I have to agree on all points. One comment though on knowledge of the equipment....trying to convey that knowledge to the church officials in charge of equipment procuring but have a hard time shutting off the ringer on their phones. They firmly believe that we just go up in the booth, push a few buttons and magically the sound and live stream works. I'm a team of one as the media tech in my church and it's a paid position, not a volunteer. I have 5 PTZ cameras to run, switch and pan, set up and test all mics for visiting musicians and soloists, I mix the FOH and live stream mix from the same console, an Allen & Heath SQ7 while I monitor the live stream in real time from a laptop, change 3 projectors for different presentations in the sanctuary and I create and run all the service slides that the congregation and home viewers see. I've invited countless church officials to just come up in the booth for 5 minutes just to see what it takes to mix and broadcast 2 services every Sunday. They won't do it. This is probably the single biggest hurdle to tech in the church....having people around who know what it is you do and understand the tools is takes to do the job. I wish it was as easy as just pushing a button..........
Hi Brian, we are looking to upgrade to a similar system you currently un. can I have your email or something to message you or some information, please? God bless you
@@jOhNdAVIID thanks John...I'm trying. Now we have concerts over the next 3 months and I'm still a team of 1. It's gotta be a test....and I'm going to pass it!
Our cameras are at 1080p but we upscale our stream to 1440p because RUclips gives you better transcoding to Vp9 if you stream above 1440p or if you have a big channel. So big churches can stream at 1080p and get Vp9 bc they’re big. But when we started last year streaming at 1080p all our streams were transcoded in avc1 and it looked noticeably worse even on a 13” laptop. Since RUclips transcoding is what your viewers are actually watching even at lower resolutions like 720p or 480p having a higher quality codec from YT made a big difference on image quality for us. We’re pretty lucky to be in an area where internet service is really good so increasing our bitrate to something stupid like 30mbps was no big deal.
I would stream in 2 k, but use 4 k cameras, so each camera can cover much more and you could zoom it. 3 cameras would be nearly like 6 but doesn't need 6 operators.
My church are migrating at the moment from analog desk to a digital desk, simply because we have so many events renting the church. Regarding Led walls, dont buy one until you made sure the Wall has structural integrity to carry it
Sirs, what software do you recommend upgrading to for our Windows XP desktop so we can mix our livestream? We don't want to make a mistake. Thanks in advance, xoxo -Sunday Sounds
Hey you guys should review the new Canon CR-N500 PTZ camera. It has a 1" sensor for about half the cost of the comparable Panasonic. We're thinking of upgrading our PTZ Optics Cams to these.
Just yesterday I upgraded the firmware on our x32 mixer, and forgot to save my scenes on a USB drive. I lost everything! it basically did a factory reset and now I am at square one. Yeah that was NOT a good day.
We use a Blackmagic Designs TV Studio HD switcher, so there is near zero delay between what is happening in the room and the program feed. You can split SDI off of the program feed to go other places.
My experience is that one doesn't often find much information about this topic. In our facility, we have a static wide of the stage, two cameras with camera operators, and a few cameras on stage, so a relatively small setup. The cameras are switched using the BMD ATEM Studio Pro, and feeds the online stream, the cafe which has a few TV's, and the mothers room. During special occasions, we sometimes have IMAG on the main auditorium projector, and primarily for this reason, we have chosen equipment that presents as little latency as possible. Otherwise the IMAG becomes extremely distracting. We know that our Epson main projector presents a 2-3 frame delay, the ATEM switcher very little delay (was difficult to find an actual number), and the main cameras we use (Canon XA30 and XA45) also has a 2-3 frame delay. One of our on-stage cameras is a DSLR, which gives a great sharp image with tight depth of field, so it looks cool, but the latency is clearly noticeable when compared to the other cameras. We are looking to changing our main cameras to the Sony PXW-Z90, which we believe has a great image, but I don't know what latency we can expect. And this number isn't noted in the Sony specs. So... the bottom line... many manufacturers do not note the latency of their equipment, as most times, it isn't a factor. However, DSLR cameras generally exhibit long latency, as their primary purpose is for great still shots, not video, so they don't optimise their processing capability on their HDMI output. We are currently looking a wireless video unit, and many of them have an 80ms latency. We have trialed a Hollyland Mars 300, and we measured the latency, it was somewhere between 80 and 160ms and adding that in the signal chain resulted in a painful latency. So we've just ordered a Teradek Ace 500 as it has zero latency (actually, 1ms) so we'll see how well it works when it arrives! One of my biggest niggles is that manufacturers don't routinely include latency in their list of specs. For example, we are also looking at a new Canon C300 for a roving camera, and... no latency spec, so I have to open a case with Canon to ask. So, to specifically answer your question... 1) Look for equipment that has no/low latency. Because these are all digital, there will always be some latency, and most times, each bit of gear will add a little bit, at best. Talk to other users and manufacturers to find out. 2) Stick with the same connection/cabling medium as far as possible, preferably SDI. You'll pay a bit more for it, but longer term it is the best for professional video. Converting from SDI to HDMI and vice versa will introduce one frame of delay, at best. 3) Pick a single sitewide resolution and framerate. Here in NZ, we use PAL, so we have picked 1080p at 50Hz. Everything we have connected to the AV system can do that resolution and framerate without scalers.... well, almost! We have some backstage TV's that are older and can only do 1080i, so we use a scaler for them, but we don't really care if those TV's exhibit a little more lag. 4) If you use NDI or Dante, using a PC/Mac to first decode the video stream or sound feed into your video switcher introduces some significant delay. This is because of the PC, not the NDI or Dante itself, so if you do need NDI or Dante, and it is part of the critical signal path, you may need to use a hardware decoder to do this, so that your PC/Mac is not introducing latency in your signal chain. 5) Relating to point 4 above, don't use a PC/Mac to do anything that is in the critical signal path. Sure, use a PC/Mac to generate your words for your lower thirds on the final mix, but don't use VMix or OBS to perfrom your final mix in place of a hardware switcher (like a BMD Studio Pro), and expect zero latency. It just doesn't work that way! 6) If using TVs, then select Game Mode on the TV, with no processing at all. Things like colour enhancement, dynamic range improvement, image sharpening etc all add to the processing the TV has to do, and therefore potentially increases the time the TV needs to process and display the images. 7) As with point 6 above, there may be settings in a projector that will reduce the processing that is expected of it, so things like image cropping, masking or edge blending. Look for these settings and disable as many of them as is feasible. 8) As touched on in previous points, but noted here specifically, reduce the need for any signal processing, like media converters, switchers and scalers. Each one of these could potentially add frames of latency, so the less you have of them, the better. The spin-off of this point is that the less 'bits in the chain' mean that there are less connections made, less units to power up, and ultimately, less to go wrong. It's a win-win in all respects. Hopefully this has been helpful. Let me know how you get on. Cheers, Sean
Hi! My name is George Williams. I'm from Bronx New York. I'm an advanced Media Ministry member that does some consulting around New York. Can we talk? I would like a way to recommend your courses to Churches in my area. This would be a way for Churches to get the knowledge and when they need hands on, have the option of someone local to assist if need be. Plus, all Churches that would participate and take your course would be at a common place. If you think this would work, I would love to chat. Thank you,
It could be a question, do we add more 2k cameras or exchange to 4k. Another thing could be, does the light effects look good on video stream. Or, when we record all parts separately as multi track, do we have someone mixing this?
Old comment, what did you end up doing? I'd say stay with 2k since you won't be broadcasting at 4k. Spend the money on better lenses, rolling tripods, focus/zoom controls, etc.
God bless! I’m curious on how to get in contact with you guys. I’m a pastor in PA, looking to upgrade our sound system. Would like some guidance and feedback before making a final decision. I’ve been watching your videos for some time and learned alot from viewing. I know I can gain great insight from you guys! Hope to hear from you guys soon.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
I have to agree on all points. One comment though on knowledge of the equipment....trying to convey that knowledge to the church officials in charge of equipment procuring but have a hard time shutting off the ringer on their phones. They firmly believe that we just go up in the booth, push a few buttons and magically the sound and live stream works. I'm a team of one as the media tech in my church and it's a paid position, not a volunteer. I have 5 PTZ cameras to run, switch and pan, set up and test all mics for visiting musicians and soloists, I mix the FOH and live stream mix from the same console, an Allen & Heath SQ7 while I monitor the live stream in real time from a laptop, change 3 projectors for different presentations in the sanctuary and I create and run all the service slides that the congregation and home viewers see. I've invited countless church officials to just come up in the booth for 5 minutes just to see what it takes to mix and broadcast 2 services every Sunday. They won't do it. This is probably the single biggest hurdle to tech in the church....having people around who know what it is you do and understand the tools is takes to do the job. I wish it was as easy as just pushing a button..........
Hi Brian, we are looking to upgrade to a similar system you currently un. can I have your email or something to message you or some information, please? God bless you
Hey Brian, I know you don’t get it enough. But you are doing some great things, I can relate and appreciate all that you do
@@jOhNdAVIID thanks John...I'm trying. Now we have concerts over the next 3 months and I'm still a team of 1. It's gotta be a test....and I'm going to pass it!
@@brianlebrun2382 by Gods grace
@@brianlebrun2382 Honestly, the more you cheap out in the beginning, the more you spend in the long term. Show that to your church!
15:20 The limitations for streaming in 4K are more on the destination’s internet connection
Our cameras are at 1080p but we upscale our stream to 1440p because RUclips gives you better transcoding to Vp9 if you stream above 1440p or if you have a big channel. So big churches can stream at 1080p and get Vp9 bc they’re big. But when we started last year streaming at 1080p all our streams were transcoded in avc1 and it looked noticeably worse even on a 13” laptop.
Since RUclips transcoding is what your viewers are actually watching even at lower resolutions like 720p or 480p having a higher quality codec from YT made a big difference on image quality for us.
We’re pretty lucky to be in an area where internet service is really good so increasing our bitrate to something stupid like 30mbps was no big deal.
@@MoChuang343
What ISP do you have?
@@mspark933 FIOS
I would stream in 2 k, but use 4 k cameras, so each camera can cover much more and you could zoom it. 3 cameras would be nearly like 6 but doesn't need 6 operators.
My church are migrating at the moment from analog desk to a digital desk, simply because we have so many events renting the church.
Regarding Led walls, dont buy one until you made sure the Wall has structural integrity to carry it
Sirs, what software do you recommend upgrading to for our Windows XP desktop so we can mix our livestream? We don't want to make a mistake.
Thanks in advance, xoxo
-Sunday Sounds
i'd highly recommend using Microsoft Excel
Hey you guys should review the new Canon CR-N500 PTZ camera. It has a 1" sensor for about half the cost of the comparable Panasonic. We're thinking of upgrading our PTZ Optics Cams to these.
At first glance The CR-N300 also looks really nice for the price. Only $1000 more then from the cheap PTZ cameras
How are you swiching cameras with your phone? With which app?
Just yesterday I upgraded the firmware on our x32 mixer, and forgot to save my scenes on a USB drive. I lost everything! it basically did a factory reset and now I am at square one. Yeah that was NOT a good day.
I save scenes on a computer instead of on the mixer. It's so much easier, and it is convenient to compare scene files and modify them.
Whats the name of the mixer in the thumbnail
How can one reduce video delays on live broadcasting within the venue ? For example: live capture showed on TVs ?
We use a Blackmagic Designs TV Studio HD switcher, so there is near zero delay between what is happening in the room and the program feed. You can split SDI off of the program feed to go other places.
@@TimothyFish thanks I’ll look into it
My experience is that one doesn't often find much information about this topic. In our facility, we have a static wide of the stage, two cameras with camera operators, and a few cameras on stage, so a relatively small setup. The cameras are switched using the BMD ATEM Studio Pro, and feeds the online stream, the cafe which has a few TV's, and the mothers room.
During special occasions, we sometimes have IMAG on the main auditorium projector, and primarily for this reason, we have chosen equipment that presents as little latency as possible. Otherwise the IMAG becomes extremely distracting.
We know that our Epson main projector presents a 2-3 frame delay, the ATEM switcher very little delay (was difficult to find an actual number), and the main cameras we use (Canon XA30 and XA45) also has a 2-3 frame delay.
One of our on-stage cameras is a DSLR, which gives a great sharp image with tight depth of field, so it looks cool, but the latency is clearly noticeable when compared to the other cameras.
We are looking to changing our main cameras to the Sony PXW-Z90, which we believe has a great image, but I don't know what latency we can expect. And this number isn't noted in the Sony specs.
So... the bottom line... many manufacturers do not note the latency of their equipment, as most times, it isn't a factor. However, DSLR cameras generally exhibit long latency, as their primary purpose is for great still shots, not video, so they don't optimise their processing capability on their HDMI output.
We are currently looking a wireless video unit, and many of them have an 80ms latency. We have trialed a Hollyland Mars 300, and we measured the latency, it was somewhere between 80 and 160ms and adding that in the signal chain resulted in a painful latency. So we've just ordered a Teradek Ace 500 as it has zero latency (actually, 1ms) so we'll see how well it works when it arrives!
One of my biggest niggles is that manufacturers don't routinely include latency in their list of specs. For example, we are also looking at a new Canon C300 for a roving camera, and... no latency spec, so I have to open a case with Canon to ask.
So, to specifically answer your question...
1) Look for equipment that has no/low latency. Because these are all digital, there will always be some latency, and most times, each bit of gear will add a little bit, at best. Talk to other users and manufacturers to find out.
2) Stick with the same connection/cabling medium as far as possible, preferably SDI. You'll pay a bit more for it, but longer term it is the best for professional video. Converting from SDI to HDMI and vice versa will introduce one frame of delay, at best.
3) Pick a single sitewide resolution and framerate. Here in NZ, we use PAL, so we have picked 1080p at 50Hz. Everything we have connected to the AV system can do that resolution and framerate without scalers.... well, almost! We have some backstage TV's that are older and can only do 1080i, so we use a scaler for them, but we don't really care if those TV's exhibit a little more lag.
4) If you use NDI or Dante, using a PC/Mac to first decode the video stream or sound feed into your video switcher introduces some significant delay. This is because of the PC, not the NDI or Dante itself, so if you do need NDI or Dante, and it is part of the critical signal path, you may need to use a hardware decoder to do this, so that your PC/Mac is not introducing latency in your signal chain.
5) Relating to point 4 above, don't use a PC/Mac to do anything that is in the critical signal path. Sure, use a PC/Mac to generate your words for your lower thirds on the final mix, but don't use VMix or OBS to perfrom your final mix in place of a hardware switcher (like a BMD Studio Pro), and expect zero latency. It just doesn't work that way!
6) If using TVs, then select Game Mode on the TV, with no processing at all. Things like colour enhancement, dynamic range improvement, image sharpening etc all add to the processing the TV has to do, and therefore potentially increases the time the TV needs to process and display the images.
7) As with point 6 above, there may be settings in a projector that will reduce the processing that is expected of it, so things like image cropping, masking or edge blending. Look for these settings and disable as many of them as is feasible.
8) As touched on in previous points, but noted here specifically, reduce the need for any signal processing, like media converters, switchers and scalers. Each one of these could potentially add frames of latency, so the less you have of them, the better. The spin-off of this point is that the less 'bits in the chain' mean that there are less connections made, less units to power up, and ultimately, less to go wrong. It's a win-win in all respects.
Hopefully this has been helpful. Let me know how you get on. Cheers, Sean
@@seanverwey9606 wow thanks a lot for taking your time writing this, I can’t afford them now but will definitely keep in mind for future purchases
Thank you so much! God Bless!
Hey! What microphone stands do you use for the podcast? It's not in your gear list.(
Those look like Shure SM7Bs to me.
www.shure.com/en-GB/products/microphones/sm7b
@@jonmhigh these are the microphones what about the STANDS?
@@oleggolovetsky6385 Gator Frameworks imp.i114863.net/0Jx0KO
@@Churchfront thank you.🙏🙌
2021 which digital mixer should I buy ? Bheringer x32
The X32 is still a good option, and is still affordable!
After I used M32 it feels like a pro upgrade from x32. I would recommend M32.
@@AZ-pp5qs If you are at the point to consider the M32, you might as well also think about the new Behringer Wing.
2lac
Hi! My name is George Williams. I'm from Bronx New York. I'm an advanced Media Ministry member that does some consulting around New York. Can we talk? I would like a way to recommend your courses to Churches in my area. This would be a way for Churches to get the knowledge and when they need hands on, have the option of someone local to assist if need be. Plus, all Churches that would participate and take your course would be at a common place.
If you think this would work, I would love to chat.
Thank you,
GREAT VIDEO... Also I think I probably just convinced my pastor to get us a couple of CMY moving lights!
It could be a question, do we add more 2k cameras or exchange to 4k.
Another thing could be, does the light effects look good on video stream.
Or, when we record all parts separately as multi track, do we have someone mixing this?
Old comment, what did you end up doing?
I'd say stay with 2k since you won't be broadcasting at 4k. Spend the money on better lenses, rolling tripods, focus/zoom controls, etc.
Great knowledge thanks!!
God bless! I’m curious on how to get in contact with you guys. I’m a pastor in PA, looking to upgrade our sound system. Would like some guidance and feedback before making a final decision. I’ve been watching your videos for some time and learned alot from viewing. I know I can gain great insight from you guys! Hope to hear from you guys soon.
In the video description they have links to more in-depth coarses and I know they do consultation as well
We streem 1440p 😅at church. To get better sharpness.
1440p won't give you more sharpness if people are watching at 720p on their phones.
I feel like this has very little to do with Worship. Worship is about Spirit and Truth. Gear is optional.
Subtle flex of how much they spent on cameras…
Cara, agora que reparei que você parece o Harry Kane 😂
Re: The Government Being An Issuer Of Currency Supposedly Directly and Exclusively Causing The Outrageous Prices of Apple Products
😑
🤪😉
4th
4th Generation ?
@@kbraiworshiptools1229 I think he meant, fourth comment.