Covering All theVideo Angles

​As promised last week, we wanted to jump right into the exciting camera system we installed for Summit Church in Denver. If you know Lambda, you know we have a few Video experts on our team and nothing is more exciting than playing with new video equipment all day!

​The camera setup at Summit comprised two Blackmagic Ursa mini broadcast cameras, a Blackmagic Pocket 6k, and two onstage 4k Marshall cameras. The main goal of any camera in a production is to be able to capture the essence of what is going on in the room as accurately as possible. Whether the capture is used just for streaming or recording, the Blackmagic Ursa mini broadcast and Pocket 6k cameras excel in this. You’ve probably heard us mention them before and, as you’ll see, with good reason! They both have fantastic low light capabilities and a wide dynamic range. This is crucial during a production as there is often a wide variety of bright and dark areas on the stage from special lighting. These cameras also integrate seamlessly with Blackmagic’s ATEM switchers (Click HERE for more about the switcher!) and Camera Control panel.

​One of the two Ursa Mini Broadcast cameras we set up on a tripod for tight follow of the main presenter and the other one was placed on a dolly track for capturing creative moving stage shots or a variety of other pans.

We designed the pocket 6k Camera to be setup as a handheld/ shoulder mount rig.
One of the things Lambda needed to consider with the 6k Pocket, as with all handheld cameras, is how to get the video signal from the camera to the video switcher. Since the camera is mobile, it adds a layer of complexity. If you choose to use an SDI cable it will not only cut down on the amount of mobility that your handheld camera operator, but it will also add one more thing that your operator has to worry about. Cabling is especially problematic when the handheld operator is on stage where musicians, speakers and, other members of the tech crew are constantly moving about. Instead of using SDI cable, we decided to add the Hollyland Mars 400s. The Hollyland Mars 400s is a wireless video system that can transmit full HD video up to 400ft with less than 0.1 seconds latency.  Using this wireless video transmitter allows the camera operator to be extremely mobile and frees him up from needing to worry if there is enough cable length to get to the area he needs, or just worrying about people stepping or tripping over the cable.

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When designing the camera setup and placement for any install, one of the main things we try to do is maximize the coverage options that each camera is able to capture of the room by strategizing placement. Part of this process is about thinking ahead to what shots you want to be able to take and how you can cut between those shots. Summit expressed a desire to capture a wide variety of dynamic shots for their cameras. They wanted to be able to capture any angle, no matter how they changed their regular service structure.

With the Ursa Mini’s placed on tripods you can achieve a wide range of shots, but will, for the most part, be limited in the angle of the shot in correlation to the stage. The exception to this is placing the camera on a dolly. From there, it will have the ability to move a little more than an Ursa that is on a stationary tripod.
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On the other hand, with the handheld camera, the number of shots you are able to take is infinite. While it takes a little more skill, the handheld camera opens up a whole new list of shots and variation in the coverage you are able to get.

The combination of stationary cameras, a camera on a dolly, and a handheld camera was the solution Summit was looking for to make sure they never missed a video moment!

Next week we’ll talk more about the important pieces that make the camera system come to life, such as the importance of a broadcast room, camera controls and more!