1. Cameras<\/strong><\/h3>\nThis may seem obvious to some, but cameras are the most important piece of gear out of your entire video system. If there was a priority on which gear to spend the most money on, cameras would be number one. To give you an idea, roughly 40-50% of your project budget should go towards cameras. If you are forced to scale back your budget, consider a single camera system instead of the traditional three camera system. The cost of HD equipment has dropped significantly in the past five years so don\u2019t settle for anything less than HD cameras, look at something like this JVC HD camcorder<\/a> as a baseline.<\/p>\n <\/p>\n
2. Lights![\"tweet-video\"](\"https:\/\/www.sharefaith.com\/blog\/wp-content\/uploads\/2014\/06\/tweet-video.jpg\")
<\/a><\/strong><\/h3>\nMore important than the intensity of the light is the consistency of the light. You can light well with inexpensive lights so long as they are hung and focused in the proper way. The tricky thing is most churches aren\u2019t designed with video in mind. Go ahead and start our with a few of the basic Par 64<\/a> 500 watt lights, but make sure that all your lamps are the same watt rating and beam rating. Lighting for video is mostly going to depend on the cameras that are used. As long as you promise to stay away from fluorescent lighting, you should be ok.<\/p>\n <\/p>\n
3. Mixer<\/strong><\/h3>\nThe video switcher, or video mixer, is the device that allows an operator to seamlessly blend together several different video feeds into one feed. In an environment where more than one source (camera, computer, DVD player, etc) is used a mixer is the way that those sources are combined and blended. It was only a few years ago that HD video mixers started out in the $10,000 range and went up from there. Today, the Black Magic<\/a>\u00a0ATEM TV Studio is a full-on HD mixer that starts out at $1,000.<\/p>\n <\/p>\n
4. Communication<\/strong><\/h3>\nIn any multi-camera environment communication with your camera operators is crucial. In many cases, the video switcher is located in a separate room, which can make communication impossible. Camera operators need to know what shots the director needs, when to move, when to zoom, and when they can use the restroom. Communication with these operators needs to be loud and clear, and preferably hard wired. Wireless communication systems are either ridiculously expensive, or they operate on the 802.11 band; which is overcrowded. The professional standard of Clear Com or Telex systems are nice, but still pretty expensive, I\u2019ve found great success with the Data Video ITC-100<\/a>.<\/p>\n <\/p>\n
5. DVD Recorder<\/strong><\/h3>\nDVD recorders work the exact same way as CD recorders, they can be recorded live on the fly then finalized for viewing on DVD players. Often times you can find these DVD recorders with built-in hard drives. This is my preferred way to record live, that way if your DVD disc is bad you still have your content on the internal hard drive, and it only adds about five more minutes to create the master disc. My personal all time favorite is this Magnavox DVD\/HDD<\/a> recorder, I\u2019ve had this one with me for the past three years on the road and she still does a great job.<\/p>\n <\/p>\n
6. Audio Video Distribution Amplifier<\/strong><\/h3>\nAn audio video distribution amplifier takes the audio and video feed coming in and splits across several outputs. These are usually designed so that the input connection is the same as the output connection; a common example is one composite audio\/video in and four composite audio\/video outs. There are pricier routers out there like the Black Magic Video Hub Router<\/a> that handle patching with software, but most of us will be fine with something like this to get signal where it needs to go.<\/p>\n <\/p>\n
7. Analog to Digital Converter<\/strong><\/h3>\nThe analog to digital converter is the piece of gear that converts the video signal so that it can be live streamed. Some of the higher end video mixers have a built-in USB or Firewire out for live streaming, but in most cases, you\u2019ll need this separate piece of gear. The situation with live streaming is that though we capture in HD, we generally don\u2019t broadcast in HD. Bandwidth restrictions on both the user end and the church end cause HD live streaming to be unrealistic. So for now, an SD converter will work just fine. I\u2019ve used several of Grass Valley\u2019s converters and am particularly fond of the ADVC-110<\/a>.<\/p>\n <\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n
2. Lights<\/a><\/strong><\/h3>\nMore important than the intensity of the light is the consistency of the light. You can light well with inexpensive lights so long as they are hung and focused in the proper way. The tricky thing is most churches aren\u2019t designed with video in mind. Go ahead and start our with a few of the basic Par 64<\/a> 500 watt lights, but make sure that all your lamps are the same watt rating and beam rating. Lighting for video is mostly going to depend on the cameras that are used. As long as you promise to stay away from fluorescent lighting, you should be ok.<\/p>\n <\/p>\n
3. Mixer<\/strong><\/h3>\nThe video switcher, or video mixer, is the device that allows an operator to seamlessly blend together several different video feeds into one feed. In an environment where more than one source (camera, computer, DVD player, etc) is used a mixer is the way that those sources are combined and blended. It was only a few years ago that HD video mixers started out in the $10,000 range and went up from there. Today, the Black Magic<\/a>\u00a0ATEM TV Studio is a full-on HD mixer that starts out at $1,000.<\/p>\n <\/p>\n
4. Communication<\/strong><\/h3>\nIn any multi-camera environment communication with your camera operators is crucial. In many cases, the video switcher is located in a separate room, which can make communication impossible. Camera operators need to know what shots the director needs, when to move, when to zoom, and when they can use the restroom. Communication with these operators needs to be loud and clear, and preferably hard wired. Wireless communication systems are either ridiculously expensive, or they operate on the 802.11 band; which is overcrowded. The professional standard of Clear Com or Telex systems are nice, but still pretty expensive, I\u2019ve found great success with the Data Video ITC-100<\/a>.<\/p>\n <\/p>\n
5. DVD Recorder<\/strong><\/h3>\nDVD recorders work the exact same way as CD recorders, they can be recorded live on the fly then finalized for viewing on DVD players. Often times you can find these DVD recorders with built-in hard drives. This is my preferred way to record live, that way if your DVD disc is bad you still have your content on the internal hard drive, and it only adds about five more minutes to create the master disc. My personal all time favorite is this Magnavox DVD\/HDD<\/a> recorder, I\u2019ve had this one with me for the past three years on the road and she still does a great job.<\/p>\n <\/p>\n
6. Audio Video Distribution Amplifier<\/strong><\/h3>\nAn audio video distribution amplifier takes the audio and video feed coming in and splits across several outputs. These are usually designed so that the input connection is the same as the output connection; a common example is one composite audio\/video in and four composite audio\/video outs. There are pricier routers out there like the Black Magic Video Hub Router<\/a> that handle patching with software, but most of us will be fine with something like this to get signal where it needs to go.<\/p>\n <\/p>\n
7. Analog to Digital Converter<\/strong><\/h3>\nThe analog to digital converter is the piece of gear that converts the video signal so that it can be live streamed. Some of the higher end video mixers have a built-in USB or Firewire out for live streaming, but in most cases, you\u2019ll need this separate piece of gear. The situation with live streaming is that though we capture in HD, we generally don\u2019t broadcast in HD. Bandwidth restrictions on both the user end and the church end cause HD live streaming to be unrealistic. So for now, an SD converter will work just fine. I\u2019ve used several of Grass Valley\u2019s converters and am particularly fond of the ADVC-110<\/a>.<\/p>\n <\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n
3. Mixer<\/strong><\/h3>\nThe video switcher, or video mixer, is the device that allows an operator to seamlessly blend together several different video feeds into one feed. In an environment where more than one source (camera, computer, DVD player, etc) is used a mixer is the way that those sources are combined and blended. It was only a few years ago that HD video mixers started out in the $10,000 range and went up from there. Today, the Black Magic<\/a>\u00a0ATEM TV Studio is a full-on HD mixer that starts out at $1,000.<\/p>\n <\/p>\n
4. Communication<\/strong><\/h3>\nIn any multi-camera environment communication with your camera operators is crucial. In many cases, the video switcher is located in a separate room, which can make communication impossible. Camera operators need to know what shots the director needs, when to move, when to zoom, and when they can use the restroom. Communication with these operators needs to be loud and clear, and preferably hard wired. Wireless communication systems are either ridiculously expensive, or they operate on the 802.11 band; which is overcrowded. The professional standard of Clear Com or Telex systems are nice, but still pretty expensive, I\u2019ve found great success with the Data Video ITC-100<\/a>.<\/p>\n <\/p>\n
5. DVD Recorder<\/strong><\/h3>\nDVD recorders work the exact same way as CD recorders, they can be recorded live on the fly then finalized for viewing on DVD players. Often times you can find these DVD recorders with built-in hard drives. This is my preferred way to record live, that way if your DVD disc is bad you still have your content on the internal hard drive, and it only adds about five more minutes to create the master disc. My personal all time favorite is this Magnavox DVD\/HDD<\/a> recorder, I\u2019ve had this one with me for the past three years on the road and she still does a great job.<\/p>\n <\/p>\n
6. Audio Video Distribution Amplifier<\/strong><\/h3>\nAn audio video distribution amplifier takes the audio and video feed coming in and splits across several outputs. These are usually designed so that the input connection is the same as the output connection; a common example is one composite audio\/video in and four composite audio\/video outs. There are pricier routers out there like the Black Magic Video Hub Router<\/a> that handle patching with software, but most of us will be fine with something like this to get signal where it needs to go.<\/p>\n <\/p>\n
7. Analog to Digital Converter<\/strong><\/h3>\nThe analog to digital converter is the piece of gear that converts the video signal so that it can be live streamed. Some of the higher end video mixers have a built-in USB or Firewire out for live streaming, but in most cases, you\u2019ll need this separate piece of gear. The situation with live streaming is that though we capture in HD, we generally don\u2019t broadcast in HD. Bandwidth restrictions on both the user end and the church end cause HD live streaming to be unrealistic. So for now, an SD converter will work just fine. I\u2019ve used several of Grass Valley\u2019s converters and am particularly fond of the ADVC-110<\/a>.<\/p>\n <\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n
4. Communication<\/strong><\/h3>\nIn any multi-camera environment communication with your camera operators is crucial. In many cases, the video switcher is located in a separate room, which can make communication impossible. Camera operators need to know what shots the director needs, when to move, when to zoom, and when they can use the restroom. Communication with these operators needs to be loud and clear, and preferably hard wired. Wireless communication systems are either ridiculously expensive, or they operate on the 802.11 band; which is overcrowded. The professional standard of Clear Com or Telex systems are nice, but still pretty expensive, I\u2019ve found great success with the Data Video ITC-100<\/a>.<\/p>\n <\/p>\n
5. DVD Recorder<\/strong><\/h3>\nDVD recorders work the exact same way as CD recorders, they can be recorded live on the fly then finalized for viewing on DVD players. Often times you can find these DVD recorders with built-in hard drives. This is my preferred way to record live, that way if your DVD disc is bad you still have your content on the internal hard drive, and it only adds about five more minutes to create the master disc. My personal all time favorite is this Magnavox DVD\/HDD<\/a> recorder, I\u2019ve had this one with me for the past three years on the road and she still does a great job.<\/p>\n <\/p>\n
6. Audio Video Distribution Amplifier<\/strong><\/h3>\nAn audio video distribution amplifier takes the audio and video feed coming in and splits across several outputs. These are usually designed so that the input connection is the same as the output connection; a common example is one composite audio\/video in and four composite audio\/video outs. There are pricier routers out there like the Black Magic Video Hub Router<\/a> that handle patching with software, but most of us will be fine with something like this to get signal where it needs to go.<\/p>\n <\/p>\n
7. Analog to Digital Converter<\/strong><\/h3>\nThe analog to digital converter is the piece of gear that converts the video signal so that it can be live streamed. Some of the higher end video mixers have a built-in USB or Firewire out for live streaming, but in most cases, you\u2019ll need this separate piece of gear. The situation with live streaming is that though we capture in HD, we generally don\u2019t broadcast in HD. Bandwidth restrictions on both the user end and the church end cause HD live streaming to be unrealistic. So for now, an SD converter will work just fine. I\u2019ve used several of Grass Valley\u2019s converters and am particularly fond of the ADVC-110<\/a>.<\/p>\n <\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n
5. DVD Recorder<\/strong><\/h3>\nDVD recorders work the exact same way as CD recorders, they can be recorded live on the fly then finalized for viewing on DVD players. Often times you can find these DVD recorders with built-in hard drives. This is my preferred way to record live, that way if your DVD disc is bad you still have your content on the internal hard drive, and it only adds about five more minutes to create the master disc. My personal all time favorite is this Magnavox DVD\/HDD<\/a> recorder, I\u2019ve had this one with me for the past three years on the road and she still does a great job.<\/p>\n <\/p>\n
6. Audio Video Distribution Amplifier<\/strong><\/h3>\nAn audio video distribution amplifier takes the audio and video feed coming in and splits across several outputs. These are usually designed so that the input connection is the same as the output connection; a common example is one composite audio\/video in and four composite audio\/video outs. There are pricier routers out there like the Black Magic Video Hub Router<\/a> that handle patching with software, but most of us will be fine with something like this to get signal where it needs to go.<\/p>\n <\/p>\n
7. Analog to Digital Converter<\/strong><\/h3>\nThe analog to digital converter is the piece of gear that converts the video signal so that it can be live streamed. Some of the higher end video mixers have a built-in USB or Firewire out for live streaming, but in most cases, you\u2019ll need this separate piece of gear. The situation with live streaming is that though we capture in HD, we generally don\u2019t broadcast in HD. Bandwidth restrictions on both the user end and the church end cause HD live streaming to be unrealistic. So for now, an SD converter will work just fine. I\u2019ve used several of Grass Valley\u2019s converters and am particularly fond of the ADVC-110<\/a>.<\/p>\n <\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n
6. Audio Video Distribution Amplifier<\/strong><\/h3>\nAn audio video distribution amplifier takes the audio and video feed coming in and splits across several outputs. These are usually designed so that the input connection is the same as the output connection; a common example is one composite audio\/video in and four composite audio\/video outs. There are pricier routers out there like the Black Magic Video Hub Router<\/a> that handle patching with software, but most of us will be fine with something like this to get signal where it needs to go.<\/p>\n <\/p>\n
7. Analog to Digital Converter<\/strong><\/h3>\nThe analog to digital converter is the piece of gear that converts the video signal so that it can be live streamed. Some of the higher end video mixers have a built-in USB or Firewire out for live streaming, but in most cases, you\u2019ll need this separate piece of gear. The situation with live streaming is that though we capture in HD, we generally don\u2019t broadcast in HD. Bandwidth restrictions on both the user end and the church end cause HD live streaming to be unrealistic. So for now, an SD converter will work just fine. I\u2019ve used several of Grass Valley\u2019s converters and am particularly fond of the ADVC-110<\/a>.<\/p>\n <\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n
7. Analog to Digital Converter<\/strong><\/h3>\nThe analog to digital converter is the piece of gear that converts the video signal so that it can be live streamed. Some of the higher end video mixers have a built-in USB or Firewire out for live streaming, but in most cases, you\u2019ll need this separate piece of gear. The situation with live streaming is that though we capture in HD, we generally don\u2019t broadcast in HD. Bandwidth restrictions on both the user end and the church end cause HD live streaming to be unrealistic. So for now, an SD converter will work just fine. I\u2019ve used several of Grass Valley\u2019s converters and am particularly fond of the ADVC-110<\/a>.<\/p>\n <\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n
8. Audio Compressor<\/strong><\/h3>\nUsually, the audio feed coming into the video mix is tapped off the board and is just a copy of the stereo output. In most cases, the audio level coming off the board is going to be inconsistent throughout your service. In an effort to save your viewers from having to adjust the volume on their TV every two minutes, add a compressor inline before your audio and video feeds mix. I use the ART PRO VLA II<\/a> and I set the ratio at infinity to 1 with an attack as fast as it goes. This will ensure that there won\u2019t be any surprise loud pops or spikes in your broadcast audio.<\/p>\n <\/p>\n
9. Scaler<\/strong><\/h3>\n
<\/p>\n