From Point A to Point B
It's 2017, and it's very likely that your church has a video system. It could be a very large system with multiple cameras, a large video switcher or even a router, or it could be rather small, with a single projector and laptop.
In the video world, you are only as strong as your weakest link.
Whatever it looks like, video has to get from a source to a destination. And it needs to look good doing it. There are many ways to send video to various destinations across your church campus, but there are also many factors to consider when planning a full upgrade or replacing part of your signal flow.
Let's discuss the factors that matter:
What is Latency?
Every signal takes time to get from the source to the destination. This could be light from the lens of a camera, to the light projected onto a screen surface. It could be the worship graphics machine, like ProPresenter, to the LEDs on a huge scenic multi-panel LED wall.
No matter the source or destination, the journey will take time the question is: how much?
We find that an IMAG (image magnification) video system with less than three total frames of latency goes unnoticed by the viewer. Any more than three frames, though, and the viewer begins to notice a "disconnect" between the live talent and the screen in the same visual space which can be a distraction.
The goal in any video system is to minimize signal conversion (up/down/cross) to a point where the total latency of the end-to-end signal flow is less than three frames. Each "stage" of scaling or conversion typically incurs half or one frame of latency, but up to two or three frames of additional latency are possible with some processors never intended for IMAG scenarios.
Digital vs. Analog
Digital signals like HD-SDI, HDMI, HDBaseT and ATSC RF Modulation are all great options, but they each have their limitations and are ideal for specific applications. Analog video signals like VGA (RGBHV) and Component Analog (RGB) are nearing or at end-of-life, but are still capable of producing high quality HD (720 or higher) signals, when needed.
Whatever the signal type you need to employ, the keys to a high quality image is the right cable, right connectors, proper installation and correctly calibrated equipment on both sides of the equation.
In the video world, you are only as strong as your weakest link. Digital video signals typically have a very "yes or no" scenario it will either work, or it will not. With analog signals, the quality of your video signal could be impaired by outside interference, long cable runs, or poor conversion at any point in the signal chain. Digital video signal flow is now the most common and most ideal for churches, but many churches are in a state of using older equipment with analog I/O only, forcing conversion of the video signal to fit the new or legacy signal flow.
Conversion costs time.
It also can cost quality.
In the world of Pro Video, you typically get what you pay for, but there are now a lot of video converters (D to A, and A to D) on the market that are relatively inexpensive, yet are reasonably high quality.
Contrast vs. Resolution
4K (really UHD) resolution definitely has its place in cinema, as well as the world of acquisition/storytelling for some churches, but it's still not a viable or cost-worthy investment for live presentation or system infrastructure for most across the U.S.
Studies show that perceived contrast (bright white and deep black levels) is more important to the viewer, compared to resolution. For example, a 1080p or 1080i image with good or high contrast is perceived as higher quality than a 4K image with a lower dynamic range.
Combined with the cost for 4K compatible equipment, like pro-level 4K cameras - and the ability to switch, record, manage, and edit 4K content it is just not a viable pursuit for the church at this point, in my opinion.
When you see what 4K for the home is really about, it is first and foremost, marketing. People want to buy the latest and greatest, because marketing tells them they need it. Most consumers with 4K TVs in their homes watch 4K content less than 5 percent of the time, some never do.
For the church, 4K definitely has its benefits in some applications, but the cost is rarely worth the price of the workflow. HDR (High Dynamic Range) equipment will become more and more desirable as deep blacks and bright whites become more attainable and churches understand the value of contrast, over resolution.
Best Practices
In any church video system, it's important to adopt a protocol, or workflow, and stick to it.
Right now, HD-SDI seems to be a very cost effective HD workflow and it provides for long cable runs, it is a digital format, it's easily convertible to other digital formats (like HDMI) with minimal latency.
It's obvious that networked Video-over-IP solutions, like NDI, will be the ideal format in the next decade for reasons of flexibility and cost. For now, though, 1080 HD-SDI workflows seem to dominate the world of video in the modern church.
There are more systems in churches across the U.S. running at 1080i59.94, because it just "works" and the cost of equipment is now relatively low. With this res/frame rate, the destination image is more than "good enough" when all the components of the system are accurately and smoothly running.
When it comes to making video decisions, always strive for quality versus adaptation. Embrace a workflow and realize that it is the core of your system. Always be aware of the latency and conversion happening at various stages in your video system. A partnership with a church-focused systems integrator will help your church know that the most cost-effective and highest quality workflow is being utilized.
Video in church exists as a tool to tell the story.
Why would we not want this medium to be the highest quality it can possibly be, so people can experience that story with greater impact and deep connection?