Image magnification or IMAG—where live, close-up images of what's happening on stage are projected onto large screens in the auditorium—has become more and more prevalent in our churches. Some do it well, others … well, let's just say they have a lot left to learn.
There can be many reasons for IMAG done poorly, and one of those reasons is the selection of video camera being used. Your IMAG images can't possibly get any better than the source material coming from the cameras—like the old computer engineering saying, “Garbage in—garbage out.”
Church Production Magazine (CPM) asked some of the members of the Church Technical Director Roundtable Online Forum what one should look for in a camera intended for IMAG use. Joining us in this discussion are Chris Childs, video manager at Christ Chapel Bible Church in Fort Worth, Texas; Jared Wells, technical director at Westside Family Church in Lenexa, Kan.; and Kirk Meyers, broadcast director for Fellowship Bible Church in Little Rock, Ark.
CPM: What are the bare minimum features you look for in a camera to be used for IMAG? Is going with HD a necessity?
Meyers: High quality outputs are a must. We use triax cabling and SDI connections in our system. Avoid using the composite outputs on a camera. Manual white balance is a must and you need to be able to turn your auto functions off—no auto focus or auto iris. I also believe that SD video is underrated—when we moved to our new facilities we made dramatic improvements to our video equipment but still run SD. Although we’re looking at HD in the future, I’ve had members of the church come up and comment about how nice all the ‘new HD’ stuff looks.
Wells: You also want to be able to control the lens remotely from your tripod handles. Operating a camera directly from the lens is a nightmare for a volunteer and does not set them up to win.
Childs: If all you are going to do is IMAG, then SD will be fine. We are SD/SDI and I think it puts out a great image; in fact, I get asked all the time about our ‘HD’ cameras.
CPM: What other features are pluses to have?
Meyers: Focus assist is amazing and makes running a sharp looking IMAG much easier. Two of our cameras have focus assist built in, where the subject in focus shimmers around the edge so you know you’ve got it. A CCU (camera control unit) helps as well, enabling another volunteer to ride the iris and coloring the images if you have dynamic lighting.
CPM: What do you look for in a camera support system?
Childs: Having a good quality tripod/support system is important. God was watching out for us at CCBC because I was able to obtain B stock Vinten studio pedestals at half price. If you have a great camera but have a consumer tripod it limits what you can do because if you can’t pan left or right cleanly and your pastor walks around a lot, you are in trouble. Also you have to set your volunteers up for success and the best way is to get a good quality support system.
Wells: Make sure your tripod head is properly sized for the weight and balance of the camera and has proper arms and grips for the controls. IMAG is all about shooting tighter, and if the camera system is wobbly, you will notice quickly.
Meyers: Something with a nice fluid head makes for smooth motion. I’m a big fan of Cartoni, Vinten, and Manfrotto setups. In locked-down IMAG production you can save some money and go with aluminum-legged tripods over the lightweight carbon fiber, but don’t skimp on the head. Tripods are one of the areas that you truly get what you pay for, and a smooth fluid-dampening head will make even a novice camera volunteer look good.
CPM: How about the camera lens—if your camera lets you change out lenses, what should you look for in a lens?
Wells: Make sure the zoom on the lens will capture a tight enough shot. Remember, this is IMAG, which means making the guy on stage bigger on the screen.
Meyers: Fast glass is important if your room tends toward a darker, more contemplative feel. No less than f/1.4. I like Fujinon lenses; we have them on three of our cameras and are pleased with the look. If your worship center has an abundance of natural sunlight, you can save some money on a lens by purchasing a ‘slower’ lens with an f/2.0 rating. Also make sure you calculate the appropriate amount of zoom in relation to the size of your room.
CPM: Let’s talk about accessories. How do you equip your cameras?
Wells: A studio kit is always a win—this moves control of zoom and focus down to the tripod arms. Giving someone else manual control of color correction and iris through a CCU helps keep consistency between cameras and shots. I also think a platform and good seating for the operator are key. We made sure we bought good chairs that went high enough for the operators and were comfortable.
Meyers: Two of our cameras we purchased with the studio configuration equipment, including top-mount, black-and-white HD monitors. They work very well for grabbing focus, but if you need a monitor for cameras you already have, Marshall makes some very high quality monitors with literally every configuration you could ask for. The studio kit for zoom and focus is also a must to make those controls more accessible.
Childs: We used the monitors that came with our cams for a long time and just recently changed to external LCD monitors, hoping our focus issues would clear up, and it has helped a lot. So good quality monitors will go a long way. Studio kits, for sure, since it is about making it easy for non-professional volunteers to step in and run the camera. Giving the volunteers the right tools to succeed ensures they come back, and encourages them to bring their friends to volunteer.
CPM: So what are some of the biggest mistakes you see churches make when they’re new to IMAG?
Wells: I think a big mistake many churches make is they ‘want’ IMAG because ‘everyone else is doing it,’ but their room really doesn’t have a need for it because of size.
Meyers: Don’t feel like it’s a competition. You don’t have to jump in your first day of IMAG and compete with Andy Stanley’s church. Pace yourself, buy what you can and slowly add equipment. We started with two cameras and only IMAG’d occasionally. We’re now up to four cameras with operators and IMAG all but a few songs; we’ve also begun using the IMAG feed on a live Internet stream Sundays for our 11 a.m. service.
Childs: Trying to keep up with the bigger churches when your budget doesn’t warrant it is a huge mistake. Realize that 98% of those coming through the doors are not going to care if you are SD, HD, or even if you do live video at all. They are there to be fed. If the picture is good and they can see the guy in the pulpit or music stand, then they will be happy.
