According to Sally Morgenthaler, author of the classic work Worship Evangelism, churches are adding video projection systems at a faster rate than any other technology. Morgenthaler sees a correlation between the rise of the postmodern culture and the need for visual reinforcement. But simply mounting a projector and screen does not insure the delivery of the message. Video systems must be integrated into the physical and spiritual dimensions of a church.

How a congregation worships and the importance the members place on their surroundings are key elements in the pursuit of a viable visual ministry. From placement of the screen to selection of the presentation software, the implementation of a video system involves many decisions. So how can your church find and implement a video system that communicates, but does not dominate, the message? The answer is to know the end from the beginning; that is, to determine how video will be used in church before the system is purchased and installed.

Content is king. Words and images must convey the heart and soul of the sermon and songs if the audio and video systems are to be effective. From the moment the projector image strikes the screen, the congregation anticipates the next slide or photo. Video pulls the viewer along a predetermined path toward the goal of transformation. When used correctly, video ministry accelerates learning by creating a deeper, more meaningful experience. To achieve this goal, the video system must meet three criteria.

• The video display must be legible and viewable from all seats.
• The components must be aesthetically integrated into their surroundings.
• The system must be operated in a professional, non-distracting manner.

Each of the major screen manufacturers has packed their respective websites with useful formulas for determining the proper screen size, type, and location in almost any environment. Draper, Da-Lite, and Stewart Filmscreen have assembled everything needed to fit the screen to the room. For instance, front projection screens with matte-white finishes are the most popular models since they are viewable from wide angles, have reasonable reflectivity indexes, and are easy to maintain and clean.

All three manufacturers explain the interdependence inherent in surface material attributes. If viewing angle is broadened, reflectivity decreases. If reflectivity is increased, viewing angle suffers. While there is no panacea to these issues, intelligent compromises are the surest way to success. The primary goal is to make the text and images viewable and understandable from any seat in the house.

Thus, while it may be tempting to select a high contrast glass beaded surface for its direct-view impact, its image will appear pale to those seated outside a narrow thirty-five degree viewing angle. The good of the many must be considered first. Properly evaluating the room layout, ambient light levels, and seating arrangement will insure the correct screen is installed in the sanctuary.

Typically, projectors and screens are added to an existing facility, and are intruders into the church's architecture and aesthetics. But even when planning video with new construction, it's easy to take the "just shine it on the wall" approach. While cost effective, this approach disserves the church by cheapening the delivery scheme of an eternally important message. Just as a worship service recorded on a home camcorder and then broadcast on the local cable access channel will never be taken seriously, video projected on a bare wall loses much of its impact.

Systems integration includes the art and science of concealing or assimilating the video screen through electrically operated lift motors, trap doors, or décor-matching trim. Further, the routing of cables through proper conduit and then exiting via recessed plates and panels carries the professional theme to its conclusion. FSR, Mystery, and Ace Backstage build excellent products designed for accessible, yet discreet connections.

Recent innovations, such as the Ascender series of vertically extending scissor-mechanism screens, make it possible to mount the video screen in the loft area and rise when needed, then retracted out of sight. In hanging screens, the trend is toward smaller and quieter motor housings deigned to eliminate distractions while easing installation requirements.

Projectors are finally losing their box-like appearances and becoming, if not works of art, at least visually interesting. Sony's new lineup is leading this trend, with its svelte curves and recessed lens housing. Likewise, projector mounts, once either small units dedicated to a single model or bulky universal versions, have moved into the realm of formed function. Chief Manufacturing, Allen Products, and OWI are bringing new mounts to market that closely resemble the projectors they support. Foregoing a commercial mount in favor of a Home Depot version may seem like a good idea, but it usually costs as much to build and lacks the stability and safety engineering of the commercial unit.

The decision to project a front or rear oriented image depends on several factors, including ambient light level, throw distance, and physical surroundings. If horizontal light impedes the area between a front projector and the screen, a rear projection system may be able to improve the viewability for members. Conversely, if light striking the screen is low and there is little wash from side to side, a front projection system will suffice.

Rear projection, while preferable, will only fill the screen if enough distance is available between the lens and screen. Typically, the screen width multiplied by three will give the distance necessary for the proper image. Rear projection components should be located in an enclosed, dedicated space since any light between the projector and screen will deteriorate the image's contrast. Front projection systems are more tolerant of ambient light and are simpler to install, as they do not require a dedicated space.

On the other hand, front mount units are more visible and may be harder to access for routine filter cleaning and lamp changeovers. Cabling to the projector is typically easier to conceal in a rear projection environment due to the difficulty front mounts have in placing the rather bulky cable out of sight. Often, a projector can be mounted on the lip of the balcony or tech booth, especially if the selected projector accepts long throw lenses.

However, if the standard lens is the only one available, the projector must be mounted an average of thirty feet from the screen since standard lenses incorporate a mid-focal length zoom. In most churches, thirty feet is not enough distance for a balcony location, so the only choice is to fly the projector from the ceiling. Third party long throw lenses from Navitar are a viable option when balcony mounting is preferred.

Operating a video system entails more than simply pushing the PowerPoint advance arrow. An effective video ministry requires careful attention to the moment, appropriate underscoring, and never calling attention to the medium. In structured worship environments, preplanning is a welcome solution to the "What do we put on the screen this Sunday?" question.

Follow the sermon outline, research the songs' lyrical content, and scan the headlines for appropriate visual imagery that retells the story in a complimentary fashion. Imagination prevents drudgery, so think about secondary analogies, not the obvious visual allusions. For instance, bring composite images onto the screen that counterplay one another, yet evoke a response. Tattered clothes against a field of beautiful flowers overlaying an image of a child's eye creates an undeniable emotive reaction that causes the viewer to reexamine their current thoughts on the sermon.

When the moment suggests silence, turn the images off. Visual noise is as distracting as audible noise during a tender moment. Likewise, when a visual image is self-evident, there is no need to recount the telling again with the projectors. However, when the time arrives for one picture to equal a thousand words, bring it to the screen boldly and quickly, for the moment will soon pass. Finally, keep the visuals low-key outside of concerts and youth rallies. It is better to say too little than too much.

Using commercial movie clips and television segments is appropriate only in certain environments. Legal and moral issues are the primary concerns against clip usage in church. Make certain the legal hurdles are cleared with one of the major licensing agencies prior to hitting the play button on the dvd unit. Once licensed to use them, churches cannot manipulate or truncate the clips in any manner and remain legal.

The dilemma, then, is how to show the clip while avoiding any offending material on either side of the desired segment. Either the operator has to have an accomplished trigger finger or the material must be transferred to another medium without the offending material onboard. Naturally, the second option introduces new legal issues. A mistake on the first option, however, could introduce offensive language or visuals into the sanctuary. Therefore, the consensus is to use only "clean" clips or forewarn the audience mistakes may be made. The true answer is a body of visual material produced by Christian artists for use by Christian ministries, a need that is being addressed slowly, but surely.

Video is a permanent part of church ministry. Its potential is limited only by imagination. Inspired imagery is a powerful tool for expressing the Gospel message in its full glory. While pitfalls exist, the baby should not be thrown out with the bathwater. Video has been used for evil by terrorists and humanists. Christians who reverently apply its power to spread the Gospel and edify the saints can use this influential medium for good.

Kent Morris (kent@worshiptech.com) is a media system designer in Atlanta.

Copyright © 2005 by the author or Christianity Today, Inc./Your Church magazine.
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January/February 2005, Vol. 51, No. 1, Page 50