They are almost invisible, very much so on a web stream broadcast. They move about, trailing thick expensive cables back and forth in their wakes. Appearing to be special force units with communication gear attached to their heads. Obviously someone is telling them what to do and where to go, but what is it they are doing? There are more of them than you can easily see.

Before the service there is a ‘huddle’ at ‘front of house’ (control booth in the sanctuary that controls sound and lights) We gather and share, musicians and techs to solidify and encourage one another. Of course, there is prayer from the worship band leader. It is a very important bonding for those who do their best at presenting Jesus Christ in song to the audience. It is not an opera or a performance. It is a privilege to do so. There is pay for some that work 5 days or so a week setting and rehearsing it all. The camera operators and some techs are volunteers. The best pay for all of us is His presence.

Trolley cameras run on tracks and do those smooth side to side shots just above the audience view. It really helps those watching engage in the worship. There are separate grips at the ends of the track to stop it and push it. That grip job is an excellent class on momentum and velocity. Hand held (often on one’s shoulder) move around and can catch momentary shots of the musicians or their instruments. The director instructs operators where to look, sometimes at the audience that are engaging and worshiping.

Big ‘Jib’ cameras with large booms and complex controls do those impossible flying shots but can focus closely on a keyboard. Those cameras have ‘fences’ around them to prevent people from being hit by the wide range of movement by the operator. Complex camera operation.

Tripod cameras are elevated on platforms and are a real asset too. Sometimes there are remote cameras that are run with a joystick by the director or switcher. They can zoom in and out and swivel. It’s all a’ bit more complex’ compared to the usual cameras we use in our cell phones. It is always distracting when people hold their cell phones up to capture a performance. I wonder if they are really engaged with what is going on before them. A small 8 millimeter would not be quite so intrusive but of course, as a technical dinosaur I have opinions on progress and regress.

Leave video tasks up to the men in black. They have time afterwards to be moved by the totality of the production. A review in the room of a recent set shows the crew how to improve the experience for the viewers so there is nothing seen or felt besides the worship. Working on video production is a thing that can distract from the reasons they are there in the first place. They help Convey story, and the story of Jesus beauty can often be accompanied by tears and spiritual engagement to the audiences. There are ‘huddles’ before every service at ‘front of house’ (control of sound and lights) In the sanctuary to encourage and bond production teams. Prayer is essential at those times as well. Almost akin to the ready room in the military.

Hand held, Jib, tripods all have their positions and are numbered through the comms everyone has. Those Cameras are heavy and very complex. There is a director in touch with them and exact instructions are given as to what to capture, how close and the next shot to prepare for. It’s a choreographed dance. A lot of training and experience for both sides of the production. There are ‘grips’ that make certain the camera operators do not trip nor step on the fiber optic cables that send the video feed, in the control room there are aperture operators that control iris settings, lyrics panels that are just for the screens to show words. It’s fast and fascinating to listen to. Timing and broadcast (simulcast) adds to the complexity.

As with many technical occupations, there is shorthand and acronyms. ME mixed effects, SHADER is a control panel that adjusts camera aperture, MI, musical interlude, Load the band, CP campus Pastor, PUSH go closer with the camera control. I like ABLETON controlled by the drummer to add a CLICK track to the other musicians which sounds a click in the IEM’s they wear to keep everyone on beat (IEM is an in ear monitor) This is a beginning list and at first sounds like another language which it is.

So many sounds bouncing around that must be accounted for and the volumes are carefully set. There is a handheld unit that measures that as a sound tech walks through the room during rehearsal. ( It’s called an SPL sound level pressure.) It’s all highly technical. The control rooms and electronics remind you of Houston’s launch control for spacecraft. Blinking lights and fast button pushing and many screens for each person. Of course, the only sign of failure is an audience confused and the sound booth failure joke is; An audience looking backwards towards the the booth. They know who is screwing up.

The main reason the camera folks are dressed in black is to not be visible on the video feed. The camera iris is quickly set for different light situations and most of the people on the stage are dressed in lighter colors. The lights show those video shots so they can be seen by the viewers. As a result, black does not bounce back (it absorbs light). You can see them if you look for them but it isn’t a distraction on the whole. The lighting is another job that works with the director.

The audio for broadcast is another technical job. That audio engineer that controls the ‘in house’ experience. You can only imagine the electronics, cabling, simulcast and internet connections to be set up and tested every day. One day events involve semi-trailers of equipment and adds a lot of work to those teams. At many churches, many of the team are volunteers and do not get paid for this work. They do it for the joy and camaraderie.

Another volunteer is a time traveler. The job is to be an assistant to the director. The music rehearsal is listened to a half dozen times before hand and the assistant director charts which instrument, and singers are in a certain part of the music. There are soft sections and loud crescendos. Then all that assistant has to do is tell the director and the camera operators which shot is the best depiction of the musicians. Before it happens. 4 bars beforehand, gives everyone time to literally focus on the next solo or high point (or ending soft or quickly) Stage lighting is a factor as well.

the director tells the camera operators what shot is indeed coming up and also when their shot is being broadcast to the screens in house. All the camera operators and other control people have headsets with microphones to help them be part of the dance. It’s beautiful and often breathtaking when it comes together.

The main campus that broadcasts throughout the world has the most precise and skilled media teams. It’s called ‘simulcast’ and if you watch on-line, that is the music you see.

The director sees all the camera shots on separate screens, selects and instructs movement and image constantly. “One push, ready 1, take 1, Four push right, take 4, Five push cymbals, take 5.” As fast as you can read this. Things speed and slow according to the songs. Verse, pre-chorus-chorus. bridge. The sound pushes up to emphasize the chorus as the room gets intense with singing praise to Jesus.

It’s not manipulation, It’s invisible and correct and if done right, no one watching is aware of the team doing this. It is energy, very much the same thing that broadcast and movie directing use. Tell the story and no one thinks about it that is watching. That is a good as it gets. The director gives a brief “great shot” over the comm line now and then and that is very well received. Augustine stated “teaching is essential, praise is sweetness but persuasion is victory”

There is a lot more to production. It’s fascinating and now you know why the team is called ‘the men in black.’ Not seen but essential. It has nothing to do with agent K and J.

“My own eyes are not enough for me. I will through those of others. Reality, even seen through the eyes of many is not enough. I will see what others have invented…literary experience heals the wound, without undermining the privilege of individuality. In reading great literature I become a thousand men and yet remain myself…I may be full of goodness and good sense but still inhabit a tiny world. If I was content to be only myself, and therefore less of a self, I am in prison.” a.

It’s pretty good, Norm Peterson / Jack Gator

picture courtesy of Bjorn Peterson, my son, at a One Thing Conference with a hand held camera.

a. C.S. Lewis An experience in criticism