 |
L I V E V I D E O E Q U I P M E N T A N D P E R S O N N E L |
|
With video increasingly playing a prominent role in church services, more and more churches are interested in using live video to reach their church members and community through broadcast, video recording of services and the use of IMAG. For larger churches, IMAG can create a good view of the service for any seat in the house. For reaching the community, churches can broadcast their services on local television stations. To start down this road, a basic understanding of the equipment used in live video systems is essential. In this article, we will explore the equipment and personnel required to implement a quality live video ministry. At its most basic level, a live video system requires a way to acquire an image, a way to select between multiple sources (camera, computer, prerecorded video etc), and a way to show that image. Acquiring the image is the responsibility of the video camera; video switchers and scalers enable you to select between multiple signals, and a projector and screen are the typical display devices utilized. As most of you are already familiar with projectors and use them to show graphics and lyrics, this series will focus on the specific needs of live video. |
[Editor’s Note: Live video used for image magnification (IMAG) is an attractive option for many churches. It is also a process that is often more difficult and costly to do well than it may initially appear. The editors suggest churches consider avoiding the use of IMAG unless the commitment is there to do it well, and for the right reasons. IMAG is usually only appropriate for larger churches (1,800-seats and up).] |
The Equipment
Let ’s start with the video camera. The differences among video cameras are vast, with interchangeable lenses and manual features among them. Most consumer camcorders use a single Charged-Coupled Device (CCD) to acquire images. Unlike consumer cameras and many “pro-sumer” cameras which use one CCD to capture all the information in an image, professional cameras use three CCDs, one for each of the three primary video colors (red, green, and blue) – producing superior color fidelity. In addition to this basic difference, professional cameras can be equipped with a CCU (camera control unit) that allows the iris, black balance, white balance, and chroma (color) adjustments to be made remotely by another person. When trying to do live video with prosumer-grade cameras without CCUs, it’s impossible to assure that each camera will be adjusted to have consistent color and brightness throughout the event. Lighting changes will affect each camera differently. The result will be shots that could vary radically in look, and be a major distraction from the service. Industry experts strongly recommend not attempting live video with cameras not possessing CCUs.
A good video tripod is absolutely indispensable. Unfortunately, video tripods are not inexpensive items. Lower cost units will not provide you with the perfectly smooth pan and tilt required for live video. Tripods have several parts. First is the head, which is what supports the camera and enables the camera to pan and tilt. The legs are self-explanatory. For professional video, a spreader is used to keep the legs securely in position, and pan bars are added which attach to the head and provide “arms” that the camera operator uses to move the camera with precise, gentle movements. Industry experts state that even a lightweight professional tripod, head, spreader and pan bars will easily cost $1,500.
Remote controlled cameras are another solution that might be just the thing for those in churches where camera placement would either be impractical due to space considerations or aesthetically displeasing. This consists of a remotely controlled pan/tilt assembly mounted on a bracket affixed to a vertical surface — normally a wall. When used for IMAG, where even the slightest movements are noticeable, a high-quality unit will be necessary to avoid an image that appears jerky.
Once there are two or more cameras, there needs to be a way to switch from one signal to the other. This device is called the “switcher”. Its primary purpose is to transition from the current video source to another in a way that prevents the display device from losing synchronization (sync) with the video sources, causing rolling or tearing of the picture, or even momentarily going to a blue screen. In order for any two video signals to be mixed or seamlessly switched, their frames must be synced precisely (referred to as “genlock”). Consumer and prosumer video sources generally lack the ability to adjust to an externally created genlock signal. Prosumer switchers create genlock using a device called a “frame sync”. By using two frame syncs, two video signals can be switched or mixed seamlessly. This method works well for what it is designed to do, but limits the number of video signals useable at any given time to two, due to there being only two signals properly synchronized at any given time. Adding any effects either removes the ability to transition or prevents the ability to perform keying (an effect that removes a color and replaces it with other video, frequently used to display text over live video). With a pro-sumer switcher, one can key a lower third (a graphic on the lower third of the screen) of, for example, worship lyrics over one camera’s image, but switching to another camera while maintaining the lower third is impossible, making this an unattractive and limiting option.
Professional switchers can mix additional video layers at the same time due to their reliance on genlock from each device. Switching between two cameras while maintaining a lower third can easily be accomplished with one of these devices. Devices which don’t provide genlock must run through either an external frame sync or TBC (time-based corrector) to work with professional switchers. Some of these switchers can also often send a signal from any video source to any output in any combination. A quality production switcher suitable for IMAG or broadcast can easily run into the tens of thousands of dollars.
Switchers offer a variety of transitions, but the one used most of the time in live video is simply the “cut”. A cut is a direct transition from one video source to another. After the cut, the dissolve is the next popular transition, where the current video source fades out while the next fades in over a short period of time (anywhere from a fraction of a second to several seconds).
Numerous other transitions are typically available in switchers, but they should be used sparingly and only with good reason. When people comment on how “cool” a transition is, they’ve missed the message of the video, so strive not to have transitions noticed. IMAG requires good communications between the necessary personnel. In professional productions, the communication system is a full duplex theatrical intercom system. If this is outside a church’s budget, two-way radios or some other sort of system is necessary.
The Personnel
Numerous people are required to have an effective live video ministry. In television news, the producer makes important decisions to keep everything on track. In a church, the producer is the person who coordinates things between the pastor, the technical people, musicians, etc. A good producer is a gate through which all concerns and requests pass. This enables other technical staff to concentrate, free from unnecessary distractions.
The director is the person who calls for camera shots and communicates with the technical director who actually works the controls on the switcher. These positions are often combined. The ability to think 3-5 shots ahead while communicating this information to the rest of the video team is the most important quality of a director, combined with knowledge of transition and shot selection so as to enhance (not distract from) worship, dance, or drama, to highlight what is important. Directors need to specify what shot is up, what’s next, and what camera those shots are coming from, starting with the camera number and then describing the shot succinctly. Some common types of instructions would be “standby two” – this informs the technical director and camera operators that camera two is about to be selected as the live camera. The technical director would bring this shot up in the preview monitor, and camera two’s operator would make sure his shot is stable. “Cut two” would instruct the technical director to perform a cut to that camera. “Dissolve two” would instruct the technical director to perform a dissolve transition to camera two.
The heart of any video system is the camera operator; the person through whose eyes the audience sees. Even given the same direction, two camera ops will see and shoot somewhat differently. A good eye and an ability to concentrate and quickly follow directions are necessary for this position. While the video director, technical director and camera operators are all focusing on the shots and transitions between shots, another person, called a video engineer or shader, watches each shot as it’s put on standby and adjusts its color and brightness to match the previous shot. This is done through the CCU mentioned earlier – the shader actually changes the settings on the physical camera itself through the CCU via remote control. The shader may also be given the responsibility of operating video tape and DVD players when prerecorded footage is to be shown.
In most modern worship services, CG operation is necessary. CG stands for “character generator”, but it might help to think of it as “computer graphics” which generically stands for PowerPoint, worship software, professional character generator, etc. which display the lyrics, images, and sermon points your church uses.
Sometimes a director needs an extra set of hands to make something possible. This is where the assistant director comes in — making the director’s job easier. A “grip” makes sure camera cables don’t tangle. An engineer fixes problems with the system.
It’s not necessarily the case that every church should do IMAG. In fact, most churches should not do IMAG. IMAG should only be used when the sanctuary is so large, people towards the back can’t see facial expressions. Using IMAG in a smaller room merely distracts people from taking in the whole service. Additionally, IMAG may not be necessary for the entire service. You may use it only for a drama sketch where facial expressions are crucial, but not really need it for the sermon.
More specific recommendations will depend on your particular ministry, facility, personnel and budget. If your church decides to use IMAG, seek out other churches in your area that are doing it well and learn more about their systems and operations. You should also ask other churches for recommendations on consultants, equipment dealers and installers to be sure you are getting the best possible equipment, systems design and service after the sale.
[ To discuss this article online, go to www.churchproduction.net/160 ]
Paul Clifford is a freelance writer, videographer. His previous employers include churches, a television station, and seminary. Additionally, Paul holds a M.Div. from Asbury Seminary. He may be reached at paul@trinitydigitalmedia.com.
