FUSE - PC3’s annual summer camp for middle and high school students. It’s an incredible few days of life change, worship, games, chaos, and fun that we pour an incredible amount of resources into every year. I’m so thankful that it’s something that our Church has stood behind and funded and supported in the way that they have for the past 10 years. It’s incredibly humbling to be a part of an organization that loves students like PC3 does.
With it being the 10th year of us running our own Camp, expectations were certainly high! A few months back, I began working on a set design sketch that pulled influences from what we’ve done in the past at camp, from Passion’s most recent touring set, as well as from Kari Jobe’s Garden Tour set. What began as a crazy dream with some of the most expensive, powerful, and sophisticated fixtures out there was slowly carved into a design that took both our limited budget and the needs of the difficult space into account.
That’s not to say we cut it all out and stripped it way down - we still found a way to stay within budget, and try to get our hands on some of the best gear available to us. What we ended up with was a super fun and energetic set with the ability to put some incredibly good graphic content at the center, and supplement it with a really diverse and flexible lighting package. Audio wise, we stayed with a console familiar to us, and went with a PA designed to give us lots of head room, and really clean full bodied sound. I’ll detail what gear we had in a bit, but first I want to talk about and brag on those who ran it all.
Each year, I have the honor of getting to be production director to a team of leaders who are each technically proficient in their roles, people who are all more talented and knowledgeable than myself, people who love our church, our students, and the Lord. The seven of them all worked incredibly hard to not only make the production side of camp a success, but to help out around camp in other ways as needed. It was a serious honor to get to lead alongside them, and to be led by them all week.
CARSON GOSLEE - FOH Audio
JACOB TURNER - Lighting Engineer
JJ CLARK - Graphic Content Creation, Ableton/Pro Presenter MIDI Control, & CG
ZACK HUTCHINSON - Video Switcher & PVP
RAD RICHARDSON - Monitor Tech & Backline
JACOB GROSSMAN - Monitor Tech & Backline
JAYLEN IDOL - Mobile & Studio Cameras
I can’t adequately express my thankfulness and gratitude for the team - they led with the hearts of servants, worked insanely late hours and long days, sweat like crazy, and often lived behind the scenes with no expectation of the spotlight or recognition. Even so, it was incredible to get to walk around the room during our programs and find them engaging in worship, taking notes during messages, and learning alongside our students and small group leaders. They’re an incredible example of how we can take our various roles serving on the production teams around PC3 and lead from where we are while engaging! Thank you guys so much for leading us, and setting an example for us all!
If you have any questions about our process leading up to camp, any of the gear we used, or anything else, please let me know! I’d love to bring people into the process!
Also, a HUGE thanks to ZACK HAMBY, JACOB CARNE, and JOEY CONNOLLEY for killing the photo and video game all week.
We had 66 panels of 5mm LED centered and on risers, so that the base of the LED wall was at the back line with the stage. Total dimensions of the wall came to 18’x9.84’, giving us a wall with an aspect ration just shy of true 16x9. This was ideal, as it made content creation easier, as well as the mapping of the wall easier during load in. The wall, and driver software was rented.
The wall was fed from the Studio 3 ATEM Production switcher, with 3 sets of CG inputs, 1 mobile camera (wireless via a Teradek), 2 studio camers, as well as Pro Video Player 3 for DVE/PiP. The switcher, CG computers, Studio Cameras, Mobile Camera, and PVP Mac Pro all came from Studio 3 & Treasure Island ILM.
We had 12 Martin MAC Viper AirFX, 8 Solaris Flare, 8 GLP X4S, 6 Chauvet COLORADO Tri-Tour, 4 ETC 26°lekos, and 3 Arri 1000W fresnels. 8 of the Vipers, all 8 of the X4S’, and 4 of the Flares were mounted on vertical truss beside the LED wthe other 4 Vipers and the rest of the Flares were all on the stage itself.
The lekos, fresnels, and all 6 Tri-Tours were all flown on the downstage truss.
All lighting was controlled by an ETC Congo Jr. with fader wing that we brought from Studio 3. All fixtures were rented.
We rented an Avid S6L (with a Waves Extreme Server) for FOH, and brought our S3L for monitor world. We had 64 channels available at FOH, and 48 at Monitor World.
We rented a D&B line array system with 8 T10 boxes per side, as well as 4 B22 subs powered by 3 D80 amps.
We brought 10 channels of Mic RF (Shure ULX and QLX-D), 6 Sennheiser ew300 IEM’s run stereo, as well as two sets of stereo hard wired ears.
The S3L came from Main Room ILM, the RF came from Studio 3, and the rest was rented.
We partnered with TREVE Production, based in Clevelend, TN, who sourced gear for us through BANDIT LITES, TREVE, SPECTRUM AUDIO, and LABELIVE.