Media Ministry

Training Guide
 Media Ministry General Overview
[Media Ministry Guidelines & Other Important Stuff]

The members of the Media Ministry Team include the audio ministry, the lighting ministry, the
product ministry, the production ministry, and the projection ministry.

We are drawn together because God has created us to serve others through our interest, gifts
and understanding of technical gear (also known as tools or toys) and live television production.
This is not a glamorous task, but far from it. This is a "behind the scenes" ministry, which gets
noticed only when something goes wrong. Because of that, having a servant's heart is one of
most important keys to being successful in this ministry. Technical knowledge can easily be
taught. But a working model of the willing heart is the result of your yielding to God's desire for
you to serve the needs of others.

You guys are important. Not only is your service in the technical ministries a tremendous
blessing to those on the worship team, but you are a vital link to the success of each and every
worship service at Trinity Church International. We literally cannot pull off this complex of a
service without you. Remember that we ALL are a team. A team requires each person to do
their part, but it also requires us to all work together to get all the work done and help each
other!

Crew Descriptions
This is a list of positions you may be trained on or hear us referring to. These descriptions are
simple, general and ever evolving, meaning that they can and will change as the ministry grows.
Please note that your service in the Media Ministry may include one or more of these positions.

Media Assistant / Production Manager

The Media Assistant & Production Manager are Staff positions. These individuals are
responsible for the Television Production, Media Ministry Volunteers & Day to Day operation of
the Media Ministry. They report directly to the Director of Media and will be the primary
leadership you will be working with. As you will see in the Media Ministry Chart, you will report
to these individuals.

Front of House Engineer / Technician

The Front of House (FOH) Engineer is in charge of the house audio team for the service, and
has the responsibility of making final technical decisions regarding microphone choice and
placement, monitor speaker placement, and so on. His priority during the service is to mix the
sound for the congregation in addition to mixing sound for the stage monitor system as well.
The FOH Engineer is responsible for working with the Technical Director and Worship Pastor to
plan for the audio needs of services and production, oversee their setup, maintenance and
operation.

Audio for Video Engineer

The Audio for Video (A4V) Engineer is responsible for the audio mix for the television,
videotape, CD, tape and closed circuit audience. They have a mixer in the audio for video
booth with inputs from all the microphones and are responsible for creating a balanced sound
for television. The A4V Techs are also responsible for any audio from the playback VTRs in the
Video Control Room, as well as cuing the FOH audio techs when channels are in use and what
channels of playback will be used. Finally, the audio recordings on CD & Audio Cassette also
fall under the responsibility of the A4V Engineer..

Technical Assistant
The Technical Assistant is the Technical Directors Right Hand, especially for larger productions.
The technical assistant will be the runner, extra eyes and ears and hands for the Technical
Director and complete task as assigned. Must stick close to the Technical Director and be
watching for opportunities to help.

Projection Graphics Operator

The Projection Graphics Operator controls the presentation screens during the service including
advancing slides, opening new documents and making sure the mouse arrow or computer
desktop never show up on screen.

The Projectionist is responsible for all graphics images that appear on the screens. This
includes PowerPoint, Song Show Plus, IMAG, and anything else that will appear on the
screens. The projectionist must be aware of the order of the service and at the same time be
ready to make changes at a moments notice. Pay attention to the Worship Pastor or Pastor for
cues and requests. Most importantly, try to anticipate the needs of the congregation and have
the songs lyrics displayed just before they need them.

IMAG Director
The Image Magnification (IMAG) Director controls the switcher for projection, choosing which
camera shots, lyrics, videos and other images display on the main screens. The IMAG Director
often needs to coordinate camera shots with the camera operators, television director and the
projection operator. The IMAG Director is responsible for working with the Pastor Staff and the
Technical Director in planning for the IMAG needs of a service (including projection) and
overseeing their setup and operation.

The IMAG Director often plays videotapes, DVDs and Video Announcements, which must be
coordinated with the sound and television crew.

Lighting Director
The Lighting Director is in charge of the lighting crew. The Light Director usually runs the main
light control board. The Light Director is responsible for working with the Technical Director and
planning the lighting needs and configuration for any production. The Light Director oversees
the setup, maintenance and testing of the light system.

Lighting plays an important role in each service; therefore make every attempt to make lighting
changes as discreetly as possible (while someone is praying, for example). For musicals and
dramas, the lighting will need to be changed on cue with the musical performance.

Spot Light Operators

Spot Light operators control the follow spotlights for special music and drama presentations.
They follow cues from the lighting director or the Worship Service Leader, and use the different
controls and tools on the lights to achieve the desired effects.

Service Leader
The Service Leader is responsible for leading all aspects of the Worship Service from the
technical point of view. This role may be played by a staff person such as the Production
Manager or Media Assistant; however; a volunteer with advanced training could also have this
position. Ultimately, the Service Leader is accountable to everything that occurs during the
service as defined in the Service Leader Responsibilities Manual.

Television Director
The Television Director produces the television or video tape recording of the service. This
involves calling camera shots, switching live cameras, directing the A4V, and working with the
lighting tech on needed lighting. The TV director may do some or all of the following TV jobs:
Directing, Shading, Switching, Graphics.
Shader
The Shader works with the TV director and controls the cameras remotely, keeping lighting
levels, colors, and video signal within appropriate limits.

Switcher
The switcher takes cues from the television director and switches between cameras and
graphics as needed. They may also need to control the recording and playback VTR decks.

Camera Operator
The camera operators compose the images that are used for videotaping and IMAG. Using the
camera as their tool, and following their Director, they use a steady hand to guide the camera to
the picture desired. A steady hand and the ability to react quickly and accurately are required.

Camera Assistant
The Camera Assistant (also known as a Camera GRIP) helps the camera operator as they
move the cameras around. They help move the cords, watch behind the camera operator as
they move and may even help steady the camera operator while they are taking a shot.

Product Ministry
The Product Ministry duplicates and distributes audiotapes, videotapes and CDs from service
and special events. Audiotapes and CDs are produced during each service and are available
for sale after the service at the Media Table. Videotapes are recorded during the service with a
limited quantity available for sale after the service. Audiotapes, CDs and Videotapes that are
not available may be ordered and the orders filled during the week. A catalog of available tapes
will be made available at the Media Table.

Tape Logger
The tape logger documents on paper what is happening when during the service so that
segments of videotape can be found quickly. This is referenced to the “TIME CODE” on the
television video decks and is stored in a logbook.

Other non-technical jobs

• Setup / Strike Crew – help set up the stage, turn on equipment and take down and turn
off equipment at the end of the service.
• Supplies Coordinator – Weekly checks on the status of the consumables and records
the results so that the proper supplies can be ordered.
• Tape Librarian – Helps maintain the tape library, the computer records and what tapes
need to be recycled of disposed of.

Internship
Any youth in Jr. or Sr. high can participate in our technical internship program. Activities will
vary depending on areas of training and proven levels of commitment as well as skills. Youth
who prove themselves faithful in the ministry are an important part of the technical team and can
provide many skills and creative help. Interns also help with the technical aspect of the youth
meetings. Examples of areas of service include Cameras, Sound, Lights, IMAG and Media.

Technical Director
The team director or Technical Director (TD) is responsible for coordinating all technical ministry
activities to best meet the needs of the Church with excellence. The TD works as the right hand
to the Television Director and may also assume that role as well.
Who's On First?
During a service you will find a great many people working on or around the stage area. Each of
them is responsible for various tasks spread over several individual ministries that make up the
Worship Service Team. Things may seem confusing to you at first. Be reassured that you're not
crazy, sometimes things are confusing. For example, you may start to wonder from whom you
should take direction. The Director of Media is a staff position and provides oversight to the
Media Ministry. Directly under the Director of Media are the Production Manager & Media
Assistants. As a volunteer, you will report to one of these two people. As far as taking direction,
that role may change slightly from one service to another. Please refer to the Media Ministry
Chart at the back of this book for the full structure of the Media Ministry, including the Video
Production Chain of Command.

Mutual Respect
The Media Team goes to great lengths to ensure that the technical needs of the Pastor, guest
speakers, musicians, vocalists, and congregation are met. We are working in a service ministry.
So you should remember that we are all equal in God's eyes. Even though the musicians and
especially the lead vocalists get the majority of attention from our congregation, the task you
perform is equally important to us and to God. It is relatively easy for a competitive attitude to
develop feelings of superiority, that "we've got our act together, why don't you?" can easily arise.
We should always be on guard to realize that those feelings come from the pit of Hell. Instead, if
we hear or see a brother or sister out on stage having problems with their performance,
forgetting words or having problems hitting the notes, our first response should be one of prayer
to lift their needs to Christ. In the same manner, if a camera operator misses their shot, the
director cuts to late or too soon or the FOH engineer has a blast of feedback; we should
encourage them and move past it as quickly as we can. While it is of utmost importance that we
strive for excellence, let's spend 10% of our effort on technical excellence, and 90% in a sincere
effort of lifting up, stirring up and building up our fellow team members.

Service Call Times

Service call times are designed to allow the maximum time to conduct all pre-service duties in a
productive manner and allot some padding in the event that you run into some problems.
Service call times should be taken seriously, they are not suggested times, they are the times
that you are expected to report to duty.

Service Service Call Time Service Start Time

Wednesday Evening 6 pm 7 pm
Saturday Evening 5 pm 6 pm
Sunday 1st Service 8 am 9 am
Sunday 2nd Service 10:30 am 11 am

Procedures:
Please see the full version of the policies and procedures manual for specific job related duties
and operating procedures for many of the task we perform.
Dress Code
The dress code is in place as to not distract from the service and to help the Media Ministry
become invisible. The congregation should be in Worship, not wondering why the camera
operator has a bright yellow shirt on. If you are not dressed appropriately, you may be denied
your opportunity to serve. This policy does not apply to Service Leaders, who should follow the
Dress Code in the Service Leader Responsibilities Document. Here are the guidelines:

Service Dress Code

Director Blacks
Shader Blacks
Projection Operator Blacks
A4V Engineer Blacks
Camera Operator Blacks
Camera Assist. Blacks
FOH Engineer Blacks or Business Wear
Product Table Blacks or Business Wear

Blacks: This consists of black collared shirt with black slacks, shoes and socks.

Business Wear: “Your Sunday Best”.

Please keep in mind that jeans, including black jeans, are not acceptable.

Church Attendance
We assume that your reason for serving in the Media Ministry at our church is one of being
committed to the ministry and goals of the Church, and that you want to serve God in an area
that He has drawn you to and in which He has gifted you. It's easy to be attracted by the
flashing lights or the thought of being "in TV." More than one person has been drafted into the
technical ministry of other churches because they made the simple mistake of standing too
close to the sound booth one day. We would hope that that is not the case here, and that your
time spent with this ministry has confirmed your choice that this is where God would have you
serve.

Prior experience in sound reinforcement or other technical ministries is helpful but not required.
We encourage you to learn more about the craft so that your service in this ministry would
become more enjoyable as time passes. We will periodically hold training sessions that we will
ask you to attend.

During the times that you are not serving the Ministry, we do require that you attend church
services. The Media Ministry is not a substitute for sitting in church or a replacement for the
Word. You must have your time in service with God to keep your spirit healthy. In scheduling,
we will do our best to ensure you have ample time to grow your relationship with Christ.

Schedules
All scheduling will be done through Planningcenteronline.com
Schedule Changes
We realize that there will be times when a change in your personal schedule will require your
arriving late for a rehearsal, or even preempt your being able to work that service at all. We
have a simple system in place that ensures that our production needs will still be met. If this
condition arises, you are responsible for locating and scheduling a trained replacement to work
for you. A list of phone numbers is online at Plannincenteronline.org. A simple solution is for you
to offer to "trade" schedules with them for a future service.

Timeliness
A friend of mine once shared his philosophy about arriving on time for anything "In order to be
on time, you have to arrive early." Duh, yeah! But it's true that we live in a busy world, and we all
tend to schedule our arrival times to the nanosecond. Please give unexpected delays the benefit
of the doubt and increase your margin of error at least into the millisecond range. You should be
in your position no later than five minutes before the start of each service. A more comfortable
margin would be fifteen minutes prior to the start of each service.

Being Late for Service

Please call us if you expect to be late for rehearsal. Depending on how late you will be, we may
be able to cover for you until you arrive.

Emergency Schedule Changes

If time allows, please still try to locate and schedule a trained replacement for you. Please make
every effort to contact a person rather than a machine, and have that person spread the word
for you. We suggest that you try to reach the Media Assistant first, Production Manager, or other
appropriate person. If you only have time to leave us a message, please try to leave messages
at multiple locations to ensure that we will find out in time to give your replacement adequate
time to change their schedule around. This is very IMPORTANT! Because of our own changing
schedules, it is very possible that we wouldn't get your message until it's too late.

Media Vision

To pursue God's best through technical excellence in everything we do. Strive to honor Him
through a "whatever it takes" work ethic. (I Cor. 9:24-27)

Recognize that God isn't looking for perfection, but excellence. Realize that we can minister to
Him and others through a mutual desire to seek God's best.

Find ways to build and lift up your fellow team members. Bind intimidation (2 Tim 1:6-7). Find
ways that you can minister to them and stir up their God-given talents. Think twice before you
speak. Be available. Don't overemphasize skill, but rather total dependence on the Lord.

Focus on the reality that what we do is not about a TV show, a Pastor, or even a Church; but
much more importantly, our ministry is about reaching the lost and building the Kingdom of
Christ Jesus in our community. Our craft is simply a vessel to carry the Word of God to those
who may not enter a Church or otherwise would not be exposed to the opportunity to know
Jesus.
That we would continue to build and strengthen a ministry of people who care for and pray for
one another. That we would go out of our way to spend time getting to know one another. That
we would actually follow through with our promise of "I'll pray for you." That we wouldn't be
afraid to be vulnerable in expressing our prayer needs in confidence. That we would help each
other grow in an understanding that our significance on this planet is found only in God, not in
ourselves.

CAMERA SHOTS AND PROPER FRAMING

FRAMING

Framing technique is very subjective. What one person finds dramatic, another may find
pointless. What's interesting to one person may be confusing to another. What we're looking at
here are a few accepted industry guidelines which you should use as rules of thumb.
Note: The rules of framing video images are essentially the same as those for still photography.

Shot: All video is made up of shots. A shot is basically from when you press record, to
when you stop recording. Like the individual photos which make up an album, the
shots get put together to make a video.

Composition: Whenever you point your camera, you are "framing" a picture.
Composition refers to the layout of everything within the frame: what your subject
is, where it is in the frame, which way it's facing/looking, the background, the
foreground, lighting, etc. Shots are all about composition. Rather than
pointing the camera at the subject, you need to compose an image.

Transition: Shots are linked (edited) in a sequence to tell a larger story. The way in which
any two shots are joined together is called the transition. Usually this will be a
"cut", in which one shot changes instantly to the next. A variation would be the
"mix" or "dissolve", where one shot gradually fades into the next. Next, we get
into "wipes" and "digital effects", where shots whiz about or do interesting
changes while leading into the next. You can also think of a moving shot as being
a transition from one shot to a new one (eg. a pan from one person to another).
The transition is important in camera work, and you need to think about
how every shot will fit in with the ones before and after it.

BASIC SHOT TYPES

There is a general convention in the video industry which assigns names to the most common
types of shots. The names and their exact meanings may vary, but the following examples give
a rough guide to the standard descriptions. The point isn't knowing the names of the shot types
(although it's very useful), as much as understanding their purposes.
Basic shots are referred to in terms relative to the subject. For example, a "close up" has to be a
close up of something. A close up of a person could also be described as a wide shot of a face,
or a very wide shot of a nose.

SOME RULES OF FRAMING

• Look for horizontal and vertical lines in the frame (eg. the horizon, poles, etc). Make sure
the horizontals are level, and the verticals are straight up and down (unless of course
you're purposely going for a tilted effect).

• The "rule of thirds". This rule divides the frame into nine sections, as in the first frame
below. Points (or lines) of interest should occur at 1/3 or 2/3 of the way up (or across) the
 frame, rather than in the center.

VWS (Very Wide Shot)

The VWS is much closer to the subject. She is (just) visible here, but the
emphasis is still on placing her in her environment. This also works as an
establishing shot.

Head to foot (Wide Shot)

In the WS, the subject takes up the full frame. Obviously the subject doesn't take
up the whole width and height of the frame, since this is as close as we can get
without losing any part of them. The small amount of room above and below the
subject can be thought of as safety room - you don't want to be cutting the top of
the head off. It would also look uncomfortable if her feet and head were exactly
at the top and bottom of frame.

Head to waist (Mid Shot)

The MS shows some part of the subject in more detail, while still showing
enough for the audience to feel as if they were looking at the whole subject. In
fact, this is an approximation of how you would see a person "in the flesh" if
you were having a casual conversation. You wouldn't be paying any attention to
their lower body, so that part of the picture is unnecessary.

Crowd Shot (Cutaway)

A cutaway is a shot that's usually of something other than the current action. It
could be a different subject, a CU of a different part of the subject (eg. a CU of
the subject's hands), or just about anything else. The CA is used as a "buffer"
between shots (to help the editing process), or to add interest/information.

Super Impose (Creative)

This shot involves both cameras strategically placing the subject in different
parts of the frame and the director cross dissolving between the two. Done well,
this camera shot could be vital addition to our creativity.

HEADROOM AND LEADING ROOM

“Headroom", "looking room", and "leading room". These terms refer to the amount of room in
the frame which is strategically left empty. The shot of the baby crawling has some leading
room for him to crawl into, and the shot of his mother has some looking room for her to look
into. Without this empty space, the framing will look uncomfortable.
Headroom is the amount of space between the top of the subject's head and the top of the
frame. A common mistake in amateur video is to have far too much headroom, which
doesn't look good and wastes frame space. In any "person shot" tighter than a MS, there
should be very little headroom.

• Everything in your frame is important, not just the subject. What does the
background look like? What's the lighting like? Is there anything in the frame which is
going to be distracting, or disrupt the continuity of the video? Pay attention to the edges
of your frame. Avoid having half objects in frame, especially people (showing half of
someone's face is very unflattering). Also try not to cut people of at the joints - the
bottom of the frame can cut across a person's stomach, but not their knees. It just
doesn't look right.
Once you're comfortable with the do's and don'ts, you can become more creative. Look for
interesting and unusual shots. Most of your shots will probably be quite "straight"; that is, normal
shots from approximate adult eye-level. Try mixing in a few variations. Different angles and
different camera positions can make all the difference. Watch TV and movies, and notice the
shots which stand out. There's a reason why they stand out - it's all about camera positioning
and frame composition. Experiment all the time.

CAMERA OPERATOR TECHNIQUES

Using the Video Camera

Think of the video camera as your paints and paintbrush for the video that you are about to
create. Understanding how to use the camera will make your video project easier and more
enjoyable.

There's an important characteristic of zoom lenses that you should be aware of: The
further you zoom in, the more difficult it is to keep the picture steady. At very long zooms,
a tripod is essential. If you're having trouble keeping your shot steady, it may be possible to
zoom out and move yourself closer to the subject. This way you'll have essentially the same
framing, but much steadier.

Iris: This is an adjustable opening (aperture), which controls the amount of light coming through
the lens (ie. the "exposure"). The video camera iris works in basically the same way as a still
camera iris -- as you open the iris, more light comes in and the picture appears brighter. The
difference is that with video cameras, the picture in the viewfinder changes brightness as the iris
is adjusted

Focus: Allows camera to focus on the subject. In the studio

configuration, focus is controlled on the left hand grip.
Rotating the focus clock wise (right) will move the focus
toward the camera. Rotating the focus counter-clockwise
will move the focus away from the camera.

The most common manual focus mechanism is a

ring at the front of the lens housing. To obtain the best
focus, zoom in as close as you can on the subject you
wish to focus on, adjust the ring until the focus is
sharp, then zoom out to the required framing.
Basic Camera Operations: Movement

Zoom (push or pull):

Move the camera closer toward or farther away from your subject. When a shot
zooms in closer to the subject, it is said to be getting "tighter". As the shot zooms
out, it is getting "looser".

Pan: Rotate the camera horizontally from side-to-side.

Tilt: Rotate the camera up and down.
Dolly: Move the camera forward or backward.
Truck: Move the camera to the left or to the right.
Most camera moves are a combination of these basic moves. For example, when you're
zooming in, unless your subject is in the exact center of frame, you'll have
to pan and/or tilt at the same time to end up where you want to be.
DIRECTOR BASICS

As the director you are ultimately responsible for everything that gets printed to tape. Lighting,
shot composition, audio, everything. Below are some basic rules to follow.

Rhythm: Once shooting has begun, the most important element of directing is rhythm. As
a
director you are painting a picture or telling a story. The rhythm of that story is crucial.
Fast music or intense preaching call for a similar style of directing. Camera moves
should also follow this rhythm. As the director, your job is to find the rhythm and

direct your crew accordingly.

 Transition shots at appropriate times

 Listen to phrases and pauses
 Follow the thought pattern of the message

Transitions: One of the most common mistakes in Christian television is the dissolve.
Dissolves should be used sparingly. Slow music and ministry times are good times to use
dissolves.
Dissolves are also most effective when used in conjunction with camera movement (slow
zooms, etc.). Cuts should be made on pauses in the action.
* Keep it simple. Remember your job is to be transparent and help convey the
message, not distract from it.

Taking Shots:Here’s a rule to live and die by. If the shot isn’t right, don’t take it. Stay on the
shot you have. Every shot should be framed properly, in focus and have good composition.
Above all, the shot should help convey the message, paint the picture and tell the story.

Thinking Ahead: As you are directing, keep in mind that this tape will probably get edited
for broadcast eventually. Listen for appropriate times when a graphic would be inserted for
church location, for example, then cut to a wide shot to show the church. If the pastor is reading
from the Bible, cut to a person following along in their own bible.

CAMERA EXCERCISES

 Basic moves
 Slow push/pull
  Follow
 Follow with push/pull
 Follow with push/pull/focus (Rack Focus)
CONCLUSION

The only way to improve is to constantly review your work. You need to watch your work, every
time. When the show is on the air, watch it. Meet regularly as a group to critique one another.
The amount of effort put into your craft will directly effect how it looks, sounds and ultimately
impacts the audience.