Otterbein Church

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Lighting:

Architectural lighting is spread throughout the house of the sanctuary via Altman Lighting’s Chalice 70W LED pendant fixtures.  Utilizing ETC’s Paradigm and Sensor IQ, we were able to provide a lighting control system that encompasses both customizable features, and ease of use functionality.

ETC’s ColorSource Spot and PAR fixtures provide front lighting and stage wash lighting.  Elation’s ZW37-II adds RGBW color changing capability to the mix in the form of a moving beam wash fixture.  ADJ’s VIZI CMY300 fixtures were installed for their versatility as a hybrid moving head fixture with high output.  2 of ETC’s DMX/RDM Four-Port Gateway bring network distribution to the fixtures on the quality and reliability of ETC’s network development.  ETC’s ION XE console provides control over these theatrical fixtures, as well as added control of the house fixtures.

Acoustics:

The largest concern of the gymnasium conversion was acoustics.  High, metal lined ceilings reflected even the subtlest of conversations back down to the ear.  In order to eliminate this we turned to AcousticsFirst’s Cloudscape Baffles which now hang all throughout the sanctuary.  AcousticsFirst’s custom fabric Sonora acoustical wall panels prevent sound from bouncing horizontally throughout the space, while providing pleasing aesthetics.

Audio:

Now that we had created a space with proper acoustics, it was time to design a sound system that would be versatile enough to cover rock music as well as the spoken word with clarity.  For this challenge, we turned to Danley Sound Labs and their SH46I loudspeakers.  Like all of Danley’s Synergy Horns, the SH46 has it all; great fidelity, pattern control and impressive magnitude/phase response.  2 Danley TH118XLI subwoofers pack the punch this sanctuary needed to fill the lows.  Power to this system is sent through Danley’s DNA 20K4 Pro amplifiers.  QSC’s AP-5102 loudspeakers and CXD4.2Q amplifier are utilized as a choir monitor system.

For reliable onstage microphones, we turned to Shure’s QLXD24/B58-G50 and QLXD14/93-G50 wireless microphone systems.  These systems incorporate both handheld and lavalier setups respectively. Shure’s UA844+SWB antenna distribution system allows for an expanded microphone setup while amplifying RF signals.  Shure’s UA874US directional antenna picks up the RF signals while rejecting RF signals from the opposite directions.

For the main audio mix, we turned to the Allen and Heath dLive c2500.  The dLive class allows for superior IO flexibility using the full range of remote audio input mix-racks.  It also allowed this project to implement a complete DANTE system for flexible and accessible digital transmission throughout the tech network.  For system-wide control and an audio DSP, we turned to QSC’s QSYS processing and control platform.

Mixing of the broadcast stream is handled by Allen & Heath’s SQ-5.  Allowing up to 48 input channels, the SQ-5 provides more than enough room for expansion of the online stream in Otterbein’s future.

The arrival and entry into Otterbein’s sanctuary is covered with audio as well.  QSC’s AD-S8T, AD-C6T, and AD-C81Tw provide parking lot audio coverage and lobby audio.

Video:

Upon entry to Otterbein’s sanctuary, 3 very large things are apparent. Da-Lite’s Cinema Contour series projection screens line the back of the stage.  To fill these monsters we chose Vivitek’s DU8090Z laser projectors.  With 8000 lumens of brightness each, and WUXGA resolution with a 10,000:1 contrast ratio, these projectors are right at home in any large venue.

To capture video, Illuminated relocated a set of 3 PTZ cameras from the previous sanctuary.  Typical mounting of PTZ cameras is on a side wall, however, the new sanctuary was too wide and deep to mount on the walls.  We fabricated a centralized mounting system utilizing schedule 40 pipe and Nigel B Design’s Anti-Vibration Adaptor designed specifically to eliminate vibration from HVAC units on hung cameras and projectors.  Onstage point of view cameras are essential when capturing live video.  For onstage instrument shots we chose Marshall Electronics’ CV502-M.  With a resolution of 1920x1080p and up to 60 fps, Marshall’s ultra compact camera was the perfect choice for this application.

A Blackmagic Design ATEM 4 M/E Broadcast Studio 4K centralized production video switcher was installed which handles all in room cameras, graphics layers, keying, and streaming throughout the lobby.

Rigging:

Another focal point in the sanctuary is the trussing over the house and stage.  Constructed to hold over  lbs, Cosmic Truss’s F44P with a custom black powder coat covers over  arial feet of the sanctuary.  For safe pick points and clamping to the main roof beams, we used TheLightSource’s MTP15.75MH and MBC3T-16B products.

Curtains:

Rose Brand provided a Custom Curtains package including one full stage black curtain and two side tabs for masking.