Church Tech Tour - Affordable Multicam Broadcast Video Setup (Perfect for Livestream)
Summary
TLDRIn this informative video, Rylan Russell shares an in-depth look at the broadcast setup used at Central Baptist Church in Owasso, Oklahoma. With a focus on cost-effectiveness and creativity, he details the use of two ATEM Studio HD switchers, a variety of Panasonic G-series cameras, and wireless technology to achieve high-quality live streams. The video also covers camera placements, lens choices, and additional equipment, all aimed at enhancing viewer engagement without the need for a large team or budget.
Takeaways
- 🎥 The speaker, Rylan Russell, provides an in-depth walkthrough of his church's broadcast setup.
- 🏛 The church, Central Baptist Church in Owasso, Oklahoma, is a mid-sized congregation with around 350 average attendees.
- 🔄 Rylan emphasizes the strategic and frugal building of the broadcast system to suit their needs.
- 🎬 The video showcases two Blackmagic Design ATEM Studio HD switchers for broadcast and video distribution.
- 📹 Eight different camera setups are utilized, each with specific roles and configurations.
- 📷 Panasonic G series cameras are chosen for their cost-effectiveness, reliability, flexibility, and compatibility with various lenses.
- 🔭 Camera 1 is a safe wide shot using a GH4 with a 20mm f/1.7 lens, while Camera 2 is a traditional broadcast camera, the Panasonic DVX-200.
- 🤳 Camera 3 is a roaming camera with a wireless HDMI setup, adding creativity to the stream.
- 🔄 Camera 4 features a motorized wireless looping zoom module for dynamic shots.
- 🎵 Camera 5 focuses on the drums, utilizing an automated looping slider for movement.
- 🔗 The entire setup is interconnected with a combination of HDMI, SDI, and wireless technologies.
- 💰 The total cost of the setup over four years is approximately $16,000, with an estimated new setup costing around $20,000 to $21,000.
Q & A
Who is the presenter of the video?
-The presenter of the video is Rylan Russell.
What is the purpose of the video?
-The purpose of the video is to walk the viewers through the complete broadcast setup used at Rylan Russell's church.
Where is the church located?
-The church is located in Owasso, Oklahoma.
What is the average attendance of the church?
-The average attendance of the church is about 350 people.
How many video switchers does the church use for their broadcast?
-The church uses two ATEM Studio HD switchers for their broadcast and video distribution.
What is the role of the second ATEM switcher in the setup?
-The second ATEM switcher is used to add lower thirds onto the final program feed and acts as the graphics and video switcher.
What type of cameras does the church primarily use for their broadcast?
-The church primarily uses the Panasonic G series of cameras for their broadcast.
What are some benefits of using the Panasonic G series cameras mentioned in the video?
-The benefits of using the Panasonic G series cameras include cost-effectiveness, reliability, flexibility, and features like swivel screens, focus peaking, and in-body image stabilization (IBIS).
What is the purpose of the Teradek Ace 500 wireless HDMI unit in the setup?
-The Teradek Ace 500 wireless HDMI unit is used for the roaming camera, providing a reliable and low-latency wireless connection for capturing dynamic shots.
What is the role of the cable cam in the broadcast setup?
-The cable cam, running back and forth on a wire, adds dynamic motion to the broadcast by providing a unique perspective and is controlled via an Avaxis Atom 500 unit.
What is the approximate total cost of the entire setup, including all equipment and gear?
-The approximate total cost of the entire setup, including all equipment and gear, is around $16,000 spent over four years, or about $20,000 to $21,000 if buying only new gear.
Outlines
🎥 Church Broadcast Setup Introduction
Rylan Russell welcomes viewers to a special video detailing the complete broadcast setup used at Central Baptist Church in Owasso, Oklahoma. The church, with an average attendance of 350, has a mid-sized setup that Rylan has built to be both strategic and cost-effective. The video begins with a 30-second live footage capture to give viewers an idea of the visual style. The main focus of the video is to walk through the video switchers, with two ATEM Studio HD switchers being used—one for switching between eight cameras and another for adding lower thirds and graphics. Inputs to the second switcher include signals from ProPresenter 7, a computer feed, and an Apple TV 4K for potential AirPlay display or NDI feed. The setup is unconventional but made sense given the existing equipment. The video also mentions the use of a HyperDeck Mini for recording and a Mac Mini for streaming, with plans to integrate a Web Presenter HD in the future.
📹 Camera Selection and Setup Details
The script discusses the selection of cameras for the church's broadcast setup, highlighting the Panasonic G series for their cost-effectiveness, reliability, flexibility, and features like swivel screens and focus peaking. Rylan provides an overview of the eight camera stations, each with a unique role in capturing the service. Camera 1 offers a safe wide shot, Camera 2 uses a Panasonic DVX-200 with a servo lens and is mounted on a motorized pan-tilt unit for versatility. Camera 3 is a roaming camera with a wireless HDMI unit for crowd interaction. Camera 4 features a motorized wireless looping zoom module, and Camera 5 focuses on the drums with an automated looping slider. Camera 6 is a cable cam that moves back and forth on a track, providing dynamic shots. Camera 7 is manned and offers a side-stage perspective, while Camera 8 is a slider shot from the front row. The paragraph emphasizes the importance of camera flexibility and the creative impact of having multiple camera angles.
🔌 Technical Details and Cost Considerations
This paragraph delves into the technical aspects of the setup, including cabling, adapters, and monitors. SDI is used for stationary cameras with Belden 1694A cabling and Blackmagic HDMI to SDI converters. Decimator MD-HX boxes are mentioned for computer conversion. The director's setup includes three Scepter TV monitors for multi-view and program output. Communication between the director and camera operators is facilitated by Eartek Ultra lights. For graphics, pre-formatted lower thirds from ProPresenter 7 are sent via a DeckLink Duo box. The total cost of the setup over four years is approximately $16,000, with an estimate of $20,000 to $21,000 for new gear. The video concludes by emphasizing the importance of creativity in live streaming broadcasts and encourages viewers to find ways to add motion and energy without requiring a large camera operator team. Links to additional resources and reviews are promised in the video description.
Mindmap
Keywords
💡Broadcast Setup
💡ATEM Studio HD Switchers
💡Lower Thirds
💡Camera Stations
💡Panasonic G Series
💡Wireless HDMI
💡Motorized Pan-Tilt Unit
💡NDI
💡Cost-Effectiveness
💡Live Stream Broadcast
Highlights
Introduction to Rylan Russell's video on church broadcast setup.
Description of Central Baptist Church in Owasso, Oklahoma, and its average attendance size.
Rylan's approach to building a broadcast system that is both strategic and cost-effective.
Use of two ATEM Studio HD switchers for broadcast and video distribution.
Explanation of the role of the second ATEM in adding lower thirds and acting as a graphics and video switcher.
Inclusion of a variety of inputs such as ProPresenter, computer feeds, and Apple TV 4K for versatility.
Discussion on the choice of Panasonic G series cameras for cost, reliability, flexibility, and performance.
Details on the eight camera stations and their specific roles in the broadcast.
Use of a GH4 with a 20mm f1.7 lens for the safe wide shot on Camera 1.
Camera 2 setup with a Panasonic DVX-200 and a custom steel pole mount for a traditional broadcast feel.
Camera 3's role as a roaming camera with a Canon 70-200mm lens adapted for flexibility.
Utilization of a wireless HD video system for the roaming camera to add a dynamic element to the broadcast.
Camera 4's setup with a motorized wireless looping zoom module for creative shots.
Camera 5's unique position as the drum cam with an automated looping slider for dynamic angles.
Introduction of the cable cam system for Camera 6, providing a unique perspective.
Camera 7's manned side-stage perspective with a GH5 and 35-100mm lens for stability and flexibility.
Camera 8's slider shot from the front row for a tight shot with the projector as the background.
Discussion on the technical specifications of the cameras, such as resolution, color profile, exposure, and ISO settings.
Cabling, adapters, and monitoring setup using SDI with Belden 1694A cabling and various converters.
Communication system between the director and camera operators using Eartek Ultra Lights.
Cost breakdown of the entire setup, emphasizing the value and strategic investment over time.
Encouragement to get creative with live stream broadcasts and the importance of doing it for the right reasons.
Transcripts
[Music]
hey friends welcome back to the channel
my name
is rylan russell and this video is a big
one
it's been highly requested so today i'm
going to walk you through our complete
broadcast setup that we use at our
church let's go
[Music]
well this is our church central baptist
church in owasso oklahoma
we're a mid-sized church of about 350
people in average attendance
so we aren't a mega church but we aren't
tiny
and i've had to strategically and
frugally
build out a system that would work well
for us and this is where we are at today
so before i dive into each section
here's about 30 seconds of live captured
footage so you can see for yourself
if this look would be something you'd
want to go for
[Music]
is
[Music]
let's sing about what our god is done
[Music]
okay let's start with the video
switchers
we run two atem studio hd switchers for
our broadcast and video distribution
atem1 is being used to switch our eight
different cameras
and then this program feed goes into our
second atem
which then is used to add our lower
thirds onto the final program feed
this second atem acts as our graphics
and video switcher
its inputs include three sends from our
decline duo coming from propresenter
seven
those are the key the fill and a full
size
video fallback and we also have an input
on the stage where a presenter can plug
in
and send us a computer feed and we can
then put that on the projector
and the other input is an apple tv 4k
where we can take an airplay display
and show it or possibly even send an ndi
feed
into it so we use the aux output
of the atem to send to our projector
and we rarely do imag and what i've
built is really not
like the best for imag latency wise but
it's fine for the occasional thing
and we go out of that into our hyperdeck
mini
and we record and out of that
into our mac mini for our stream
and i've actually pre-ordered the web
presenter hd so that will take its place
soon so yeah our setup is a little
unconventional but
since we already had the first atem it
made sense just to add the second
instead of getting like a 2me or
whatever
so now let's move on to the fun stuff
the cameras and the lenses
[Music]
when deciding on cameras you've got some
really good options nowadays
some would say black magic cams are the
way to go others suggest sony mirrorless
and if you're going to go
all out you can step up to canon c200s
reds
ursas etc etc but seeing as how
one of those camera setups is more than
my entire annual budget
i landed on the panasonic g series of
cameras
so here are some of the main benefits of
them cost
reliability flexibility and i'm not
gonna dive too deep into those areas but
let me just say i think they give you
the most bang for your buck
they've never let me down no overheating
no glitch recordings and
they're super flexible with the vast
amount of lenses adapted lenses
the punch in lossless teleconverter and
run and gun friendly features like
swivel screens focus peaking
and ibis don't get a ptc cam
just don't so now i want to walk you
through
each of the eight camera stations that
we have and show you what's going on
with each of them
camera one is our safe wide shot it's
mounted right here on an arm that is
screwed onto the center pole
the camera is a gh4 and currently we
have a 20 millimeter
f 1.7 lens on it it runs via hdmi
under our booth back into the atem and
this camera
is always a fallback safe shot that our
director can always count on
camera 2 sits directly above it and it's
the panasonic dvx-200 our
only traditional style broadcast camera
but it's still in the panasonic family
and unlike most camcorder style cameras
it actually has a larger micro four
thirds sensor
so we fabricated our own steel pole
mount and that is bolted to the concrete
floor below that way the footprint of
this is much smaller than a traditional
tripod
and this camera has a servo lens built
into it
and we currently control it from the
director's position
via lanc and we like this unit because
it features a knob design to
set the zoom speed instead of a
traditional rocker style
lever we also have the camera mounted on
top of a best score
motorized pan tilt unit this allows our
director
to become an additional cameraman as he
can reposition the dvx-200
using the best core remote now the best
score is not smooth enough to do this
while
on the shot live but it's a cheap and
handy accessory
and this camera can go from super wide
to very telephoto
close enough to get a waist up shot
which is what we usually have it set at
it's located about 65 feet from the
stage
to give you an idea on what to expect in
your space at 167 millimeters or
365 millimeters if you're talking in a
full frame
terms camera three is our roaming camera
this camera is the one that adds the
most creativity to our stream
camera wise we use a gh4 with a canon
70-200
2.8 is-2 adapted
with a metabones speed booster and this
actually
makes the lens an f2 and the key piece
to our roaming cam
is the teradek ace 500 wireless hdmi
unit
it is super reliable and extremely low
latency
and i've actually done a full review of
our wireless units in another video
that i will link to in the description
but having a roaming camera gives us the
ability to shoot
through the crowd and add shots that
make the viewer feel
more a part of the experience and less
like a fly on the wall
and we chose to go with this canon
70-200
because it's got extra reach and hard
stops when focusing
most of the panasonic glass is focused
by wire which makes doing focus pools
like a nightmare and a roman camera
shoots on a monopod during worship and
then after worship comes back to the
booth and mounts the camera on our fluid
head
and runs a head to toe follow cam for
the sermon
yes we trust the wireless that much all
right
on to camera 4. camera 4
is positioned in the corner of our
worship center and it is a panasonic g7
with a panasonic 35 to 100 f 2.8
lens we have it mounted on a speaker
stand with
a camera adapter and the party trick of
this setup involves our motorized
wireless looping zoom module which is
the pd movie live air 2.
it is battery powered and the zoom is
programmed via an old ipod touch
that just stays mounted near the camera
since
this lens is not a par focal lens we
have to stop down to around f4
or so to keep it from going out of focus
during the zoom
if you're going to try and do this it's
important to note the spacing
of the zoom range on your lens as not
all zooms are
linear meaning it will zoom through the
range a little quicker at times than
others it's worked pretty well for us
though so
let's head on over to camera 5. camera 5
is our drum cam it is a panasonic g7
with a tokina 11 to 16 ef mount adapted
with the cheaper viltrx adapter
it is on our gvm 48 inch automated
looping slider
and my favorite thing about this slider
is the built-in panning bar
so it parallaxes around the center point
and it's best with any slider to either
have something in the foreground like
drums
to exaggerate the movement or to use a
tighter focal length
which i'll show you an example of later
on
if using it from like the back of the
audience be sure to position it low
enough where people's heads
are in the foreground and that will
exaggerate the movement even more
and i like the 48 inch track because it
gives you a longer usable shot to switch
to before it ramps down
and switches directions okay on to
camera six
cable six is our cable cam and it
runs back and forth on this wall on that
wire that you see right there
and i've done a complete walk through on
this setup that i will link to in the
description but
it is essentially a gimbal with a gh4
and a 14 millimeter lens
attached to a viral light cable cam
setup and that loops back and forth and
it's sending
video to our atem via avaxis atom
500 unit camera 7
is our other manned camera and it is
used on our side stage
so you're seeing the perspective that
the cameraman usually would see
and we use a gh5 this is a gh4 it's just
standing in because we're using the gh5
but it does
have this 35 to 100 2.8 which we usually
use
and our guys just hand hold it with its
combined
ibis and the body and lens stabilization
working together it works really well
the 35 to 100
is like such a great all-around lens for
the micro four thirds system
and finally camera eight is our other
slider shot
this one sits on our front row on top of
this custom box that we built
and currently we have another g7 with a
42.5
1.7 lens rigged to it this 85 millimeter
full frame equivalent lens
gives us a tight shot on myself where
the projector
fills the screen fills the background
and it makes for a nice shot
so there are all the cameras we've been
really pleased with them
spec wise we're running them at 1080p
2997
all set to the natural color profile and
in our lighting conditions
they're exposed correctly at around 2.8
with the iso at 640
shutter at 60 and of course that'll
differ for each
church but hopefully that gives you an
idea
all right so let's talk about the extras
cabling adapters
monitors our stationary cameras
throughout the room all have sdi ran to
them
and we use belden 1694a cabling
and for converters i've used a bunch but
have been happy with the blackmagic hdmi
to sdi units
we do have a couple of decimator mdhx
boxes for conversion for computers as
well
those are great and don't forget about
this
when you're figuring out the costs it's
really well worth it to get
good cable for monitoring our directors
have three cheap scepter tv monitors
from walmart
two of them are multi-views and the
center is the program
and we aren't doing any live shading or
anything as our lighting conditions
really don't change out of our control
so color exposure that can all be preset
for the most part
for communicating between our director
and our camera operators
we use a system called the eartek ultra
lights
and i recently did a full review on
these budget friendly units so check
that out in the description if you like
to achieve our lower thirds with the key
we're sending
pre-formatted graphics from our
propresenter 7 machine
via the decklink duo box so our director
simply turns the downstream keyer on
or off as needed
all right so let's talk about the cost
how much does something like this cost
after tallying everything up i'm talking
everything sdi converters
the cabling monitors camera supports com
systems
cameras lenses wireless video atem
switchers
everything i believe we've spent about
sixteen thousand dollars over the course
of four years
and if you want to replicate this by
buying only new gear you're looking at
around
20 to 21 000 probably so if that sounds
like a lot to you
just remember that one canon c200
with a servo 70 to 200 lens that will
run you about ten thousand dollars
for one camera and as of now we can't
afford that and i don't think
many of us can alright so if you found
this video helpful
would you do me a huge favor just like
this video and subscribe to the channel
i really hope like seeing our setup
inspires you to get creative and make
your live stream broadcast the best that
it can be
i've tried to find ways to add motion
add energy to ours without needing a
full eight camera operator team and it's
worked pretty well
so remember i've got those individual
videos that i'll link to below
how we do our broadcast audio mix our
cable cam setup our wireless
setups even the com system that we use
those will be in the description
so most importantly remember we can do a
lot of great things
let's do it all for the right reasons
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