Church Tech Tour - Affordable Multicam Broadcast Video Setup (Perfect for Livestream)

Summary

In 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

00:00

🎥 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.

05:01

📹 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.

10:02

🔌 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.

Keywords

💡Broadcast Setup

Broadcast setup refers to the technical arrangement of equipment and systems used to produce and distribute video content, especially in a live setting. In the video, the theme revolves around the church's complete broadcast setup, which includes video switchers, cameras, and other supporting gear to create a professional live stream for their services.

💡ATEM Studio HD Switchers

ATEM Studio HD Switchers are professional video switchers used to control the input and output of video signals from multiple sources. In the script, two ATEM switchers are mentioned: one for switching between eight cameras and another for adding lower thirds and graphics to the final program feed, which is crucial for the video production workflow of the church's broadcast.

💡Lower Thirds

Lower thirds are a graphical element commonly used in video production to display information at the bottom of the screen, such as names or titles of people being featured. The video describes how the second ATEM switcher is used to add these lower thirds to the program feed, enhancing the viewer's understanding of who is speaking or being shown on screen.

💡Camera Stations

Camera stations refer to the specific locations and setups of each camera used in the video production. The script walks through eight different camera stations, each with unique roles such as a safe wide shot, a roaming camera, and a drum cam, contributing to the overall dynamic and comprehensive coverage of the church's events.

💡Panasonic G Series

The Panasonic G Series refers to a line of cameras known for their versatility and cost-effectiveness. The video highlights the use of Panasonic G Series cameras for their reliability, flexibility, and the ability to adapt various lenses, which is essential for achieving different shots and perspectives in the church's broadcast.

💡Wireless HDMI

Wireless HDMI technology allows video signals to be transmitted without the need for physical cables. The script mentions the use of Teradek Ace 500 wireless HDMI units for the roaming camera, which provides the freedom to move around and capture dynamic shots without being restricted by cables, enhancing the overall production value.

💡Motorized Pan-Tilt Unit

A motorized pan-tilt unit is a device that allows a camera to move horizontally (pan) and vertically (tilt) in a controlled manner. The script describes how the Panasonic DVX-200 is mounted on such a unit, enabling the director to remotely adjust the camera's position for different shots, adding flexibility to the broadcast setup.

💡NDI

NDI is a protocol for transporting video and audio over a network, allowing for more flexible video production workflows. The script mentions the possibility of sending an NDI feed to an Apple TV 4K, which could be used for various purposes such as displaying content or integrating it into the live stream.

💡Cost-Effectiveness

Cost-effectiveness in the context of the video refers to the strategy of achieving the best results at the lowest cost. The video emphasizes the importance of building a broadcast setup that is both high-quality and affordable, with a total investment of around $16,000 over four years, showcasing how to create professional broadcasts on a budget.

💡Live Stream Broadcast

A live stream broadcast is the real-time transmission of video and audio content over the internet. The main theme of the video is to demonstrate how the church has set up its equipment to create an engaging and professional live stream broadcast of their services, making the viewing experience more dynamic and immersive for remote attendees.

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