12. Record Camera
Record Camera Training Guide
This training outlines the core expectations for every camera operator during a show. The objective is simple: capture as many usable shots as possible while remaining calm, discreet, and aware of the worship environment. Each assignment demands discipline, timing, and awareness of the editor’s needs.
Universal Principles for All Camera Operators
Your priority is usable footage. Hold each shot long enough for editors to work with, but not so long that the angle becomes stale. Two to three lyrical lines is generally a solid benchmark. Reset time should be minimal so you can maximize the number of usable clips you deliver.
Remain calm. This is not a sports shoot. Move with purpose, avoid rushing, and never draw attention to yourself. Capture the moment and move on.
Lead Camera
This position is straightforward. Stay with the lead vocalist for the entire song. Think of the lead camera as the safety angle. If the editor lacks a cut point, your shot becomes the fallback.
Movement matters. Avoid a static lock unless specifically requested. Match the song’s energy, introduce deliberate motion, and use whips when appropriate to maintain dynamic visual interest.
Background Vocals (BGV)
Most rules for the lead camera apply here, but variety is key. Move and reposition to capture different angles of background vocalists. Keep your shot long enough to be usable, and avoid the trap of frequent, rapid resets. Hold your angles with intention.
Instruments
This role is as simple as it sounds: stick with the instruments. If your assignment is drums and electric guitar, then ninety-five percent of your footage should be exactly that.
Use the tempo to guide your camera movement. Most importantly, always have a shot during moments when the vocalists are silent. Interludes, turnarounds, intros, and outros are all times when instrument angles are essential.
Crowd Shots
Crowd shots carry emotional weight and you can never have too many. Position yourself early and scout potential angles. Build a mental route so your transitions are efficient.
Move subtly. People may already feel on edge when a camera is near them. If someone reacts negatively or gives you an uncomfortable look, simply relocate.
Avoid the backs of heads. Hands are fine, but include faces whenever possible. A clear expression is always more powerful than a vague silhouette.
Wide Shot (Ronin Gimbal)
A gimbal on a wide lens gives context to the room and helps viewers feel the environment of the worship experience. Capture the space before the song starts, the opening moments of the song, interludes, choruses, turnarounds, and the final moments. These are the points in the edit where this angle becomes especially valuable.
Minimize reset time. For a strong example of how this position functions, refer to the “Let Me See Jesus” music video on YouTube.
General Technique and Endurance Tips
These cameras get heavy. Keep the camera close to your body to reduce fatigue; extending your arms creates unnecessary strain. More points of contact improve stability. Rest the battery on your shoulder or collarbone to give your arms periodic relief.
Always have your first shot ready before the song begins. Transitions between songs matter, and missing them weakens the final edit.
If you ever have questions, ask. Even the simplest question is better handled before it becomes a larger problem.