Christmas programs can require more time, energy, and manpower than any other time of the year.
They also put high demands on the equipment. It's not the time for procrastination. Start preparations today for a successful production come Christmas.
Planning can't start too early. The scale of production does impact the level of preparation—and the bigger the scale, the more planning time required. If the church performs a program on the grand scale, consider the words of Alan Alford, audio engineer at the Indianapolis Symphony Orchestra, who says when it comes to planning for their annual Yuletide Celebration, he's received production communications starting in June and a cast list by July.
Church technical staff members can also have a larger role in the development of the program itself. David Clark, technical arts coordinator at Sherwood Oaks Christian Church in Bloomington, Ind., says, "For me, the most important aspect of a successful production is in the preparedness. Take some time over the summer to break away with your team and brainstorm and dream about what Christmas could look like for your church."
Regardless of the size, Clark says of Christmas productions, “[It's] one of the biggest opportunities we have to reach a lot of people. So why would we not pull out all of the stops to ensure [that] their experience is the best it can be? And a huge part of that is being prepared by starting your planning early. God sent his Son to the world—that's a big deal! We should treat that celebration like a big deal, too.”
It's November and time to kick in the planning, so start by making contact with the program's director and request to be in the loop on all program-related communications. Follow up regularly to ensure information is flowing. The last minute words of, “I thought you knew,” are the last thing the tech staff wants to hear. The complexity of the program can require regular meetings for active involvement between both parties, especially in the early planning stages. Once the script for the program is finished, it will become the blueprint from which work is based.
Technical directors should plan for an understudy in case something unexpected happens and they can't perform their duties. Don't believe it won't happen. My family experienced this in 2013 with a traumatic automobile accident that dramatically altered our lives for a while.
1.)Keep the understudy in the loop on all communications and plans.
They should be present for key discussions, rehearsals, and other relevant times. They should be able to step in at any time and take over.
Communicate early. "I thought you knew," is the last thing the tech staff wants to hear.
2.) Schedule tech personnel as soon as possible.
Our services require nine people but we can do with seven if necessary. During expansive productions, all nine slots should be filled so each person can focus completely on their task instead of trying to juggle multiple tasks.
3.) Identify weak areas.
This could be a lack of communication with the director, event planner, or other individual. It could be a time requirement such as 120 hours required to build a new set—but there aren't enough people.
Elaborate programs put audio inventory to the test. Develop an input list of all microphones and other on-stage inputs so additional equipment can be obtained if required. Also develop a stage plot so all audio I/O needs and AC power requirements can be met given stage props locations and monitor needs.
Count the number of cables required on stage, make sure the inventory can support it, and then test all the cables. Purchase a couple extra if the production uses up the entire inventory. Cables go bad at the worst time.
4.) Review all audio equipment in the inventory and ensure everything works.
Don't assume those floor wedges backstage work just because they haven't been used in years. Maybe they stopped working a long time ago.
5.) Test stage jacks.
I've tested a jack, found it didn't work, then upon examination, found it wasn't wired to anything. This can happen when stages are redesigned and jacks are moved around.
6.) Consider equipment upgrades if the Christmas program requires more from the audio system than can be supplied.
Equipment rental can solve a problem but renting every year is a sign it's time to purchase the equipment. Always test rented or borrowed equipment as soon as it arrives.
7.) Identify areas for training.
Don't put a rookie camera op on for the Christmas program as their first service. Get them behind the camera several times during the coming months and train them on setting focus and iris setting. The Christmas service isn't the time for them to fumble around.
8.) Look for training for yourself and experienced team members.
The WFX conference is coming up and that's a great place for training on audio, video, lighting, and event planning. The lighting team might be good, but they could be great.
9.) Plan for problems.
Techs get sick. Microphones fail. Pre-recorded audio stops working. Video switchers freeze up (our record is 12 sends into the service). Anything can happen. Determine alternate arrangements to work around each problem. Rate potential problems with likelihood and impact. Anything that ranks high for likelihood and impact needs to be addressed immediately.
10.) Plan for parental requests.
Every parent wants a recording of his or her child's performance. They could ask to record it from the tech booth. They could ask for an audio feed. They might even ask a tech team member to turn it on and off as it rests on the booth ledge—a request I've fielded before. Plan for dealing with these requests in a manner that works best for everyone.
In December 1902, Archie Roosevelt snuck a Christmas tree into the White House because his father, the president, didn't approve of cutting trees for Christmas decorations. Don't let Christmas sneak up on you. Start the Christmas program planning today.
