When's the last time we thought about our leadership style?
If you're like me, you find yourself sometimes regretting how you handle certain situations with your crew and wishing there were ways of preventing that kind of response.
This will not be a post that sees me telling you how to be a good leader-this is more a journey of discovery that I hope you will participate in towards what makes a good leader-so please jump in with comments!
In my experience, a good leader has patience in spades. I know that my patience has grown in the last few years, but that I still need growth in this area. Patience to handle not just the weekly stresses of leading a ministry, but also with deal with the vagaries of a volunteer crew. People don't show up when they are scheduled, don't remember (or seem to care) about the smooth camera moves and all the training they've been given. The list goes on. I think it's important to remember, however, that we are all brothers and sisters in the family of God and that we are instructed to love one another. That is a continual help to me, though it's hard to keep that in mind when you're in the heat of a situation.
A good leader should also have a good measure of when to use both strength and gentleness. Taking a stand for what is needed against forces that would disrupt the ministry would be a good example of a time when strength is needed. Listening to a crew member talk out a rough patch of their life would be a time for gentleness. To me, it's extremely important to create a family atmosphere in my ministry. This helps to blunt a good portion of the stress that exists inside the ministry while allowing your crew to grow together as a unit, providing cohesiveness. Now I'm not saying that our ministry has reached this ideal, but it's a good goal to shoot for.
Courage is important-courage to take a stand, courage to make decisions in the face of not always having all the information. Courage to admit you're wrong and own up to your mistakes, courage to challenge the traditional paradigms...ok, that last one may not be necessary, but the point still stands. A good leader should also be a strong leader-for me, it's hard to look up and respect someone that lets people walk over them and is seemingly incapable of taking a stand for what they believe in.
Those are some things I look for in a leader-how about you?
Monday, November 30, 2009
Tuesday, November 17, 2009
Passion and Ministry
I am very serious about media ministry-it's exactly that, a ministry. And if you don't have a passion for doing it, then why ARE you doing it? Do you feel obligated? Were you guilted into serving and this is where you found yourself?
You see, for me, media is an area where there is need for HUGE improvement in churches, yet people act like it's not important. Yet, can you imagine if the sound system didn't work at all? How many people would be blessed? What about lighting? Who would be able to see and connect with the speaker, the musicians, etc.? Video expands the reach of the church, and with the accessibility of the Internet, the potential audience that is open to the church is worldwide!
This is why it's so important that we strive to be the best at what we choose to do in the church. Maybe that's asking a lot, but when it comes to spreading the Gospel, is it too much to ask for our best?
Now I'm not saying we need to go and spend $500,000 on new audio/video/lighting systems-but what I am saying is that we need to take our A/V/L seriously and learn how to use it to the best of our ability. Maybe you don't have the best sound system-what are some ways you could improve it without spending an arm and a leg? Don't know? Seek out the answers-don't just sit on your hands and accept that what you have is the best you can afford-that's putting God in a box, my friend!
We need to get past this idea that we, as churches, have ceilings we cannot grow past. It might take a little longer to raise the funds, but there are plenty of vendors who are willing to come in and demo equipment, and plenty of opportunities around to learn how to creatively fundraise. The point is that we as media ministers need to make sure we are providing the absolute best service that we can in our respective areas because a message can't reach the heart if no one can hear, see, or experience that message.
This brings me to another point: media ministry is evangelism and should be funded as such. I would dare say that a dollar given towards a video ministry that utilizes the Internet effectively will be more efficiently spent than on traditional methods of evangelism. Maybe that's putting my neck out there a bit, and yes, I know I'm biased, but let's break this down.
Traditional evangelism methods include canvassing a neighborhood (door-to-door, handing out tracts, offering Bible studies, etc.). This method, while it does see results, is out-dated and doesn't see a great deal of results. Or maybe you're mailing postcards to advertise an upcoming event. This is a very expensive proposition and unless you do it consistently, people will just throw it away (or recycle, if you're here in the Northwest).
Now, take a video ministry that puts the message out onto the Internet every week. They post the video onto their own website, alongside archived messages, on Vimeo, TruthCasting and other popular video hosting sites (YouTube limits your videos to 10 minutes) where people will randomly come across their content, create an updated RSS feed for iTunes, send out Tweets using Twitter, maybe email the membership that the message is online, who in turn email their friends and families. This might take a little extra time, and it will take some time and effort for the online community to notice, but this is why consistency is so important. The local church congregation must get involved in sharing this content within their spheres of influence. This will help spread the message. And what that media ministry has effectively done is put the message out in the open where anyone can find it. And they have done it in a non-invasive, non-threatening way.
You see, traditional evangelism and advertising methodologies rely on interrupting people's lives and forcing them to make a decision and deal with your message on YOUR time, not THEIR time. And when this happens, people have a natural tendency to resist, because it interrupts their natural schedule. Even email and banner ad campaigns force this decision to a point. Whereas when they stumble onto your video, podcast, MP3, or website, they are usually in search and/or need of that particular message and this allows an open door for the Holy Spirit to work. Remember, it's not we who save, but we who point the way to the One who does.
Thoughts, questions, comments?
You see, for me, media is an area where there is need for HUGE improvement in churches, yet people act like it's not important. Yet, can you imagine if the sound system didn't work at all? How many people would be blessed? What about lighting? Who would be able to see and connect with the speaker, the musicians, etc.? Video expands the reach of the church, and with the accessibility of the Internet, the potential audience that is open to the church is worldwide!
This is why it's so important that we strive to be the best at what we choose to do in the church. Maybe that's asking a lot, but when it comes to spreading the Gospel, is it too much to ask for our best?
Now I'm not saying we need to go and spend $500,000 on new audio/video/lighting systems-but what I am saying is that we need to take our A/V/L seriously and learn how to use it to the best of our ability. Maybe you don't have the best sound system-what are some ways you could improve it without spending an arm and a leg? Don't know? Seek out the answers-don't just sit on your hands and accept that what you have is the best you can afford-that's putting God in a box, my friend!
We need to get past this idea that we, as churches, have ceilings we cannot grow past. It might take a little longer to raise the funds, but there are plenty of vendors who are willing to come in and demo equipment, and plenty of opportunities around to learn how to creatively fundraise. The point is that we as media ministers need to make sure we are providing the absolute best service that we can in our respective areas because a message can't reach the heart if no one can hear, see, or experience that message.
This brings me to another point: media ministry is evangelism and should be funded as such. I would dare say that a dollar given towards a video ministry that utilizes the Internet effectively will be more efficiently spent than on traditional methods of evangelism. Maybe that's putting my neck out there a bit, and yes, I know I'm biased, but let's break this down.
Traditional evangelism methods include canvassing a neighborhood (door-to-door, handing out tracts, offering Bible studies, etc.). This method, while it does see results, is out-dated and doesn't see a great deal of results. Or maybe you're mailing postcards to advertise an upcoming event. This is a very expensive proposition and unless you do it consistently, people will just throw it away (or recycle, if you're here in the Northwest).
Now, take a video ministry that puts the message out onto the Internet every week. They post the video onto their own website, alongside archived messages, on Vimeo, TruthCasting and other popular video hosting sites (YouTube limits your videos to 10 minutes) where people will randomly come across their content, create an updated RSS feed for iTunes, send out Tweets using Twitter, maybe email the membership that the message is online, who in turn email their friends and families. This might take a little extra time, and it will take some time and effort for the online community to notice, but this is why consistency is so important. The local church congregation must get involved in sharing this content within their spheres of influence. This will help spread the message. And what that media ministry has effectively done is put the message out in the open where anyone can find it. And they have done it in a non-invasive, non-threatening way.
You see, traditional evangelism and advertising methodologies rely on interrupting people's lives and forcing them to make a decision and deal with your message on YOUR time, not THEIR time. And when this happens, people have a natural tendency to resist, because it interrupts their natural schedule. Even email and banner ad campaigns force this decision to a point. Whereas when they stumble onto your video, podcast, MP3, or website, they are usually in search and/or need of that particular message and this allows an open door for the Holy Spirit to work. Remember, it's not we who save, but we who point the way to the One who does.
Thoughts, questions, comments?
Audio Mixing
One of the hardest things to teach a new sound operator is how to mix. It requires the development of an "ear" for what to change, when to change it, and what levels are appropriate. The best advice I usually give is to listen to the radio, CDs, and anywhere professional level mixing is done. This will go a long way in understanding what goes into a mix, but that will only do so much.
There are so many small nuances when it comes to sound, it's hard to cover them all. Developing an ear is more than just listening for certain instruments and voices, but delving deeper into the actual frequencies. For instance, I do some mixing at a small church in Vancouver, and one of the speakers has a vocal frequency range that just wreaks havoc on us mixers. For whatever reason, his voice introduces frequences (or freq's) into the system that cause feedback at much lower levels than anyone else. For months we tried our best to change EQ (equalization) settings to dial out those freqs, but to no avail. We finally discovered that all the changes we were making on our master system EQ were to the wrong side (Left instead of Right). Once we began to change the freqs in the Right side of the system EQ, we were able to finally master his voice and crank the volume to where it needed to be.
But we never would have been able to do that if we didn't have an ear for which frequencies should be addressed first. You see, a lot of church sound operators never took the time (or had the training) to dig into what they are doing. They know the basics of how to turn the system on, how to put the faders up and down, and how to mute. A bit more advanced operators will understand how to use EQ and how to route channels to the Auxiliary outputs (or Auxes). But a lot will stop there; and for good reason-what's the point of learning more than what you will need to use?
But what if something goes wrong? Do you know how to fix it? If you don't understand the ins and outs of your system (and are afraid to learn), then how will you react to a hum or squeal being introduced into the system one day? People will look to you to fix it and if you don't know how, then what? Know what you don't know, and don't be afraid to ask for help!
2 Corinthians 12:10b - "When I am weak, then I am strong." We are strongest when we admit our weakness, so don't be afraid to ask for help-pride is a major obstacle to that and I'm reminded of what Jesus said in Matthew 18:3-4 - "I assure you, unless you turn from your sins and become as little children, you will never get into the Kingdom of Heaven. Therefore, anyone who becomes as humble as this little child is the greatest in the Kingdom of Heaven."
Thoughts?
There are so many small nuances when it comes to sound, it's hard to cover them all. Developing an ear is more than just listening for certain instruments and voices, but delving deeper into the actual frequencies. For instance, I do some mixing at a small church in Vancouver, and one of the speakers has a vocal frequency range that just wreaks havoc on us mixers. For whatever reason, his voice introduces frequences (or freq's) into the system that cause feedback at much lower levels than anyone else. For months we tried our best to change EQ (equalization) settings to dial out those freqs, but to no avail. We finally discovered that all the changes we were making on our master system EQ were to the wrong side (Left instead of Right). Once we began to change the freqs in the Right side of the system EQ, we were able to finally master his voice and crank the volume to where it needed to be.
But we never would have been able to do that if we didn't have an ear for which frequencies should be addressed first. You see, a lot of church sound operators never took the time (or had the training) to dig into what they are doing. They know the basics of how to turn the system on, how to put the faders up and down, and how to mute. A bit more advanced operators will understand how to use EQ and how to route channels to the Auxiliary outputs (or Auxes). But a lot will stop there; and for good reason-what's the point of learning more than what you will need to use?
But what if something goes wrong? Do you know how to fix it? If you don't understand the ins and outs of your system (and are afraid to learn), then how will you react to a hum or squeal being introduced into the system one day? People will look to you to fix it and if you don't know how, then what? Know what you don't know, and don't be afraid to ask for help!
2 Corinthians 12:10b - "When I am weak, then I am strong." We are strongest when we admit our weakness, so don't be afraid to ask for help-pride is a major obstacle to that and I'm reminded of what Jesus said in Matthew 18:3-4 - "I assure you, unless you turn from your sins and become as little children, you will never get into the Kingdom of Heaven. Therefore, anyone who becomes as humble as this little child is the greatest in the Kingdom of Heaven."
Thoughts?
Sunday, November 8, 2009
Directing-An Overview
Ok, Nick, this one's for you!
A lot of people don't know what to do when they sit down at a video switcher their first time. It can be a bit overwhelming, especially with more than two cameras. Admittedly, there is a LOT to keep in mind. So, I've decided to break it up a little bit and give you guys a very broad overview of what I expect of the directors and TD's I train. Please note that it's been a while since I've directed anything (live event or film, so bear with me).
Ok, so let's start off with the things that I advise and train my directors to keep in mind at all times:
1.) FOCUS-You can have the best shot in the world, but if it's out of focus, it might as well be the worst-nothing screams amateur like an out of focus shot. Keep it sharp!
2.) Composition-Know the rule of thirds...in BOTH axes! If you don't know that term, Google it! Others have explained it far better than I do in words...and they even have cool diagrams! A good starting place: http://en.wikipedia.org/wiki/Rule_of_thirds
3.) Context-what is the speaker saying? If he/she talking about something negative? You can imagine how ill-timed it would be to show a white male with blond hair and blue eyes in the audience when the speaker is talking about Nazi Germany, right? So, listen to what is being said and try and follow that as much as possible. Is the speaker reading a Bible verse? Find someone in the audience reading a Bible. A side note here: if you lack adequate lighting for your audience, I would cut them out as much as you can-a shot that is nearly completely dark will disorient any viewers as to what's going on and will not help in communicating the speaker's message. If you MUST do an audience shot, do a wide angle pan with your aperture opened all the way to let as much light in as possible (f-numbers work in reverse; the smaller the number, the larger the opening in the lens to let light in).
4.) Camera Moves-if you're doing a zoom, what is your justification for it? If you call for a camera move just to have a camera move, don't do it. A zoom in helps to focus the viewer's attention, and a push in will allow a wide angle for the viewer to see the space, while focusing them again on the speaker. It gives a sense of space and proves that the program is not taking place in a studio. Conversely, a pull out is meant to reveal something; keep in mind that a pull out will sometimes have the effect of disengaging the viewer from the speaker, so use very sparingly. During musical selections of a large instrument like an organ, it's fine, but for intimate music like vocals or small instruments, I would stay away from pull outs and stick with push ins. Remember, pan is a side-to-side move, tilt is an up-and-down move.
5.) Aperture/Iris/F-Stop: In the digital world, these terms have become synonymous, though their origins were different. Basically, keep an eye on your overall brightness-if you lose details in your whites, you're probably too bright. If you lose detail in your blacks, you're too dark. However, ALWAYS expose for the face.
6.) Transitions-Cut or dissolve? This is more of a personal preference, but I generally prefer dissolves for music and cuts for everything else., specifically speaking. Cuts allow for much faster transitions and when you have a speaker who likes to move around the stage, this is a blessing. Dissolves tend to just muddy up the mix with speakers and get in the way-so I advise sticking with cuts, but again, it's a pretty subjective choice, just make sure whatever you do, it's intentional.
7.) Don't panic! When you get into a 4 or 6 camera shoot, it can be overwhelming! You have to keep track of all six of your cameras, any internal sources (DVD playback, computer graphics, etc), and your program and preview monitors. Just a quick review-source monitors are for the director to see the images from the cameras and/or sources (DVDs, VHS, computers, etc.), preview is for the director to "preview" a source before taking it to air-most calls for focus checks and fine composition changes occur based off this monitor, and program is what is going out "on-air," or to recordings. It is the final stop and cannot be altered once it's on program...so USE your preview!!!! Ok, back to the point-a lot of new directors tend to play it safe and stay on a single source for a long time, because they don't want to get their head (or can't get their head) around the options they have. I say just jump right in, and I will sometimes jump in as producer and make calls for changing shots to help get my directors out of this rut-it's boring for the director (and frightening) but it's also boring for the viewer-keep those cuts moving! Change at least once every 20 seconds when you're new, and at least once every 10 seconds on average as you get into it. This sounds like really fast cutting, but I assure you, it's still a bit long. :)
8.) Know your equipment-there will be times when you're working with novice camerapeople-so it's important that you know the camera better then they do and know what is and what is not possible. It's also important, in the same vein, to know the capabilities of your video switcher. Know how to bring in lower thirds with a key and fill (if your switcher has this functionality), and how to bring in and take out the Downstream Key (DSK) with both a cut and a fade (again, based on functionality). Know how to change your transition styles, learn what effects can be achieved, and then find time to practice these with your crew (if possible). And at all times...SMOOTH CAMERA MOVES!!!! They can be fast, but they NEED to be smooth.
9.) Be consistent-learn common terminology and stick with it. Don't invent your own language, and definitely don't allow different terminology within the same ministry team. It's very confusing for the camera people. When I say a wide shot, I mean a wide shot. Some of my other directors term it a "broad shot." Well, a smart-alec camera operator might go find a shot of a woman...you might be laughing at that, but in a live environment, the director needs to be able to effectively direct his or her crew to get exactly the shots they need, and quickly. There's no room or time for mis-communication, so learn proper terminology and stick with it.
10.) Finally, be willing to take suggestions. I tend to run a pretty tight ship, but I'm open to creative shots and ideas. I, as the director, am not at the camera locations myself, so I must rely on my operators to find different shots for me that I might not see myself. As a director, allow your operators to show you shots they find, and then decide whether or not to use it. Remind them that if you don't like or use their shot, it's not a reflection on them at all and it's not personal, it just didn't fit with the program at that point-it might be better served some other time, so remember those shots. Also don't be surprised if you ask an operator to find you a different shot during a particularly boring program and they give you a shot of the exit sign...it just shows their human, too. :)
Any more questions, shoot me an email! tim@timatofilms.com
A lot of people don't know what to do when they sit down at a video switcher their first time. It can be a bit overwhelming, especially with more than two cameras. Admittedly, there is a LOT to keep in mind. So, I've decided to break it up a little bit and give you guys a very broad overview of what I expect of the directors and TD's I train. Please note that it's been a while since I've directed anything (live event or film, so bear with me).
Ok, so let's start off with the things that I advise and train my directors to keep in mind at all times:
1.) FOCUS-You can have the best shot in the world, but if it's out of focus, it might as well be the worst-nothing screams amateur like an out of focus shot. Keep it sharp!
2.) Composition-Know the rule of thirds...in BOTH axes! If you don't know that term, Google it! Others have explained it far better than I do in words...and they even have cool diagrams! A good starting place: http://en.wikipedia.org/wiki/Rule_of_thirds
3.) Context-what is the speaker saying? If he/she talking about something negative? You can imagine how ill-timed it would be to show a white male with blond hair and blue eyes in the audience when the speaker is talking about Nazi Germany, right? So, listen to what is being said and try and follow that as much as possible. Is the speaker reading a Bible verse? Find someone in the audience reading a Bible. A side note here: if you lack adequate lighting for your audience, I would cut them out as much as you can-a shot that is nearly completely dark will disorient any viewers as to what's going on and will not help in communicating the speaker's message. If you MUST do an audience shot, do a wide angle pan with your aperture opened all the way to let as much light in as possible (f-numbers work in reverse; the smaller the number, the larger the opening in the lens to let light in).
4.) Camera Moves-if you're doing a zoom, what is your justification for it? If you call for a camera move just to have a camera move, don't do it. A zoom in helps to focus the viewer's attention, and a push in will allow a wide angle for the viewer to see the space, while focusing them again on the speaker. It gives a sense of space and proves that the program is not taking place in a studio. Conversely, a pull out is meant to reveal something; keep in mind that a pull out will sometimes have the effect of disengaging the viewer from the speaker, so use very sparingly. During musical selections of a large instrument like an organ, it's fine, but for intimate music like vocals or small instruments, I would stay away from pull outs and stick with push ins. Remember, pan is a side-to-side move, tilt is an up-and-down move.
5.) Aperture/Iris/F-Stop: In the digital world, these terms have become synonymous, though their origins were different. Basically, keep an eye on your overall brightness-if you lose details in your whites, you're probably too bright. If you lose detail in your blacks, you're too dark. However, ALWAYS expose for the face.
6.) Transitions-Cut or dissolve? This is more of a personal preference, but I generally prefer dissolves for music and cuts for everything else., specifically speaking. Cuts allow for much faster transitions and when you have a speaker who likes to move around the stage, this is a blessing. Dissolves tend to just muddy up the mix with speakers and get in the way-so I advise sticking with cuts, but again, it's a pretty subjective choice, just make sure whatever you do, it's intentional.
7.) Don't panic! When you get into a 4 or 6 camera shoot, it can be overwhelming! You have to keep track of all six of your cameras, any internal sources (DVD playback, computer graphics, etc), and your program and preview monitors. Just a quick review-source monitors are for the director to see the images from the cameras and/or sources (DVDs, VHS, computers, etc.), preview is for the director to "preview" a source before taking it to air-most calls for focus checks and fine composition changes occur based off this monitor, and program is what is going out "on-air," or to recordings. It is the final stop and cannot be altered once it's on program...so USE your preview!!!! Ok, back to the point-a lot of new directors tend to play it safe and stay on a single source for a long time, because they don't want to get their head (or can't get their head) around the options they have. I say just jump right in, and I will sometimes jump in as producer and make calls for changing shots to help get my directors out of this rut-it's boring for the director (and frightening) but it's also boring for the viewer-keep those cuts moving! Change at least once every 20 seconds when you're new, and at least once every 10 seconds on average as you get into it. This sounds like really fast cutting, but I assure you, it's still a bit long. :)
8.) Know your equipment-there will be times when you're working with novice camerapeople-so it's important that you know the camera better then they do and know what is and what is not possible. It's also important, in the same vein, to know the capabilities of your video switcher. Know how to bring in lower thirds with a key and fill (if your switcher has this functionality), and how to bring in and take out the Downstream Key (DSK) with both a cut and a fade (again, based on functionality). Know how to change your transition styles, learn what effects can be achieved, and then find time to practice these with your crew (if possible). And at all times...SMOOTH CAMERA MOVES!!!! They can be fast, but they NEED to be smooth.
9.) Be consistent-learn common terminology and stick with it. Don't invent your own language, and definitely don't allow different terminology within the same ministry team. It's very confusing for the camera people. When I say a wide shot, I mean a wide shot. Some of my other directors term it a "broad shot." Well, a smart-alec camera operator might go find a shot of a woman...you might be laughing at that, but in a live environment, the director needs to be able to effectively direct his or her crew to get exactly the shots they need, and quickly. There's no room or time for mis-communication, so learn proper terminology and stick with it.
10.) Finally, be willing to take suggestions. I tend to run a pretty tight ship, but I'm open to creative shots and ideas. I, as the director, am not at the camera locations myself, so I must rely on my operators to find different shots for me that I might not see myself. As a director, allow your operators to show you shots they find, and then decide whether or not to use it. Remind them that if you don't like or use their shot, it's not a reflection on them at all and it's not personal, it just didn't fit with the program at that point-it might be better served some other time, so remember those shots. Also don't be surprised if you ask an operator to find you a different shot during a particularly boring program and they give you a shot of the exit sign...it just shows their human, too. :)
Any more questions, shoot me an email! tim@timatofilms.com
Monday, November 2, 2009
Secretos de la Vida/Jaime Jorge Concert
Below you will find images from my recent lighting event-"Secretos de la Vida," or for you non-Spanish speakers, "The Secrets of Life." This was a 9-night series broadcast live via satellite on Esperanza, a Seventh-day Adventist that reaches the Spanish-speaking community across the United States.
You will also find, towards the middle, images from a concert that Jaime Jorge performed on Saturday morning of this past weekend (Oct. 31). Since we were not broadcasting his performance, and since the head of A/V for the church wanted me to, and Jaime was ok with it, I flexed my creativity and programmed somewhere near 40 unique lighting cues (or "looks") that I then played back during his mini-concert. Keep in mind that I had absolutely no idea what songs Jaime would be playing, what style, how fast, what order, etc.
See for yourself and let me know what you think!
My lighting load-out was as follows:
1 - Martin Mac500 moving light
2 - Elation PowerSpot 575 moving light
6 - Elation Opti 30 LED
3 - Elation Tri-Opti 30 LED
24 - ETC Source 4 Jr. lamped at 575watts
3 - Selecon Acclaim fresnel lamped at 575watts
2 - Irradiant Hazers (not used for broadcast)
4 - C&M 1/4 ton electric chain hoists (all I gotta say is I WANT SOME!!!)
12 - 12"x12" Global Truss Box Truss-6.5' sections (we only used 9 of these)
1 - Jands Vista M1 console
1 - Jands Vista App running on a 17" Macbook Pro
That's it! Not a very large system at all, but see what can be done when your system is very flexible...and you have a kickin' stage to light! Thanks, Veruschka!
I feel it's important to interject here that the above image was a patriotic medley Jaime played and I had to change my look on the fly to red, white, and blue (and yes, I know it's red, blue, and white, but work with me here...)
You will also find, towards the middle, images from a concert that Jaime Jorge performed on Saturday morning of this past weekend (Oct. 31). Since we were not broadcasting his performance, and since the head of A/V for the church wanted me to, and Jaime was ok with it, I flexed my creativity and programmed somewhere near 40 unique lighting cues (or "looks") that I then played back during his mini-concert. Keep in mind that I had absolutely no idea what songs Jaime would be playing, what style, how fast, what order, etc.
See for yourself and let me know what you think!
My lighting load-out was as follows:
1 - Martin Mac500 moving light
2 - Elation PowerSpot 575 moving light
6 - Elation Opti 30 LED
3 - Elation Tri-Opti 30 LED
24 - ETC Source 4 Jr. lamped at 575watts
3 - Selecon Acclaim fresnel lamped at 575watts
2 - Irradiant Hazers (not used for broadcast)
4 - C&M 1/4 ton electric chain hoists (all I gotta say is I WANT SOME!!!)
12 - 12"x12" Global Truss Box Truss-6.5' sections (we only used 9 of these)
1 - Jands Vista M1 console
1 - Jands Vista App running on a 17" Macbook Pro
That's it! Not a very large system at all, but see what can be done when your system is very flexible...and you have a kickin' stage to light! Thanks, Veruschka!
Jaime Jorge Mini-Concert:
I feel it's important to interject here that the above image was a patriotic medley Jaime played and I had to change my look on the fly to red, white, and blue (and yes, I know it's red, blue, and white, but work with me here...)
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