Techinical Handbook - Willow Creek Association

Transcription

Willow Creek Association
Global Leadership Summit
Technical Coordinator Orientation & Reference Documents
Technical Coordinator Orientation
& Reference Documents
Contents
Introduction…………………………………………………………..………….
3
Responsibilities………………………………………..………….……… 4
Timeline……………………………………………………………………… 5
Technical Coordinator’s Checklist
Before the GLS………………………………………..………….……
8
On-Site at your GLS………………………………………..………..9
Staffing…………………………………………………………………..…. 10
Pre-Production Meetings & Detail……………………………………..…. 14
GLS Equipment: Video………………………………………………………...
16
Avoiding DVD Playback Uncertainty………………………………..
17
Video Screen Philosophy………………………………………..……
18
Screen Size & Projector Brightness…………………………………
18
Using Screens with ―Gain‖……………………………….....………..
18
Aspect Ratio……………………………………………………………
19
Projector & Screen Size Recommendations…………………….20
Dual-Converging Projectors………………………………………….
21
Lens Calculations……………………………………………………..
22
Using a Switcher/Scaler………………………………………………
23
GLS Equipment: Audio………………………………………………………..
27
GLS Equipment: Lighting………………………………………………………
28
GLS Equipment: Lighting Power……………………………………………..
29
Stage Décor…………………………………………………………………….
30
Crew Communication…………………………………………………………..
31
Equipment Considerations Checklist………………………………………….
32
Rehearsals……………………………………………………………………….
33
Appendix A—Loss of Power Procedures…………………………………..
35
In the Event of a Power Loss………………………………
36
Appendix B—Production Pointers……………………………………………..
37
Appendix C—Recommended Equipment
Pro DVD Players…………………………………………..…
40
Switcher/Scalers……………………..………………… 41
HD Video Switchers…………………….………….……42
Appendix D—Stage Management Tips & Tricks……………………… 43
Appendix E—Videotaping Suggestions & Requests…………………… 50
2
GLS Technical Coordinator Orientation & Reference Documents
|
Version 08-2
Introduction
Welcome to the Global Leadership Summit team, and thank you for your
commitment to this life-changing event.
You and your team will join hundreds of other production professionals
and volunteers around the world as thousands of church and community
leaders on every continent are encouraged and hear potentially ―game
changing‖ leadership principles.
The Leadership Summit will originate at Willow Creek Community
Church in South Barrington, IL the first week of August. Over 200 sites in
North America will experience the Summit via live satellite simulcast.
In the days and weeks following the summit, our staff of video engineers,
translators, editors, and duplicators will be working nearly round-theclock capturing, converting, editing and translating the Summit content
for use around the world.
But rather than immediately distributing the content to individuals, we’ve
found that the teaching of the Summit is most effective when
experienced in a conference setting—in community with other leaders.
Creating this experience has helped us define our three top priorities:
A single, bright screen, clear audio and supporting technology
Meaningful, customized facilitation & interaction
Engaging, transcending worship experiences
As your site’s technical coordinator, you play a critical role leading the
highest priority in making the Global Leadership Summit a success.
Whether you’re a veteran of the Global Leadership Summit, or this is
your first year, you and your team are in for a challenging, exciting and
fulfilling journey.
Playing a ―behind the scenes‖ role takes a unique combination of
confidence and desire to serve. Know that your involvement is
significant, your commitment will be honored, and you and your team
will be blessed through your participation.
On behalf of the entire Willow Creek team, thanks for joining us on this
amazing journey.
David Schwarz
Global Leadership Summit
Executive Technical Producer
Version 08-1
|
3
Technical Coordinator’s Responsibilities
The best production
professionals agree that the
concept of “eliminating
uncertainty” in the preproduction phase is the key
to a smooth-running event.
Small challenges always seem to
present themselves on-site. We
sometimes refer to this as the
“fog of war” that ensues (when,
for example, equipment is late,
something is missing, someone
calls in sick, or the weather
doesn‟t cooperate).
Knowing that there will always be
unexpected “pop-up” challenges
motivates the best Producers
and Technical Coordinators to
plan and organize everything
they can ahead of time—leaving
nothing to chance, and pushing
nothing off until the last minute.
When input lists are complete,
graphics are ready-to-go, a solid
plan for equipment and
scheduling is in place, you
should have the time and
resources you need to handle
the small challenges that pop-up
on site.
If you‟re fortunate enough to
have a smooth load-in and
rehearsal, it‟ll be easy, relaxing,
(and perhaps even a little boring
at times.) For every GLS site
who feels like they may have too
much time on their hands on the
load-in day, there are dozens
more who NEED that extra time
to deal with the pop-up
challenges that they couldn‟t
have foreseen.
4
As the GLS Technical Coordinator (TC) for your site, you’ll be
partnering with your site’s producer on the planning and execution
of the Global Leadership Summit. You’re responsible for all of the
technical production elements:
Sound & Video
Lighting, Décor & Staging
Room layout & Seating
All necessary equipment (projection, power, etc.)
Staffing of the technical positions
Ensuring proper load-in and set-up
Supervising the technical aspect of rehearsals & GLS
conference experience
The role of stage manager or ―show caller‖ is an important one. As
soon as rehearsals begin, most GLS Technical Cooridnators
become the stage manager, ―calling‖ the cues for the production
crew. You should plan on filling this role personally, unless your
site is so large with so many moving parts that it’s better to hand
this role off to an experienced stage manager.
Other responsibilities will land somewhere between you and your
producer. Plan on discussing each of these items during your first
meeting and agree on who will be handing:
Getting band input list & backline requirements
Preparing & proofreading worship lyrics
Creating the final PowerPoint ―show deck‖, complete with
name titles, theme graphics, and announcement slides
Watching all GLS teaching & programming content from
start-to-finish
Finalizing the conference run-down and cue list
The producer is the ultimate authority—support and partner
with them by handling all of the production aspects of the
GLS, and let them take care of the “big picture”
responsibilities that producers have.
|
Version 08-2
Technical Coordinator’s Timeline
Detailed preparation and plenty of follow-up communication is
essential to a smooth load-in, rehearsal and conference experience. It
will help you reduce stress and honor the commitment of your
volunteers. Follow this plan as a guideline, but customize it (as
needed) to meet your needs:
When
What
Result
Now
Meet with your producer to
customize your plan & timeline.
Review your responsibilities
(page 4) with your producer,
and vice-versa.
Agree on a formal, written plan
and timeline, customized for
your GLS.
Survey your GLS site—identify
what in-place equipment will be
used and what will need to be
added. (Likely a center screen,
projector, switcher/scaler, and
DVD players.) Snap
photographs and measure
distances which will be useful in
creating your technical plan.
You‟ll have an understanding
of your site‟s needs, and be
able to coordinate with
possible vendors much more
easily, knowing what kind of
space you have available.
Identify vendors in your market
who can supply the equipment
that you’ll need. Make contact
with them and begin the
process of shopping for the
best price/plan.
Making contact with potential
vendors now can help you get
the best rate—inquiring early
about an event that happens
months away signifies that
you‟re organized, informed,
and have plenty of time to
evaluate your options to come
up with the best, most
economical plan.
Begin organizing your team.
Identify who’s available at the
site (church, conference venue,
etc.), and who from your circle
is willing to participate.
Determine if you’ll need load-in
and load-out assistance from
your vendor.
Getting the word out early that
you‟re looking to build a
technical team gives you the
greatest flexibility. Getting on
people‟s calendar early can
help ensure that you‟ll get the
best people for the job.
Version 08-1
|
5
Timeline (continued)
6
When
What
Result
6 weeks
before
conference
Finalize your production
team
Put your “aces in their places” with
an emphasis on your best audio
engineer, video engineer, graphics
operator, and lighting designer/
operator.
Finalize your equipment
bids/contracts.
Once you and your producer agree
that you‟ve got the best plan
possible (at the best price
possible), lock-in your equipment
contracts. Request that they bring
in all of the equipment a day early
to help eliminate last-minute
challenges.
4 weeks
before
conference
Finalize your stage layout;
begin construction of any
necessary décor elements
that your producer agrees
will be needed.
Matching the décor elements of
the Leadership Summit stage is
optional depending on budget and
resources. But you‟ll want to
agree with your producer on a
plan, and consider the 4-week
mark the point at which you‟ll want
to start making it happen.
2 weeks
before
conference
Confirm the plan to watch
all content from start-tofinish. (Confirm
navigational and subtitle
functionality.)
You‟ll hear about this a few more
times—but (due to the short
turnaround time for translation,
authoring and duplication)
confirming the functionality of the
playback content (DVD or digital
files) is critical and non-negotiable.
|
Version 08-2
Timeline (continued)
When
What
Result
Week of the
conference
Review all PowerPoint
(titles, theme graphics,
worship lyrics)
Early on, you will have agreed
upon how to get this done. This is
a good time to confirm that it‟s all
happening & will be ready for
rehearsals.
Confirm ―call times‖ with
your crew.
Leave nothing to chance—confirm
with your production team both by
phone and e-mail when you expect
them to arrive and be ready to
work.
Confirm drop-off times with
your equipment vendors.
Again, be redundant in your
communication to your rental
vendors. Follow-up all phone
conversations with a confirming
e-mail. Writing out the details
(and copying your producer on the
e-mail) will help your vendor
understand the importance of their
commitment and will help keep
them accountable.
Plan a production meeting
with your producer,
production crew and
worship leader to distribute
and review cue sheets.
Give your production crew plenty
of time to prepare for the
conference—if possible,
conducting your production
meeting the day before load-in will
encourage them to bring their best
thinking to bear. (Focusing lights,
laying out input lists, decorating
the stage—you‟ll want your team
to have the “big picture” in mind
when going about these tasks.)
Version 08-1
|
7
Technical Coordinator’s Checklist
These checklists reiterate some of what you read in the timeline, but
are provided here as another way of identifying the priorities and
helping you prepare for your conference.
Before the GLS
 Attend Technical Coordinator training/orientation, download &
review all TC documents
You‟ll be working towards:
1) Having a big, bright center
screen (appropriately sized
for the audience)
2) Crisp & correctly-sized
video (using the simplest
method possible—typically by
taking advantage of the highquality and easy-of-use of a
switcher/scaler)
3) Intelligible and even audio
coverage with all necessary
channels & equipment;
4) Appropriate lighting &
some consideration given to
stage set
. . . and a team who can set it
up & run it smoothly.
8
 Using the timeline on pages 5-7, create your site’s plan to recruit
your production team and add any necessary equipment.
 Visit your site and complete the survey form, paying particular
attention to existing audio, video & lighting equipment &
capabilities, viewing angles, ambient light issues, power
availability
 Identify your equipment vendor, communicate all necessary
details
 Recruit your production staff and make arrangements for any
necessary training
 Coordinate with your producer and band leader on worship team
size & requirements
 With your producer, plan your stage set & consider cost-effective
ways of duplicating some of the set elements from the
Leadership Summit (using detail provided on Global Summit
Central).
 Make any necessary equipment rental adjustments, arrange for
inspection of rental equipment (with enough time to switch
vendors, if needed), and negotiate for early delivery of
equipment
|
Version 08-2
On-Site at your GLS
 Oversee the load-in of equipment, shading of windows, focusing
lights (if necessary) and setting the stage. Confirm functionality
of all production systems.
On-site you‟ll want to pay
particular attention to:
 Organize a ―step-through‖ of a few cues and transitions (prior to
the rehearsal) so your team is ready for rehearsals and all of the
production systems are worked out. Confirm that the video is the
correct aspect ratio, audio is in sync, and there are no distracting
glitches or noises from the production systems.
1) Positioning the screen at a
comfortable viewing height.
2) Controlling lighting levels
(stage lights and ambient light)
by:
- focusing lights away from
the screen
- dimming the house lights
(or turning off some of them)
- using shades & masking to
block outdoor light
to keep the screen bright and
at the center of attention.
 Support the producer as they lead the rehearsal—encourage
and direct your team to rehearse just like they’ll run the GLS.
 Rope or stanchion off any unnecessary seating (seats you don’t
plan on using due to poor views of the screen, etc.)
 Supervise the technical execution of the GLS, confirming that
nd
your team is using a backup playback system (typically, a 2
DVD player).
 Have contingency plans in place for last-minute requests and
challenges.
2) Confirming that the video
playback is correctly sized,
sharp, and clear.
 Appreciate and encourage your team through the experience.
3) Listening for a good mix,
even audio coverage and that
the audio is in-sync with the
video.
4) Rehearsing the elements to
ensure that the transitions are
smooth and distraction free by
(a result of the right team, the
right equipment, a shared
vision of what that means, and
practice.)
5) Verifying that the backup
DVD player (or digital playback
system) is always in useapproximately 4-5 seconds
behind the primary DVD player.
Version 08-1
|
9
Staffing
The following is a minimum crew list. Of course, the size of your crew
will vary depending on the size and requirements of your venue. These
lists include production staff only. In most cases, a producer, assistant
producer, music director, drama director and production assistants (to
help coordinate content or talent) are also involved and may end up
being considered part of the running crew.
In the simplest production environment, the minimum running crew
consists of the following. This three-person production crew should only
be attempted in the most reliable, stable, predictable GLS environments.
The GLS production team in PortAu-Prince Haiti set up using as
small of a “footprint” as possible,
and executed a perfect event with
a minimum crew.
If there are any uncertainties (the band has a tendency to show up
late, power might be unreliable, or last-minute changes are
possible) the three-person production crew is not recommended
since you won’t have anyone available to handle these challenges.
Position
Location
Description
Production
Director/
Stage Manager
Front of house
Responsible for crew and all aspects of
production technology, interface with
producer. In a small running crew, the
Production Director calls cues (doubles
as the Stage Manager).
In this ―minimum‖ configuration, we’re
assuming that the site has a small,
simple lighting system. The production
director/stage manager could easily run
simple lighting cues, as well.
Audio Engineer
Front of house
Runs audio console, responsible for all
audio cues & mixing the band. Your
audio engineer (A-1) is one of the key
players on your team.
Video Engineer
Front of house
Is responsible for anything projected on
the video screens. In a small running
crew, the video engineer cues the
playback and switches between input
sources.
In this ―minimum‖ configuration, the
video engineer also does double-duty
as the graphics operator, but all
graphics (PowerPoint, ProPresenter,
EasyWorship, etc.) should be prepared
in advance, with no anticipated on-site
changes.
10
|
Version 08-2
Staffing (continued)
A ―typical‖ GLS running crew consists of five people. A five-person team
still assumes that the environment is stable (no power concerns) and that
the band is technically savvy (they can handle their own monitors,
backline equipment, etc.)
This is the ideal crew size for most GLS experiences:
Position
Location
Description
Production
Director/
Stage Manager
Front of house
Audio Engineer
Front of house
audio cues & mixing the band. Your
audio engineer (A-1) is one of the key
players on your team.
Lighting Board
Operator
Front of house
Controls the lighting equipment,
adheres strictly to the cues and
instructions from the Stage Manager.
Video Engineer
Video control area
Is responsible for anything projected on
the video screens. In a small running
crew, the video engineer cues the
playback and switches between input
sources.
In this ―minimum‖ configuration, the
video engineer also does double-duty
as the graphics operator, but all
graphics (PowerPoint, ProPresenter,
EasyWorship, etc.) should be prepared
in advance, with no anticipated on-site
changes.
Graphics Operator
Version 08-1
|
Video control area
Is responsible for all CG (PowerPoint
typically) which is displayed on the
screen. Follows along with all music,
announcements, etc.
11
A larger running crew may be required in larger facilities or when there
are more uncertainties. (Last-minute scrambles due to power or weather
issues, changes to graphics, a band that needs a lot of assistance, or
host pastor/facilitator who needs to be ―cued‖ onto the stage.)
12
Position
Production
Director/Stage
Manager
Location
Front of house
Audio Engineer
(A-1)
Assistant Stage
Manager
Front of house
Lighting Board
Operator
Video Engineer
Front of house
Video Playback
Engineer
Video control room
Graphics Operator
Video control room
Backstage
Stagehand
Backstage
Front Row
Stagehand
Audience front row
Backstage
Video control room
Description
audio cues & mixing the band.
Controls the cueing and pacing of all
entrances/exits. Is the Stage
Manager’s ―eyes and ears‖ backstage.
Controls the lighting system, adheres
strictly to the cues called
Runs the video switcher (also called the
TC in broadcast environments) and
switches between playback and
graphics.
Runs the playback (DVD) decks.
Familiar with all menus, operation of
DVD player, timing and pacing of media
and equipment (countdowns, pre-roll,
responsiveness of equipment, etc.).
Typically has a notepad with total
running times and can report to the
Video Engineer or Stage Manager how
much time has passed, or is remaining.
Is responsible for all CG (PowerPoint,
typically) which is displayed on the
screen. Tracks with all music, lower
thirds and scripts. Has a hard copy of
all graphics & communicates to the
Stage Manager the number of
remaining screens, etc. (as needed).
Available to help move the band (and
equipment) on or off stage. Available to
move set pieces, lectern, and
replacement equipment as needed.
Familiar with all emergency evacuation
procedures, etc.
Available to move lectern on or off as
needed, can hand a replacement
microphone to the host or worship
leader. Is in communication with Stage
Manager & Producer & can
communicate to the host (on or off the
stage) with additional announcements
or in the case of an emergency.
|
Version 08-2
In some facilities even more crew may be required. IMAG (image
magnification), for example, will most likely add the following positions:
Position
Location
Description
Video Director
Video control room
Runs the video crew, directs camera
operators & selects shots.
Video Shader
Video control room
Runs camera remote control units, once
cameras are dialed in, the shader
operates the iris control.
Camera Operators
Camera positions
Operates camera, per the video
director’s cues.
Assistant
Camera/Cable
Page
Camera positions
Supports shoulder-operated camera
operators by helping with entrance/exit
moves, organizing camera cable, etc.
Version 08-1
|
13
Pre-Production Meetings & Detail
The more pre-production time that you put into the Global Leadership
Summit, the smoother things will go. (See the ―Eliminating Uncertainty‖
sidebar on page 4). In addition to the timeline and checklists, here are
some ―next level‖ details to keep in mind:
When you meet with your producer to discuss all program content, show
flow, and technical requirements:
All expenses must be
approved by your country‟s
affiliate leader (in countries
with a WCA affiliate office)
or your liaison to the Willow
Creek Association
International. Typically this
will be Organizing Committee
point leader.
GLS site Technical Directors
are not authorized to make
financial commitments
independently. Give yourself
plenty of time to negotiate
equipment rental costs, and
seek approval for these
expenses.
o
o
o
o
o
o
o
Confirm the plan for receipt of your site’s media (DVD playback
masters) all equipment placement, power requirements, and
compatibility
Review seating layout and confirm your venue’s capacity, and
that all available seats have a clear view of the stage & at least
one screen
Review band requirements, worship, prayer, drama and video
overview (including ambience, mood, and transitions in and out
of each)
Discuss communication and decision-making protocol and
procedures for:
 Start of show a procedure for (extending walk-in time, if
needed)
 Emergency situations
 Making announcements
 Tracking, delaying, or expediting the amount of time
during breaks, group discussion or prayer time
 Communicating with the host or others on stage or back
stage
 Staying on track (timing each session element,
rehearsing hosts and transitions)
Collaborate with your producer on power outage and equipment
failure contingency plans
Discuss the need for crew badges or other identification for
security purposes
Discuss process for handling unexpected interruptions
(reporters, camera crews, protestors, etc.)
When you meet with your production team:
o
o
o
o
o
o
14
Define roles, responsibilities and reporting structure
Communicate all necessary details from producer meetings
including show flow, contingencies, DVD receipt schedule, etc.
Distribute a detailed crew schedule with generous call times
(early for extra rehearsals, last-minute requests, and enough
time to tell if someone slept in)
Communicate dress standards to volunteers and vendors. (For
example: slacks and dark colored shirts, no shorts or t-shirts)
Communicate meal plans to production crew (if they are to bring
a sack lunch or if meals will be provided, etc.)
Request things that you’d like your crew to bring (tools, gloves,
notebook, etc.)
|
Version 08-2
Pre-Production Detail (continued)
Coordinate equipment delivery and set-up details with security,
engineering or venue staff as required
Confirm details for crew access to building, crew meals, break area,
beverage service, crew parking, crew restrooms
Familiarize yourself with provided show flow documents and cue sheets.
If possible, view playback content (including all sessions) from start-tofinish.
Determine rehearsal times and extent of rehearsals (dress rehearsal,
walk-through, cue-to-cue)
Confirm availability of auditorium for rehearsals
o
Confirm that the auditorium will be free of maintenance and
cleaning staff during rehearsals (and during the conference)
o
Confirm that there is nothing happening in adjacent rooms where
running rehearsals at full volume will be a problem
For conference centers, pay particular attention to the load-in path:
loading dock, freight elevators, and service corridors
Confirm that you’ll have adequate space to store empty roadcases
Version 08-1
|
15
GLS Equipment: Video
Because it is the central focus, a lot of attention is given to installing a
center screen, with a bright projector, and simple seamless switching
system. The screen and projector size are determined by:
room size & shape
audience size
equipment availability
amount of ambient light
equipment budget & rental price
The screen should be positioned as close to the audience as
possible and at a comfortable height for viewing. (This typically
means that the bottom of the screen is around 120cm or 4 ft. from the
stage).
Front & Back view of a Folsom
Presentation Pro
Switcher/Scaler
As much as possible, position the projector in such a way that the
facilitator (or band members) will not walk through the projection beam &
cast a shadow on the screen while they are on stage, or while entering or
exiting the stage.
For the highest quality possible, with the most reliable, simplest wiring,
connection and operation, we HIGHLY recommend a video
switcher/scaler (Analog Way, Barco, Folsom, Extron, Kramer or equal).
Connect the switcher to the LCD projectors using standard HD-15 (still
called ―VGA‖) cables, at the native resolution of the projector (typically
1024x768 or “XGA” resolution).
Provide a professional clean & tested primary DVD player connected to
the video switcher and the sound console.
Both the switcher/scaler and the
projector have “female” HD-15
inputs, so “male” HD-15 cable
(as shown here) should be all
that you need.
For long cable runs (over 50m)
it‟s likely that you‟ll need a
distribution amplifier to boost the
signal.
A backup DVD player (started approximately 4 to 5 seconds behind
the primary) is required and is non-negotiable. We recommend a
consumer-grade DVD player as your backup (cleaned & tested);
connected to the switcher and the sound console. The ―diversity‖ of
having a professional DVD player and a consumer-level player (made by
a different manufacturer) is an advantage when playing burned discs.
Using a computer to play the DVD is NOT recommended in ANY
situation. Software-driven PC DVD players do not have the same
kind of error-correction technology that even a low-cost consumer
DVD player has. Additionally, computers must “scale” the video to
the output size of the external display—putting unnecessary strain
on the video card and causing most computers to behave
unreliably.
Background applications, virus protection, screen savers, wireless
signals, and power save modes are always a threat to a computer
which is required to do the same exact thing (play a DVD smoothly
and reliably) for 60 minutes straight.
16
|
Version 08-2
GLS Equipment: Video (continued)
Although your DVD will be delivered in the standard of your nation
(NTSC or PAL), some sites prefer to lay off (copy) the DVD content onto
a high-quality, reliable playback device. In some countries and in some
facilities this will be a DVR (digital video recorder) or DDR (digital disk
recorder). Others use DVCAM tape. Only if fully, completely tested from
start-to-finish should you play the GLS content off of DVD.
Your DVD discs will arrive in
the video standard of your
nation (NTSC or PAL).
Additional instructions and
notes are included. They
re-iterate what you need to
know about aspect ratio, and
give you important information
on audio tracks and
other notes.
A graphics workstation (PC or MAC with PowerPoint) is required for
song lyrics, announcements and other GLS graphics.
If you use software other than PowerPoint to display worship lyrics
(ProPresenter, EasyWorship, Media Shout, Sunday Plus, etc.) you’ll
need to determine if a second PC is required or if switching back and
forth from PowerPoint is practical.
Avoiding DVD playback uncertainty
Ensure that the DVD players are relatively new models
Upon its arrival, it is critical
that someone watch all of
the content from start-tofinish on the exact DVD
player that you’ll be using.
If needed, ensure that the DVD player has been cleaned using a
laser lens cleaner (inexpensive, available at most photo and
electronics stores)
DVD players should be positioned on flat, solid surfaces that
can’t be easily bumped or moved by vibration
Due to the complexities of
MPEG and DVD authoring,
(and the wide range of DVD
manufacturers) someone
on your team must serve as
the “quality control” to
ensure smooth playback
and operation.
Test all GLS content in the exact DVD players that will be used
during the event
Where possible, use two different models (Denon as the
primary, LG as the backup, for example). Note that if the DVD
players look the same but have different brand names (as in the
case of LG and Panasonic) then for our purposes, they’re the
same. The idea is to implement two completely different sets of
electronics (both of which should be tested) for true redundancy.
The turnaround times for
translation, DVD authoring
and subtitling are so tight,
occasionally there may be
slight errors or
programming mistakes
made. There is ALWAYS a
“workaround” for these
issues, but if there is a
slight issue, you’ll want to
identify it well in advance of
your event, not during the
GLS!
Version 08-1
Ensure that the power source is clean and un-interrupted. Use a
low-cost computer UPS backup system if there’s any threat of
power interruption.
|
17
Video Screen Philosophy
A single big, bright center screen is nearly always critical in the success
of the Global Leadership Summit. Even the most sophisticated churches
and conference rooms do not typically have the type of installed
projection equipment required to keep the audience's focus for two entire
days (with nearly all of the content being presented by video).
If you have smaller “side screens”
it‟s likely that they won‟t even be
needed.
Some GLS sites use them for
worship lyrics, then switch to a
static logo during the teaching.
In the photograph above, this site
isn‟t even using them since they
would simply be a distraction.
Remember to place the screen as
far downstage as possible—while
still giving you room for the band,
vocalists, facilitator or host.
Placing the screen to far upstage
will put too much space between
the on-screen speaker and your
audience.
Keeping the screen as close to
the audience as possible will
also result in a larger apparent
screen size.
The charts below can help with a general guideline of what size screen
and projector you should be considering. The size of your venue,
specific seating layout, and site lines (not to mention your equipment
rental budget) should be carefully considered and could change the
recommendations below.
Screen Size & Projector Brightness
The larger the screen, the brightness of the projector must increase
proportionally. If you only have a 9,000 lumens projector available, start
with the "minimum projector brightness" column and work backwards.
You certainly can serve an audience of 1,200 attendees with a projector
that size, but the screen CANNOT be 8m wide. Additionally, careful
consideration must be given to your seating layout and the control of
ambient light--especially around the screen.
Generally speaking, a rear-projected image is nearly always ideal for
video projection--the image will appear slightly brighter, and the
projection equipment is hidden from the audience. But a short-throw
lens and a lot of space behind the screen it required. Another
disadvantage is that the "viewing angle" (how far off-center the audience
can be) is reduced from 90 degrees to (typically) around 60 degrees.
The expense of the short-throw lens, the reduced viewing angle, and the
sheer amount of space required often makes rear projection impractical
for the GLS.
GLS at Bracknell Family Church,
Bracknell, England
18
|
Version 08-2
Aspect Ratio
Because the GLS content is provided in a 16:9 aspect ratio, it's helpful to
consider the size of a screen based on its width only. A 4m x 5.3m (12’ x
16’) screen is indeed a very large screen that seems like it can work in
almost any application. But keep in mind that approximately 15% at the
top and 15% at the bottom of the screen won't be used. The image (if
displayed properly) will be 4m (16’ ft.) wide, but only 3m (9 ft.) tall.
Most production companies and rental houses are most heavily invested
in 4:3 screens and in many countries, 16:9 aspect ratio screens simply
aren't available.
If you do end up with a 4:3 screen, just don't be distracted by the height
or overall size of the screen--the height of a 4:3 screen will seem bigger
than you need. Make your size determinations based on width.
A useful trick is to fill the top two-thirds of a 4:3 screen with the image,
and "mask" the bottom third with drape. The image will fill the screen
and will LOOK like a 16:9 screen to your audience.
4:3 screen
16:9 screen
Both of these images are displaying the Leadership Summit content correctly. The image on the left shows
the 16:9 content centered on a 4:3 screen, with black bars at the top and bottom. This is the correct way
to display “widescreen” content on a 4:3 screen.
The image on the right shows the content filling a 16:9 screen. Notice how much larger the image appears,
despite the fact that the screens are exactly the same height.
Another advantage to widescreen aspect ratio screens, is that they are simply easier to install and position
in nearly every facility due to the fact that they aren‟t unnecessarily taller than they need to be.
Version 08-1
|
19
Projector & Screen Size Recommendations
In an ideal situation with controlled, ambient light and NO light hitting the screen, here are the
recommended screen & projector sizes:
Minimum
Screen
Width
4:3
Screen
Dimensions
Recommended
Screen
Width
16:9 Screen
Dimensions
recommended
Minimum
Projector
Brightness
Example
Projector
Models:
100-200
12’
4m
9’ x 12’
3m x 4m
14’
4.5m
8’6‖ x 14’4‖
2.6m x 4.6m
6,500 lumens
Sanyo PLC-XP100L
Sanyo PLC-XF60A
Christie LX-66
200-400
14’
4.6m
10.5’ x 14’
16’
5.3m
9’ x 16’
3m x 5.3m
8,000 lumens
Sanyo PLC-XF41
Sanyo PLC-XF42
Christie LU-77
400-800
16’
5.3m
12’ x 16’
4m x 5.3m
18’
6m
10’ x 18’
3.3m x 6m
10,000 lumens
Sanyo PLC-XF45
Barco SLM 9+
Panasonic PT-D1000
800-1200
18’
6m
15’ x 20’
7.3m x 6.6m
21’
7m
12’ x 21’
4m x 7m
12,000 lumens
Sanyo PLC-XF46
Barco SLM R12+
Eiki LC-XT4
1200-1600
21’
7m
18’ x 24’
6m x 8m
24’
8m
13’6‖ x 24’
4.3m x 8m
15,000 lumens
Sanyo PLC-XF47
Eiki LC-XT5
Audience
Size
In a situation with only moderately controlled or challenging ambient light situations, this should be your
starting point:
Effective (or visible)
Lumens when
Dual-converging
Projectors:
Minimum
Screen
Width
4:3
Screen
Dimensions
Recommended
Screen
Width
16:9 Screen
Dimensions
recommended
Minimum
Projector
Brightness
100-200
12’
4m
9’ x 12’
3m x 4m
14’
4.5m
8’6‖ x 14’4‖
2.6m x 4.6m
8,000 lumens
200-400
14’
4.6m
10.5’ x 14’
16’
5.3m
9’ x 16’
3m x 5.3m
8,000 lumens
X2
12,000
400-800
16’
5.3m
12’ x 16’
4m x 5.3m
18’
6m
10’ x 18’
3.3m x 6m
10,000 lumens
X2
15,000
800-1200
18’
6m
15’ x 20’
7.3m x 6.6m
21’
7m
12’ x 21’
4m x 7m
12,000 lumens
X2
16,000
1200-1600
21’
7m
18’ x 24’
6m x 8m
24’
8m
13’6‖ x 24’
4.3m x 8m
15,000 lumens
X2
21,500
Audience
Size
20
|
Version 08-2
Dual-Converging Projectors
Dual-converging projectors is a common way to achieve higher levels of
output, but it’s not as simple as adding the lumens of the two projectors
together. As you can see from the ―Effective Lumens‖ column on the
chart from page 20, two identical projectors will only have a ―visible‖
impact of 1.5 times the output of one projector. (Two dual-converged
5,000 lumens projectors will create 7,500 lumens, two dual-converged
10,000 lumens projectors will create 15,000 lumens, etc.)
One advantage of dual-converging projectors is that you have a built-in
backup. But with multi-lamp projectors, this isn’t as much of a concern
as it was just a few years ago. These days, whatever is going to ―take
out‖ one projector, will very likely disable the second one as well. (A
power problem, severed or faulty cable, etc.)
So if renting a single 12,000 lumens projector is similarly priced to
renting two 8,000 lumens projectors, it’s a better choice to go with the
single 12,000 lumens projector. Not only will you save a significant
amount of time in set-up (you don’t have to go through the exercise of
projecting a grid and lining them up perfectly) but the contrast ratio,
optics, and color depth on the latest generation of high-output LCD
projectors is far superior.
Some projectors are designed to
“interlock” for dual-projection.
Others require scaffolding or
(as shown above) simple shelving
to stack one over the other.
A variety of “test patterns” which can be generated from most switcher/scalers,
(or downloaded for PowerPoint), are required to insure that the projectors are
lined up perfectly.
It can take even an experienced professional video engineer as long as 60
minutes to dual-converge two identical projectors.
Version 08-1
|
21
Lens Calculations
One of the exercises you’ll need to go through is confirm the lens size
that you’ll need. The equipment rental companies in many GLS
locations will handle this for you, but it’s helpful for everyone to be able to
―check their work‖ to avoid load-in problems and a last-minute scramble.
All projector lenses have a ―throw ratio‖, which is your key to solving the
equation. In the cast of a ―fixed‖ lens, it’ll have a simple throw ratio like
this:
The Christie Roadrunner LX100
(shown here) is identical to the
Sanyo PLC-XF-45, and Eiki CL-XT3.
It‟s manufactured by Sanyo/Fisher
and marketed to different markets
as a Christie, and Eiki model.
All of the Christie, Sanyo and Eiki
lenses from this line of projectors
are interchangeable.
1.2:1
This means, quite simply, that the end of the lens must be positioned at a
distance of exactly 1.2 times the width of the screen. This formula works
in meters and feet.
A Sanyo LNS-01, “Short Fixed” lens (1.2:1 throw ratio) needs to be
positioned 4.8 meters away from a 4 meter wide screen.
Only slightly more complicated is when lenses have a zoom function.
The zoom function allows greater flexibility in set-up and positioning and
whether zoomed all the way in or all the way out, the brightness level
does not change.
Zoom lenses have a throw ratio that is expressed like this:
Online lens calculators are
free to use and can be very
helpful in checking your work.
Additionally, certain projectors
have larger LCD panels,
changing the lens calculations
slightly. (Enough to make
these simple calculations
unreliable.)
For Christie, Eiki, and Sanyo
models, use this link:
www.us.sanyo.com/calc/ind
ex.cfm
For Barco projectors:
www.barco.com/presentatio
n/en/support/lenscalculator.
asp
For Panasonic projectors:
www.panasonic.com/busine
ss/projectors/calculate/calc
26_b5/html/cal_menu.html
22
4.6 – 6.0:1
The positioning can be as close as 4.6 times the width of the screen, and
as far as 6 times the width of the screen.
The Sanyo LNS-T02 “Long Zoom” lens (4.6 – 6.0:1 throw ratio) can be
positioned anywhere between 18.4 meters and 24 meters away from a 4
meter wide screen.
You’re solving a simple algebraic equation:
If you know the throw ratio of the lens, and the size of your
screen, you can easily calculate the distance (or range) required.
If you know the distance (from a balcony, for instance), and your
vendor has a limited number of screen sizes available, you have
enough information to calculate the throw ratio of the lens you’ll
need.
The least-likely scenario would be if you have a projector with
only one lens, and there’s only one location where the projector
can sit . . . you have all the information you need to calculate the
screen width. (This could be the case with hanging, balconythrow, or rear-projected projector placement.)
|
Version 08-2
Using a Switcher/Scaler
We emphasize the use of a switcher/scaler because
They’re easy to set up
They automatically detect the input source (s-video, component,
high-resolution, etc.)
They operate in the native resolution of the proejctor (simplifying
connections and reducing projector ―latency‖ or delay)
They’re easy to operate
They’re hearty, travel well, and are always reliable
All video and graphics remain as crisp and clear as possible
The diagram below indicates a simple (but complete) video and graphics
switching and projection solution.
In this case, three input cables are required (one from each DVD player,
and an HD-15 to HD-15 cable from the PC), and one output cable is
required (an HD-15 from the switcher/scaler to the projector).
An inexpensive 400MHz
distribution amplifier is “rated”
to carry your switcher/scaler‟s
output for as far as 75m. But
most professionals agree that
the signal can be extended
for at least 100m and remain
at full strength.
Version 08-1
Most switcher/scalers (such as the Folsom Presentation Pro, shown in
this diagram) have two HD-15 outputs, so a regular computer LCD or
CRT output monitor can be added if the operator does not have a clear
view of the screen. Using a ―passive‖ splitter (a simple Y-cable) is NOT
recommended, because it will reduce the signal strength.
We recommend that your HD-15 cable remain 50m or less. If you
need a longer run than 50m, use a simple VGA distribution amplifier
to “boost” the signal.
|
23
Using a Switcher/Scaler (continued)
Most single rack-unit Switcher/Scalers perform either a ―dip through
black‖ or ―freeze-and-fade‖ transition when switching from one input
source to the next. The result is that:
You’ll want to record a ―still store‖ of the GLS logo or other theme
graphic to avoid potential distractions caused by this.
You’ll want to wait until the video fades to black before making
your transition
It simply may not be practical to use IMAG without practicing the
transitions to ensure that they are distraction-free.
However, some switcher/scalers can seamlessly switch from a
―foreground‖ layer (any of the video inputs) to a graphics-only
―background‖ layer that matches the native resolution of the system.
(Your output monitor on the PC must be set to 1024 x 768 or ―XGA‖
resolution. This ensures that the switcher/scaler doesn’t have to make
any adjustments to the image).
The foreground/background functionality results in a transition that
doesn’t have to ―freeze-and-fade‖ or dip-through-black. This means that
you could add a single camera in situations where using image
magnification (IMAG) of the facilitator and host pastor might be an
advantage. (As long as it‟s a noticable benefit, and not a distraction.)
24
|
Version 08-2
Dual-bus switcher/scalers have a ―preview‖ and ―program‖ just like a
traditional video switcher. (They have outputs connected to two LCD or
CRT monitors which the operator would label ―preview‖ and ―program‖.
These are not shown in the diagram below.)
Dual-bus switcher/scalers make it practical to switch multiple camera
IMAG. Just like their single-rack unit cousins, they keep graphics crisp
and clear, and ―scale‖ the video inputs up to match the native resolution
of the projector.
Keep in mind that the very first generation or ―legacy‖ dual-bus
switcher/scalers have a noticable delay (some take a thrid of a second to
process the incoming video) which can be easily corrected for video
playback, but can be very distracting for IMAG.
The latest generation of dual-bus switcher/scalers have only 3 frames of
processing delay—unnoticable to any audience and even most
production professionals.
Version 08-1
|
25
Large facilities with existing IMAG systems can benefit from the diagram
below. We STRONGLY RECOMMEND that you switch your video and
graphics ―downstream‖ of your existing switching sytem.
Your switcher/scaler will recognize the output of your video switcher as a
single video source. If anything goes wrong with the existing video
system, ―the show goes on‖ because the DVD players and graphics
workstation are unaffected.
This typically requires:
―inserting‖ of the switcher/scaler after your video switcher
running high-resolution (HD-15) cable to your projector
switching the input of your projector to the ―PC‖ or ―RGB‖ input
Alternately, another solution is to keep your existing IMAG on the
side screens, and set up a simple system to feed the GLS content
and graphics to a center screen. During the teaching, just put a
GLS logo or other theme graphic on the side screens so your
audience can focus their attention at one central location.
26
|
Version 08-2
GLS Equipment: Audio
The purpose of the GLS TC orientation is not to train you or your
staff on the basics of audio engineering. Some consider this a
unique blend of art and science that can take years to understand
even the basics. If basic equipment use, or fundamental concepts
such as:
the concepts of using input lists
gain structure
the use of compression & dynamic effects
mute and cue management
mic placement, or
mixing techniques
A stereo DI box (like the
Whirlwind PC DI) should
serve as the interface
between your DVD
players and your audio
console. They turn stereo
3.5mm or dual RCA
inputs into balanced XLR
outputs, allowing long
runs of cable with less
threat of interference.
. . . are new to you (or, more importantly, your audio engineer)
please consult with your producer ASAP to discuss this critically
missing component.
It’s likely that one of the reasons your GLS site was chosen because it
already has a complete professional sound system. You’ll want to
ensure that this system provides ―even coverage‖ to all seats in the
audience using reliable amplifiers (Crown, Crest, QSC, Yamaha or
equal) and full range, brand-name loudspeakers (EAW, EV, JBL, Meyer,
Turbosound or equal).
The sound system should include a professional audio console. Crest,
Midas, Ramsa, Soundcraft, Yamaha (or equivalent) is preferred.
Ensure that there is a CD player or iPod for walk-in and walk-out music
(to be agreed upon with your event producer).
Determine your need for microphones, DI boxes, and backline support
equipment depending on the requirements of the worship band.
The Behringer DSP-110
(above)
And the Rane AD-22
(below)
Are examples of
affordable audio delay
units that can be used
to “slow down” the audio
so that the speakers‟ lips
are in sync.
Version 08-1
Older video switchers, some switcher/scalers and large ―broadcast‖
systems have a noticeable video delay. You can compensate for this by
―inserting‖ an audio delay device (or using built-in delay features on a
digital console). If a video sync problem is noticeable, this usually
means that the video is playing at least 5 frames behind the audio
(sometimes as many as 7 or 8). Each frame of video (the measure used
by video engineers) is equivalent 33 milliseconds (the measure used by
audio engineers). So a good starting point for noticeable delay is for
your audio engineer to insert 160 or 170 milliseconds of delay to the
video playback channels. This will be a SIGNIFICANTLY higher amount
of delay than audio engineers would normally apply (in a situation where
they’re matching up speakers), but it’s a good start for getting the video
soundtrack in sync.
|
27
GLS Equipment: Lighting
Plan on using (or adding) dimmable ―stage wash‖ fixtures and control,
capable of providing even coverage from at least two directions (45
degrees from the stage left and stage right, and 45 degrees in the air).
This provides the most natural lighting, while keeping light out of the
eyes of the presenters.
If available, dimmable lighting fixtures should be used to light the décor,
upstage wall or drape.
Take care in focusing the lighting fixtures as to not ―wash out‖ the
projection screens.
Control over the overhead lighting (house lights) is important. Ambient
(outdoor) lighting should be controlled by blinds, drape, or other masking
over windows. Light from any source (indoor or outdoor) should not be
spilling onto the video screen. Work with your producer on determining
the correct ambient light levels—low enough to not ―wash out‖ the
screen, high enough to allow people to take notes and stay engaged.
A basic rule of thumb is to light people using ―no color‖ light (no color
gel). Pink, salmon, or straw is sometimes used, but when in doubt, stick
with no color when lighting people.
Then, use the color palate from the Leadership Summit event (provided
on Global Summit Central; typically blues, purples, teals, ambers, and
magentas) to light the background & décor elements.
Ricardo DeAnda (GLS
Technical Coordinator for
Tijuana, Mexico) prepares to
crank up floor-supported
ellipsoidal (spotlights) used in
this room that doesn‟t have any
existing lighting equipment.
Ellipsoidal spotlight fixtures (also called
―lekos‖) are highly recommended as your front
light and side light fixture.
Ellipsoidals create a ―hard‖ pool of light, and
have manually adjusted shutters. Both of
these features can help keep light off the
screen.
28
|
Version 08-2
GLS Equipment: Lighting Power
If you’re renting lighting equipment, you’ll likely be looking at one of these
three scenarios:
1. Distributed dimming (tree dimmers or dimmer strips) connected to
separate circuits around the facility:
2. A generator connected directly to your dimming system via cam-lok or
―feeder‖ cable:
3. A generator connected to a power distro, connected to distributed or
tree dimmers:
Version 08-1
|
29
Stage Decor
This is the most ―subjective‖ requirement of the GLS. We will provide
you with photographs, drawings, and recommendations for creating an
abbreviated version of the décor used at the Leadership Summit. The
time and potential expense involved in creating this ―look‖ may or may
not be in your site’s best interest.
Download the Leadership Summit décor design (description, drawings,
photos) from Global Summit Central as they become available
With your producer, agree on a décor plan, then work with volunteers,
vendors and the venue to construct and install your stage treatment
Notice how even six simple stage flats tie the stage look
and the video image together.
Construction photos, design
documents and parts lists will be
uploaded to Global Summit Central
should your site choose to
“duplicate” the stage set look
created for the Leadership Summit.
30
|
Version 08-2
Crew Communication
All production disciplines (sound, lighting, and video) must be
cohesive and integrated.
This can be achieved through constant communication--and the ability to
take instant direction from their producer, stage manager or technical
director.
As the live host walks up, the lighting should be transition
as the video is being cued up.
When the host finishes the introduction, the video should be
“un-muted” at the audio console, as the lights transition,
and video dissolves from graphics to message playback.
Headsets, such as this
model CC-95 single-ear
model from Clear Com,
play a critical role in the
success of most
production teams.
These are examples of how the production team should be working in
concert to help create seamless, integrated transitions.
This can be accomplished through close proximity of all production
disciplines. If the sound, lighting, and video operators—along with their
director (stage manager, producer, etc.) are close & within earshot of
each other, it is possible to create this level of integration. But this is
rarely the case—and depending on the layout of the space—can be very
distracting to nearby audience members.
More practical is to have all production disciplines connected through a
production communication system (such as Clear-Com, Telex/Audiocom,
Portacom, Production Intercom, etc.).
Two-way radios or cell phones rarely add to the ―cohesiveness‖ of a
production, and usually turn out to be more of a hindrance. Many GLS
venues already have a com system in place. If not, a simple system can
usually be provided by the equipment vendor at a nominal price.
See Appendix D ―Stage Management Tips and Tricks‖ for more
information on using the crew communication system.
Version 08-1
|
31
Equipment Considerations Checklist
Keep these things in mind as you coordinate the equipment needs for
your site:
 Using the charts in this document as a reference, determine the
minimum and maximum screen and projector sizes for your site.
 Negotiate the best possible deal for your site (your producer, or
country-level TC or producer may be involved in this process as
well.)
 Organize a time to visit your vendor’s warehouse – ensure that
the equipment that you’ll be receiving has been well maintained,
and that there will be no surprises.
 Confirm delivery time and number of people required to unload
and set-up
 Confirm locations and support infrastructure (scaffolding, risers,
and tables) required for each piece of equipment. (Large mixing
consoles and high-output projectors are HEAVY.)
 Confirm power draw and circuit capacity. (Pay particular
attention to projectors and additional lighting.) Check with the
Event Manager for power requirements outside of the
auditorium.
 Confirm that you have two DVD players for playback and doublecheck that video switching is SEAMLESS and includes a plan to
allow for PowerPoint graphics
 Confirm band requirements, stage layout with number of risers,
monitors (and number of mixes), microphones, DI boxes, music
stands, clip lights, and additional cable
 Confirm that your audio console and snakes have enough inputs.
Preferably:
o
o
o
o
o
o
o
Number of inputs required by band (including drum kit,
multiple keyboards, with consideration for stereo signals)
Number of microphones used by vocalists
Wireless microphones (or wired) used by worship leader,
hosts, etc.
(1) wired ―emergency‖ microphone located at downstage
center
(1) wired announcement microphone at front of house
(2) Stereo pairs from DVD players
Spare channels for last-minute requests
 Confirm that the crew will have a way of communicating with
each other during the GLS, in real-time and without causing a
distraction to the attendees.
32
|
Version 08-2
Rehearsal
Although not a common practice in some countries and in some styles of
churches, conducting rehearsals are an important part of the success of
the Global Leadership Summit. Encourage your production team to
rehearse in the exact same way that they’ll be executing the program—
free of distractions and able to focus on supporting the producer, band,
and facilitator.
Some form of rehearsal is a non-negotiable part of preparing for the
GLS.
Ensure that all production equipment is connected, tested, and ready-togo prior to the rehearsal. Your producer will typically lead the producer
(making a spare wireless handheld available is a good idea), but the
following pre-rehearsal checklist can help expedite things considerably:
Distribute detailed show flow with all known production cues
(audio, video, lighting, stage)
Crew introductions, define rolls
Allow crew ―warm-up‖ time with open communication. Encourage
experimentation with any new audio, lighting or video capabilities.
Request to see lighting and video transitions (at their speed, at
first), confirm operation of all equipment. (It will be somewhat
chaotic--like an orchestra warming up.)
Talk through the entire session’s show-flow on headset (include
all cues). Ask crew to hold questions until the end then address
all open issues.
Then, with your Producer, rehearse the ―show flow‖ from start to finish,
include all band, host, video and drama segments. Take questions and
rehearse any rough transitions or changes as necessary
After the first few sessions, work with your producer to determine how
much rehearsal is needed for each remaining session.
You‟ll likely be weighing all of these factors together:
Time (include breaks and meals for your crew)
Room availability
Skill level of your crew
Reliability of equipment
Skill of the musicians
Abilities of your facilitator
In some cases, a “cue-to-cue” rehearsal may be all that is required. In
extreme circumstances, a detailed walk-through on com may be all that
you have time for.
Version 08-1
|
33
APPENDIX
Appendix A
Loss of Power Procedures
In the Event of a Power Loss
35
36
Appendix B
Appendix C
Production Pointers
Recommended Equipment
37
Pro DVD Players
Switcher/Scaler
40
41
HD Video Switchers
42
Stage Management Tips & Tricks
Videotaping Suggestions & Requests
43
51
Appendix D
Appendix E
34
|
Version 08-2
Appendix A:
Loss of Power Procedures
To prevent a power loss, or expedite recovery from one:
1. Confirm the power draw of all equipment and the circuit capacity. If
replacement equipment is delivered (upgraded projectors, different
lighting fixtures), re-calculate as needed.
2. Use twist-lock connectors (video) and stage-pin (lighting) whenever
possible
3. Use the most reliable tape available (depending on your environment,
and the effects of humidity on some kinds of tape) to secure all
connections
4. Use sandbags to weigh down cables running on the floor (immediately
under wall connections) to prevent accidental disconnect
5. Use caution tape, white tape or glow tape to indicate all power cables
running backstage or in any other potentially unsafe location.
6. Use well-labeled rubber mats or cable ―crossover‖ if guests will be
walking near or over power runs.
7. Establish front-of-house (production booth) and backstage power
captains to:
a. Confirm that no un-authorized devices are connected (guest’s
cell phones, laptops, coffee makers) into production power
circuits
b. Familiarize themselves with the location of circuit breakers for
power running to their area
c. Check for tripped power strips, conditioners or circuits
immediately upon loss of power
8. If using a generator, confirm fuel levels at the beginning of each day.
Confirm safe, secure connections to power distribution boxes.
9. Technical coordinator knows the location of all circuit breakers and
power disconnect boxes
10. When possible and practical, use extension cables with built-in light
indicator.
Version 08-1
|
35
In the event of a power loss:
1. Work with your producer to pass instructions along to the audience
2. Power captains check for power in the following order:
a. Specific equipment (video monitors, for example, are the most
obvious)—connected and switched on
b. Power conditioners or power strips—connected and switched
on. Reset circuit breaker.
c. Check main power (extension cables connected)
d. Quick check for severed power cable on the way to . . .
e. Main circuit breaker check
3. Technical Coordinator proceeds immediately to main circuit breaker
panel and/or generator. If the problem is found, inform front-of-house
and backstage power captains to turn off all power until main breaker (or
disconnect) is re-set or generator is re-started.
If possible, recruit a trained electrician with a continuity tester/volt
meter as a member of your production team. Even as a camera
operator, graphics person or stagehand, this person could prove
invaluable in a worse-case scenario. Lean on their expertise
throughout the load-in, set-up, rehearsals and sessions.
Full-length rehearsals at full volume and full lighting with ALL
equipment on can help prevent power outages.
Be mindful of anyone plugging in anything that wasn’t in use
during rehearsal. Coffee makers, guests’ laptops and/or cell
phones and other devices not connected during rehearsals
SHOULD NOT be allowed on technical power circuits.
We suggest that you negotiate with your equipment vendors to
provide projectors at least a day in advance. In most cases you
should not be billed for rehearsal days, and rehearsing with
projectors ON will help prevent power issues.
36
|
Version 08-2
Appendix B:
Production Pointers: The BIG ones
1. USE A CENTER SCREEN. Side screens work well for supporting video
and graphics when the speaker is live, but to keep an audience together
and engaged for two days, they need a central point of focus.
2. SPEND TIME PLACING YOUR SCREEN. Naturally, you don’t want
your screen too low—audience members need to be able to see the
whole screen from every seat in the house (especially important with
sub-titling). But a bigger issue is placing the screen too high. As your
screen is being installed, test various seats in the house to confirm that
you can see the whole screen comfortably, and that you’re not straining
your neck to view an image that’s too high. Remember, your audience is
watching content delivered on that screen for two days—the screen
should be placed at a comfortable height.
3. CHECK YOUR ASPECT RATIO. For at least a few more years, it’s
likely that you’ll have a screen with a 4:3 aspect ratio. (This is typical,
16:9 screens haven’t made their way into rental inventories yet.) On a
4:3 aspect ratio screen (10.5’ x 14’, 12’ x 16’, etc.) you should have a
black band at the top and bottom of the image. If your image fills a 4:3
aspect ratio from top-to-bottom, then check the documentation in the
Technical Coordinator’s ―downloads‖ section for help on diagnosing the
problem. If you’re lucky enough to have a 16:9 screen (10’ x 18’, 11’ x
20’, etc.) then the projected image should fill the screen.
4. USE A SWITCHER/SCALER. From the low-end (Kramer, Ocean Matrix)
to the higher-end (Analog Way, Barco/Folsom) and anything in between
(Extron, TVOne), this is typically the easiest and cleanest way to create
simple dissolves between your PC (for graphics and announcements)
your primary DVD player and your backup DVD player. Instead of
lowering the quality of your input sources to all match the lowerresolution video standard, a switcher/scaler increases the resolution to
match the resolution of your graphics for a crisp, clean image. In
addition to using low-cost HD-15 (VGA) cable to connect to the projector,
switcher/scalers operate at the native resolution of your projector for
hassle-free connection and operation.
5. TEST YOUR CONTENT by watching everything from start-to-finish on
the actual DVD player that you’ll be using. Due to the quick-turnaround
of the GLS playback DVDs, they are ―burned‖ as DVD-5 discs (not
―pressed‖ as DVD-9 discs). Only the first or second generation DVD
players had problems playing back DVD-5 discs, and we rarely run
across a problem anymore, but it’s not something we want to take a
chance on.
Version 08-1
|
37
6. HAVE A BACKUP. We recommend a professional DVD player as the
primary deck (Denon, Pioneer, Tascam) and a consumer deck
(Panasonic, LG, Sony, etc.) playing the exact same content (from your
backup set) 5 seconds behind. In the event of a DVD playback problem,
it will take a few seconds to realize the problem, and a few seconds to
switch to the backup—so a 5 second delay allows for the fastest, and
most seamless transition possible.
7. LISTEN FOR BUZZING. If your DVD players aren’t in close proximity to
your audio console, consider the use of two passive DI boxes to convert
the unbalanced audio (from out of your DVD players) to balanced audio,
for best-sounding, buzz-free connection to your audio console. Two lowcost Whirlwind Director boxes with two (F) RCA to (M) ¼‖ adapters will
work fine for each DVD player. The Whirlwind PC DI is the perfect
solution because it requires no adapters (and is designed to convert a
stereo signal).
8. WATCH THE LIPS. If the audio lip-sync isn’t quite right (due to delays in
video processing) consider adding a delay unit. The Rane AD-22B is
one of the most popular processors with audio delay, but the Yamaha
D5000 is also very popular in rental houses. The Alesis Microverb 4 and
Behringer DSP110 are both very economical solutions should you want
to add one permanently.
9. DVD PLAYBACK SHOULD BE “PRESENT”. We originally instructed
Technical Coordinators around the world that the audio from the DVD
should be ―louder than you might ordinarily play a video‖. Well, this
didn’t always translate correctly . . . but the truth is that by playing the
video a little ―hotter‖ than you might ordinarily play a video, you will better
help the audience connect to the speaker and to the content. If people
have to strain to hear, or are distracted by coughing or movement around
them, we’ll be unable to break down the barrier and it will seem just like a
video being played off a DVD.
10. CONTROL AMBIENT LIGHT. Too much light in the room (through
windows, room or stage lighting) can wash out the screen and make
even the most powerful projectors hard to see. It’s difficult to take notes
with too little light (and you certainly don’t want anyone falling asleep!)
Create a plan for blocking out (or controlling) ambient light—both outdoor
light and room lighting. Pipe & Drape, thick black plastic, and turning off
the breakers for overhead lights near the screen are some of the
solutions that GLS TC’s have used in the past.
11. BE ABLE TO COMMUNICATE. Effective production teams can
communicate to each other in real-time, throughout the event. ClearCom systems are the most common, but RTS, and PortaCom are good
alternatives. Production Intercom provides most of the features of the
―industry standard‖ com equipment, at a fraction of the price.
38
|
Version 08-2
12. REHEARSE YOUR TRANSITIONS. Your producer will be guiding your
team through rehearsals of everything, but Technical Directors will be
directly responsible for the transition from live-to-video elements. (Such
as after the host and before the facilitator, etc.) Coach your video team
on ―cueing‖ the DVD after the countdown, and pressing pause so that the
transition from live to video can be as smooth as possible. I’ve heard
complaints in the past that two seconds isn’t enough time for the
production team to transition to video. The truth is that if your team can’t
make the transition, they just need more practice. The most any
member of the team should have to do is two things—not hard to do
inside a two-second window.
Video Engineer: ―un-pause‖ the DVD, dissolve the switcher
Audio Engineer: Mute the host’s microphone, un-mute the DVD
channels
Lighting Engineer: transition to video lighting, dim the house lights
13. BE PREPARED. I’ve mentioned before that a big part of our job as
Technical Coordinator is to eliminate as much uncertainty as possible. If
we do that, then we stand a better chance of success when un-planned
issues come up.
Review the ―Loss of Power Procedures‖. Discuss safety issues with
your crew. Plan out every detail with your Producer and discuss
every possible scenario and what the plan will be. (Hecklers or unruly guests, members of the media, who and how to delay the start
time, how to communicate to the host, facilitator, or band leader if
needed, etc.) While we’re at it, who’s responsible for providing the
walk-in and walk-out music? Are you getting your rental equipment
far enough in advance that there’s enough time to troubleshoot a
problem if one arises? Do you know how to contact your rental
vendor in an emergency?
14. KEEP IT SIMPLE. This might not translate correctly, but as Technical
Coordinators, there’s no need to get too creative. The GLS was
designed so that countries and sites can ―make it their own‖, but don’t
sacrifice the experience in an effort to change things too much. If you
have side screens, use them to display a static GLS graphic or
background—there’s no need to clutter things up (and exhaust your
audience) by making them watch multiple video images. Most audiences
of 800 or less arranged in typical audience seating will not require image
magnification (IMAG). If your venue has cameras installed (and an
experienced crew to run them) then do that in the same way that you
would for a weekend service. If not, you can save yourself a lot of time,
and put the budget dollars towards a brighter projector. Focus on
making the delivery of the GLS playback content as good as it can be for
your audience. Use the GLS graphics, backgrounds, and lyrics
templates provided in the TC downloads section--use that as a guide
with regards to size and choice of typeface. There are a lot of great tools
there—there’s no need to re-invent the wheel (and for some, risk making
things look poorly or hard-to-read). For those churches and venues that
have ―next level‖ production capabilities, challenge yourself to create a
breathtaking environment & use all the equipment and resources at your
disposal. But don’t do it without following these important points.
Appendix C:
Version 08-1
|
39
Professional DVD Players
Lowest Cost:
Denon DN-V200 and 210
Pioneer DVD-V5000
Mid-Range:
Tascam DV-D01U
Tascam DV-D6500
Denon DN-V300 and 310
High-End:
Pioneer DVD-V7400 (connected to a reference monitor)
Pioneer DVD-V8000
High-End Consumer DVD Players:
Onkyo DV-SP1000 and SP-504
Denon DVD-5910, 3930, 2930 and 1940
Marantz DV9600, 7001, 6001 and 4001
Panasonic DVD-S97S
Pioneer DV-600AVS
Yamaha DV-C68660
40
|
Version 08-2
Switcher/Scalers
Low-Cost
(lowest materials & craftsmanship, lower life expectancy)
Kramer VP-700 series (including the very affordable VP-719xl)
Ocean Matrix (identical to Kramer) OMX-7000 series
Mid-Range:
(typically a good balance between cost and quality)
TV-One Models ―C2‖ Series of Switcher/Scalers including the
CD-2200
Extron IN-1508, System 7SC, DVS-406, ISS-408, ISS-506, SGS408
Analog Way Easy Fade
High-End
(built to last, best features, solid buttons & programming)
Analog Way Octo Vue, FX, and Fade series
Analog Way Quattro series
Folsom (now Barco) PresentationPRO and PresentationPRO II
Barco DCS-200, PresentationPRO and PresentationPRO II
High-End Dual-Bus Switcher/Scalers
Instead of ―freeze and fade‖ or ―fade through black‖ these
switcher/scalers can switch seamlessly from any source to any other
source like a video mixer:
Analog Way Di-Ventix, Eventix, and Natix
Folsom ScreenPRO (models 1604 or 2000)
Barco ScreenPRO II
Version 08-1
|
41
HD Video Switchers
Now that affordable HD switchers are available, this latest generation of
video switching consoles combines the features of a high-rez
switcher/scaler with the ―feel‖ and features of a video switcher.
It’s unlikely that most of these switchers will be available in a packaged
―system‖ at a rate comparable to renting a switcher/scaler. And none of
them will be as simple to operate as a switcher/scaler. But, we’re
including this list to show that there IS video switching equipment
capable of high-enough resolution to compete with switcher/scalers.
It’s also noteworthy that since the native resolution of most LCD
projectors remains at 1024 x 768 (XGA), additional conversion will still be
necessary to connect most of these HD video switchers to a projector.
Switcher/Scalers on the other hand are designed and ―optimized‖ to
operate at the native resolution of LCD projectors for simple connection
and operation.
Low-Cost
Focus Enhancements HX Portable Video Switcher
Edirol V-44SW Rack-mount Multi-format Video Mixer
Edirol V-440HD Multi-format Video Mixer
―Entry Level‖ HD Switching
Panasonic AV-HS300 Multi-format HD/SD Switcher
Snell & Wilcox HD-104 and HD-108
Mid-Range:
Panasonic AV-HS400 Multi-format HD/SD Switcher
Sony AWS-G500HD High-Def Anycast Station
Sony MFS-series HD Video Switchers
Thompson Indigo A/V Mixer
Pinnacle PDS-9000
Snell & Wilcox HD-1010, 1012, and 1024
Thompson/Grass Valley Kayak HD (4RU models)
High-End
Sony HDS-series Broadcast HD Video Switchers
For-A Hanabi HD Switcher
Thompson/Grass Valley Kayak (8RU) & Kalypso HD
Ross Synergy & Vision MD-series
Panasonic Millennium series, AV-HS3100
Snell & Wilcox HD-2524, 3060 and Kahuna
42
|
Version 08-2
Appendix D:
Stage Management Tips & Tricks
By ―stage management‖ we mean directing the production team by
―calling the show‖ or giving them the cues—typically using a
communications system—exactly as they should be executed. Many
churches don’t adopt formal stage management techniques—and
depending on your culture or the style of your church, it may not be
necessary. But for the GLS, it’s important that the technical production
go as smoothly as possible. This means that you’ll want to take the
time to understand the basics of ―show calling‖ and incorporate
whatever tips are necessary to ensure a smooth-running event.
There are several books available on this topic, but most deal with
theater management and production, so (at best) only a few chapters
will apply to what we do for services and conferences.
Although this isn’t a comprehensive guide to stage management and,
this basic introduction should be enough to help things go smoothly.
The stage manager should
confirm the functionality of the
systems and readiness of the
production team prior to getting
the producer, band leader,
musicians involved in
rehearsals.
Responsibility & Authority
Once rehearsals start, it’s the stage manager’s job to ensure that the
technical resources (people, equipment) needed to execute the
conference are in-place and ready to go.
This ―pre-flight checklist‖ will
confirm that your team is ready,
and help your rehearsals go as
smoothly and effectively as
possible.
A big part of your job as a stage manager (and sometimes one of the
most challenging) can be keeping track of your crew. This means
giving them the freedom to work on various tasks when time allows,
then quickly getting them focused and ready to rehearse or execute
the conference.
Choose a segment of your first
session which will allow you to:
You’re also responsible for making sure that your crew has adequate
breaks—and that a plan is in place for getting food, coffee, snacks, etc.
when necessary. Sometimes this means engaging other volunteers to
help. Sometimes it means ensuring that the production crew eats first
& will be allowed to ―cut‖ to the front of the line. In most
circumstances, taking care of the production crew and getting
them back into their role will take priority over most other things.
See graphics on the screen
Roll video (and hear audio)
Raise and lower lighting
levels
Confirm that the audio line
check was successful, all
microphones, monitors and
playback sources are ready
Plan this ―step-through‖ far
enough in advance to allow your
team to make any necessary
changes or adjustments before
your rehearsal begins.
Version 08-1
|
43
Responsibility & Authority (continued)
When it’s time to get underway, use a microphone to make the
announcement:
―Crew to Com please‖ or “Production Crew to Headset”
This announcement is an important way of getting the crew together and
focused on what’s happening on the stage and what you need them to
do. Once your crew is used to listening for this announcement, they’ll
have a good understanding of when they need to be on headset and
when they’re free to be working on other tasks. In return, be sure to
keep them informed of break times and when they’re free to work on
other tasks. It’s helpful to delineate the difference between the following
situations:
“We‟ve got a few minutes while the band sorts a few things out, you
can work on other things, but please stay on com. I‟ll let you know
when we‟re starting up again.”
“Okay, the producer is going to meet with the host and facilitator for
about 15 minutes before we get started. You‟re free to get back to
your „work lists‟ but don‟t wander too far & please be ready to go
back to headset when you hear my announcement.”
“We‟ll pick up where we left off in 90 minutes—lunch is provided
down the hall. Please finish up anything critical on your „work list‟ but
make sure you get at least 30 minutes to relax & get a bite to eat.”
Providing a brief picture of what’s going on is helpful to the crew—it
answers certain questions without much additional communication
required. For example: The audio engineer knows that he may be
needed on the stage to confer with the band. The lighting director knows
that now is a good time to re-focus a light—but NOT to lower the house
lights. Video will know that the graphics need to remain on the screen so
the band can talk through their worship set.
It’s a good idea to get your crew on com well in advance of a rehearsal.
For the event, consider having your crew on headset at the same time
doors are opening. A more formal announcement such as ―doors are
opening, crew to com, please‖ can be appropriate and helpful (not just to
your crew, but for the band, greeters, ushers, etc.)
44
|
Version 08-2
Responsibility & Authority (continued)
Before getting started, most stage managers will take a minute for a roll
call. It’ll sound something like this:
Stage Manager: “Okay, crew. I‟m going to run through a quick roll
call . . . audio and lighting, I see you‟re both on com, you hearing
me?”
Lighting Operator: “Lighting Here” (Audio nods)
Stage Manager: “Great. Video?”
Video Director: “Video is standing by.
Stage Manager: “Thank you. Graphics?”
Graphics Operator: “Graphics is ready.”
Stage Manager: “Great. We‟re about five minutes away from getting
started. Of course, we rehearsed this yesterday, but let me walk you
through how we‟re going to open up . . . ”
With so much going on (and sometimes rehearsals need to happen out
of order) it can be helpful to remind the crew WHEN you rehearsed a
session or specific sequence. It can be hard to put yourself in someone
else’s shoes, but it’s not uncommon for one (or more) of your team to
completely forget that they even rehearsed something. A simple
reminder (―this is the one we rehearsed right after dinner last night‖) as
well as stepping through the first couple of cues on headset can
communicate the right amount of confidence and serve as enough of a
refresher to help get them focused.
As your program goes on, your crew may want to use the com system to
make comments or carry on conversations. It’s up to you how much
―chatter‖ you’ll allow. They’ll follow your lead—so if you keep it mostly
business, they’ll usually do the same. But if you feel that personal
conversation could get in the way of running a smooth conference, don’t
be afraid to issue this simple direction, as often as needed:
“Quiet on Com”
Composure
No matter what happens, you’ll want to always ―keep your cool‖ when
directing your crew on headset. Communicate to the crew and call your
cues in a calm, consistent manner and your crew will follow along—even
amidst last-minute changes and unexpected challenges.
Version 08-1
|
45
Focus and awareness
One of the biggest keys to a stage manager’s success is staying focused
and aware—and helping every crew member stay equally focused and
aware. You’ll want to keep your eyes on the stage as much as possible,
and know everything that’s going on that could potentially impact the
production of the conference.
Ask your crew to keep you informed on anything they see or hear, as
well. Something as insignificant as a momentary power fluctuation, an
unexpected guest backstage, change in weather, or unnoticeable
wireless glitches are examples of the types of things you should be made
aware of.
Calling Cues
Creating a tempo is one of the keys to getting your crew settled into a
consistent, smooth-running program. Getting the production team into
the right tempo starts with the way you call your cues and deliver
information.
When you call a cue tell them WHO the cue is for, then WHAT you want
them to do.
Traditionally, there are three parts to each cue – from general (and
sometimes casual) to specific:
1. The first part is the “warning”
Use the word ―warning‖ when you call the cue—this will focus your crew on what’s
coming up next, and help create an important tempo. A warning can be issued a
minute or two before something happens, or (if you’re in a particularly long segment) it
could happen farther out, just to ensure that everyone is ―in the game‖. It could sound
something like this:
Stage Manager: “Okay audio, video and lighting, this is a warning—
the band is going to come out and we‟ll get started in just a few minutes”
It’s a general announcement to the crew (and anyone on headset or tied into your
communication system) that things are about to get started. There’s not always a need
to warn individual departments—if something’s going to happen with audio, it usually
means that something will happen with video, lighting and on the stage as well. Train
your crew that a warning cue is for everyone to check their cue sheets for a last-minute
look at what they need to be ready to do next.
46
|
Version 08-2
2. Next comes the “standby”
In some cases, the standby can be for everyone (if the cues are happening
simultaneously) but this is usually for well-rehearsed theatrical shows, or very
experienced teams. It certainly doesn’t hurt to call a cue for each department. Also, get
your crew in the habit of acknowledging a standby cue. Typically you’ll want your audio
engineer to keep his or her eyes on the stage, and hands on the console—so eye
contact and silent acknowledgement from you’re A-1 usually works best.
In most programmed church services and conferences it could sound like this:
Stage Manager: “Standby to send the band to stage. Audio—standby to duck
walk-in music” (Stage Manager looks at the A-1 to confirm)
Backstage Manager (or band leader): “Band is ready, standing by”
(A-1 makes eye contact with the SM and nods.)
Stage Manager: “Lighting—Standby to fade the house lights, and standby stage
lighting cue”
Lighting Operator: “House and stage lights standing by”
Stage Manager: “Video—standby to dissolve backgrounds to screen, and standby
with song lyrics”
Video Operator: “Video, standing by”
Graphics Operator: “Lyrics are ready, standing by”
3. Last, is the “GO”
But it’s not just a matter of blurting ―GO‖. The tempo becomes increasingly important the
closer you get to executing the cue. Most stage managers prefer a three-second
countdown to help the crew time the moment perfectly:
“Audio start to duck, video and lighting in three . . . two . . . one . . . GO.”
Sometimes a cue will come up fast, so the timeframe between the standby and GO cues
will be compressed, such as:
“He‟s jumping right into the announcements. Standby graphics to screen. Graphics
to screen in three . . . two . . . one . . . GO.”
If the cues all need to happen simultaneously, remind your crew who the GO cue will be
for:
“Standby for the video—this will happen fast. On my cue, audio will mute the lav,
open up audio from video, lighting will fade stage lighting, and roll video . . . here it
comes, everyone together . . . in three . . . two . . . one . . . GO”
Version 08-1
|
47
Consistency
It’s interesting to note that
many stage managers don’t
ever say the word ―GO‖ over
headset unless they’re
actually calling a cue.
As funny as it may sound,
they’ll spell the word to avoid
confusion. It’ll sound like
this:
“Okay, this is the last
worship song of the
set. We‟ll come out of
this very slowly into the
video.
An important part of calling a show is consistency—using the same
words and phrases, in the same order, to mean the same thing, all the
time. It also means calling cues in the same fashion, with the same
tempo and inflection. No two stage managers use the exact same
technique, but the best ones will call it almost the exact same way, every
time. This instills confidence in the crew and helps avoid uncertainty and
mis-communication
Part of calling a consistent show is a strict adherence to a departmentspecific vocabulary. In other words, there are a lot of words that could
mean a number of things to nearly every one of your production
departments. Imagine the chaos of unclear, frantic instructions such as:
“Fade that out, fade that out!” or
“dip out of that!” or
“Dissolve, dissolve, dissolve!”
Lighting—standby to
slowly fade the stage
lights out. We‟re going
to hold in that
moment—do not take
the video cues until
you hear my G-O.”
Unless your crew can read your mind, they’ll need a lot more explanation
before they even know who you’re talking to, what you’re talking about &
what they should do.
The best stage managers have settled into a vocabulary that
eliminates all uncertainty. For example, you might consider getting
into the habit of grouping your words in this way:
Audio Consistency
In addition to the audio-specific terms that you’d use when talking with
your A-1, consider using the words ―duck‖ and ―push‖ in place of more
confusing words. The examples above apply well here, but even worse
is a phrase like ―bring it back‖. (Bring what back? And to where? Bring
it back into the mix? Into the house? Take the fader down?)
Notice how few words are required in these examples:
“Can you push those background vocals a bit?”
“Audio—I‟m going to have you push the opening video a little hotter than
we did in rehearsal.”
“Standby—audio, when he picks up the microphone, duck the keys down
to a pad”
This idea of reserving words for certain production departments when
calling a show may not be obvious at first—and you may have been
getting along well enough without this added level of discipline. But you
may be surprised at how little time it can take to communicate once you
eliminate the ―gray area‖ of confusing, potentially overlapping words.
48
|
Version 08-2
Video & Graphics Consistency
Since video professionals live with the words ―dissolve‖ and ―take‖ all the
time, it works best to let them keep these words. ―Advance‖ works well
for graphics. Examples:
“Video—stand by to dissolve the theme graphic to screen.”
“Graphics, stand by to advance to your first slide, and take the song
lyrics on your own.”
Granted, ―advance‖ isn’t the fastest word to say, but the important thing
is that it means one thing to one crew member. You’ll appreciate this
when working through a graphics-intensive portion of a conference or
service, such as announcements. Your cues to the graphics operator
require only one word:
“Advance . . . advance . . . and . . . advance”
Lighting Consistency
The numbers corresponding to individual lighting cues are rarely called in
church services, and are becoming less frequent in conference
production as well. This is due to:
1) the extreme flexibility of most lighting consoles (with the ability to
name cues, easily insert new cues during rehearsal, and see
them all in sequential order on a display screen), and
2) the fact that new lighting control consoles can be programmed
and operated in a number of different modes & layouts,
depending on the preferences of the programmer/operator
After stepping through the cue list, programming, and rehearsing, lighting
is usually the one production discipline that can execute cues exactly the
same way from rehearsal to live conference. (There are no guitar foot
pedals, stairs to trip on, new sound absorption factors, or DVD menus to
navigate. And if the band leader changes the order of the verses, or
repeats a chorus a few more times, the lighting operator doesn’t have to
do a thing to stay on cue.)
That said, calling lighting cues can be as simple as you choose to make
it. Consider ―dip‖, ―fade‖, and ―restore‖ as lighting-exclusive terms for
purposes of stage management. For example:
“Okay crew, we‟re still in a warning to get started—people are taking
their time coming back from break. Lighting, I‟m going to have you
dip the house lights up & down a few times to get people in their
seats.”
“Lighting, standby to fade the house lights to 50%, and standby for
your stage wash”
Version 08-1
|
49
“Standby—audio, out of this video the host is coming back on lav 2.
Video—you‟ll dissolve to the theme graphic on center screen, and
standby to restore stage lights”
You may choose to transcribe the lighting cue numbers onto your cue
sheet. Some stage managers will even pre-assign cue numbers that
they want the lighting programmer to use. But for our purposes, we
typically don’t have to hand-hold the lighting operator once they’ve set-up
their cues to correspond to the simple flow of the GLS.
And, for simple lighting consoles (Elation Scene Setter, ETC SmartFade,
Leprecon 600 series. NSI, etc.) or simple lighting systems (a handful of
fixtures to light up the stage), words like ―dip‖, ―fade‖, and ―restore‖ will be
just about all the direction your lighting operator may need anyway.
50
|
Version 08-2
Appendix E:
Videotaping Suggestions & Requests
Capturing the images, excitement and attendee reactions can play an
important role in building the momentum for the Global Leadership
summit at your site, in your nation and around the world.
We created this appendix as a guideline to help you capture the best,
footage with the most variety in the most efficient way possible. We
always receive a lot of great submissions, but we're hoping that with
these suggestions, GLS sites will continue to "break the mold" of just
recording image magnification (IMAG) feed or setting a camera in the
back of the room.
There are innumerable uses for this footage--in promo videos to increase
attendance and awareness, on DVD, service roll-ins, video podcasts,
streaming from the web. Please coordinate with your WCA affiliate
leader or country producer on any specific uses that they may have in
mind. The WCA International office will continue to develop "worldwide"
promotional material for certain audiences, and you'll want to make sure
that your site (and nation) is well represented!
Where possible, we're suggesting that GLS sites add a roving
camera crew, independent of any IMAG cameras.
Camera Equipment
A 3-chip broadcast or industrial camera is best, but many of the
3-chip palmcorders which record onto DV tape will work okay.
We prefer to receive a digital "clone" of your camera original tapes
(transferred via firewire or SDI). Transferring the standard (from PAL to
NTSC) is not necessary. Where possible, we recommend that footage
be shot in the 16x9 (widescreen) aspect ratio. We also endorse 24p (film
like) as a shooting "mode". However, we advise against HDV and prefer
that HDV cameras be set to record in "DV" for our uses here.
Audio
For B-roll and stage shots "wild" or "natural" audio using the on-camera
microphone will work fine. If a tie-in to the audio system is available, a
"clean" signal from the mixing console is nice, but if the signals are too
hot (loud), or mixed poorly, sticking with the on-camera microphone is
probably best. One suggestion is to connect the audio feed to channel 1
and record the ambient sound from the on-camera mic onto channel 2.
The first choice for shooting interviews is to use a high-quality directional
overhead boom mic ("shotgun"). The second choice is to use a wired or
wireless lavalier microphone clipped on the interviewee. Lastly, the
interviewer could use a handheld microphone in typical "person-on-thestreet" fashion (but use this option only if necessary).
Version 08-1
|
51
Crew Size & Skill
For shooting B-roll and stage shots, usually only one person (the camera
operator) is required--especially if they have a good eye for meaningful
and artistic shots.
For interviews, you'll need a 2-person camera crew minimum--the
camera operator and interviewer. The camera operator will need to wear
a headset to monitor the audio (typically coming from a lavalier
microphone on the subject for interviews conducted by a 2-person crew).
The interviewer is really a facilitator--helping to identify people to
interview, briefly explaining what it's for, and asking simple, open-ended
questions. Although the interviewer's questions are typically edited out
during post-production, standing off-camera to the left or the right of the
lens gives our subjects someone to make eye contact with. Their
comments will be much more natural than a direct-address into the
camera and will carry much more credibility. (Direct-address into the
camera can usually only be pulled off by experienced professionals.)
Improved audio (with a dedicated engineer and upgraded equipment) is
the "next level" of interviews. An audio engineer with a boom mic, field
mixer, and headset can speed up the process, relieve the camera
operator of the responsibility of closely monitoring audio, and help
ensure the best-sounding interview. Audio-for-video professionals bring
a wide variety of great techniques--and they should be encouraged to do
what works best for them, provided it doesn't slow down the process.
Content
We've concluded that the types of footage you'll want to gather fall into
three equally important categories:
Stage Shots
B-Roll, and
Interviews
52
|
Version 08-2
Stage Shots
A little IMAG footage goes a long way. A few minutes
of national speaker, worship band, or creative
programming is all we‟d need for promotional and
“highlight reel” purposes.
On the other hand, a camera crew that‟s free of the
requirements of IAMG framing can capture the action
on stage from a unique perspective.
Shots which show both the stage and audience tell
an even bigger story.
Version 08-1
|
53
B-Roll
B-roll should start with (or at least include) interior and exterior
static shots, pans, pushes and pulls. A variety of shots are
helpful—some with smooth lens movement, others with dramatic
“snaps” to a person, object, or architectural feature. GLS-branded
banners and signs are very useful shots in post-production.
Wide audience shots are an inevitable part of gathering
interior b-roll. But be sure to get close-ups of faces as well.
The images on the left communicate a message just as
powerful as a wide pan showing a packed audience.
This over-the-shoulder shot of attendees taking notes
illustrates—by visual example—an engaged audience
Shots from the audience‟s perspective can be the most
effective in communicating the “feel”.
Avoid empty seats, and look for the shots that communicates
the “experience” from an attendee‟s point of view.
This shot featured a rack focus from the audience to the man in
the foreground looking at his conference notebook. This shot
perfectly shows both the size and scope of the event, while
connecting the viewer to this particular attendee.
Similarly, Scotland‟s band leader Russell was “revealed” in this
rack focus shot.
The camera operator‟s patience paid off in this invaluable
shot showing the crowd rushing for prime seats.
54
|
Version 08-2
Interviews
Great reactions, thoughts, and observations captured “in the moment”
will go a long way towards telling the story and building the momentum
of the GLS. Having a lot of great comments by guests can make it easy
to craft a highlight video for your site or country.
Be sure to get first and last names, with spelling. The more
information (such as church, city and country) the better.
Getting a close-up,
in-focus shot of the interviewee‟s name badge is the easiest way to
get all of the information you need as quickly & efficiently as possible.
Keep in mind that the interviewer‟s role is to simply “prompt” attendees
for their response. Finding the RIGHT people to interview can be a bit
of an art form, but—if necessary—you cam make up for it in sheer
numbers.
If an interviewee isn‟t giving you usable content, just as one last
question and move on.
If an interviewee is particularly well-spoken and has great things to
say, ask them the entire battery of questions if time allows!
Here are some suggested questions:
Is this your first time attending the Global Leadership Summit?
(if no) What brought you back?
(if yes) Has it met your expectations?
Are you here alone or with a team?
What has surprised or personally impacted you?
Can you describe your experience in one word? (Attendees will often
answer with one word, followed by a whole explanation which will
often be perfectly usable.)
How would you describe The Global Leadership Summit to someone
who didn‟t experience it for themselves?
Would you recommend the Global Leadership Summit to a friend or
co-worker?
What are some specific ways the learnings from this event could
impact your ministry? Your city? Your country?
Version 08-1
|
55

Techinical Handbook - Willow Creek Association

Transcription

Similar documents

JAY A. FERNANDO Vice-President Strategic Planning

69th Doolittle Raider`s Reunion Flyer

24 News

WJ-SX650 Mid-range Matrix System

NYLAG

ArKaos MediaMaster

Proceeds go to support NJROTC scholarships and the Port

AV_Pricing (mb edit 2)