Page 1 of 4 >>
Temple of Greater Beth-EL, Pheonix, AZ
This Solomon award winning church reaches beyond the block
enlarge
The video control and edit bay employs a variety of monitors including Panasonic HD LCD displays and Apple Cinema displays. Panasonic PTZ cameras are switched via a Panasonic multiformat switcher.
The moment you catch sight of the Temple of Greater Beth-EL (TGB), Solomon Award winner for “Best Design, Implementation and Operation: Video Equipment/System” at WFX (Worship Facilities Conference & Expo) 2008 in Houston, you know to expect the unexpected.
The massive Lincoln Memorial-inspired structure is an anomaly amongst the modest, single-story homes in this older, working class west Phoenix neighborhood, but the building is set so far back from the street that you could almost drive right by it. It’s a modesty that belies the global reach of the organization behind it, and the powerful technology inside.
Founded in 1981 by Bishop Gregory Newman, TGB has quietly evolved from a small neighborhood church to become a major force whose reach extends well beyond its geography, all the while retaining a humble quality that seemingly contradicts its size and stature. Since going online in May 2008, the church’s website receives an average of half a million hits per month, with visitors tuning in from across the globe to be a part of the church’s wide range of sermons and services, delivered in high-definition audio and video.
Getting the message out is accomplished via a state-of-the-art audio and video system rivaling any of the world’s well-known mega churches, and even many broadcast networks. The system is the brainchild of John Gibson of EAR Professional Audio/Video of Phoenix and Newman’s son Isaac, TGB’s audio director.
Isaac mixes the live service on a Digidesign VENUE D-Show Profile live sound system, which is based around a D-Show Profile control surface with a FOH Rack and Stage Rack processing and I/O system.
A Pro Tools|HD system is integrated with the VENUE system for capturing the high-resolution multitrack audio. After the service, he moves to an adjacent workstation, where he edits and polishes the audio files using the same Pro Tools|HD system, controlled by an ICON D-Command recording console. Audio monitoring is accomplished via sets of JBL LSR6325p1 monitors at all three workstations (FOH, video and audio recording).
Video is equally high quality, with three remote-controlled Panasonic AKHC1500G PTZ high definition cameras capturing the services to the Avid Unity MediaNetwork shared storage system. Isaac edits the files in an Avid Media Composer system. For video control and editing Newman uses an assortment of displays including a Panasonic 26-inch HD/SD LCD monitor, four Panasonic HD/SD 17-inch monitors and two 23-inch Apple Cinema displays. The files are converted to Avid’s DNxHD, DNx145, which allows the HD files to be at SD bandwidth sizes so editors can work with HD-quality throughout the production, without having to worry about increasing storage requirements. The entire system is networked via high-speed Ethernet, enabling control of any aspect from anywhere on the bridge, or even in the auditorium. Once finished, the audio and video is compiled to DVD for sale the following weekend, as well as uploaded, generally in shorter form, to the website for subscribers.
Page 1 of 4 next page >>
Daniel Keller is an audio industry veteran and principal of Get It In Writing, Inc.
Post a Comment
ADD NEW COMMENTSuper ecxietd to see more of this kind of stuff online.
Posted by Kerryn on 12/02/2011 report abuse