Room for You
"We had seven cameras for the record, including URSA Mini Pros, broadcast cameras, and a couple of micros. The setup was very much a DIY effort, but with a couple of professional operators and volunteers who were all keen to help.”
"We took some inspiration from Bethel Church in California, particularly the way their cameras move. But more than that, it was about creating a smooth and dynamic viewing experience. The key thing was making sure the camera operators kept the shots flowing."s
"I set everyone up for success. We had a close-up camera with a 300mm prime, and I just told the operator to keep it moving. Everyone else was on handhelds or set up for key shots. The jib operator was the only professional, though. Most of the operators were volunteers from the church."
"We had cameras on tripods, handhelds, and even a jib. The big rule was, "Don't just lock the camera off. Keep it moving. The goal was to get all the cameras moving in a way that made the footage feel fluid, so when we cut between shots, it didn’t look jarring. We literally had the back of the room empty and placed the dolly there, pushing people closer together in the shots. We made the room look fuller than it actually was, and it worked."
"The first night we had a huge storm come through, and we had a hailstorm that actually caused some damage. The whole night was a write-off because of the noise from the tin roof. But we pushed through, and luckily, we were all inside."
"I was very intentional with the lighting. The band members were mostly backlit, and the front lights were carefully adjusted to get the right skin tones. I wanted the front light on a set level, so I didn’t have to adjust the iris during the shoot."
"I was able to do a real-time multicam edit in 4.6K raw with 10 cameras, without proxies. I was blown away by how well it worked. I edited it on a base model MacBook Air, and the footage played in real time. That just shows how efficient Blackmagic raw is."
"I dropped the timeline to 720 for the initial cut, which let me edit quickly, then bumped it up to 4K for grading and finishing. The final result was a 4K release, and the whole process was seamless."
"I’m really happy with the end result. We did a full 4K production on a fraction of the budget. A big part of that success was having great gear and an awesome team of volunteers who were all committed to making this happen. I’m a big advocate for Blackmagic. For the price, it’s insane how cinematic you can make things look right out of the box. The entry price for something that gives you Super 35 cinematic visuals is crazy."
"Overall, the team did an amazing job. It’s a testament to what you can achieve with the right gear, volunteers, and a little creativity. The whole process—from record to delivery—was great, and it’s exciting to see how far you can push the technology at such a low cost."