There I was, running Camera 1, mounted high at Front of House control booth. Trying to ‘shoot’ what my director had told me to point to on the stage below. It’s a big room with often close to 2000 people seated. A dynamic presentation of the worship music is the goal and the camera shots of the electric guitar both far and near with energy, the drummer building a crescendo of many strikes on the tom toms, snare and cymbals visible to camera 5, a hand held camera.
Cross shots of engaged singers and a little energetic dance from the bass player also convey worship with energy. Somehow, the keys players are sort of hidden in the shadows. I would like the cameras to get close enough a shot to show the keys and the hands of music. It doesn’t happen very often but makes a clean and beautiful statement if it can be done. Lighting is an issue back there in the semi-shadows.
A constant stream of instructions comes over our ‘coms’ which just have one earpiece on the right side. “Look here, move there, pull back wide and get several singers”. You get the idea.
The room is dark except for the lights which can surprise you with a lens flare. I like them, most camera people do. We had five cameras to work with, the bigger ‘campus’ has 9 or 10.
I remember vividly the best shot I found. Near the close of the music, one of the singers stepped forward to her mic and as scheduled, prayed for what was on her heart for the room and anyone watching the screens in other parts of the church. In this case, there are two screens above the main stage too. We were ending the shoot and I swung my camera to the left and there, in the shadows was the worship leader, head bowed and hands clasped as we could hear the prayer. Almost invisible. I pushed my lens as much as it could go and just watched.
I saw a renaissance painting. A Rembrandt of shadow and fabric, capturing a moment of life that was perfect, stunning and humble. My director did not see it nor order the shade control to open my iris. It was just for me to see. A fiery sunset with all the pathos and humanity visible.
I never will forget that picture and it lingers with all the others. Orion as I walk out to our car on a winter morning. A sudden meteor streak through my windshield. You have them stored away too. A high splash of storm surf suspended in an oriental impressionist painting.
What a gift to see these things and realize they are timeless paintings for our miracle eyes. Ours alone to gasp and smile at. It’s pretty good,
Norman Peterson / Jack Gatorwith thanks to Sony for the camera photo
There is was, at the debris pile on the ground. The shells and some whole black sunflower seeds fall there from the feeder above on a rope line. It’s easy to fill with pulleys and latches on the feeder when we lower it down. The woodpeckers have their own cage of suet nearby.
The whole works is visible from the floor to ceiling windows near the kitchen table. It is in the kitchen but all meals are served there. We tried putting the table in the parlor by the wood stove but that was ridiculous. The food is always prepared in the big kitchen!
So one morning over coffee and eggs we saw the scavengers chowing down on the seed shells on the ground and the population diminished by one and after flying away, the birds came back from their safe perches in the lilac bush/tree. After all, one of their kind was already back and seemed to be satisfied with the menu.
Squirrels, espeically the red ones, were dispatched from the corner of the house with a zeroed in 22 and that worked well. The red ones are the corner gang members that hang out in the wood shed and are mischievous and easily seen with their gang colors. Browns and blacks avoid them.
Julie is getting pretty good with the 22 and when humor is needed I mention to casual visitors she likes to kill just for entertainment. She is pretty safe too. When the nasty squirrels run up one of the big black walnut trees, whe switches to the .410. Even though we have 30 acres and are in a perfect valley, the 22 round can travel a long ways if the shot is missed.
The story I tell Keeps the unwanted salesmen not apt to return. No doubt there is scuttlebutt with the men who approach with good intentions but can be distracting when we engage them in polite conversations about their stances that differ somewhat about our faith. It’s pretty good. Norm / Jack Gator
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 Conferencewith a hand held camera.
.. After the dust- bowl town with the Angel and the woodruff key, we were on Route 66 and westward bound. Gas was cheap back then our slim wallets still had enough to get to ‘the city’ in California.
The bar up ahead looked promising after all that desert in Nevada. It appeared to have just been dropped into place. A small parking lot with two cars, one of them with California plates. There was literally, nothing visible from horizon to horizon. Just the endless highway. A few dust devils and actual sagebrush.
Out of the saddles and into the bar we strode, awkwardly as riding can do things to your body that doesn’t relate to standing and walking. It’s just the odd feeling from all that vibration that your hands are on opposite arms. Weird. Akin to my illusions at sea when land would not be visible. After a few weeks in the ‘middle’ if the ocean, it seems the ship is standing still and the water is flowing by!
Any way, most motorcycle riders get the upside down hands thing after 100 miles or so, no one talks about it. Our bikes were a little rougher on the road than today’s huge highway cruisers. Bruce’s BMW was a little smoother than the Indian Tomahawk/Enfield. I shudder even now thinking how it would have been on the 600cc Matchless single.
So after we shook off the muscle memories and went in, the bar had two women patrons and the barkeep. The two women were older and looked at those two young men like coyotes gazing upon a nice jack rabbit nearby. Smiles and almost instantly, an offer to cool down with a few cold ones. ‘Sure’! After a few (the women were drinking hard stuff) it was revealed that one of them was a California Senator and the other woman was the Senator’s aide.
Betty Fiorina was the Senators name, I never forgot it. It pops up now and then in the news and in my mind.
Lots of laughs and some mild flirtation ensued and it was time for the gals to hop into their Buick convertible and us to kick start the bikes and weave down the highway. Blood alcohol content, who cares? Not a car in sight and road hazards were an occasional sign and a few lizards or ruckchucks. 1. If you noticed, motorcycles now do not have kick starters. You have seen them in movies where you heave your body up in the saddle and push hard on the way down onto a pedal on the right side of the machine. It usually started on one kick.
Class act meets Brando and Lee Marvin and no one knew what to do except drink and laugh. Much later, a decade or two, I caught a name on some senate bill and it’s the same last name of the Senator they met. Family business. There was a photo and she looked very trim and self assured. Splitting image of mom.
Onward to Northern California and the back entrance to Berkeley on Shasta Road. Bruce was confident, I was just stunned. The place we wheeled up to had several chimneys, a tile roof and a pretty good view of the San Francisco bay . More class and style than either of us had ever experienced.
An old friend of Bruce’s, Charlie Jirousek, lived there with about six other people. He was a luthier and built guitars out of Brazilian Rosewood. So he was broke too. He also had a massive Malamute, North, that shed hair at a bodacious rate. A month later, Charlie covered the C.F. Martin logo on the tuning head with one of his, a mother of pearl arrow. His guitar business was called ‘Arrowhead’ I was concerned that even at this time, the Martin logo would encourage theft. It works. To this day musicians that hear of play it remark on it’s tone and beauty. “what is it?” I tell them to look inside the sound hole. Martin D-28.
Charlie had a big sack full of the hair and stated someday he would make a shirt out of it. 4 decades went by until the shirt appeared. It had an odd smell and dogs seemed attracted to Charlie. So The three of them spent a lot of time around the main living room fireplace playing guitars and eating peanut butter from Charlie’s jar. A half gallon jar. White bread used now and then. It was enjoyable for me to meet another person as pleasant and eccentric as we were.
To this day, I still enjoy a peanut butter sandwich with heavy butter on both slabs of bread. Add the thick crunchy style peanut butter. Those sandwich’s were free and the music was excellent and heart felt. A lot of joy around that fireplace.
We all knew what our lives were like as we played the same music. Leadbelly, Blind Blake, Willy McDowell. It’s called country blues music. There was one tune, Old Country Rock that just hit the spot. We played it a lot. It was pretty good. Norman Peterson / Jack Gator
1. Ruckchuck . An animal nearby in the weeds that makes a lot of noise. Scared away by an aluminum cooking pot swinging in front of our headlamps.
The death sentence was hovering over all the graduates in the early sixties. The draft. Norm’s classmate, Vern Norton, came home in a box draped with an American flag. I always liked his last name, Norton. It reminds me of a bike I have always wanted, the Norton Commando. It did not seem pleasant to be shipped of to Viet Nam and die in the jungles for a war most of us did not comprehend.
Most of my classmates were still in college or married and had draft deferments. I was 1A and before being drafted, volunteered for the submarine service and was quickly sent off to Camp Nimitz, San Diego. Upon arrival, the laughing Marine DI told me me my draft notice had just been forwarded.
However, some enjoyment ensued as I was recruited into the Blue Jacket’s choir. Singing at graduations and church services for the officers on the base. Three sung notes was enough to either get thumbs up or down to join the choir. The director was a retired Mormon tabernacle choir director and knew music pretty well.
We got to wear dress blues right away and had ‘crows’ sewed on our sleeves so It appeared we were experienced sailors and a little older. Mine was an E6 and the other boots in our basic training were puzzled. I was designated as education petty officer, first class.
Upon graduation I was excited to go on to New London for Sub school and was interviewed with a few more tests. The high school straight A’s in advanced math and a general class amateur radio license at age 12 were the recruiters logical path to the nuclear technician promised. The new interview caught a color vision issue as I could not discern several shades of purple wiring. No tech job for me. No subs. (they are called Boats in the Navy)
A natural move was ‘A’ school as a radio operator and I was immediately put into a teaching position for Morse code and elementary electronics. Weekends off with liberty to visit old friends up the coast was a bonus. I really wanted those dolphins on my uniform though.
Later, serving on the surface Navy in top secret communications, I learned of the accidental sinking of the submarine SkipJack near the Azores. All 99 men lost, the nuclear boat still deep at crush depth. 1965. It might have been me on that boat and I would not be writing these columns nor be the father and husband I am now. The dates are possible, Nukes were new and the Thresher had sunk shortly before.
Saved from my dreams? How and why was I born with a slight color vision problem? It seems there was a plan for my life that has brought me to this place of writing about the one who saved me from an early death.
I am Telling you, the reader, about the plan the creator had for me that does not make sense very often to us. Time and again, I began to see a path that has put me right here. If you examine your life, you can see life changing episodes or decisions that have changed your life as well.
Myself, I was told I would be fired from being published by a newspapers new owner for including Jesus in my columns too many times . I didn’t like that after four years of being published every week (hundreds of columns) It seemed odd to be admonished for being a successful columnist. My readers that I met or knew were encouraged and often entertained by what I write. I assumed the new owner is not a fan of Jesus. I was not allowed to meet with him either. It would have been an interesting conversation.
I quit before I was fired, I was allowed to write a peaceful good by column. That newspapers editor said that he envied my faith. We are still friends. So many things happen in our lives that become path openings to more revealed beauty of the Lord. You know them when you look for them. The good and the bad times, the sorrow and rejoicing. He is with you, He is for you.
Jack gators grace notes 