we can see a little more, it looks pretty much like a conventional Teradek. I mean, it’s got a couple of antennas. It’s got a quarter 20 on the bottom and it’s got a place for SDI to come in, HDMI to come in, but most Teradeks don’t have ethernet, do they?

Kimbrough Davis (24:36):
No, they don’t.

David George (24:37):
Okay. So does it have to be connected to an external modem?

Kimbrough Davis (24:41):
No.

David George (24:42):
So it’s got a modem inside.

Kimbrough Davis (24:44):
Yes. It can do wifi as well, which makes it super handy, but I always prefer to hard line when I can. It just gives us a much more stable signal, to be able to get it to the internet. These antennas are its own wifi radios. So it can actually give somebody access to the internet, as long as you log in with the credentials. It’s a standalone modem as well.

David George (25:08):
I see.

Kimbrough Davis (25:09):
It’ll also take an SD card. It will record its own little proxy files as well. And it’s a great little encoder.

David George (25:18):
So does it have any quirks? That’s one of the things that people oftentimes want to know, and is almost universally true with new pieces of technology. It’s like, oh, this is the best thing ever. And then you ask, are there quirks? Oh yeah, there is this one thing that’s a little weird.

Kimbrough Davis (25:33):
I will say that there are no quirks with this box. And I’m going to say that, but I’m also going to quantify that with, you have to know how to set it up in advance. And that goes through the Core. As long as you can get into Teradek’s Core service… I had to set up something called a Sputnik server. All right? Which is somewhere in Teradek’s offices, there are a server rack and they will dedicate a server or a Sputnik server to you. There’s a free service out there, which I think is just like one server and it doesn’t work all that great. But I pay $75 a month for my own personal Sputnik server. And when I set that up, man, that was the magic secret sauce to the whole thing working fantastic.

David George (26:24):
So using the Sputnik server was-

Kimbrough Davis (26:26):
Is critical.

David George (26:26):
Is an important part of the… It’s, yeah.

Kimbrough Davis (26:30):
And knowing what you’re looking at. It’s one thing to have somebody tell you how to do it. It’s a whole other thing to kind of understand what a server is doing for you, how to configure it correctly, and use it in the correct way.

David George (26:45):
So the IT side of things, you need that undergirding of knowledge to be an intelligent user of this technology it sounds like.

Kimbrough Davis (26:55):
Without going through the Core and really going through the Core windows that I can show you here in a minute, without an understanding what those pieces are, you could get lost very quickly and be pretty much overwhelmed. On that big car commercial, when everything that they told me did not happen, they told me I’d be right there with the Russian arm. They told me, oh, you’re going along on the process trailer. Oh, you’ll be here with the third camera. None of it happened. And I’m like, well, what am I going to do? I got this cube. I’m going to throw this in the Russian arm and get it on the process trailer. It was the key.

David George (27:30):
So it saved your bacon really.

Kimbrough Davis (27:32):
Totally. Absolutely. Totally. And had I not had this set up beforehand, I would’ve been doomed.

David George (27:37):
Right. Because it would’ve been too complex for you to start from scratch on that day.

Kimbrough Davis (27:41):
And there was no time. I hate to grouse about it, but there was simply no time to configure a server to work with this thing. You literally had to turn it on, get it internet, and make sure it had video and go. And that was it. That’s all the time you had. So this was the key to my success. You cannot do this without the Core.

David George (28:03):
Yeah. And I’ve heard that word a number of times, but I still don’t know that I totally understand what it is.

Kimbrough Davis (28:10):
Okay. So what I hear is that… So the cubes will all ship with, you can buy a decoder cube with an encoder cube. You can buy them as a kit. I have heard, and I’ve not verified this, but I’ve heard that the decoder cubes do not work very well at all.

David George (28:30):
I see.

Kimbrough Davis (28:31):
Take that with a grain of salt, but I just want people to be aware of what they’re buying. I don’t want people to go out and rush out and buy a kit and then realize, wait a minute, this decoder really isn’t working the way it should be. Because I’ve heard from very experienced people that the decoders made by Teradek, they just don’t work very well. Paired with a QTAKE system, I can tell you it works flawlessly. In fact, we have video going through the Teradek Core right now into QTAKE. There is a four second delay.

David George (29:03):
Right. So this what we’re watching here actually, is coming through the cube.

Kimbrough Davis (29:07):
Yeah.

David George (29:08):
Yeah. And it’s being encoded over there at the camera and then going into the cloud, basically onto the internet, and into the Cube Core.

Kimbrough Davis (29:18):
Yes.

David George (29:19):
And then QTAKE is listening to the right place on the internet and bringing it down and putting it out on the Flanders here.

Kimbrough Davis (29:26):
This stream can be happening from anywhere in the world. It’s amazing. It really is amazing when I saw the car commercial happening, I didn’t even know where they went in Atlanta.

David George (29:41):
Right.

Kimbrough Davis (29:42):
I couldn’t tell where they were.

David George (29:44):
Thank you so much for taking time and coming out to the studio here and demoing all this for us. Yeah. I learned a lot. I’m sure the listeners and viewers will learn a lot and yeah. Hopefully we’ll see each other again on set soon.

Kimbrough Davis (29:58):
I hope so too.

David George (29:59):
That’s it for or us today. Let us know what you think in the comments and we’ll see you again next time on The Practical Filmmaker.