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TFH is ONE CHURCH in THREE LOCATIONS, plus Online.  Our camera production aids in the life changing worship and preaching of not just the Vacaville campus, but also in Napa, East Bay, and Church Online.....So that those far from God will find life in Christ.

As a camera team member we have the awesome PRIVILEGE, to use our TALENTS with INDUSTRY STANDARD equipment to SERVE God and ADVANCE the local church.

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Responsible for the planning, packaging, and overall presentation of the service (as designed by the creative/weekend team). 

-Leads the Production Team on Sunday morning
-Prepares or coordinates all Sunday morning service elements during the week
-Cues the different production areas during the Sunday service as needed
-Makes sure the Sunday services and rehearsal are on schedule


Responsible for execution all cuts, dissolves, graphics and video playback (through the video switcher) as directed by the Producer.  Leader of Assistant Directors, Shaders, Camera Operator(s); directs all camera direction, switching of cameras.

-Directs video team during service and oversee video equipment
-Lead camera rehearsals for worship set, special music, sketches and special events
-Dictate all camera direction, graphics and video playback to switcher
-Operates video switcher and selects camera feeds, video playback as directed

SHADER/Asst Director

Monitors and adjusts iris/white balance of cameras equipped with camera controlled units (CCU's); venues without CCU's must rely on the camera operator(s) for these adjustments.


Responsible for the presentation of lyrics, message notes, graphics, motion graphics and video playback during the weekend services.




Stationary camera (w/ operator) located within the auditorium typically in the house or in front of the stage.


Mobile camera (w/ operator) located either on-stage (handheld) or in front of the stage (handheld/tripod on dolly) typically getting close-up shots of band and instruments. AKA: Handheld/Roaming Camera


Stationary camera (w/o operator) located either on-stage or in front of the stage, typically setup on a close up/medium shot of a band member and or drums.


Any camera located within the auditorium that has a shot of the stage, from an angle.

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Camera Ops


Camera Ops


Camera crew have ONE goal:  Get your camera "LIVE" as many times as possible.  When a TD "takes" your camera, it should be a mental win for you. 


  1. Constantly SEARCH for shots

  2. Keep the camera in FOCUS

  3. Keep the camera MOVING

  4. Keep standard framing (Preach)

Searching.  Always be searching for new shots.  The way to get 'taken' is constantly be feeding the director shots.  Unless directed otherwise, once your camera is no longer "live", find a new shot.  Zoom the camera out and find something new.  Speed is the name of the game.  The director can only see what you as a camera operator have for a shot.  It is up to you to find the action and energy on the stage

Moving.  Keep the camera moving. You should always be pushing/pulling/panning.  The only static shots should be the shots that do not have an operator.

Focus.  Your job as an operator is to consistently check focus.  Control room should not have to remind operators to check focus.  Remember, there are 14 inputs control is looking at.  Enable focus finder on camera viewscreens if you need help.

Framing.  During preaching/verbals, 1/2/3 have predetermined framing.  It's the ops responsibility to get to that framing as soon as possible.

  • 1: Medium (waste up)

  • 2: Wide (knees up)

  • 3: Slash/Wide (waste up/feet up)


PRACTICE all of your moves during soundcheck.  Soundcheck should be "developement", see what looks cool, what doesn't.  The live show should not be the first time you try something.


For more specifics on each camera including operations and shots, click on the icons below.







The Shader at TFH is a shared role of assistant director and shading.  With the TD focused on the flow of shots, the Shader/AD helps to prep team and TD of upcoming shots.


  • Announce upcoming service elements
  • Announce cues, transitions, song sections
    "Tosha leading vs 1", "John leading next verse", "Electric solo coming up", "Pastor Dave on stage", "Verbals next"
  • Monitor and adjust iris and white balance.
  • Call iris adjustments to mobile cam ops.
  • Monitor camera framing/focus
  • Announce when more than one op has same shot.
  • Assist in preparing cameras for pre-determined shots.



Shot Composition


Shot Composition


The point of this shot is to show the subject’s surroundings. The EWS is often used as an “establishing shot” – the first shot of a new scene, designed to show the audience where the action is taking place.

Wideshot or Stagewide
In the WS, the subject takes up the full frame. The feet will be almost at the bottom of frame, and the head almost at the top. The small amount of room above and below the subject can be thought of as safety room – you don’t want to be cutting the top of the head off.

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Medium Shot (or Waist Up)
The MS shows some part of the subject in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject. In fact, this is an approximation of how you would see a person “in the flesh” if you were having a casual conversation. You wouldn’t be paying any attention to their lower body, so that part of the picture is unnecessary.

Medium Close Up
Half way between a MS and a CU. This shot shows the face more clearly, without getting uncomfortably close.

Close Up
In the CU, a certain feature or part of the subject takes up the whole frame. A close up of a person usually means a close up of their face.






Great IMAG CONNECTS the audience wherever they sit, builds ENERGY, and ENHANCES the experience.  

Directing Music:

THIS IS CHALLENGING!! There is no mistake about it.  Mid service, 10 camera shots, Key, CG, cues.  There is a lot going on.  Let's take a little bit of time to think about our shots.

Shot differentiation

When moving from shot to shot, these SHOULD BE DIFFERENT
…Don't cut from a wide shot to a wide shot.
…Don't cut from medium on one person to medium on another If we're shooting two different subjects, the composition of the shot should be different enough not to look like an 'overlay'

Rhythmic Switches

Find the rhythm of the music.  Shots should be ON PURPOSE.  Make cuts on the beat of the song.  If cuts are made on the beat, TDs and Camera Crew will be in a rhythm not only with the songs playing, but with each other.

Cut at line breaks

If you are on a vocalist and cut OFF or ONTO them in the middle of a line it makes a pretty OBVIOUS switch.  Our goal is to ENHANCE the experience.  


Think about the next transition.  The key to success as a TD is to know what's happening next.  TDs cannot afford to be reactive, need to be proactive on the show, so that reacting to the unexpected doesn't catch us off our toes.For example:  

1.)  If an MC always comes on stage after song 2, we should be mentally thinking about it as song 2 closes, as well as predetermine what shot we will grab prior to the cue happening.  
2.)  If WL1 is singing the majority of song 1, but BGV sings verse 2.  We should be pre-thinking about the next cue.


Things to watch for/recurring improvement areas

Cam 5 should not be a "go to", especially when an MC is on stage.
Overlay shots
Know when you're keyed/not keyed.
Frequency of drum cam usage.
How LONG shots are "live".
Paying attention to where "action" happens.  Who's singing, Electric solos.


Camera Terminology


Camera Terminology



HOLD  Stop camera movement (hold current shot)
RESET  Return to previous position (starting point)
START  Begin prescribed movement (eg. start push)
PAN RIGHT  Move camera lens right
PAN LEFT  Move camera lens left
TILT UP  Move camera lens up
TILT DOWN  Move camera lens down
ZOOM IN  Tighten camera framing
ZOOM OUT  Loosen camera framing
TIGHTEN UP  Zoom in slightly to tighten camera framing
LOOSEN UP  Zoom out slightly to loosen camera framing
PUSH IN  Zoom in slowly on subject
PULL OUT  Zoom out slowly from subject
PUSH [SUBJECT] RIGHT  Slowly move subject to right side/edge of frame
PUSH [SUBJECT] LEFT  Slowly move subject to left side/edge of frame
PUSH [SUBJECT] CENTER  Slowly move subject to center of frame
LOSE [SUBJECT] RIGHT  Slowly lose subject off right side/edge of frame
LOSE [SUBJECT] LEFT  Slowly lose subject off left side/edge of frame
REVEAL [SUBJECT] RIGHT  Slowly reveal subject on the right side/edge of frame
REVEAL [SUBJECT] LEFT  Slowly reveal subject on the left side/edge of frame
STATIC SHOT  A non-moving/still shot



READY  Next camera to be cut (live) to program out
STANDBY  Next camera to be dissolved (live) to program out
TAKE/CUT  Ready camera is quickly cut to program out (eg. Cut 1)
DISSOLVE/MIX  Standby camera is slowly dissolved to program out (eg. Dissolve 2)


CHECK FOCUS  Image is out of focus and needs to be sharpened up
CHECK IRIS [DARK/HOT]  Image is either too dark or too bright (adjust f-stop/iris)
HEADROOM [MORE/LESS]  Framing above the subjects head (too little or too great)
LEAD-ROOM  Open space in front of subject (when facing/walking left or right)
RACK FOCUS  Change in focal point from one subject to another or to roll out of focus
SNAP ZOOM  Quick zoom in & out on subject (by manual control of focal ring)
PREVIEW  Camera which is next (ready/standing by) to go live
PROGRAM/PROGRAM OUT  Camera which is live






Model intercom etiquette

  • Except the director’s microphone, all intercom mics on the video channel should stay off unless talking. And then immediately off again.
  • Identify yourself. I’ve heard this done in different ways, but basically, “This is camera 3. My tripod just broke.” Is much better than, “My tripod just broke.”
  • If you are in the control room, and you have to set down your headset, turn off the mic first. No one wants a loud banging in their ears.
  • Do not yell, cuss, or criticize over headsets. If your team, or a specific operator, really screws up, be a leader and take responsibility. The team I work with is awesome. I believe people do their best when they are properly trained, prepared, engaged and focused. That’s your job as the director.

comm Standards

  • Chatter should not be communicated back to TD
    There are too many things happening during a worship service for TD to communicate back to cam crew.  If there was a misunderstanding of what was just said communicate on B with other camera ops.
  • Refer to Cam Crew as Camera Number and not by name
    This will take out the thought of who's on what camera, keeping the focus on production.
  • Lead communication with an identifier
    Don’t: “Come out wide and prepare for a push, camera 3.”
    Do: “Camera 3, come out wide and prepare for a push.”
    A subtle difference, but identifying your subject will provide clarity and save time.
  • Compliment the team
    If the team just nailed that last song, let them know. If someone just pulled off a sweet camera move, throw them some cookies.
    Generally wait until the move is over, but it is OK to be enthusiastic.

    Examples might sound like this:
    “Nice, NICE, Tim, keep it going.”
    “Guys, this is looking great, good job!”


A - TD/Producer/Production Manager comm out
B - Cam Team chatter
C - LD/FOH Engineer/Mon Engineer
D - Rooms/Misc

Stage Hands will be on both A and D with wireless beltpacks