In this podcast episode, we continue our discussion with Anthony Stofflet, Brand Manager at A.C. Americas Luminex. If you missed part 1, be sure to go back and listen to it. In this episode, part 2, we shine a light on church lighting techniques, exploring topics such as the best lighting consoles to use, the role of haze, audience scanning, and more. Join us for these enlightening discussions!
FREE GIVEAWAY OF A LUMINODE
[00:00:00] , and DL.
[00:00:01] Welcome to the Tech Arts Podcast and the Earthworks Audio Studios.
[00:00:20] My name is DL, so glad to have you joining us today.
[00:00:24] Today's episode is part two of our conversation with Anthony Stofflett.
[00:00:29] Special thanks to Luminex and AC Lighting for sponsoring this episode and loaning us
[00:00:33] Anthony for this amazing conversation.
[00:00:36] If you missed part one of this podcast, make sure you go and check it out.
[00:00:40] Part one had a church tech tip where we talked about the Luminode.
[00:00:44] This is a powerful device that is really helping churches make a better and more
[00:00:49] reliable connection to their lighting networks.
[00:00:52] Matter of fact, Luminex is letting us give away one of these devices for
[00:00:57] free to register to win.
[00:00:59] Go to techartspodcast.com and click the enter to win button.
[00:01:04] So that's techartspodcast.com.
[00:01:07] Just go there.
[00:01:08] You'll see the enter to win link, click it, and you too can have a
[00:01:12] chance to win the Luminode today though.
[00:01:15] Anthony and I get into a deeper discussion on lighting.
[00:01:18] We specifically talk about haze and how to use it effectively.
[00:01:22] Plus we talk about when and how you should scan the audience with lights.
[00:01:27] That means when should the lights hit the audience in the eyes?
[00:01:31] Plus we talk a few more lighting insights that you don't want to miss out on.
[00:01:35] But right now we need to pay the bills.
[00:01:38] Don't go anywhere.
[00:01:39] Our podcast on networking and lighting continues in just a few minutes.
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[00:02:03] More great content is coming up right after this.
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[00:03:00] That's audiovideolighting.com.
[00:03:06] Welcome back to the tech arts podcast.
[00:03:08] Returning for part two of our episode on networking and
[00:03:12] lighting is Anthony Stofflett.
[00:03:14] Hey, Anthony.
[00:03:15] Hey David, how are you doing today?
[00:03:16] Man, it's good to have you back.
[00:03:18] I'd like to ask you a few questions about lighting, but before I get into
[00:03:21] that, tell our audience a little bit about yourself and your experience in lighting.
[00:03:26] Yeah.
[00:03:26] So I kind of came up at this like really fun time in the industry.
[00:03:30] So I got to kind of like grow as our industry was growing.
[00:03:33] So I started out with lighting, with, you know, that basic two scene
[00:03:37] preset with like a single universe and thought that that was the world.
[00:03:41] And then kind of just kept going up from there.
[00:03:44] Started getting into, you know, bigger and bigger shows.
[00:03:47] And then eventually got my first job at a local church.
[00:03:51] I was there for about two or three years and then moved on to actually
[00:03:55] my previous home church before that one.
[00:03:58] And was there for 10 years.
[00:04:00] While I was with that church, I was freelance contracting in for, you
[00:04:03] know, corporate shows, festivals, touring, a lot of design work, some
[00:04:08] consulting work, a little bit of, you know, everything, you know, kind
[00:04:12] of how that goes is we're all freelancing stuff and it wasn't until
[00:04:16] about a year and a half ago that I jumped on board with AC to be the
[00:04:19] Luminex brand manager.
[00:04:21] And from there, the kind of the rest is history.
[00:04:22] Let's talk about Hayes.
[00:04:24] So AVLH let's talk about Hayes a little bit.
[00:04:28] That's in the Bible, right?
[00:04:29] There's, there's dew and the sun and it goes, the sun kind of
[00:04:33] goes through and creates beams of light.
[00:04:36] But I'm a pastor.
[00:04:39] I think Hayes belongs in clubs.
[00:04:41] Help try to change that mind a little bit.
[00:04:44] Why Hayes in your service?
[00:04:46] I think a lot of that just comes down into what Hayes are you using?
[00:04:51] So if you're getting into a Hayes problem and you're getting some
[00:04:53] of those descriptives of stuff like that, the first place I would
[00:04:57] check would be what Hayes are you using?
[00:05:00] Because there are some really good Hayes out in the market that
[00:05:03] just disappear when you don't have lights through them, which is
[00:05:06] really cool.
[00:05:06] And there's a difference between fog and Hayes.
[00:05:10] I think a lot of churches put a fogger on their platform and they
[00:05:15] fire that off and then it just, it looks like smoke.
[00:05:18] It does look a little clubby.
[00:05:20] I like to tell churches that the right amount of Hayes is if you
[00:05:25] turn on your house lights, it almost disappears.
[00:05:28] And then when you shoot a light through it, that's when you see
[00:05:31] the beam, hopefully from the light to the platform is what I like.
[00:05:37] Cause I think when I walk out early in the morning and I see
[00:05:39] the sun kind of coming through the trees, through the Hayes, I
[00:05:43] see those beams and textures and dimensionality.
[00:05:47] I'm trying to use big words here, man.
[00:05:48] It makes me sound better than an audio guy, but that's kind of my
[00:05:52] philosophy when it comes to Hayes.
[00:05:54] Don't use a fogger, use a hazer and make sure that like when
[00:06:00] you turn the house lights on, you just don't see this like smoke
[00:06:03] across that it's a beam that you're looking for, but give us your
[00:06:08] philosophy, Anthony, what's your philosophy on Hayes?
[00:06:11] Yeah.
[00:06:11] So I'm a really big nature person.
[00:06:13] You know, I have a lot of my, a lot of my history, a lot of my
[00:06:16] upbringing is very outdoors, very nature.
[00:06:19] And that's been my kind of my place with God, you know?
[00:06:22] And so when I'm looking at it, you're using a lot of these
[00:06:25] same scenarios that I've been inside of, which is, you know,
[00:06:27] I'm standing in a forest in the morning and you know, there's
[00:06:30] some, there's a mist and some dew that's kind of coming up.
[00:06:32] And as the sun rises, not only are you getting the shadows from those
[00:06:35] trees, from the sun, but you're also getting these beams of light.
[00:06:39] And so a lot of the things that I came into as an LD, especially
[00:06:43] inside of the house, inside of the church market, inside of
[00:06:46] services, inside of what we do.
[00:06:47] It really is just coming down to how can I replicate something
[00:06:51] that God's already doing?
[00:06:53] Um, and so a lot of that was through Hayes.
[00:06:55] Now there's some, you know, practical things also around
[00:06:58] Hayes, which is dimension.
[00:06:59] You know, you kind of hit it when you're saying dimensionality.
[00:07:01] It really is that, uh, especially on video, right?
[00:07:05] Because when you have a person up on a stage, you know, and it
[00:07:08] kind of just, you know, they're just, they're lit from the front
[00:07:10] and that background just seems to be right on top of them.
[00:07:13] Even though your stage is 20 or 30 feet and deep.
[00:07:17] And that Hayes can kind of help break that up a little bit because
[00:07:19] we can see some beams of light behind them or, you know, we could
[00:07:22] see some lights shooting up from the ground and stuff like that.
[00:07:25] And so it really is just this way to add to the excitement
[00:07:29] and add to that emotion.
[00:07:30] What's your opinion on scanning the audience during a service?
[00:07:33] And what I mean by that for everybody's like, what did he
[00:07:35] just mean with scanning?
[00:07:36] Like swinging the lights out into the audience or moving the
[00:07:39] lights through the audience.
[00:07:40] What's your opinion on that?
[00:07:42] There's moments, right?
[00:07:43] Every church is different.
[00:07:45] Every congregation is going to be different.
[00:07:47] Every feel is going to be different.
[00:07:49] And so when I did do them, you know, cause I've had the range
[00:07:53] of churches that kind of have their difference opinions around
[00:07:56] that kind of stuff, but realistically what I came down to was, you
[00:07:59] know, I had to ask myself the most basic question.
[00:08:02] Yes, it's going to look cool.
[00:08:03] I know it's going to look cool as an LD.
[00:08:05] It's going to be awesome.
[00:08:06] I want that picture, you know, but is it necessary?
[00:08:10] Can I accomplish this goal by instead of shooting into the
[00:08:13] audience, going over their heads or, you know, just maybe just
[00:08:16] barely touching that first row inside of the audience
[00:08:19] because it can be a distraction as much as I would love to say
[00:08:23] that lighting really is this amazing thing and it just adds
[00:08:26] to the service if lighting is used improperly, it can be
[00:08:29] a distraction to it.
[00:08:31] And so that's kind of where it comes into.
[00:08:34] So there are moments for it and I definitely reserve those
[00:08:37] moments to make sure that I could use them.
[00:08:40] And then it's also just knowing your audience, me programming
[00:08:43] for a weekend service versus me programming for our middle
[00:08:46] school or high school students or even our young adults.
[00:08:49] Those are two completely different styles of programming.
[00:08:53] You know, the young adults in the high schoolers, I'll have
[00:08:55] all the fun in the world.
[00:08:57] It will be a concert.
[00:08:58] It'd be like, you know, I'd be like them going over to their
[00:09:00] local arena to see Taylor Swift, you know, it's just going
[00:09:03] to be crazy and awesome.
[00:09:05] Our weekend services, very different crowd, very different
[00:09:08] people, but still trying to find those ways to have that
[00:09:11] excitement just in different ways.
[00:09:13] Yeah.
[00:09:13] I think you need to know your audience.
[00:09:15] I think that's one thing that you're saying.
[00:09:16] I loved what you said and did.
[00:09:19] I experienced it when I worked with you where you would
[00:09:21] shoot the lights over the audience's head.
[00:09:24] So they would, you know, on a big hit of the song, they
[00:09:26] would turn on, but they would be over the not hitting anybody
[00:09:29] in the eyes over their head.
[00:09:30] It gave the same effect, right?
[00:09:32] It gave the same energy and emotion and pop that we were
[00:09:35] looking for without actually blinding the audience.
[00:09:38] I also like to say, Hey, when the audience calls it to them,
[00:09:42] that's typically the moment where you can scan them.
[00:09:45] And so that's like at the end of the song, when the
[00:09:47] drummer is crashing out and the audience is clapping and
[00:09:49] they're hooping and hollering, you know, sweeping through
[00:09:53] them for that moment is not a distraction to them.
[00:09:55] They're actually calling it to themselves or actually
[00:09:58] clapping and bringing the lights to themselves.
[00:09:59] So that's, that's kind of one way that I look at it.
[00:10:03] I never liked to scan the audience in terms of sweeping
[00:10:06] them more than twice.
[00:10:08] I always felt like there was maybe one or sometimes two
[00:10:11] moments where you could do that.
[00:10:13] And then outside of that, you needed to keep it above
[00:10:15] their heads or like you said, kind of down on the
[00:10:17] front row and, uh, or, or, you know, it just does
[00:10:22] beam shots in the audience, maybe on one song, but I'm
[00:10:26] not a fan at all of just constant scanning.
[00:10:29] I'll go to churches and they'll run a queue and it'll
[00:10:32] just be doing this across the audience, even slow.
[00:10:35] Um, for the whole song.
[00:10:37] I'm not a fan of that with that said, it depends on
[00:10:41] the DNA of your church.
[00:10:42] Like you said, for a young adult service, that may work.
[00:10:46] Um, for your church, um, maybe they're more younger
[00:10:50] crowd and that may work.
[00:10:52] Um, but typically I think there's one or two
[00:10:55] moments where you scan them and the rest, you can
[00:10:57] kind of do things on the walls and above the band
[00:10:59] and things of that nature.
[00:11:01] They kind of bring it out, uh, but blinders, you know,
[00:11:04] a lot of churches ask me this question.
[00:11:06] What's my opinion on blinders?
[00:11:08] So I want to start with you.
[00:11:09] What's your opinion on blinders?
[00:11:10] And just so everybody knows, I'm not talking
[00:11:12] about a blinder that you put over your eyes.
[00:11:14] I'm talking about lights that blind the audience.
[00:11:17] I will, I will honestly never forget the last
[00:11:20] night of worship that I think me and you did
[00:11:22] together.
[00:11:22] Um, and you know, we were inside of this, you
[00:11:25] know, the inside of a great room.
[00:11:27] Uh, it had a great system inside of it.
[00:11:29] And, uh, you know, and we were having this
[00:11:31] conversation over like, Hey, okay, so let's
[00:11:33] rent something.
[00:11:33] What are we bringing in?
[00:11:35] And my whole thing was like, yeah, I just
[00:11:37] need eight blinders.
[00:11:38] That'd be, that'd be great.
[00:11:39] Just, just eight blinders.
[00:11:40] I'm going to put them right here on this
[00:11:41] trust and it's going to be awesome.
[00:11:43] And you know, everybody on the team, David,
[00:11:46] David's, David's cool.
[00:11:47] He knew what I was going for.
[00:11:48] He trusted me.
[00:11:49] Uh, but everybody else was just kind of like
[00:11:51] staring at me just like you want blinders out
[00:11:53] of everything in the world.
[00:11:54] You want blinders.
[00:11:55] Uh, yeah.
[00:11:57] So a lot of this came down to I knew the
[00:11:59] worship leader, you know, I knew the room.
[00:12:00] I knew that everything.
[00:12:02] And so like, I knew these moments that were
[00:12:05] probably going to end up happening.
[00:12:07] Right?
[00:12:07] And so this is where it gets into knowing
[00:12:08] your worship leaders and, you know,
[00:12:10] sometimes it's those acapella moments.
[00:12:12] Even it's exactly what you were saying when
[00:12:14] you're blinding the, uh, when you're
[00:12:15] scanning the audiences, it's, they're
[00:12:16] inviting it into them kind of a thing.
[00:12:18] So, you know, who's been to a concert
[00:12:20] where, you know, the artist is up on stage
[00:12:22] and is like, Hey, sing along with me or
[00:12:23] repeat after me.
[00:12:24] You know, they'll sing something.
[00:12:26] And then the blinders were turned on
[00:12:27] and the audience sings it increases that
[00:12:29] level of engagement and makes them feel
[00:12:31] a part of what happening.
[00:12:33] Uh, even if, because it is just a
[00:12:35] light that's facing them versus a
[00:12:36] light that's facing the stage.
[00:12:38] Uh, so there are just so many
[00:12:40] moments, whether those, those
[00:12:41] punches, those acapella moments,
[00:12:43] these, you know, big grandiose or
[00:12:46] sometimes it's even candlelight services
[00:12:49] where it's just the, I just need this
[00:12:50] like little bit of a warmth, you
[00:12:52] know, to come as if like, you know,
[00:12:53] the per the candle that the person's
[00:12:55] holding in front of them is actually
[00:12:56] being lit and they actually can feel
[00:12:58] this, you know, this energy from
[00:13:00] those candles.
[00:13:00] There's I think there are so
[00:13:02] many uses to blinders.
[00:13:03] Yeah.
[00:13:03] And it's not always a hundred
[00:13:04] percent at the audience, blinding
[00:13:06] them, uh, some blinders, you
[00:13:08] can actually chase inside the
[00:13:09] blinder and do some really cool
[00:13:11] stuff.
[00:13:11] The reason why I am a big fan of
[00:13:14] blinders is because a lot of
[00:13:17] churches have video now they have
[00:13:19] cameras now and they're shooting
[00:13:21] the audience more and more as in
[00:13:23] showing that, uh, to the people
[00:13:25] at home that are watching.
[00:13:27] And one thing that a blinder can
[00:13:28] do, it kind of takes me back
[00:13:30] to my old school TV days.
[00:13:32] You know, when the audience clap
[00:13:33] lights would come on, the
[00:13:35] blinders would come up, right?
[00:13:37] So the clap lights come on and
[00:13:38] the, the, the audience lights or
[00:13:40] blinders would come up and then
[00:13:42] the, the cameras would be
[00:13:43] shooting the audience at that
[00:13:44] moment.
[00:13:45] It's very similar thing in a
[00:13:47] concert worship atmosphere.
[00:13:49] You know, when the audience starts
[00:13:50] to sing, when it's their moment
[00:13:53] in the lead vocalists, you
[00:13:55] know, aiming the mic at them or
[00:13:56] just letting them go a cappella.
[00:13:59] Those blinders coming on now
[00:14:01] illuminate the room in a way
[00:14:03] that the cameras can see it
[00:14:05] better.
[00:14:05] Plus it looks cool in the way
[00:14:07] that the there's be shooting out
[00:14:08] into the audience.
[00:14:09] But as that camera either
[00:14:10] sweeps or roams or shoots the
[00:14:12] audience, blinders are now
[00:14:15] illuminating the faces for
[00:14:17] everybody at home that's watching
[00:14:19] and so that's the reason why I
[00:14:20] like them a lot.
[00:14:21] I mean, obviously don't, you
[00:14:23] know, hit your audience every
[00:14:24] five seconds, but when used in
[00:14:27] those right moments, and I
[00:14:28] think that's the keyword there
[00:14:29] moments blinders are very,
[00:14:32] very effective.
[00:14:33] So Anthony, just a couple
[00:14:35] of practical things here are,
[00:14:37] you know, I'm going to ask you
[00:14:37] kind of two questions in one.
[00:14:39] The first one is our back
[00:14:41] lights important.
[00:14:42] And I think everybody's going to
[00:14:43] say yes, but help us
[00:14:44] understand why they're important.
[00:14:46] And then secondly, I'm a small
[00:14:48] church. I have a small budget.
[00:14:50] What do I focus on first?
[00:14:52] Yeah, those are two really
[00:14:54] good questions and two questions
[00:14:56] that even when I was consulting,
[00:14:57] I would probably get asked
[00:14:58] every single day, you know,
[00:15:00] from, you know, sometimes it's
[00:15:01] even the biggest churches that
[00:15:02] have all the money in the
[00:15:03] world, even to the smallest
[00:15:04] ones. And it's all at
[00:15:05] that point of scale.
[00:15:06] Right.
[00:15:07] Backlights.
[00:15:08] Backlights are one of the
[00:15:10] more important things that I
[00:15:11] would put onto a stage
[00:15:12] besides front light.
[00:15:14] So when you're going into a
[00:15:16] project, you're going into an
[00:15:17] install or whatever.
[00:15:18] It's the yes, I need to look at
[00:15:20] the very practical reasons
[00:15:21] behind a person up a stage.
[00:15:22] I need to be able to see them
[00:15:24] and then I need to be able to
[00:15:25] hear them. Right.
[00:15:27] So when it comes into that,
[00:15:28] it's the OK, I need to be able
[00:15:30] to see them. But most of us
[00:15:32] are doing video at this point.
[00:15:34] And so being able to have
[00:15:35] something on their shoulders
[00:15:36] so that way they don't just
[00:15:37] blend into the background.
[00:15:38] It makes the difference
[00:15:41] not even from the practical
[00:15:42] standpoint, but also from the
[00:15:43] creative standpoint.
[00:15:44] So I want everybody to hear
[00:15:46] what Anthony just said.
[00:15:47] Backlights are literally
[00:15:49] backlights.
[00:15:50] You know, a lot of people hear
[00:15:51] backlights and they just think,
[00:15:52] let me just throw the lights
[00:15:54] everywhere on the platform.
[00:15:55] That's more candy.
[00:15:56] That's more candy lights.
[00:15:58] Backlights are literally lights
[00:16:00] that are lighting their back
[00:16:01] and giving some dimension
[00:16:03] to the person standing on the
[00:16:04] platform. Right.
[00:16:05] Yeah. So most of most
[00:16:07] of my stuff that I end up
[00:16:08] designing, they have dedicated
[00:16:10] fixtures for backlight only.
[00:16:12] That is their only job that
[00:16:14] they do.
[00:16:15] Eye candy movers, washes,
[00:16:17] all these other things.
[00:16:18] They can be used as
[00:16:20] backlights. And a lot of times,
[00:16:21] you know, we use them a lot for
[00:16:22] backlights as well because,
[00:16:24] you know, this vocalist is over
[00:16:25] here and we want to just give a
[00:16:26] different color.
[00:16:27] We want a sharper beam or,
[00:16:29] you know, we want to put a
[00:16:29] gobo on their back or something
[00:16:31] like that. That's a very
[00:16:32] creative thing to do.
[00:16:33] Or Lord Scherr would just say,
[00:16:35] give me a backlight over there.
[00:16:38] That candy light just became a
[00:16:40] backlight.
[00:16:41] It happened a lot.
[00:16:42] I wish it didn't, but it did.
[00:16:44] And it's not because the
[00:16:45] backlight system that I had
[00:16:47] wasn't good enough.
[00:16:48] It's that sometimes you just
[00:16:49] need something a little bit
[00:16:50] different, you know, sometimes
[00:16:51] you want it to not just be
[00:16:53] this wash of backlight
[00:16:55] because when you do your
[00:16:56] backlight right, it's almost as
[00:16:58] if the person could turn around
[00:17:00] and have a camera on the back
[00:17:01] of your stage facing the
[00:17:02] audience and they're going to
[00:17:04] still be lit properly from the
[00:17:05] front.
[00:17:06] If your backwash is done
[00:17:07] right, it's there.
[00:17:08] So backlight,
[00:17:11] I've learned to kind of start
[00:17:12] calling backwash with
[00:17:14] some with some integrators
[00:17:15] because, you know, they see
[00:17:16] backlight as a oh,
[00:17:18] I want this hard edge beam to
[00:17:19] come down here and like, no,
[00:17:21] no, no, no. I need it to wash
[00:17:22] the stage in the back just as
[00:17:24] much as I have a front wash on
[00:17:25] that stage.
[00:17:26] That is a good term.
[00:17:28] Backwash.
[00:17:30] Yeah, I'm going to put that
[00:17:31] I'm going to write that down.
[00:17:32] I need to write that down.
[00:17:33] That needs to be a part of my
[00:17:34] vocabulary.
[00:17:35] New term. I've been doing this
[00:17:37] for 30 years.
[00:17:38] Backwash.
[00:17:38] Yeah. So the second part
[00:17:40] of that question, what's the
[00:17:42] most important thing like
[00:17:44] small church?
[00:17:44] Like, what do I focus on first?
[00:17:46] I don't have a lot of money.
[00:17:47] What do I focus on first?
[00:17:49] So new new project, right?
[00:17:51] So let's get into like I'm
[00:17:52] revamping something.
[00:17:54] Number one thing is
[00:17:55] infrastructure, you know, so
[00:17:56] I kind of hit on this a
[00:17:57] little bit earlier, especially
[00:17:58] when we're talking about
[00:17:58] Luminex, you know, it's the
[00:18:00] run cat five run fiber.
[00:18:02] You know, you can never go
[00:18:03] wrong with running those and
[00:18:04] infrastructure is the number
[00:18:06] one thing that people have to
[00:18:08] deal with in the future when
[00:18:09] they go to expand over, oh,
[00:18:11] man, I'm out of fiber.
[00:18:13] I'm out of cat five and then
[00:18:14] trying to get, you know, an
[00:18:15] installer to come back out.
[00:18:17] It's like, oh crap.
[00:18:17] Now you got to, you know,
[00:18:19] dig up the floor and
[00:18:20] reput a conduit in.
[00:18:21] It's just money, money,
[00:18:22] money, money, money.
[00:18:24] So run your infrastructure
[00:18:26] now for 10, 15, 20 years
[00:18:29] in the future kind of a
[00:18:31] thing. So, but if we're
[00:18:32] not looking at new installs
[00:18:34] and we're looking at, you
[00:18:34] know, specifically lighting
[00:18:36] control, it's always about
[00:18:39] control.
[00:18:40] I can have the cheapest
[00:18:41] fixtures in the world up on
[00:18:43] that stage, but if I can
[00:18:44] control them well, I'm doing
[00:18:46] good, you know, and I can
[00:18:48] have the most expensive
[00:18:49] fixtures on the stage with
[00:18:50] all the bells and whistles
[00:18:52] and doing all these amazing
[00:18:53] things. But if I can't
[00:18:55] control them, what's the
[00:18:56] point of having them?
[00:18:58] And so fixtures are really
[00:19:00] easy way to like, hey, one,
[00:19:01] two, three at a time or,
[00:19:03] hey, Christmas is coming
[00:19:04] up. Let's buy four more
[00:19:06] kind of a thing.
[00:19:06] But when it comes to
[00:19:08] control, if you don't have
[00:19:09] that to start with, it
[00:19:10] makes it really hard to get
[00:19:11] fixtures.
[00:19:12] So infrastructure and
[00:19:14] control.
[00:19:15] Yep.
[00:19:15] I would have thought you
[00:19:16] would have said front
[00:19:17] lights. So I'm glad you
[00:19:18] said infrastructure and
[00:19:19] control because, you know,
[00:19:22] if you have the kind of
[00:19:23] the strong foundation there,
[00:19:25] even if it's not a new
[00:19:26] build, even if you got
[00:19:27] to come in and add
[00:19:28] infrastructure, kind of
[00:19:29] spend your money on that
[00:19:30] and get it right. Have the
[00:19:32] control, whether it be the
[00:19:33] console or whatever the
[00:19:34] features are to be able to
[00:19:35] control the lights, because
[00:19:37] you're right, you can rent
[00:19:38] lights. You can buy one
[00:19:39] light at a time. You can
[00:19:41] ease your way into the
[00:19:42] lighting sides. It's not
[00:19:44] like audio where you get
[00:19:45] to, you got to have all
[00:19:46] the speakers. You know,
[00:19:47] you can't just put one
[00:19:48] speaker in the corner of
[00:19:49] the room. You kind of
[00:19:50] have to have speakers
[00:19:51] that cover the room with
[00:19:52] lighting. You can, you
[00:19:54] know, have a smaller
[00:19:54] wash and then a bigger
[00:19:55] wash and, and then
[00:19:57] the control. So that's
[00:19:58] cool. The infrastructure
[00:20:00] and control. So if you're
[00:20:01] a small church out there
[00:20:02] listening, keep that in
[00:20:04] mind because you'll want
[00:20:05] to run to the moving
[00:20:06] lights. You want to run
[00:20:07] to the candy. You want to
[00:20:08] run to all those lights,
[00:20:10] but infrastructure and
[00:20:12] control will help you be
[00:20:13] able to build a stronger
[00:20:14] system in the future.
[00:20:16] So Anthony, if someone
[00:20:17] wants to get in touch
[00:20:18] with AC lighting, how
[00:20:19] do they do that?
[00:20:20] info at AC lighting dot
[00:20:21] com, or you can hit our
[00:20:22] website at AC lighting
[00:20:24] dot com.
[00:20:24] So if you want world
[00:20:25] class products and world
[00:20:28] class service, go to AC
[00:20:31] lighting dot com. AC
[00:20:33] lighting is also
[00:20:34] reachable on Facebook,
[00:20:36] Instagram, LinkedIn,
[00:20:37] Twitter, whatever the
[00:20:38] new name is. I think it's
[00:20:39] X now, but essentially
[00:20:41] you said Twitter. I was
[00:20:42] like, wait a second.
[00:20:43] I think it's X now,
[00:20:44] right?
[00:20:45] It's X right. The
[00:20:46] Elon Musk network,
[00:20:48] essentially any social
[00:20:49] network in the universe
[00:20:51] you can get in touch
[00:20:51] with or follow them
[00:20:53] there for all those
[00:20:54] listening. Let's give
[00:20:55] they use that website
[00:20:56] one more time. It's
[00:20:58] AC lighting dot com.
[00:21:00] That's AC lighting dot
[00:21:01] com, or you can email
[00:21:02] them at info at AC
[00:21:05] lighting dot com.
[00:21:07] Anthony, thanks for
[00:21:08] coming on the Tech Arts
[00:21:09] podcast and sharing
[00:21:10] your vast knowledge with
[00:21:11] our audience.
[00:21:12] David, it's been a
[00:21:13] pleasure. Thanks for
[00:21:13] having me.
[00:21:14] Well, that wraps things
[00:21:15] up for today's episode.
[00:21:16] I can't wait to talk
[00:21:17] to you on the next
[00:21:18] Tech Arts podcast
[00:21:19] until then. I'm
[00:21:21] David Loisner signing
[00:21:22] off by wishing you a
[00:21:23] great day and praying
[00:21:25] God blesses every
[00:21:26] moment of your week.
[00:21:27] See you soon.
[00:21:28] You have been listening
[00:21:29] to the Tech Arts
[00:21:30] podcast presented by
[00:21:32] digital great commission
[00:21:34] DGCM is a 501 C3
[00:21:37] nonprofit that was
[00:21:38] started to help churches
[00:21:39] with all things technical,
[00:21:41] whether you need help
[00:21:42] building a team, finding
[00:21:43] the right gear or just
[00:21:45] a better understanding
[00:21:46] of the church tech world.
[00:21:47] DGCM is here for you.
[00:21:49] Find out more about our
[00:21:50] free on site visits,
[00:21:52] reports and consulting by
[00:21:54] going to audio video
[00:21:55] lighting dot com.
[00:21:56] Digital great commission
[00:21:58] ministries will help
[00:21:59] you run your church
[00:22:00] service like a pro.
[00:22:01] Find out more at
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