Seeing the benefits of image magnification, or IMAG, for worship is easy. Designing powerful, beyond-the-norm IMAG is not. Many churches have learned that doing great IMAG is more than just making images big (although that is part of it). Among the challenges are changing standards for video, innovations in video displays and projection systems, technical complexity and cost.
To get a practical take on the inherent challenges of designing cutting-edge IMAG, CPM sought out two video professionals with decades of experience and hearts for building extraordinary experiences for worship. Weighing in on the following five steps to IMAG design, Duke DeJong of CCI Solutions based in Seattle and Los Angeles, and Mike Sessler of Velocity Pro Systems in Los Angeles and Nashville, Tenn., share insights gained building top-level IMAG systems for worship.
Here are the five critical areas you’ll need to address in ramping up your church’s IMAG system.
1-Displays
Projection is where IMAG started, and there have been plenty of advancements in this realm. But the advantages and dropping cost of LED video walls are making them increasingly important to consider, especially where overcoming ambient light is an issue. “At this point, for screens 16 foot by 9 foot or larger, or for rooms with high ambient light, we’re at least bringing up LED walls for consideration,” notes DeJong. “Projection still very much has its place,” he adds, “but the overall quality of the image and the dramatically increased brightness of LED video walls are huge wins for many worship spaces.”
Sessler points to total cost of ownership as an important factor in IMAG delivery. “LED walls have come way down in price and are a very viable alternative to projectors,” he says, “and should be [investigated] if you are considering projectors in the 12K- to 15K-lumen range or higher. While laser-phosphor projectors are competitive, you may give up a little in image quality on lower-cost models.”
For projection or displays, size is directly related to how effective IMAG can be. The traditional rule of thumb for calculating screen size is to divide the distance from the screen to the last row of seating by eight. That gets you the optimal height of a 4:3 aspect ratio screen. However, that’s not set in stone.
“Since the move to widescreen, I’ve heard various new interpretations on the standard,” DeJong says. “Today, I generally follow the idea that dividing that distance by 10 offers the best result for optimal screen height.” DeJong is quick to add that his calculations are just a starting point. “We also have to interpret what the church is doing with regard to the environment and video content. The heavier they use video, the more likely it is that we would opt to oversize the screens a little past what that formula dictates.”
2-Connectivity
Two new IP formats are challenging the popular SDI and HDMI connectivity standards for video: SMPTE 2110, that has become popular in high-end broadcast equipment and Network Device Interface (NDI) developed by NewTek, which already has its footprint in the corporate/industrial markets and houses of worship. Both are designed to improve distribution of live professional video over an IP infrastructure using readily available IP technology.
While IP video could essentially eliminate capture cards, SDI, HDMI connections and other AV formats in the not-so-distant future, its most impressive feature is that it enables multiple applications to access the same sources at the same time. So you might simultaneously send high-quality, low-latency video to your video mixer system for IMAG, while also streaming it and capturing it elsewhere on your network. It’s a powerful concept, but also a large commitment to build out and monitor an IP infrastructure to support video.
Sessler sees both the benefits and downsides of employing new protocols for worship. “We’re seeing a bunch of new video formats for IP, some of which are good for IMAG,” he observes. “The biggest issue is latency that can ruin IMAG, more than almost anything else. If the transport stream adds more than a frame or two, it’s too slow for IMAG. Moreover, as most switchers currently output HDMI or SDI, and most LED walls take SDI or HDMI, using a video-over-IP transport currently requires additional conversions, costing more in latency. Generally, I like to use SDI, as it is rock solid, fast, proven and inexpensive.” DeJong agrees that broadcast video-over-IP is likely to be the future, and that while it’s not quite here, “it’s getting close.”
3-VIdeo Switching
Switcher size and features are important considerations for every video installation and will impact IMAG. “There are many factors that go into making a decision on a switcher,” DeJong says, “but for ‘the big picture’ it is capacity. I never want to see anyone buy a switcher that they will max out on day one. I’m also a big fan of adding a router in-line before the video switcher. Having a router in that location serves as both a serviceable switcher backup and gives your video rig the ultimate in flexibility.”
Similarly, Sessler’s experience has taught him that the right switcher needs to have enough inputs to handle not only the cameras at the venue, but also any other sources the church will want to mix. “If you want to do an IMAG mix plus a record or broadcast mix, you may want to consider a second ME,” he advises. “Many switchers will allow for multiple switches panels, making it easy to have two operators cutting two mixes, one for IMAG and one for broadcast. Depending on the skill of the operator, it’s possible to cut both mixes on a single panel, but that’s a higher workload.”
4-Cameras
Essential for great IMAG is having great inputs. That means getting your cameras and camera positions right. “Getting your lens calculations right is huge,” says DeJong, “and probably the biggest miss for most churches. We’ll often see churches buy small cameras with fixed lenses that don’t allow for enough zoom to get the tight shots of people on stage. If you’re going to buy a camera and the lens cannot be changed, it’s imperative you do the math and get the right lens for your needs.”
According to DeJong, proper camera resolution for your installation will have several constraints. “Resolution should be dictated by what you’re using your cameras for and how your video infrastructure is set up,” he says. He also notes that if all you’re using cameras for is to stream a feed online or to your lobby on HD displays, a 4K camera could be overkill and create some infrastructure challenges that will be expensive to solve without much net gain. “Keep in mind most displays are still 1080p,” he says, “and online streaming is typically below that.”
DeJong advises that 4K cameras will provide the most benefit if the rest of your video infrastructure (switcher, router, recording devices, projection, LED wall, displays) is 4K capable, as well. Also, the benefits of 4K’s clearer image might be lost on people seated more than 20 feet from the screen. However, 4K cameras do have advantages when creating videos for post-production, since you have significantly more pixels allowing you to crop video down to a better shot without sacrificing HD resolution.
Camera positions should also be considered to capture all the best angles for both broadcast and IMAG. “I’m still a big fan of the traditional approach of having two cameras in a lead/primary position (one tight, one loose shot),” says DeJong, “along with at least one ‘slash’ camera at an angle, and then some POV cameras around the stage.”
“At a minimum, I would do two center shots, even if one is a PTZ,” offers Sessler. “You can always add additional cameras as budget permits.” However, he advises that churches be careful when mixing PTZ and live cameras. “Try to stick with the same manufacturer and ideally, the same series camera. PTZ cameras can work and make for great cut-away shots, but it’s tough to beat a live operator.”
DeJong also has some pro tips for deploying PTZ cameras. “There are very few PTZ controllers out there that can compare to a live, manned camera,” he says, “but if you are counting on PTZ cameras, it is well worth spending the money to get a controller that will give you the ability to follow quickly and smoothly.”
He adds that if primary cameras need to be PTZ for accessibility/aesthetic reasons, his preference is to have one controller per camera, and an operator per controller. “Where you have one operator for multiple cameras,” he says, “consider saving shot presets before your service so you have good starting points that you can get to quickly.”
Sessler reminds us that great lighting is needed for great IMAG. He suggests, “To get great IMAG, you’ll want a very even front wash of light, good back light and interesting upstage lighting. If your current lighting rig isn’t up to the task, you will need to add fixtures and possibly lighting positions.”
Other typical considerations for good video lighting include a slightly lower angle for key lights that will produce fewer shadows on faces.
5-Budget
DeJong says that budget is always important, but that his goal is to always get each church to focus on their vision (what they do) and values (why they do it), and how their strategies align with that (how they do it) before talking about budget. “I have a phrase I started using many years ago,” he says. “Vision dictates budget, cash dictates phasing. We always first want to work with churches to figure out how technology can best help them reach people, then build the strategy for what that looks like. Then, how to phase it in, if the initial budget needs to be broken into steps.”
Sessler offers clients this important advice about the cost of IMAG design: “Video costs more than most people expect. To do great IMAG (or simply good, for that matter), you need quality cameras, a switcher, and display devices. There is often a temptation to start with a lot of inexpensive gear with a plan to gradually upgrade to more expensive, better equipment.” Sessler recommends that churches start with fewer cameras, and opt for higher quality. “It’s always cheaper to buy something once,” he says, “instead of two or three times.”
In addition, Sessler offers that houses of worship typically save money by working with a reputable integrator, one who can guide them through the equipment selection process and design—and ultimately set them up for success.