Film and photo teams have incredible potential to enhance worship and grow churches of all sizes by contributing to services, telling your story, documenting important church events and offering powerful outreach. Whether yours is a busy small church, an established medium-sized church or leader among large churches, empowering your film and photo teams with the tools to make their contribution should be a high priority. But that’s not always easy. Rapidly evolving technology, inevitable budget constraints, and endless gear choices can all too often cloud the waters. With a myriad of “good” choices for gear, it's easy to lose focus.
In this article, church filmmakers Bill Dewhurst, Ellis Maryland, Austin Allen and Jon Peake offer helpful tips for outfitting your film and photo teams.
…avoid the temptation to worry about the equipment you don’t have and focus on what you can do with what you have at hand.
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Bill Dewhurst
Bill Dewhurst is an associate professor at Liberty University in Lynchburg, Virginia Offering students 15 years of experience as a videographer for the U.S. Army and with many church projects under his belt, Dewhurst tells his filmmaking students to first ‘know their mission.’ “Make a conscious effort to know what you are doing and what you hope to achieve before you even think of gear,” he says. “Essentially, know where you want to go and focus on how to get there. That’s especially important for young or inexperienced filmmakers that one might find at a smaller church.” Additionally, Dewhurst says burgeoning filmmakers should avoid the temptation to worry about what they don’t have in the way of equipment and focus on what they can do with what they have at hand. “It’s a challenge sometimes, but very much part of the learning process, to work with what you have,” he says. “Don’t put off shooting until you have all the best gear for the job.”
For growing churches, Dewhurst offers some advice from his experience working with a lot of different gear provided for government teams. “Focus on learning techniques and skills that transfer from one camera to another,” he offers. “That will help you and inform your gear choices. There will always be something new to learn, but the basic skills are the most valuable and what will ultimately get the job done.”
There’s a trap for midsized churches, cautions Dewhurst. “I’ve seen how much growing churches want to be bigger,” he says. “They might see what the other larger church is doing and want to outfit themselves the same way. But is your vision the same? Is your budget the same? Probably not.” Dewhurst reminds his students that it’s not a competition. “God knows where you are and he’s OK with it, so don’t lose sight of what’s important. Know your audience and your mission. Make the best use of the gear in hand. Then, look at getting gear that will help you realize the vision for your church.”
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Ellis Maryland
As the co-founder of Atlanta Church Creatives (a growing group of over 1,000 church creatives) and Media Director at Peace Baptist Church in Decatur, GA, Ellis Maryland is in touch with church teams of all sizes. “While having quality gear is important, it’s still secondary to developing the story and knowing where and how to shoot it,” he says.
When it comes down to a gear purchase, Maryland advises looking at how the gear will work for your situation rather than a list of features. “Do research; do your homework,” he says. “See who is using the gear you are considering and try it out, if possible. At least see it in use to be sure it’s going to fit the bill.”
“We all know that you have to make a budget work,” he says. “So, when you can, opt for equipment that can serve multiple purposes, saving both costs and storage space.” As an example, Maryland likes the idea of investing in a mirrorless camera with strong photo and video capabilities. “This versatile equipment can capture high-quality photos for church events and also record videos for sermons,” he notes, “without requiring separate setups.”
Maryland says not to look down on DIY lighting solutions when that’s what the budget dictates.
Even pros look to cost-effective lighting setups in a pinch, he says. “A practical lighting setup can be made using everyday items like white bedsheets or foam boards as reflectors to bounce natural light onto subjects during indoor events. This simple approach enhances the lighting without the need for expensive equipment.”
While on the DIY topic, Ellis says not to forget that you probably have a flexible and free video tool already in your pocket. “Smartphones can supplement your main gear for quick captures and engaging content,” says Maryland. This could include spontaneous behind-the-scenes moments during church activities to be shared on social media to offer an authentic view of church life and activities. Ultimately portable and always available, smartphones can be a valuable no-cost addition to your existing gear.
“A style guide for the team outlines specific fonts, colors, and visual elements to be used consistently across all media content, ensuring a cohesive look, saving on time and expense…”
—Ellis Maryland, co-founder of Atlanta Church Creatives, and Media Director at Peace Baptist Church in Decatur, GA
For medium-sized churches, teamwork and sharing gear and knowledge can enhance everyone's skills and help in outfitting teams with the right gear. “With different skills and experience, team members–say a video producer, photographer, audio engineer and editor–get to focus on their area of expertise. They also share their knowledge,” says Maryland. “For instance, a photographer can share composition and cost-effective lighting techniques with videographers, fostering a well-rounded team.” Maryland notes that a production team might include “A style guide for the team outlines specific fonts, colors, and visual elements to be used consistently across all media content, ensuring a cohesive look, saving on time and expense, but also informing gear selection and techniques to create the style.”
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Jon Peake
Having the gear to tell your story is important, says award-winning filmmaker, Jon Peake, the Video Producer at Constance Free Church in Andover, Minnesota His work has won both Gold and Silver Telly Awards and Best Overall Video honors from last year’s Capture Summit. But Peake maintains that finding the right gear might be easier than you think. “The thing is, you don’t need the latest gear to make an impactful story,” he says. “Looking back, even basic gear has gotten the job done for me. He says that the story and your vision for that story are the most important things. “Your equipment just helps in creating your vision,” he says. “So, don’t look at what you can’t do with the equipment you have at hand. Rather, look at what you can do.”
For churches starting out or moving toward better quality with professional gear, Peake likes the value offered by the small Sony ZV-1 and A6300 mirrorless cameras. “A good quality mirrorless camera offers two-for-one benefits, operating both as a still camera for social media content and film.” Past a versatile camera, Peake reminds churches starting out about the importance of audio. “It’s hard to capture and hold someone’s attention when the audio isn’t up to par,” he says. “Making a simple change, like adding a Rode Wireless GO versatile wireless microphone system or something similar, can dramatically improve audio.”
“It’s hard to capture and hold someone’s attention when the audio isn’t up to par.”
—Jon Peake, the Video Producer at Constance Free Church in Andover, MN
“As film and photo teams grow, adding a second camera gives you a variety of angles on the subject. Also, finding some studio space can be very beneficial," says Peake. Your studio doesn’t need to be a dedicated space. In fact, Peake’s church’s video studio doubles as a green room. “Something with blank walls works the best,” he notes, “and taping the floor for lights, mics, and tripod makes your video sessions easily repeatable and consistent.”
Peake points out how effective and versatile lighting reflectors are. “If you are just starting out, you don’t need lighting instruments to learn about lighting,” he says. “A simple reflector can work in many ways to get you what you need. Then, adding affordable COB (chip on board) LED lighting can offer your teams an opportunity to learn about three-point lighting setups and perfect an in-studio look.”
Like many experienced filmmakers, Peake doesn’t shy away from used gear. “No matter your level, you have to work within your budget,” notes the award-winning filmmaker. He says that that might mean a used camera with a kit lens, but that your focus should not be on the gear. It should be on the story. “Trust me,” he quips, “no one on the other end cares what you shot your project with. Gear will diminish in value, but a good story will stand the test of time.”
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Austin Allen
Having traveled the world leading film projects for both commercial clients and churches, Austin Allen’s adventures have landed him a coveted appointment as one of two filmmakers at Times Square Church in New York City. His passion for quality has made him a keen observer of trends in video technology. “Of course, there is a price associated with video quality, but right now outstanding video quality is available for even small churches,” he says. “The keys are knowing what attributes you really need and the abilities of your team.”
For smaller churches that may not have a full-time video person or have one who is less experienced, Allen recommends a small Blackmagic Pocket Cinema camera or similar. “They are so easy to find and learn,” he says, “so easy, in fact that most people won’t need the manual.” Allen is quick to point out that the advantages of a light, plastic camera body and the lesser performance of a lower-end camera might not work for a larger, busy film team. “But if you’re starting out, you don’t need a bulletproof camera,” he argues, “you need quality. That’s why manufacturers offer the lines that they do because cameras are built for different purposes.”
“Consider the option to rent for exceptional projects or when the equipment you’re looking at won’t see extended use past the project.”
—Austin Allen, Filmmaker at Times Square Church in New York City
Medium churches are often pushing for greater image quality and dependability. “For those with more experience, higher-end Sony FX6, FX9 and low-end Red Komodo camera lines are great options,” says Allen. Find cameras that can deliver the church's vision with options for lenses, lighting and color needs, he advises. Like other experienced filmmakers, Allen takes advantage of the savings he and his clients see from purchasing used gear. “Used gear? I love it,” says Allen, “especially for lenses.”
High-end cinema cameras from Red and ARRI are Allen’s pick for sophisticated film projects. “For large church teams that use them from week to week, it makes sense to buy the best camera bodies and lenses that match your vision,” says Allen. “Quality gear will last a long time and is typically very serviceable, but it comes with a serious price tag. The thing is: You don’t always have to buy.” Allen has seen the advantages that renting gear has to offer for larger churches and independent film projects. “Consider the option to rent for exceptional projects or when the equipment you’re looking at won’t see extended use past the project,” he says. “Renting often makes more sense financially, presents the most options, and offers you the opportunity to get hands-on experience with top-flight gear.”
