Northwoods Church Control Monitor Wall.
Twenty years ago the concept of a church having or even needing a video switcher was ludicrous. As the only tech volunteer at my church at the time, all I had was a small soundboard and a cassette tape deck. Now, video switchers are common staples in churches of all sizes. Even small churches often have simple A/B switchers.
Video switchers are relatively simple pieces of technology. All they really do is allow you to connect multiple sources, usually cameras or computers, to a single output, and change between them. Higher-end switchers allow you to layer multiple inputs on top of one another.
Achieving high quality video is a struggle for many churches for a number of reasons. Senior leaders recognize the need for high quality audio very early in the life of a church, though. Therefore, most church techs are audio people. The point at which a church needs a technical video professional is much later in the life of the church—and many churches won't admit they need help in this area until it's too late and they've already spent a bunch of money. The choice of a video switcher is critical in this process.
Switchers are available with a wide range of features and a broad range of price tags. This article will break down the parts of a switcher and describe how they are used. I hope this gives some of the more audio-minded technicians out there a better sense of what a video switcher does—and helps new church techs orient themselves to this important tool.
"If your church is thinking about making the jump to live video, you have passed the point where it’s time to get a professional involved."
Switcher Terminology & Layout
Before going too far into any usage, it’s important to know basic switcher terminology and layout. Most switchers are made up of mix effects or mix layer effects. Typically these are referred to as M/E, ME, or MLE, and refer to the section of the switcher that consists of a crosspoint, T-bar, transition area, keyers, and aux delegation buttons. The crosspoint buttons control what source is in the preview (next) and program (live). Typically, these buttons are laid out in two rows, one above the other. Selecting a source in either row puts that source in the respective place (preview or program). The T-bar controls the rate of transition between sources in the preview and program rows. When the T-bar is moved, the source on the preview row moves to the program, or live row and vice-versa.
Next is the transition area, which allows you to select what source is being transitioned, and how it is being transitioned. Wipes and peels are common transitions. Moving down the switcher, we come to the keyers. I like to think of keyers as buckets. Once a source is in one of these buckets you can affect it either by making select portions transparent, changing size and shape, or simply layering it on top of a source selected in program or preview. If you want to affect the source in any way, it has to be put in a keyer. The last section of the mix effect (M/E) is the top row of buttons. These are typically used for aux delegation and key selection. If your switcher has aux outputs, this is how you select the source being routed to the aux. This is also where you would select what sources are in your keyers. Also, on switchers equipped with macros or custom controls, these buttons are also used to trigger whatever is stored in those macros.
"Video switchers are not overly complicated pieces of technology—certainly no more complicated than a digital audio console."
Usage Considerations
Using a switcher is only as complicated as you make it. In many situations, it’s as simple as selecting a source in preview and then making it live, then selecting the next source and repeat. In simple setups, one M/E controls an output. Often churches that have multiple screens will have a two M/E switcher. In a standard three-screen set up; one screen centered and two identical side screens, it’s easy to dedicate one M/E to the center screen and one to the side screens.
So the process now has to include: select the source in the appropriate M/E, then transition it to the screen. Typically this is where things become complicated—because now you have multiple outputs to control—and you will need to control them simultaneously. This is where the macro or custom controls come in. They allow you to record the switcher doing everything you need it to do and then recall those commands, as needed. Many churches that conduct similar services from week to week can create macros that allow most novice volunteers to produce consistent and amazing results.
Video switchers are not overly complicated pieces of technology—certainly no more complicated than a digital audio console. The products on the market now are almost limitless, and range from very simple A/B switchers to complete multiple M/E production switchers. The most important piece of advice I can give churches thinking about making the jump to live video is: if you are considering it, then you have passed the point where it’s time to get a professional involved.
