While IMAG has been an established part of tech ministries for several decades, it’s an area that’s enjoying unprecedented growth in its developing scope and scale.
“IMAG needs to magnify what’s happening on the platform, while broadcast needs more visual context.” Adrian Lopez, Lead Director of Live Production, Gateway Church, Southlake, TX.
In addition to its traditionally primary role of supporting the live worship experience, many churches today expect the tech team to provide high-quality video support for overflow areas, digital signage, satellite campuses, live streaming and on-demand digital delivery.
Each of these different platforms have unique needs and specific metrics for success. And finding the right balance of effectiveness, innovation and growth requires more planning and intentionality than ever before. So where should IMAG and broadcast leadership focus energies to effectively move their teams into the future? We went behind the scenes with live production directors at a few of the most influential churches from around the country to get their perspectives on these questions and issues.
Getting on the same page
ADRIAN LOPEZ
One of the most prevalent conversations happening in control rooms in churches today centers around how to find the right balance between the need of the congregation during the live experience and the demands of broadcast and live streaming audiences. “IMAG needs to magnify what’s happening on the platform, while broadcast needs more visual context,” says Adrian Lopez, lead director of live production at Gateway Church in Southlake, Texas.
“Our IMAG has always been intended as a complement to the worship atmosphere, working side by side with the worship and the lighting, all without being distracting.” To ensure the needs of both areas are being met, Gateway’s live production team runs a hybrid approach. “We have two different directors—one focused on broadcast and one focused on IMAG,” continues Lopez. “Our camera operators hear both directors simultaneously. It takes some getting used to and some coordination between the two directors to make sure it all works together.”
For Jason Lewis, broadcast video coordinator at LCBC Church in Pennsylvania, everything starts with getting the live IMAG experience right and communicating the plan to do that to the wider team. “I’ve been really intrigued by having the shot pacing reflect the mood of the song,” shares Lewis. “Almost all of our camera operators have between two and 12 years of experience, so they know how to make this work.
“It’s ultimately about creating a modern space where people want to come and experience it, because we want them to bump into Jesus.” Robb MacTavish, Live Production Director, Flatirons Community Church, Lafayette, CO.
We actually walk through the individual songs to make sure we know what’s happening and what’s special, even down to rack focusing." For the LCBC broadcast team creating live, simultaneous IMAG and broadcast mixes are all about effectively utilizing the right equipment. “We are very fortunate that we have a Ross Acuity 3 ME switcher, which lets us use the top ME for our room and the middle ME for our broadcast mix,” continues Lewis. “That lets me put up on the screens what I want in the room, and online what I want online.”
A cinematic approach
One of the most dynamic evolutions taking place in the world of IMAG today centers on the developing capabilities of large-sensor, cinema-style cameras to function effectively in broadcast environments. For Robb MacTavish, live production director at Flatirons Community Church based out of Lafayette, Colo., these kinds of cameras have opened up new ways to approach IMAG. “We moved into a more cinematic style to present a more modern look and feel in our room,” says MacTavish. “We also wanted to create a more dynamic experience, along with lighting and the use of haze.” “Our IMAG screens are something of an extension of our stage, and we wanted to bring it all together,” continues MacTavish.
“I’m seeing a lot of digital video effects and overlays, as well as things like 3D, motion backgrounds, and grayscale being added to traditional IMAG. It’s exciting, but some of it has to be done in the right way and in the right moment, especially in the context of the church.” Jason Lewis, Broadcast Video Coordinator, LCBC Church, multisite in Pennsylvania.
“We stream our service, and that same video signal we use in the room is what goes out to the streaming. We really wanted that to be modern and consistent with content produced by our Creative Team. We’re going for a highly post-produced look. But it’s making that look ‘live.’”
For Jason Lewis the introduction of cinematic camera movement has also proven to be a big step forward visually. “I don’t think 4K will be a big thing in worship for another decade, just because of the costs,” says Lewis. “I think a lot of the future is in creating cool shots with jibs and Steadicams and rails. The difference those kinds of shots can make is just night and day.” “I’m also seeing a lot of digital video effects and overlays, as well as things like 3D, motion backgrounds, and grayscale being added to traditional IMAG,” shares Lewis. “It’s exciting, but some of it has to be done in the right way and in the right moment, especially in the context of the church.”
Equipping the cinematic saints
A third dynamic area of growth and development in IMAG and broadcast ministries is proving to be in how leaders effectively disciple and develop volunteer operators. For Lopez this is an area where years of experience and reflection have helped Gateway Church evolve their training ministry. “In the past we would have people sign up to volunteer and come to an orientation,” recounts Lopez. “At that orientation they would do a tour, get introduced to the cameras, then do some paperwork and background checks, which can take about a month to get through. By the time they got through the process they had forgotten a lot of what we had taught them.
“To help with that process we developed some online training videos that would help them understand not only what they should do, but also why they should do it,” continues Lopez. “We found that when the camera operators don’t know the ‘why’ it’s far more difficult for the video directors to keep them working in the right direction. We got a lot of positive feedback from that, and it provided everyone a baseline of information before they came in. Things like setup, focus, direction, framing and what the director’s going for when they say ‘push’ and ‘pull’—the volunteers having that information really helped.”
While this kind of in-depth training and education have helped to develop better camera operators, Lewis and his team continue to focus on the one-on-one discipleship aspects of their training regimen. “We’re trying to find a happy medium between the video training and the relational, hands-on aspect of the whole process,” says Lewis. “We’re using a kind of shadow shift approach to someone’s first time volunteering so they feel more comfortable when they’re ready to operate.”
Moving forward
While the growing demand for quality IMAG and broadcast ministries will continue to keep these ministries at the center of attention moving into the future, the most important aspect of each of them will continue to be their abilities to impact people with the Gospel. As MacTavish reminds us, “It’s about creating a modern space where people want to come and experience it, because we want them to bump into Jesus.”
