Video Recording Solutions

Equipment.
Single camera video production is not worth considering - it is inevitably extremely boring for the viewer. More cameras obviously mean more money! There are a number of alternative solutions on which to base a system.
• Single operated camera, single fixed position camera
• Single operated camera, single remote control camera
• Twin remote control cameras
• Multiple fixed cameras
• Single operated and combination of fixed and remote control cameras

The pros and cons of these options can be best understood by considering the features of each camera type.

Operated camera. Most versatile. No remote control system can rival a human operator for producing smooth pans, tilts and zooms. An operator can see everything their camera can possibly pick up, and can see action which is just "out of shot", or elsewhere in the church. From the video production point of view, two well placed operators with good cameras will outperform dozens of fixed shot cameras. There are two major disadvantages however. The camera positions and the presence of the operator often mean they block people's vision, or are distracting. The other disadvantage is cost - cheap domestic cameras lack the stability and control required for good quality live video. This means using semi-pro cameras and tripods to match, which drives up the price.

Fixed camera. These can be relatively low cost - even good surveillance type cameras can be utilised. They can be very discreet, and since they do not move, the Vision Mixer knows that he/she always has a "safe" shot to go to - there is no chance of the Camera Operator moving at an inappropriate moment. With low cost mounts, they can be moved to alternative positions from service to service to add variety. Their disadvantage is that they only provide one shot per service, and therefore do little to relieve the "boredom" factor that a single camera production suffers from. They tend therefore to be used for "wide" general views, which make great safety shots to permit another camera to be moved and re-aligned.

Remote control camera. R/C cameras too can be very discrete, and can provide a wide range of shots from a single location. They can move to pre-focused points faster than a human operator, but tend to be too "mechanical" in their transitions to permit their use for live pans or zooms. Because of the cost of the controller, the first camera may be almost as expensive as an "Operated" camera, however additional cameras are cheaper, since a single controller can be used for multiple cameras. They require a little more of the Vision Mixer than either of the other two types.

The ideal starting solution would be one of each type, with wiring installed to permit moving cameras around for special requirements, and/or add additional cameras as needed. If the use of video were judged to be successful, extra cameras could be purchased at a later date.

Cameras are only part of the solution. As a minimum, a Vision Mixer is needed. (confusion reigns here - the term "Vision Mixer" is used both for the equipment and for the person who operates it!) Obviously a recording medium is needed - this may be a VCR, or DVD recorder for producing masters to be copied to tape. (Some people are now using computer systems to act as Vision Mixer and Recorder/Editor combined. If the video signal is to feed an overflow, or additional monitors, Video Distribution amps are needed. At least two monitors are needed for the Vision Mixer. (Output and Preview). Although it is possible to operate without "Comms", it is best if the Vision Mixer can talk to the Camera Operator on headphones. If there is a requirement to show any computer output (the material going to the projection screens) on video, an XGA to Video converter is needed. At the very least, an audio sub-mixer and recording mics will be needed. There are various other "luxury" items which may be needed as the system is more used, e.g. a Titler, or a computer graphics generator / framestore.

Installation.
The most complex part of the installation is getting cables to the right places. Once positions have been identified, the installation may be carried out using voluntary labour to minimise costs. As well as identifying camera positions, consideration needs to be given to destinations. The church foyer, or a large hall for example may be suitable locations for overflow purposes. It may also be worth running cables to a minor hall, ministers room, crèche, or choir room.

Operators.
Some people may feel self conscious about being Camera Operators, and not everyone would necessarily have the skills to do both tasks, however ideally everyone should be capable of being either a Camera Operator or Vision Mixer. This provides more flexibility for covering holidays etc., and gives people a better understanding of what limitations and problems their colleagues face, and how the team should operate. If your church is fortunate enough to have multiple operators working on a rota basis, they need to be under the control of a small organising group who set standards and procedures, to ensure that (i) equipment is used properly, carefully, and to its best advantages, (ii) services are produced to a consistent standard, and (iii) operators are properly trained to work in a sensitive manner to the needs of the congregation.

Location.
Consideration should be given to locating video control gear along with projection gear, and where these should be located. Being outside of the main church has many advantages. It means that the Vision Mixer can talk to the Camera Operator during a service, even at quiet moments. There is no additional electronic equipment cluttering up the church, it will be more secure, training is easier, and the Vision Mixer feels less self-conscious without an audience. With proper planning, there will be room for future growth if video is deemed a successful aid to the worship. If the church decides to do its own duplication (and this will certainly be cost effective), the duplication gear could be co-located with the Vision Mixer.

Training.
A Vision Mixer is much easier to work than an audio mixer, and even though they have a huge range of facilities, once correctly set up, modern cameras too are very easy to use. The most difficult aspect of training is not how to use the technology, but when to use it! A slow zoom with a simultaneous cross fade to another camera at the appropriate moment may be very effective - or it could just look tacky! This means that the "lead operators" - for want of a better term - need to have the artistic and production skills which they can then train others to use, as well as the technical skills to use the gear.

> Cost