Tutorials

# Introduction to Jetset ​[00:00:00] **Speaker:** We're going to go through a first pass of starting up Jetset and walking through the complete workflow so you can see exactly how all these different pieces work. Just started up the app, and we're at what's called the model pick page. And here you can just pick out one of the default models to start with. In this case, we'll just pick the Charterhouse. We have lots of different models. And you'll just have to be a little bit careful with some of them depending on the size of your phone memory. So you pick the Charterhouse, and by default, what's going to happen is that it's going to load in the Charterhouse, and it's going to have already picked an origin in your scene, so you can immediately look around and see that you're in a 3D world that's tracking correctly in 3D space. And if you stick your hand in front of the camera then you're actually going to see an AI matte version of your hand that you're going to see a little bit of choppy edges on that. And that is because we are extracting by default the human images out of there with AI. So this will work even if you don't have a green screen. We do have a green screen set up in here, so a little bit later we're going to go [00:01:00] through setting up the keyers and the mattes and all those sorts of things. This is just to give people a quick default experience to work with. One of the real key things in virtual production is matching your CGI world to your live action world and picking out where your live action origin's going to be. And when we started up Jetset, it just did that by default. Since picking the origin is so important, we're actually going to jump to that first. So we are going to go to our main menu, which is up in the upper left hand corner, and we're just going to pick our origin panel and by tapping on it. And what this immediately does is it lets us see our real world area. There's a number of controls on this, but the simplest thing we're going to do is just start tracking from scratch again. So to do that, we're just going to click the reset button and we'll just say, start a new map. And as we move the camera around what the iPhone is doing. Is it's finding all the natural features in the scene, and what you can see is those little red, green and blue kind of firefly looking sorts of things all over points on the floor. And anywhere you see a corner in the [00:02:00] scene. Those are the feature points that the phone is picking up in the scene. That's how Jetset tracks is by detecting those. Now, you also see it is detected the horizontal ground planes. And when we set our origin, we're always going to set our origin somewhere on a horizontal plane. And so when we start it up, it's going to detect the different horizontal ground planes in the scene. And so now you can actually just point it somewhere at the ground plane and and tap to set your origin. So in this case we just put the origin kind of in the middle of the room. And if you want to see how that's affecting your CGI world, you can actually slide our ghost slider up on the left, up and down a little bit. And that controls the mix between the CGI and the live action world. So you can see how you're lining up. Now, once you tap it, you may want to adjust it. And so the simplest way of adjusting it is to just tap and drag on the three balls there that represent the axes of the origin. You can see the X is the red axis. And so tapping it moves it, moves that laterally. The blue is the other horizontal A axis. So that, that moves [00:03:00] things around back and forth. And then finally the purple ball on the right lets you adjust the orientation of this. So as you move the purple ball to an angle and then, and we slide our ghost slider back up we're going to see that the whole room has now moved at an angle. Actually let's move that. There you go. So we can see that we're actually rotating the CGI room around our local origin. All right, so that's a good way to do fine grain control over this. Now, you may actually want to move much more quickly in this scene. And to do that, we can actually use the controls up in the upper right hand corner. Now, we'll click the fore aft control And then we can actually drag back and forth, and that's going to move us into and out of the scene. This is a quick way of navigating through a potential scene that you're working with. You can actually just change the increments of motion. If we wanted to move slower, we'd pick the one centimeter increment. And then we drag back and forth quite slowly, almost imperceptibly, or we pick the 10 meter increment, at which point we're moving quick. So this is a fast way to zip around through the scene. And we're [00:04:00] just dragging back and forth horizontally on the actual iPhone screen to do this. Now, We can do the same thing with the rotary axis. So if we can then click our rotary axis, we can click and drag and we can actually move our scene around around the origin. And as you can see where we picked our origin, that's where we're rotating around. And, again, we can change our increments between slow and fast rotation just depending on how we're doing this. And we keep track of the offsets. You can see that the overall offset from the original origin, 5. 5 degrees, 4. 7 degrees, is shown on that particular axis. And last of all, if we needed to move to the vertical axis, we could click the Z up and down. And we can once again move slowly or quickly up and down in the scene. If we switch to one meter, we're moving quite quickly. And if we're switching to a shorter amount, then we move more slowly. Now you have to be careful with the Z offset. You in general want to keep the Z offset at zero. Otherwise you'll see problems with your floor sliding, because Jetset is assuming that the zero location of the Z offset is aligned with the local floor. Because that's [00:05:00] where we detected our floor ground planes and that's where we initially set our floor origin. So let's go ahead and we can exit out of the Z adjustment and we'll go back and we're just going to reset our floor tracking again. Then we'll start a new map and again we're finding our ground planes and we'll just pick an origin for the floor. Now one other way we can do this is we can use our optical markers to set our origin. And we have a both a horizontal and an optical Horizontal and a vertical optical marker and these are available in PDF form on our website and in two sizes. One of them is a small size, which is eight and a half by 11 are basically letter size and that's easy to print out for anybody locally on their printer. But that turns out to be a little bit small to work well in a production setting. So we have a second set of these origin markers that are also available as a PDF on our downloads area. And those are designed as a standard 16 by 24 dimension size to be printed on canva. com. We just printed those on a [00:06:00] standard eighth inch thick backing board. So it's a nice rigid board. Let's go to our our floor or our horizontal floor origin and you can see that when we frame up in this, it is automatically detecting that, and it's making a little frame around that. Now, when we detect it, the align to marker button is now high lit. So if we tap it, we have just set our origin to match the origin of our marker. And, the neat thing about that is that is adjusting both the position and the orientation. For example, if we changed our marker position yeah, there we go. If we change our marker position to another orientation and we click align to marker, it's going to change our origin to that new position. Now, we usually want to have our origin aligned with some feature in the stage, in this case, the alignment of the green screen. So we'll just go ahead and click align to marker again and reset that. This works well when you can, when you want to be able to face down and set your origin with the camera. Now, in production situations, very frequently you'll want to reset your origin, but [00:07:00] you can't actually tilt the camera down that far. And in these cases, we have the vertical origin marker. And once again, when you come into detection view of that marker, it's going to make a little frame around that, it's going to highlight the Align to Marker button. So if we come up to that and close enough to that we can then detect the outline of that. Is it detecting? There we go. Now we can click align to marker. And what it does is it has moved the marker down to the base of wherever that vertical marker is standing. It didn't change the floor plane. That was already set earlier when we set our initial tracking. But, it dropped our origin right below where the giant arrow points down. And so this is really useful in a lot of cases in in production sets, where you want to quickly move the origin, but the camera kind of has to stay put. So in this case, you could have somebody run in front of the camera with a stand, put down the stand hit the line to marker and boom, your origin is wherever it needs to be. So that's a nice quick, [00:08:00] rapid way of doing origin changes. Now the vertical origin marker does not adjust the orientation. So even if we change our vertical marker, it's just shooting a ray straight down and our. original orientation that aligns with the stage floor is not changed. And that's because it's too hard to keep the vertical marker aligned in a rotary fashion. Once you have your directions on your stage, you generally don't want to change that alignment. All right, so let's go ahead and reset our tracking at our horizontal origin at our horizontal stage marker. There we go. Align to marker. And then we can click OK. So we've set our origin. Now one key aspect of Jetset is called scene locators. And scene locators is how, once we've picked our origin, how we snap a particular location in the 3D scene to that origin, and that combination is really the key in virtual production. Where is your live action origin, and where in your 3D scene are you going to connect to that? Right now, our scene locator menu is on the right hand side, with the upward facing arrow. Now, If you click on that, we can scroll through all the different scene locators that [00:09:00] are in the scene. These are just different locations that when we created the 3D scene for this we created a set of specially named 3D nulls that have a sceneloc prefix and then a name --in this case sceneloc chandelier, sceneloc fireplace. And when we load that into Jetset, it --looks for those names and it makes us a list. So when we pick fireplace, it's going to lock our origin right to the fireplace. So if we scroll down our ghost slider while we're looking down at the corner of the fireplace. Let's scroll down a little bit. You can see that we actually locked the corner of the fireplace is locked exactly to our origin. Now, if we change our scene locator to say the main the main door. Boom! Our origin, our live action origin has not changed, but now we've actually just snapped the main door of the room to that origin. This is really the key of how we align things in virtual production. We have an alignment point in our 3D scene, which we call a scene locator, and we have our live action origin, and Jetset is designed to let you snap those together really quickly and really easily. Okay, now we can switch back to the origin for the rest of the shots. We can take a [00:10:00] quick look at our tracking quality with our dashboard on the lower right. And our dashboard on the lower right has all the different pieces to measure the current state of the iPhone and whether it's tracking well, whether the rendering is overtaxing it, if the thermals are okay and what the battery is. And so by tapping it, you can see this pop up panel that shows a real time metering of this. And you don't generally need to see this that much. It's more of a debugging sort of thing. So we just tap the panel again. What's useful is you can quickly, while you're shooting, keep an eye on those four key elements. The leftmost one, which is the little compass needle, that is the tracking quality. Next over is how hard we're running the GPU. That's the the round tachometer. The next one over is the degree, the temperature of the phone. And the right most one is of course the battery level. And what you'll see typically is if you have the room mapped, if you've walked around to a decent degree and you've. Found all the tracking points around the room. While you're walking around the room, it's going to shift yellow because it's adding more [00:11:00] features to the to the scene. And then once you've gone through and added most of the features, then you're mostly in a green area of tracking. You generally want to keep things in a green and occasionally yellow area when you're working with Jetset. Green and yellow will still record okay. When you hit red, then you may start running into problems with tracking. Once we've set our origin, the next thing we're usually going to want to do is to do a scan of our 3D scene. And this is invaluable for post production, because it lets you know where everything was with respect to your tracking data. And your tracking data is all oriented with respect to the origin that we just set. So let's go ahead and go to our main menu. And we're going to click Scan. Now, Scan is only available on Jetset Pro and Jetset Cine. And it will only work with devices that have LIDAR in it, which is the iPhone Pro, and the iPad Pro. It's pretty simple. If you just click Start. Under the scan icon, it's actually going to go around and you're going to see it scanning very quickly a mesh that maps onto the 3D position and orientation in [00:12:00] the scene. And it's using the LiDAR detector along with its optical information to basically build a mesh that, that kind of covers over all the different pieces of the scene. Now, ou don't generally need to map your entire area. What you're usually looking for post production, is just the area within the next, four, three or four meters around where you're shooting. And that's that's usually enough for the tracking in post production to be able to recreate the 3D positions of the camera. In general the place where the actors are going to be and the green screen behind them that's generally going to do the trick. Once we've got a decent scan, we can just click Stop. And by default, there we go, the scan will process. The, by default the scan will show kind of an overlay, a mesh overlay. Now if you don't want to see that, you can toggle the the display button. Right now it says solid and that will move it to a solid display. We usually want to hide it, so we're going to go ahead and click hide. And and that lets us hide the scan. If we wanted to delete the scan, we won't do that now. You just click clear. So let's go ahead and click okay. So now we have our scan. The next thing we're [00:13:00] going to want to do is set our keyer. So once again, we're going to go to the main menu and then we're going to click key. And here we have on the left a choice of all the different matting systems that Jetset has. And we already saw our default AI matting system. So for example if you put your hand in front of it right now, that's an AI generated mat. And so you see the green edges around it. And again, the AI mat is what you want when you're just operating without a green screen. If you're just doing a test shot inside your living room, or if you're doing an exterior on location where there's no green screen, then you can use the AI mats. Now, We'll do something simple first, which is we'll look at a CG matte. So if you click CG, now is just only going to display the actual CG image in there. And even if you stick your hand in front of this then, as I'm sticking my hand in front of it you won't see any part of the live action scene. And this is good for pre visualization where you're dealing with a pure CG scene, and you don't want any of the live action elements. The next one we'll look at is green. We'll click on the green screen. There we [00:14:00] go. And what this is going to do is it's going to run a keyer over on the scene. And what's, now you can see that the hand's edges are no longer colored green because we're running a green screen keyer and the edges are much cleaner. And Jetset has a pretty simple but it works pretty well green screen keyer. We focus on making it more of a kind of a one touch keyer for most situations. Now, this is fine, but if we tilt it up, you're going to see things like the stage stuff and things that you generally don't want to see in the scene. And to fix that, we actually have, built into Jetset, a 3D garbage matting system which we call screen planes. If we want to actually define the points of the green screen that we are going to run at the keyer, and then have everything outside of that be blocked off by CGI, we can do that. To set your screen planes, you're just going to click the start button on the screen planes. And it's going to automatically detect either a horizontal or a vertical plane. So we can start off with, say, a horizontal, a vertical plane in the back in the back wall of this. [00:15:00] And we'll come forward until it's detecting, and by default it's going to try to find a perimeter of the green screen. So we can hit a plus sign when it's detecting the perimeter of the green screen. There we go. And what it has done is it's created a a simple polygon on that green screen with, but with some edge controls. And you'll notice that it, the polygon it created is a little goofy looking, go ahead and we're going to go ahead and click clear, cause that one was a little bit, little goofy looking. There we go. And we're going to try aiming on that to get a little easier of a polygon plane. You can move in a little bit until it detects it reasonably well. There we go. Now just click plus again. All right, there we go. So now we have our trapezoidal looking polygon plane. We're going to correct that more a little bit later. But we have a set of points defined on the rear wall. We're going to do the same thing on the floor. We're going to back up a little bit. Look at the floor. Once again, it's going to create a crazy looking polygon on the floor and we'll click plus. There we go. So now we've got our silver spheres. So now we can click stop. [00:16:00] And now we have our garbage matting system working. And the way our garbage matting system works is that when your hand is over the keyer, the keyed area, then the keyer is working. And so you'll have a nice clean edge. Now, when it goes over into the non keyed area, we automatically switch into AI mats. So you can see, as we go from the AI mats over there the edge is choppy. And as we go over here, they, it becomes a much cleaner key because now we're keying on a green screen area. So what we're going to want to do is actually just move our little Spheres around until they cover the green screen area that we want them to cover. So we can actually just grab hold of them and click and drag the them around. We'll drag the vertical one first and we'll drag it down to the fit the corner of the green screen. And actually we can extend a little bit past and we move over to the other corner and click and drag that down. And the neat thing is while we're dragging is we are staying restricted to that original vertical plane where the green screen wall is. So we're not accidentally randomly putting them in 3D space. We know they're supposed to be on a wall, and they're going to stay on a wall. Even though if we're [00:17:00] going to edit them around. And we can move up here and grab a couple of our other silver balls. And we can click and drag them into place, seeing how the matting is going to work. And likewise, we can come down on the bottom, and we can drag the bottom in and to overlap the back, so that we don't have any any patchy spots in between them. And it's okay if they overlap a bit that's fine, we can bring one of the edges past the other edge, then the matting system will knit the two together correctly. All right. And then once we have that, as we move around in the scene, we can put our hand in the scene. Oh, let's move the the top down just a little bit. So we get rid of those two areas. All right, now once we've got our garbage mat set, we can actually set the keyer color that we're going to want to work with. So for example, if we click the reset button to the upper right then it's going to reset that to a default color. So once we've reset our keyer, we can then pick our color swatch, or we're just going to tap our green screen [00:18:00] swatch, and then it's going to sample the scene as we'd click and drag over. different parts of the green screen area, and it's going to pick out an average green screen color. So now we have a pretty clear, clean key, but we can adjust the edges with the in and out black and white points there. So we can tune our black and white points to tighten up our green screen edges. Okay, so we're getting a reasonably keen, clean key in real time. Now if we wanted to do a blue screen key, we would click blue. We don't have a blue screen here right now, so we don't need to do that. And the overlay is worth talking about because Overlay doesn't use keying, it only uses depth imagery to decide which part of the scene is going to be in front of other portions of the scene. And overlay is usually most useful when you have a CG object dropped into a live action scene, at which point it'll occlude everything correctly. It's going to look a little bit weird because what's happening is our CGI floor is fighting with our green screen floor. So we get some really strange Z depth fighting. We'll go back to green for now. All right, now we can click OK. To see how this this is going to work back and forth, again, we can use our ghost [00:19:00] slider on the left. Okay, yeah, there it went. We can use our ghost slider on the left to see how our CGI scene is lining up with our live action scene. And so you can tune it up and down just to make sure things are lined up as we expect. Okay. We have our origin, we have our scan, we set our key. We're about to record a take, but before we do that, we should actually pick out where we're going to store our take data. And this is actually an important question depending on the kind of production you're on. We can go tap our settings button, and we can tap project. And, our project pick button lets us pick different spots where things can go. We can pick between a couple of different areas of storing. So you can see our initial path by default. We set it to iCloud and then Jetset makes a folder and then we store our projects there. Now you can choose to store this in different locations. For example, if you're on a project where you do not want to store anything on iCloud, you can pick a couple of different options. And one of them [00:20:00] is inside the Jetset app folder. And one of them is just a user selected folder somewhere on your iOS device. We can try picking the Jetset app folder. Now you can see the path has changed. It is storing it on my Jetset and on, under the project name and takes. It's storing the project in the same memory space that the Jetset app is stored on. Now, this has the advantage that it will not be stored to iCloud, but you have to be careful because if you uninstall your Jetset application, it's going to uninstall the takes as well. And the other option, if we click on our path again, is we can pick a user selected folder. So if we can pick our user selected folder, it's going to pop up and you can pick a spot on your phone that you want to store stuff in. But actually, we can just default to the iCloud. And that's a good choice for a lot of things just because it provides some backup to your iCloud device. If you don't have iCloud, then you can just store it in the app storage or on a local folder. If you want to create a new project, you can actually hit the plus button. And it'll, and scroll down and it'll have created a new project. [00:21:00] Now we probably want to name it something besides new projects. So we're going to tap the edit button and then tap the name. And then we can name it whatever we want. We can call this test, test is fine. Now, the other part of it is the prefix. And every file generated by Jetset is prefaced by a six digit prefix that you can pick to fit your project name. And this is a huge help when you start to have large numbers of projects and files. You can always tell where a file belongs by just looking at the prefix. So in this case, we're going to edit that, and we are just going to delete that. And we just Put in a few characters like test, and that, that can be our prefix for that. Yeah. Test 12. There we go. Now we can click done and now we can click save. We have the ability to zoom in and zoom out on Jetset. So right now by default Jetset is showing the native focal length of the actual device, in this case, an iPhone 16 pro max. And so it's showing the super 35 millimeter equivalent of what that focal length would be. So by default the iPhone has a pretty wide field of view. So [00:22:00] that's about a 15 millimeter super 35 equivalent. We can change our virtual sensor width. We'll work on that in a separate tutorial. Because it's a bit more advanced. But we can also just in here zoom in and out by tapping the right and left arrow. And we can basically zoom in on the image. Now we're simulating the zoom. We're not actually zooming in the optics of the device, and so that's why we're cropping in on the image and the image is going to get a bit softer as we come in. But this is a nice way of being able to test shoot something and to see what your visibility will be at different focal lengths. And we have controls to the left and the right of our lens focal length, which is the auto focus lock and the auto exposure lock. And right now we have our auto exposure locked because we were working with the green screen and we want to have our auto exposure locked whenever we have a green screen matte. And in fact, if you pick the green screen matte in the keyer, it'll automatically lock the auto exposure. Currently we have autofocus enabled in the phone. That's usually where you want it. If you need to lock focus, you can tap the autofocus button and it'll turn gold and put a little lock sign on it. There we go. And our focus is [00:23:00] locked. We can leave it in auto focus for now. Okay we're ready to record a take, so now we can just hit record, and you'll see below Jetset will start recording the number of seconds in the take. We can move around the scene And find a you know, a nice take as we're, we're finding a nice shot as we're going through. And we can hit stop. And now you may want to review the take, and you can click the review tab in the upper right hand corner, and this will take a second or two to load this. Every time you roll and cut , Jetset is going to record both the camera original, which we see on the left , with the the name of the take and the number of the take with the suffix cam. And over on the right, you can see that it's recorded the real time comp with the suffix comp. And we can see that our frame rate was 30 frames per second. Looks like we duplicated three frames on that; the phone may be heating up. We usually want to use a cooler if we can and if we want to hit play, we can actually hit play to replay the shot whether it's the live action or we can hit play on the live [00:24:00] composite and see how the take was working. So then if we go over and click the full screen button, we can actually full screen the image and look at our recent take and how we moved it and see if we like it or not. All right, so that's good. We can hit pause and go back to our normal screen size. From here We can do a couple interesting things We can actually share a shot via Airdrop or other devices we'll just tap the share button and here this is the usual iPhone sharing system We can either Airdrop, mail it etc. And Airdropping some of these takes is quite useful. The files are usually too big to email, but AirDrop, it can be really useful for sending a quick comp around. For transferring more takes in a systematic way, we actually have a tool that runs on the Mac and the PC called Autoshot. That's the tool that you will use to transfer most of your captured takes. On the left, you can see a little film frame icon. And what that would be is for re rendering if you wanted to re render your background. Now, we have a separate tutorial on that, [00:25:00] so we won't go into that detail here, but that's what that button is for. We can exit out of that. Okay, so once you've reviewed your shot we can go back to our main view, our main menu.   Jetset has a web browser built into it. And that web browser is what lets us do our digital slate as well as our remote control to Jetset. And so this is really key when you start working on a stage where the camera's in one place, but part of your team is over in Video Village, and you want to have remote operations. **Speaker:** First of all, the way you get to the slate is you enter the IP address of Jetset, and you can either find that out manually inside the main menu of Jetset you just click the the web server IP value under the settings, or in Autoshot, you can click open webpage if it has Jetset detected but either way, all it is the IP address of the Jetset device, and when you do that, You're going to see this basic display. This is the slate panel which gives you a digital slate that is connected to Jetset. It shows you in real time the same time code that Jetset is currently using. Shows you the lens and a number of the different aspects of the current [00:26:00] Jetset take. Now, this is color coded. And the items that are color coded gold are things that are editable locally on the digital slate. For example, if you're on a scene or a take and you wanted to change that, you could actually change the scene right here. If you just tap, say, 5001 you can actually change that to 5000, 5032, or whatever scene you happen to be using. And that will update automatically in the Jetset UI. Now, we also see a couple other key pieces here. We can see the current UUID of the Jetset take. Now, each Jetset take, when we record it, has a 10 digit hexadecimal unique ID. And that UID is used to label every piece of data from that Jetset take from the camera recordings to the tracking data to everything. And that means that we can always associate in post production, which data goes with which take, because everything has a unique name. Other fields here include the lens file. Now, if we were shooting with Jetset Cine, that would show you the currently loaded lens calibration file. Over here on the right, we can [00:27:00] see the cam and the comp. So right now, Jetset is recording the camera original at 720p and the composite at 540p. We can see our current project name; that is actually set inside Jetset in our project panel as we showed that earlier. So we can't change that locally but we can actually change things like the director or the director of photography by, typing in the notes or just adding in a quick note on the current take. We can just tap something and add that into the keyboard. There we go. Now we can also remotely record and stop. So if you click the record button here, it's going to trigger Jetset to record. And you'll see a set of strange looking black and white markers. The take has now started rolling in Jetset. And we can go ahead and click stop to stop rolling the take, if you need to remote control that. And those black and white markers are one of the ways that we use in Jetset Cine to both identify which Cine Camera take this Jetset recording was associated with and to synchronize with this so that we know exactly when the tracking data that's stored inside the iPhone should line up with the [00:28:00] actual Cine Frame stored in the Cine Camera. Now we're just testing with Jetset right now, so we won't use those immediately, but it that's why they're there. Now we can click on the settings tab, and this shows some of the basic background settings for Jetset that we can adjust remotely that weren't in the main panel. You'll mostly see these when we start doing external tracking data. We won't dive into that right now, but this is where they are. And finally, we're going to go to the video tab. Now, the video tab, if you are on Jetset Pro or Jetset Cine, lets you click and play a remote feed of the current Jetset composite. This can be really useful to have in Video Village on set because that way you can see a live composite from Jetset as it's shooting without having to be next to the camera. Now, under here is a couple of key pieces. There's animation controls, which we'll go into in a different video, but over to the right, we actually have a set of remote controls and those remote controls are matched to the same UI that Jetset uses. So right now we're on the main view, but if we click to the origin panel uh, under main, there we go. [00:29:00] Now it's going to display and work this exact same way that it would if we were in the origin panel in Jetset. So for example, if we move our Jetset device down, and until we can actually detect the horizontal origin markers, They will detect, and we can click Align to Marker, and our origin will align to the marker. Now, there's another tool over here, which is called Drop, and that will simply drop the origin below wherever you happen to be standing. If you click Drop, there we go, and we look down, our origin has dropped down exactly below where we were standing, and sometimes that's useful if you're having to do things on the fly. So let's go back and detect our origin marker panel, and we're going to click Align to Marker. There we go. And so our origin is set where we want. Now, what happens if we, Now we can click OK to accept that. And again, this is, behaves exactly the way it does in the origin panel. Now, we can go to the scanning panel in our remote control. This lets us remotely operate the scanning system. This is phenomenally useful for a production where the camera team is over [00:30:00] there and, getting ready to set up a shot, and Video Village needs to be able to quickly jump in and grab a scan without having to go up to the app. We can click through and see the displays of the existing scan and we can clear the scan. Say if we have the, an incorrect scan on there, go ahead and clear it. And that'll remove the current scan and we can click start and it's going to start scanning. So then we can immediately look around and detect all the different scans that are in operation. And if people in the camera team are just moving the camera around like they are during setup, you can be quickly grabbing a scan and everything's all set. Now we can click stop. There we go. And there's our scan. There we go, there's our scan locked in. All right, and then once again we can toggle our solid display so that we're not seeing the display. And now we can click OK as then we're done with our local scan. While we're in the main tab, we can actually switch through different scene locators in the scene. In our remote control, we can see the list of scene locators. Right now [00:31:00] the origin scene locator is selected. So if we go ahead and click origin, this picks out all the different scene locators in the scene, and they work exactly like the scene locator pick in the main Jetset menu works. We were originally at origin, but if we pick say, the fireplace, then all of a sudden, our fireplace has now snapped to our origin. Now we can go ahead and click our scene locator and pick back, go back to our origin. It'll work a little bit better for this scene. There we go. And so again, it works exactly the same as it does in the main menu panel. **Speaker 3:** All right, there are many more details we can go in with other tutorials, but this should give you a quick overview of how Jetset works and how to do initial setup.