Chase Oaks Sloan Creek Campus, Fairview, Texas; image courtesy of Idibri.
Big, beautiful IMAG adds something special to a worship service. It’s video technology combined with production expertise that has an almost magical ability to make even a huge space more intimate. Despite its simple appearance to a congregation, IMAG isn’t just about big screens and displays. While the video that makes it to that big display can touch everyone in a special way, unless it’s done well, image magnification can fall flat or, worse, become a distraction. If your projection system, video panels or walls are delivering clear, bright video, but your IMAG just isn’t moving people like it should, it’s time to look at the more artful side of IMAG to make your services the best that they can be.
Lighting
Part technology and part art, lighting for IMAG is not the same as basic stage lighting. If you haven’t paid special attention to lighting specifically for IMAG, doing so can make for a huge improvement in the appearance of your pastor, band, and sets.
The strong directional lighting we use to create moods and highlight a set, people, and action on stage is perfect for creating dramatic effects. What it often doesn’t do, at least without special attention, is provide even, natural lighting for IMAG that gives everyone a natural appearance. Remember, IMAG gives us a close up and personal perspective, as though you were standing right in front of the subject.
Basic stage lighting theory prescribes lighting at about a 45-degree angle from two points as best for key lighting the face. However, for most video and IMAG, going a little lower has advantages. A little shadow under the chin looks natural, but any hard shadows under the eyes or from the nose need to be filled out for the camera. Lighting at 35- to 40-degrees can reduce unwanted shadows. Once key lights are set, use fill lighting to kill remaining shadows.
Dustin Whitt, a production expert with PRODUCTION/co, Flowery Branch, Ga., offers that lighting for great IMAG is often about tradeoffs. “Your ellipsoidal reflector or Leko fixtures will give you better control of lighting,” he says, “but the simple design of Fresnel fixtures can provide a smoother wash which is easier and more forgiving for video.” Further lighting control with barndoors or diffusion filters can also help to maintain flattering lighting for video.
As a final step, check your lighting carefully from all camera angles. Since you probably won’t be lighting the entire stage for IMAG, consider moving subjects to where you have the best light. The use of risers for the band not only adds interest and dimension to the stage, but can clearly define lighting boundaries. There are plenty of other places to look for improvement, like keeping even lighting intensity and camera shading, but removing hard shadows can make a huge difference for IMAG.
Set Design
Once the lighting is right, it’s set design that has the next biggest impact on the viewers impression of IMAG. Your set--or some part of it--will help you frame a large percentage of your shots. If the backdrop behind your pastor and performers is interesting, but not distracting, it can really enhance the overall look.
When deciding on sets for IMAG, consider choosing designs and materials that show dimension and texture. Then, support that with lighting. While you can spend a lot of money on predesigned sets, building your own sets can get you the look that best fits your particular style of worship and is limited only by your imagination. Often, the least expensive set building materials work the best.
Available in colors, translucent or clear, Coroplast reflects light, making the set elements seem to glow, or it can be backlit for some interesting effects.
For hard set materials, set designers like using materials that are both joining structural components, like trusses and stage parts, along with lightweight materials with interesting properties, like Coroplast. Coroplast is the brand name for a lightweight, inexpensive, sturdy, bendable polypropylene sheets, the same material used in inexpensive yard signs. Available in colors, translucent or clear, Coroplast reflects light, making the set elements seem to glow, or it can be backlit for some interesting effects.
How your choice of set materials reflects light plays a part in how the material will look when presented in IMAG. If you are going to be putting light or projections on a set, white materials work best. However, it’s best to avoid any high gloss finish, since any glare can impede color reflection, as well as produce unpredictable results with camera lenses.
... it’s best to avoid any high gloss finish, since any glare can impede color reflection, as well as produce unpredictable results with camera lenses.
Soft set design elements, like cycloramas, scrims, and backdrops can be very effective on camera, easy to implement, and affordable, so the differences between them are worth understanding.
A cyclorama, or “cyc,” refers to a seamless flat muslin panel or hard surface curved at the floor. Typically placed behind other set elements, with special lighting, a cyc blurs the line between the back wall and floor to create the illusion of open space or distance behind the set. The surface can be illuminated with varying colors and intensities of light or images can also be projected onto the surface.
A scrim is made from a specific type of netting called Sharkstooth Scrim. It is an open-weave net, interesting because there is more open space than actual fabric. Depending on lighting techniques used, its appearance can vary from opaque to translucent. Newer stretch fabrics can be similarly lighted, but also stretched to create geometric shapes.
Newer stretch fabrics can be similarly lighted, but also stretched to create geometric shapes.
In practice, any material hung at the back of a set can be called a backdrop. It could be a curtain, a painter’s backdrop of white or natural flat muslin panel (seamed or seamless) onto which a scene or pattern can be painted or projected, or a scenic digital backdrop with an image digitally printed onto the fabric, vinyl, or mesh.Perhaps more important than materials is placing set elements at different distances from the camera. This has the effect of creating layers that can help accentuate depth of field. If lighting and distance are right, the director can take advantage of depth of field. The out-of-focus materials can be used as a virtual backdrop for whatever is central to the shot.
When designing your set, utilize texture and light to make your set look more attractive, and group set elements in layers to help add interest. It will help focus your viewers on the speaker and eliminate distractions.
Directing
In the words of veteran network television producer, Peter Brinkerhoff, “As complex as video can be, the simple goal of directing is always to tell a story.” IMAG is no exception. The video director should be enhancing the worship experience by reinforcing the same story in IMAG that worshippers are experiencing. “[Stick] to basic shots that flow nicely together, don’t challenge the viewer, and allow them to concentrate on the story you are telling,” notes Brinkerhoff. To best accomplish this, directors must be confident of one of the most basic elements of directing video: having your cameras in the right place to tell the story.
“[Stick] to basic shots that flow nicely together, don’t challenge the viewer, and allow them to concentrate on the story you are telling." Peter Brinkerhoff, Veteran Network TV Producer
Many directors employ a simple four-camera approach to IMAG. It’s a setup often used for concerts with two cameras located centrally and dedicated to wide and tight shot options, and two handheld cameras to capture action on each side of the stage and audience reaction. Assigning the two handheld operators specific band members or action to cover on their respective sides of the stage both minimizes confusion and maintains important directional continuity. You can always add cameras to this setup, but these key positions give you all the cohesive, basic shots for great IMAG.
The best IMAG is about supporting worship, not being creative with outrageous camera angles or stunning effects. Working hard to keep lighting, sets, and direction simple and natural is the best way to visually support your worship leader and communicate both the message and emotion of musical selections. That makes IMAG great, and great IMAG makes worship special.
