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GLS Producer Orientation & Reference Documents | Version 10-1

Willow Creek Association Global Leadership Summit GLS Producer Orientation & Reference Documents

2 GLS Producer Orientation & Reference Documents | Version 10-1

Producer Orientation & Reference Documents Contents Introduction…………………………………………………………..…………. Top Priorities………………………………………..………….…………. Producer Role & Responsibilities……………………………………….. Tools……………………………………………………………………….. Timeline……………………………………………………………………… Producer Checklist………………………………………………………. Building Your Programming Team…………………………………….. Pre-Production Meetings & Detail……………………………………..…. GLS Programming—Video…………………………………………………...

GLS Programming—Worship……………………...……………………. GLS Programming—Facilitation…………………………………………….. GLS Programming—Host/Emcee………………………………………. GLS Programming—Rehearsals………………………………………… GLS Programming—A Great Start…………………………………….. Summit Central…………………………………………………………… Appendix A—Programming Essentials – The Biggies……………………… Appendix B—WCA Vision and History……………………………………….. Appendix C—Programming Grid…………………………………………..… Appendix D—Cue Sheets………………………………………………… Appendix E—Rehearsal Schedule……………………………………… Appendix F—Technical Staffing………………………………………….. Appendix G—Host / Emcee…………………………………………………. Appendix H—Loss of Power Procedures……………………………… Appendix I—Stage Management Tips and Tricks……………………. Appendix J—Videotaping Suggestions & Requests……………………

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| Producer Orientation & Reference Document 3

Introduction

Welcome to the Global Leadership Summit team, and thank you for your commitment to this life-changing event. You and your team will join hundreds of other production professionals and volunteers around the world as thousands of church and community leaders on every continent are encouraged and hear potentially “game changing” leadership principles. The Leadership Summit will originate at Willow Creek Community Church in South Barrington, IL the first week of August. Over 170 sites in North America will experience the Summit via live satellite simulcast. In the days and weeks following the summit, our staff of video engineers, translators, editors, and duplicators will be working nearly round-the-clock capturing, converting, editing and translating the Summit content for use around the world. But rather than immediately distributing the content to individuals, we’ve found that the teaching of the Summit is most effective when experienced in a conference setting—in community with other leaders. Creating this experience has helped us define our three top priorities:

• A single, bright screen, clear audio and supporting

technology

• Meaningful, customized process time & interaction

• Engaging, transcending worship experiences

As your site’s Producer, you play a critical role leading the highest priority in making the Global Leadership Summit a success. Whether you’re a veteran of the Global Leadership Summit, or this is your first year in the Producer role, you and your team are in for a challenging, exciting and fulfilling journey. Playing a “behind the scenes” role takes a unique combination of confidence and desire to serve. Know that your involvement is significant, your commitment will be honored, and you and your team will be blessed through your participation. On behalf of the entire Willow Creek team, thank you for joining us on this amazing journey.


Our Top Priority

Our Top Priority is to give our guests an awesome life-changing experience through the Global Leadership Summit.

1. Great Video and Sound

2. Meaningful Facilitation and Process Time

3. Authentic Multi-Denominational Worship

GREAT VIDEO AND SOUND This is the most important thing! The messages, teaching and some of the programming for The Global Leadership Summit will be delivered via DVD. The most important thing we can do is to ensure that we have a brilliant, sharp video projected on a “right-sized” screen with excellent, clear audio for your venue. If we don’t have this we don’t have a conference. Our goal is to perform in such a way that we forget or are never reminded that we are watching a DVD. MEANINGFUL FACILITATION One of the uniqueness’s of the GLS is that, since the teaching is via DVD, we know exactly how long the speaker is going to talk and what he/she is going to say. This gives us a wonderful opportunity to maximize the potential impact of the teaching through facilitation and a time to process next steps. The goal of facilitation is to provide a guided time for guests to interact, contextualize and capture key learnings and apply them to their own personal situations. This happens through prayer, reflection, response and interaction. Your program will need to provide adequate process time. In order of priority, this is the next most important program element we can offer to achieve lasting impact.


Our Top Priority (continued)

AUTHENTIC MULTI-DENOMINATIONAL WORSHIP The third main goal is to connect people to freely worship God in the context of local community, to experience authentic multi-denominational worship at the GLS. This is a rare opportunity to gather a diverse group and lead them in worship. We believe that nothing prepares the person and the heart better to receive teaching, training and a word from God than true worship. For the GLS, this is in context of corporate worship. For some, it may be their first experience ever of really connecting to God through worship. For many it will be their first time to ever experience worship in the same room with Lutherans, Baptists, Catholics, etc. Something supernatural happens when we get this right. People’s hearts are softened, opened and prepared for God to do His work. Through worship, walls of resistance are knocked down, biases released, and a greater picture of God is realized. All three of these combine to make an effective conference. It will be very helpful in the coming weeks to plan your time and energy around these things first… in this order.


Producer’s Role

The Producer is the person who leads the Programming Team to create an environment and program that invites guests into a life-changing experience through the Global Leadership Summit. 1. Oversee, Direct and Guarantee The Global Leadership

Program • Sees the entire event before it takes place

• Asks – “What is the room like?”

• Asks – “What happens next?”

• Asks – “How should it take place?”

• Keeps the team motivated, calm and confident

• Keeps everyone on the same page and well informed

2. Coordinate, Plan and Lead Rehearsals

3. Direct, Coach and Lead the program and production

teams

4. Work with the:

• Technical Coordinator • Worship / Band Leader • Stage Manager • Facilitator • Host Emcee • WCA National Producer • WCA Regional Representative • Event Manager

5. Plan Programming Elements in partnership with the

WCA National Producer • Worship • Special Features such as local artistic instrumental

or dance pieces • Summit Media • Facilitation • Other GLS Elements such as Offering

The best production professionals agree that the concept of “eliminating uncertainty” in the pre-production phase is the key to a smooth-running event.

Small challenges always seem to present themselves on-site. We sometimes refer to this as the “fog of war” that ensues (when, for example, equipment is late, something is missing, someone calls in sick, or the weather doesn’t cooperate).

Knowing that there will always be unexpected “pop-up” challenges motivates the best Producers and Technical Coordinators to plan and organize everything they can ahead of time—leaving nothing to chance, and pushing nothing off until the last minute.

When teams are prepared, a solid plan for equipment and scheduling is in place, you should have the time and resources you need to handle the small challenges that pop-up on site.


Producer’s Responsibilities

• Oversee the programming and communication elements of

the conference. • Work with the Technical Coordinator who oversees the

technical aspects of the conference such as stage design, screen set-up, audio, etc. See Appendix for Technical Staffing.

• Ensure that technical and programming teams are

scheduled for rehearsal times before and during the conference

• Be responsible for the appearance of the auditorium and

platform during the conference.

o Recommended stage design will provided o Expenses for stage enhancement must be

approved by the WCA National Producer • Coordinate and direct the Worship Leader during

rehearsals and the conference • Direct the Host/Emcee regarding announcements, content

and schedule. • Communicate via internet and telephone throughout the

event planning. • Work with Ushers and the Event Manager to ensure flow of

people in and out of the auditorium. • Be responsible for visuals and music during the

conference. Backgrounds and templates are supplied by the WCA.

• Work with the Facilitator to execute process time with

excellence. • Be responsible for everything that happens inside the

auditorium during the conference. (The Event Manager is responsible for everything that happens outside the auditorium)


Tools

US Summit “Crash Set” A DVD set including each session from the US Leadership Summit. The DVD’s – or “crash sets” contain the speaker presentation and programming elements. The crash set is sent to either the Organizing Committee key contact or to the Producer. US Summit Cues The US Summit Cues provide a play-by-play roadmap for each session with a full description of everything that happens on the stage. GLS Programming Timeline The timeline will help you prepare for the Summit and help you avoid last minute preparations. The timeline contains dates regarding some of the most important elements. GLS Programming Planning Grid The Programming Grid gives a quick snapshot of the programming elements for each conference session. Use this grid to plan lights, audio and stage cues. GLS Programming Cues The GLS Programming Cues are your minute by minute plan for each session and everything that happens on the stage. GLS Rehearsal Schedules The Rehearsal Schedule provides timing guidelines for running a full rehearsal with all programming and technical. Global Summit Central Summit Central provides web-based communication for all GLS teams. You will receive updates and downloadable materials from Summit Central such as - scripts, message transcripts, lyrics, charts, mp3’s. Facilitation Notes Facilitation Notes provide information about each session essential for the Facilitator including session goal, speaker introduction, special session information, process questions and session closing.


Producer Timeline

Detailed preparation and plenty of follow-up communication is essential to a program, rehearsal and conference experience. It will help you reduce stress and honor the commitment of your volunteers. Follow this plan as a guideline, but customize it (as needed) to meet your needs:

When What Result

Now Attend Producer training/orientation

Meet with your Technical Coordinator to customize your plan & timeline. Review your responsibilities with your technical coordinator and vice-versa.

Agree on a formal, written plan and timeline, customized for your GLS.

Meet with your Technical Coordinator to review the survey for your GLS site—identify screen placement and a communication plan. Check for ambient lighting morning and afternoon, and lighting options.

You’ll have an understanding of your site’s needs, and be able to coordinate with possible vendors much more easily, knowing what kind of space you have available.

With your Technical Coordinator, identify vendors in your market who can supply the equipment that you’ll need. Make contact with them and begin the process of shopping for the best price/plan.

Making contact with potential vendors now can help you get the best rate—inquiring early about an event that happens months away signifies that you’re organized, informed, and have plenty of time to evaluate your options to come up with the best, most economical plan.

Begin organizing your team. Identify who’s available at the site (church, conference venue, etc.), and who from your circle is willing to participate. Determine worship and band leader and vocalists.

Getting the word out early that you’re looking to build a technical team gives you the greatest flexibility. Getting on people’s calendar early can help ensure that you’ll get the best people for the job.


Timeline (continued)

When What Result

6-8 weeks before conference

Finalize your production team: Worship Leader, Band, Vocals, Tech Team, Stage hands.

Put your “aces in their places” with an emphasis on your worship leader and band leader.

Review the GLS “crash set” containing the speaker sessions and programming from the US Summit.

Viewing the “crash set” will expose you to ideas for programming content and direction.

Finalize your equipment bids/contracts.

Once you and your technical director agree that you’ve got the best plan possible (at the best price possible), lock-in your equipment contracts

Prepare rough draft of your programming grid. (see appendix)

With a program grid, you will be able to place creative elements determine timing for each session.

Meet with your Facilitator and determine the design of the Process Time for each session

You will need to be comfortable working with the Facilitator as sometimes what is planned in the program needs adjusted at the last moment

4 weeks before conference

• Finalize worship sets and vocal or instrumental specials

• Finalize stage layout

• Confirm equipment

Have all music / charts and recorded music in order…

This is a good time to confirm that it’s all happening & will be ready for rehearsals.



When What Result

2 weeks before conference

• Prepare Rehearsal Schedule

• Complete draft of programming cues

Leave nothing to chance—confirm with your programming team both by phone and e-mail rehearsal times and when you expect them to arrive and be ready to work.

Guarantee with Technical Coordinator play of all Event DVD’s. Check audio if voice over and timing if using subtitles

Leave nothing to chance!

1 week before conference

• Final Worship delivered to PPT/graphics

• If using IMAG, final flow charts for video

Confirm drop-off times with your equipment vendors.

Again, be redundant in your communication to your rental vendors. Follow-up all phone conversations with a confirming e-mail. Writing out the details (and copying your producer on the e-mail) will help your vendor understand the importance of their commitment and will help keep them accountable.

Plan a production meeting with your Technical Coordinator, production crew and worship leader to distribute and review cue sheets.

Give your production and programming crew plenty of time to prepare for the conference. Focus on the details with your key players…video, audio, lighting, worship.



Conference Day

Confirm that the video is the correct aspect ratio, audio is in sync, and there are no distracting glitches or noises from the production systems

Confirm functionality of all production systems, video, audio, instruments and lighting

Confirm that your team is using a backup playback system (typically, a 2nd DVD player)

Organize an “in/out” tech rehearsal of a few cues and transitions (prior to the rehearsal) so your team is ready for rehearsals and all of the production systems are checked

Morning and lunchtime rehearsals. (See appendix for dress and conference day rehearsal schedules)

Communicate / connect with the Facilitator

Have contingency plans in place for last-minute requests and challenges

Schedule time for the team to meet briefly before each session to review that specific session, coach and pray

Run the conference on time. Follow the plan

Celebrate, envision and encourage the team throughout the conference


Producer’s Checklist

These checklists reiterate some of what you read in the timeline, but are provided here as another way of identifying the priorities and helping you prepare for your conference. Before the GLS

Attend Producer training/orientation, download & review all Programming documents

Using the timeline, create your site’s plan to recruit your programming team and create your programming grid

Visit your site and complete the survey form, paying particular attention to existing audio, video & lighting equipment & capabilities, viewing angles, ambient light issues, power availability

Communicate with your Technical Coordinator to identify all equipment needs and your equipment vendor

Recruit your programming teams – worship and band

With your Technical Coordinator plan your stage set & consider cost-effective ways of duplicating some of the set elements from the US Summit (using detail provided on Global Summit Central).

Meet with the Facilitator to plan and coordinate the Process Time for each session

You’ll be working towards:

1) Having a big, bright center screen (appropriately sized for the audience)

2) Crisp & correctly-sized video (using the simplest method possible—typically by taking advantage of the high-quality and easy-of-use of a switcher/scaler)

3) Intelligible and even audio coverage with all necessary channels & equipment;

4) Worship that is authentic and appropriate

5) Meaningful Facilitation, providing enough time for people to process key insights from each session

6) Appropriate lighting & some consideration given to stage set

. . . and a team who can set it up & run it smoothly.


Building Your Programming Team

Volunteer Opportunity Descriptions

Volunteer Care There is no doubt that the success of a conference truly rests on the shoulders of our volunteers. It is with their servant hearts that we continually see the successes of WCA Events. All volunteers should understand that their purpose will be to serve during the conference. They may be asked to serve in a different capacity when their scheduled task has been completed. Taking in ANY part of the conference will be a bonus. Anyone who needs to experience the conference should register as a guest and NOT as a volunteer. It is important during the recruiting process that a vision is given for the important role they serve in God’s eternal purpose – the building of His Kingdom

Position Description Technical Coordinator

Leads the production team who are responsible for video and audio equipment and operation of the production systems

Worship / Band Leader

Lead a team of vocalist and instrumentalist to provide authentic multidenominational worship

Vocalists and Musicians

Engage people’s hearts and minds in authentic worship

Host or Emcee

Gives announcements from the stage providing information to the guest during the conference such as logistics and resource sales

Think of this event as an opportunity to build into your volunteer leads and teams. We feel this is an exciting event and we have been given the opportunity to serve God to His glory. Share this excitement with your volunteers and staff.

For those of you who have an opportunity to lead other events – you know that this is a great opportunity to develop key leaders. If they have a great experience, they will be back again and again. This will make your job easier. When we go into an event this way – we look at it as an opportunity to empower and envision.

Make sure your preparation time is not only focused on the logistics of the event but also take time to reflect on what God is doing. Pray for the guests, volunteers, speakers and all the other parties involved in making this event run smoothly. Be sure you are not getting overwhelmed with the little things but have an opportunity to look at the magnitude of this event and the work God is doing in so many different areas of your country. Also, be available for your team if they need you for any reason


Staffing (continued) Serving and Spiritual Formation go Hand-in-Hand

Serving at a conference is an excellent opportunity for growth for people at all levels of spiritual development. It is a unique way to get people to take a first step towards serving because it creates a high level of energy and enthusiasm while at the same time requires no long-term commitment. It builds into veteran servers by allowing them to extend their reach beyond the walls of their ministry to help others seeking to build the Church. Maximizing the impact of the conference on your church and volunteers takes focus and planning. It requires not simply settling for task completion as success, but rather seeking God’s intention in the task for both the attendee and servant. The following outlines a few general guidelines to maximizing the impact out of the serving opportunity on your church.

Pray

Pray that God would begin to cultivate servants’ hearts in your volunteers and that He would use this event to grow them and your church

Cast Vision

Create a visual picture of what God appears to be doing within your church and region. Talk about why you feel God is calling your church to host this conference at this time. Personalize for them the opportunity to be part of the Spirit’s movement and then express the church’s need for their participation. Consider using a testimonial from someone who has attended a conference, or talk about the number of churches or people that will be represented by the leaders at the conference (minister to the one who in turn ministers to the ten) to further illustrate the impact of the conference.

Plan

Plan your volunteer opportunities well to ensure that when your people give their time and talents to the conference they are well used

Set Expectation

Encourage the volunteers to serve with open hearts expecting God to speak to them as they serve

Often times, in the midst of hosting a conference and seeking to envision and grow the conference attendees, we overlook the transforming opportunity that lies hidden in the service of our volunteers. Conference volunteers often attest that what happens to them exceeds what happens through them as they serve


Pre-Production Meetings & Detail

The more pre-production time that you put into the Global Leadership Summit, the smoother things will go. (See the “Eliminating Uncertainty” sidebar on page 6). In addition to the timeline and checklists, here are some “next level” details to keep in mind: When you meet with your Technical Director to discuss all program content, show flow, and technical requirements:

o Confirm the plan for receipt of your site’s media (DVD playback masters) all equipment placement, power requirements, and compatibility

o Review seating layout and confirm your venue’s capacity, and that all available seats have a clear view of the stage & at least one screen

o Review band requirements, worship, prayer, drama and video overview (including ambience, mood, and transitions in and out of each)

o Discuss communication and decision-making protocol and procedures for: Start of show (extending walk-in time) Emergency situations Making announcements Tracking, delaying, or expediting the amount of

time during breaks, group discussion or prayer time Communicating with the host or others on stage or

back stage Staying on track (timing each session element,

rehearsing hosts and transitions)

o Collaborate with your Technical Coordinator on power outage and equipment failure contingency plans

o Discuss the need for crew badges or other identification o Discuss process for handling unexpected interruptions

(reporters, camera crews, protestors, etc.)

All expenses must be approved by your country’s affiliate leader (in countries with a WCA affiliate office) or your liaison to the Willow Creek Association International. Typically this will be Organizing Committee point leader.

GLS site Technical Directors are not authorized to make financial commitments independently. Give yourself plenty of time to negotiate equipment rental costs, and seek approval for these expenses.


Pre-production meetings and detials (continued)

When you meet with your production team:

o Define roles, responsibilities and reporting structure o Communicate all necessary details from producer

meetings and program cue sheets including show flow, contingencies, DVD receipt schedule, etc.

o Issue detailed schedule with generous call times (early for extra rehearsals, last-minute requests, and enough time to tell if someone slept in)

o Communicate dress standards to volunteers and vendors. (For example: slacks and dark colored shirts, no shorts or t-shirts)

o Communicate meal plans to production crew (bring a sack lunch, meals will be provided, etc.)

• Coordinate equipment delivery and set-up details with security, engineering or venue staff as required

• Confirm details for access to building, meals, break area, beverage service, parking, restrooms

• Determine rehearsal times and depth of rehearsals (dress

rehearsal, walk-through, cue-to-cue)

• Confirm availability of auditorium for rehearsals

o Confirm that the auditorium will be free of maintenance and cleaning staff during rehearsals (and during the conference)

o Confirm that there is nothing happening in adjacent rooms where running rehearsals at full volume will be a problem


GLS Programming – Video

Session messages / presentations The session messages are the centerpiece of the GLS. This is the main reason that people are coming to the GLS. We owe it to our audience to execute each session flawlessly, that the picture is brilliant and the sound crystal clear. Event DVD You will receive two identical sets of Event DVD’s containing all speaker sessions for your GLS and the Programming DVD Programming DVD You will receive a programming DVD (included with the Event DVD’s) which contains additional programming elements. Some of these are elements that will be already on your programming plan, others are optional. Here’s what you is included

Shipping Address

Confirm your shipping address for the Event DVD’s with your Regional Representative

Edit Notes

Edit Notes for each session are delivered with the Event DVD’s

Test Everything

Immediately upon receiving the Event DVD’s inspect and test every DVD on the equipment you are using during the GLS Test from BEGINNING to END

GLS Emerging Leaders Offering

This may be an announcement or a larger designed piece to cast vision for the offering

Creative Elements including preludes, guest artists, drama, dance

Anything that transfers well using a DVD format

Stingers / Loops / Countdowns


GLS Programming – Video (continued)

Guidelines for Using DVD Media • Test everything / don’t assume it will work / no skips

• Do not use a computer for playback.

• Redundancy – run second player at 5-7 second delay. Practice

“emergency” switching

• Practice switching from stage to DVD and back again/ FAC, audio, light change etc. Make sure you leave time for this during rehearsal. This transition doesn’t happen well without practice

• Audio a little louder than speaking. Not movie theatre volume.

This causes ear and physical fatigue after a few hours.

• Screen free of stage lighting / wash

• Reduced ambient / exterior lighting

• Lighting in main seating – “medium” / bright enough to take notes

• In some cases we may need to add definitions / explanations of

North American terminology – easiest if you have center screen as DVD message and have capability of using side screen independently for graphics

PowerPoint /Screen Graphics We will provide PowerPoint slides / jpegs of screen logo and backgrounds. Spend time mapping out what goes on the screens during the conference.

• Walk in look / Walk out look / Worship backgrounds • Announcements / background look for facilitation.

Other considerations:

• What program do you use? Who operates this? • Are you using one or multiple screens? • Can you switch seamlessly from computer to DVD?

IMPORTANAT: Guarantee that the DVD’s play flawlessly by checking everything (in full) in advance of the conference on the DVD playback system you will use for the GLS. Do not test these on your computer or home DVD player. Don’t get caught in an embarrassing situation where the DVD does not play or skips. For your sake and those who will be attending the GLS at your site….No Shortcuts


GLS Programming – Worship One of the key priorities for the GLS is to have everyone experience the power of live authentic worship. Our goal is to connect people to engage freely in worship in the context of local community; to experience authentic multi-denominational worship at the GLS. This creates openness / space for God to work / community-unity, and common ground.

• The purpose of worship for the GLS is to engage people’s hearts and minds and voices in worship

• Worship also becomes a common ground of unity – therefore WORSHIP NEEDS TO BE INCLUSIVE

• Worship at a conference needs to have a good balance

between praise [upbeat] and heart connecting worship over the duration of the conference. You don’t need to do it all in every session. Focus on the worship diet of what people will receive over the 2 days of the conference.

• You do not have to sing for the first 10 minutes of each

session. Use worship strategically each day.

• Use longer worship sets to take people on a journey. This is a wonderful opportunity to create space for worship. Most sets are 10-15 min

• Worship Sets should combine styles. Variety is a good

thing!

• The morning session of the second day is a great time to change the “feel” of worship. For example, smaller team / band. Acoustic, quieter start to the day, more reflective.

• NOTE: for planning sake use 5 min. per song. This leaves

time for transitions, prayer, applause and space for the Holy Spirit to move

COACHING TIP: Find the common ground: the song(s) that everyone knows! This is especially effective in the first session to engage everyone in worship! Use a common hymn. Freshen the arrangement and overflow the room with everyone’s voice!


GLS Programming – Worship (continued)

Worship song selection When planning the opening session, one of the best ways to knock down barriers, open hearts and build bridges is through worship. I encourage you to choose congregational worship songs for this opening run that are well known. This isn’t the time to teach new music. It’s the time to build common ground and connect people to engage in worship. This doesn’t mean doing all old music but at least one time, find the common ground and see what happens in the room!. A big learning for us…. Typically we try to work into the opening run a “common ground” song such as a hymn that everyone knows and can sing out without hesitation. For example, a classic for us would be “Holy, Holy, Holy” done with a drum loop or a updated groove. Fresh and engaging.

I’ve found it helpful to recruit the help of several worship leaders (from different denominations) in the area and get their top 10-20 worship songs. Hopefully you will find out:

• What’s hot / brand new / on the rise? • What’s growing cold / old? • What’s still good / working? • What’s well known? • What percentage of people knows this song? • Is easy to learn?

Because this is a multi-denominational event:

• Every site worship leader is encouraged to…. • Poll at least 4-5 area worship leaders from different

denominations o Find out their top 15-20 song play-list o What songs are on the rise / decline / popular

With that information and the knowledge you carry for your own ministry, you will be able to create a playlist of worship songs that people will know and appreciate. Recommendation for worship “play list”:

• 70% known by majority (including hymns) • 20% most people know or easy to learn… one time

through • 10% new (1-2 songs)

COACHING TIP:

In setting the order for a worship set, one song should follow the next for a reason. Ask this question: Where does my heart want to go next?

Note: Worship after a message can be a powerful option!


GLS Programming – Worship (continued) Choosing a Team Worship Leader This is a critical role. Find an artist who has demonstrated that he/she is:

• Responsible • On top of it – organized / knows his-her craft / uses sing-

able keys • Knows how to worship personally • Leads not performs - this isn’t the place for performance.

The priority is to worship. • Does not draw attention to themselves. • Crafts great worship packages

Team (vocals and band) If you are building a team for this event:

• no prima-donnas … you want team players… servants • Reflect local diversity from the stage. • Use color instruments in the band: saxophone / violin / flute

/ percussion / brass. This adds a lot of variety. Vocals Select artists who are:

• Genuinely gifted • Spiritually authentic – it shows from the stage! • Emotionally mature – people you love to be around /

people who can handle change – NOT HOLD THINGS TOO PRECIOUSLY

Choir Only for extra special – opening / closing – for energy and fullness Band Typical -

• Piano/keys • Kit (drums) • Bass • Electric Guitar • Acoustic Guitar

COACHING TIP:

Recommend # 3-4 great (strong) vocals / 6 if necessary for vocal strength


GLS Programming – Worship (continued) Coaching Tip: When planning a conference for a host site, we try to pick the best programming from that local team. I call it “cherry picking”… getting the best fruit off the tree! This isn’t the time to try out “new” things. Use the best of what you have. Things that are already proven winners!

• What are your best worship runs? • What are your best vocal specials?

As you read and think through the program ask yourself and others:

• “What can we offer during the GLS that they can only get here in your country, city, venue. Give a reason why people wouldn’t just sit at home and watch the DVD’s.

• You bring the experience to life! Coaching Tip: When planning to add in an extra instrument, leave appropriate time for sound-check.

• Best times to add or make changes are at the beginning of each day or at the lunch rehearsal/break.

• I do not recommend adding anything at the breaks. There will not be sufficient time.

UNDERSCORING: IMPORTANT FOR BACKING MUSICIANS When we ask for people to reflect or pray, playing a song behind them that includes a melody actually becomes a distraction. When people hear a familiar melody, their minds start to sing along, the words start going through their heads, and it becomes difficult to clear your mind to think about other things. Use either keyboard or acoustic guitar and play simple background music. Underscoring should be simple and not busy; it should have no noticeable beat or recognizable melody. Underscoring should be something that fills the space without really letting us know it is there. This can be accomplished by taking a simple chord progressions or arpeggios leaving slow pauses now and then without adding melody.

NOTE:

Don’t worry about worship tying to the topic unless following the message.

In laying out a worship set ask the question after each song…

“Where does my heart need to go next?”


GLS Programming - Facilitation Most individuals leave conferences coming away with a few key insights that, if put into practice, could take them or their team to the next level of effectiveness. Participants return to their own reality with its demands and challenges – and all too soon the insights gained and resolve to make changes fade away as people transition back into their roles and need to respond to the urgencies they face. We all have experienced this – the desire to grow, but we don’t take action. We know from current research that if there is not some move toward implementing a new learning within 3 days after a conference – no change will occur. So what needs to happen? How can we get more out of the great topics from the Summit? What can we do to help leaders take action when they return home? Can we some kind of assistance while they are at the Summit to help increase the probability they will implement positive change once they return home? We believe we can - by providing time and guidance for participants to plan how they might apply the ideas from the Summit messages to make changes in their ministries. The facilitator role is critical in helping turn good intentions into positive action. Facilitator Role Download the entire Facilitator Handbook from Global Summit Central

• To help people be engaged participants throughout the conference in a way which helps them connect to the speaker and what they are communicating during the GLS.

• To prompt and guide participants to sort through the

speaker’s thoughts and ideas in a way which leads them toward application to their own ministry settings, including specific next steps.

• To maximize the use of the participants’ time during the GLS, making the most of their experience for the benefit of the Kingdom.


GLS Programming - Facilitation (continued)

Working with the Facilitator The Producer is responsible for working together with the Facilitator before and during the GLS.

• Meet with the Facilitator in advance of the GLS to review programming.

o Determine the length of process time for each session.

o Consider how programming elements that happen

before or after a session may affect the process time.

• The Facilitator will be another set of eyes and ears to help

discern where God may be working during a session. Sometimes there are adjustments in the moment that can maximize process time. Think through how you will communicate with the Facilitator during a session.

• There are many things we cannot predict for as we plan a

session order or run sheet. A Producer typically has the ability to “read” the room: To notice the level of attentiveness – to be aware of God’s Spirit working in the hearts of the audience.

o Don’t assume that everyone always notices what is happening in the room. Work together with the Facilitator to lead in those moments.

o You may need to have a direct communication line to the Facilitator or even better sit together with the Facilitator during the message so you are able to adjust programming in the moment, and maximize the effectiveness of facilitation.

• The Producer is responsible for any last moment changes

in response to what may be happening.

• Meet with the Facilitator after each session to review what worked well and what can be improved.

NOTE:

The Producer is responsible for any last moment programming changes in response to what may be happening in a session


GLS Programming - Facilitation (continued)

• Ensure the Facilitator attends all rehearsals! o Rehearsals give everyone a high level of

confidence. When the Facilitator knows what is planned and where to stand on stage, they are free to use their gifts and focus on facilitation.

• Work with the Facilitator to put procedures in place for

emergencies such as technical malfunctions, power failure, extreme weather, etc.

• Other GLS Program Elements:

There are additional program elements the Facilitator may be asked to present in their role as Facilitator. Work with the Facilitator to determine if there are additional elements to be presented from the stage. (Volunteer Recognition, Emerging Leaders Offering)

Process Time Examples Feedback from around the world tells us that when people are given the gift of time to reflect and discuss next steps; and when facilitation is done with excellence, the GLS has its’ greatest impact. The process time will vary by session depending on speaker content and programming for a session. Process times should be dynamic and include different formats to avoid sameness. A process time could be a brief time of reflection at the end of a session; or it could be a session in itself where people work in discussion groups for a longer period of time. Following are some ideas for transitions at the end of a session and ideas for the process time. Facilitated Process Time

• Restate a question left unanswered by the speaker and allow time for reflection

• Transition into worship and a reflective response

• Move into another programming element such as the

Emerging Leaders Offering


GLS Programming - Facilitation (continued) Interactive Process Time

• Choose one process question (included in your Facilitator Notes and in the Conference Notebook) and have people work in groups to discuss and begin to think about next steps.

• Choose one process question (included in your Facilitator

Notes and in the Conference Notebook) and provide individuals time to reflect and answer the question.

God Moments

• Allow quiet space for God to work and close in prayer • Reflective response followed by worship • Group prayer and close in worship • Amen – and allow the moment from the talk prevail

Panel Discussion A panel discussion deepens understanding and provides transferable practices and strategies. Using 3 - 4 leaders from different size churches, the Facilitator moderates questions that are pre-determined or taken from the audience. Pre-determined questions create a more focused discussion and allow the panel to prepare ahead of time Workshop The workshop format allows extended process time for teams to dive deep into a topic. A workshop could be an entire session, an extended time during lunch, or a special session after the GLS. Following is one example of a workshop format used successfully in Norway. The second day of the GLS, people attended one of four simultaneous workshops focusing on four of the speaker sessions

COACHING TIP:

Do not over-program so that facilitation and the process time gets cut short or excluded. Because so much of the event is in a DVD format, it will be even more important to make room for live audience interaction


GLS Programming - Facilitation (continued) The Producer should meet with the Facilitator in advance to target the process time designed into the programming time for each session. Here are a few guidelines/questions to use as you plan:

• There are peak times during a conference when people are most ready to engage deeply. This is usually but not limited to the morning sessions.

• There are also times when people are less likely to

engage. These typically are right before lunch or at the end of a full conference day. This doesn’t mean that you can’t have process time in these sessions. However, you do need to be mindful of people’s needs, energy level and attentiveness. In some cases it may be better to give people or teams some questions to discuss over lunch or dinner or dismiss for a break and do the process time when people get back to the following session.


GLS Programming – Host / Emcee Host / Emcee Role The Host Guidelines are included in the appendix or can be downloaded from Global Summit Central The Host / Emcee (MC) gives announcements from the stage providing the guest information during the conference. Announcements may include:

• Conference logistics • Session times • Resources

Working with the Host / Emcee The Producer will provide the Host with:

• Scripted announcements and instruction for going onto the stage

o A Scripted announcement schedule will be posted on Summit Central

o A sample is provided in the Appendix • Cue sheet for the conference day • Coaching prior to and during the event • Event emergency announcements

o The Host may be responsible for relaying information to the guest during the event, including transmission issues, emergency exit procedures etc.

• The Host will need to coordinate with the WCA Representative or OC to determine resources (Team Edition, Speaker books) that will be announced from the stage.

COACHING TIP:

Match energy level / heart of the moment! When taking the stage, make sure the MC “reads” the spirit of the moment that they are stepping into; match the tone or energy as needed.


GLS Programming – Special Features

Preludes The purpose of a prelude is to bring people in, engage them and set the stage for what is to come. Preludes signal that something is about to begin. In a conference setting most preludes need to bring energy into the room. An energy wave at the beginning of each session creates momentum for that session, raises expectations of what is to come and brings the focus to the stage. Our goal is to grab attention and set a mood for a particular session. Focus is on energy and vibrancy along with an appreciation of excellence in the arts.

• Preludes are a Willow Flavor!

• Almost all preludes need to be high energy instrumentals. An easy prelude could be an extended ramp which flows seamlessly into a worship or vocal song that immediately follows in the program

• Variety of style is important for interest and energy,

surprise and color. i.e. blues, rock, jazz, violin or sax feature, etc.

• Vocal preludes work only in certain instances. Realize that

people will be walking into the room, talking, not paying attention at the very beginning. With that in mind, you can use an upbeat worship song if you fully engage and invite everyone to join in. Don’t forget to put the words on the screen!

• Preludes can also set the mood for what is to come. Many times, in a 2 day event, I’ll use a warm, worshipful prelude to start the second day to lead into a more soul-ish worship time.

• Don’t spend the majority of your time and energy on preludes. They ARE important but not if they sacrifice rehearsal and prep time on specials, worship or other programming elements.

•


GLS Programming – Special Features (continued)

• Each year we will provide a few of the original preludes from the North American Summit on the programming DVD for your use as a back-up… as needed.

• What CD should be playing (instrumental, worship, tone)

• We suggest the use of a countdown timer before the event. At least 2-3 minutes long. It says that we value the guest’s time and that discipline is important.

• Stage design, DVD tie-in, clutter, space

• Marketing materials and slide to be supplied by WCA Vocal Specials / Features There are other programming elements which we love to sprinkle in throughout the GLS, adding to the whole conference experience. This is a part where you get to uniquely fingerprint the program. Many sites draw on local talent, artists, dance to connect to the culture of their country or city. They add color, connection and surprise to the conference. This takes extra dreaming and planning but is well worth the effort! Hint: Use vocal specials that connect to the theme of the message to either set up the session theme or extend a spiritual moment at the end of a message. Vocal specials:

• Need to be memorized and internalized (so they are sung from the heart).

• May need support text on side screens ( i.e. – 2-3 lines / lower third of screen)

• Are a great way to use or introduce current worship music



GLS Elements Each year there are several regular elements used by every GLS site. Several will be on the Programming DVD, others are presented live. It is important to remember to leave space for these as you plan your program. Host Welcome - Live It is important to have a personal welcome from the Host or a GLS leadership representative during the first session. This is a short but personal welcome, honoring the guests and if applicable honoring the host church then opening in prayer. Bill Hybels - Welcome – DVD Sometime during the Host welcome you will need to show the Hybels GLS welcome. He will bring a brief word of welcome and set up the GLS experience. Emerging Leader Offering / Announcement Every site takes up an offering to help fund emerging under-resourced leaders to attend the GLS next year. The cause / vision for the offering is typically announced at the beginning of the last session of day 1. This gives people a chance to think and pray about their role in helping other leaders attend a GLS. The offering takes place during day 2. The Emerging Leader’s Offering is either on the Programming DVD or presented live where applicable. Volunteer Recognition There are thousands of volunteers who make the GLS happen around the world including your site. It’s important to not take them for granted. We would like to honor these people and give the GLS attendees a chance to thank them as well. Typically at the beginning of the last session, the host or Facilitator makes a special announcement, thanking the volunteers, the audience claps, standing ovation, etc. Plan to have the all volunteers collect in the main auditorium for this. Bill Hybels Summit Comments – DVD Each year, during the closing session, Bill casts the vision for the Leadership Summit as an annual event, what it is and what it brings to leaders. This will be programmed in during the last session of the GLS.


COACHING TIP:

For anyone entering the stage – unless predetermined - match the energy of the preceding element before raising or lowering the energy level. Gradual change instead of channel changes! The value should be to honor what is happening in the room. Don’t try to manipulate it. But …when it happens, don’t cause anything to distract from it.


Honoring “Moment”

Programming is designed to create special, unique moments for God to work. Sometimes these moments just happen and we need to be prepared to respond and handle these with care. As you review the sessions, be aware of potential moments. Try to pay close attention to what I call the “air” in the room. This is where you have a strong sense of God’s presence and activity in the room. This isn’t the time to just move along with the program. It is the time to allow space and room for God to work. This is a difficult thing to coach on paper. Sometimes what’s going on in the room has nothing to do with the program. Often it is about what God wants to do in a person’s life though the speaker. You and the Facilitator must discern what may be happening in the moment and what the audience may need. Many times during a conference, I’ll sense a moment in the making and call the Technical Coordinator on the clear com and ask that we would leave stage and house lights where they are until I call for a change. During the GLS, these “moments” tend to occur toward the end of the message. Please coach and connect with the Facilitator to ensure he carries the same energy and ministers in that moment. He may need to simply, ask the question left to be answered, or lead a guided prayer time. Whatever it is … don’t miss these opportunities to allow God to do His work in the room. I think we can all identify when moments are not honored. For instance, the Facilitator walks on to the stage, the lights go up and he proceed with his own predetermined agenda as if he wasn’t even in the room. That’s called changing the “air” … in a bad way. You can also change the air as the Host walks on to make closing announcements. He/she will need to match the energy in the room, maybe even honor what just happened before going on with other announcements.


GLS Programming – Rehearsals

Rehearsals The purpose of rehearsal is to give everyone on the team a high level of confidence in what they are doing. We want everyone freed up to express his or her gifts to the fullest! On a personal note: I had a friend stop me once in rehearsal because I had messed up a line of a song but continued to sing through the song. He simply said, “Let’s practice this right.” I’ll never forget that lesson. Let me describe different 3 types of rehearsal for the conference. Practice / Rehearsal This is an off-stage rehearsal. Working out parts and memorization. Recommend 2 rehearsals leading up to the week of the conference. Dress Rehearsal This is the ‘day before the conference’ rehearsal. Typically, the dress rehearsal is the first time tech and talent have the opportunity to rehearse together. This isn’t a practice! Everything should be ready for performance by this time. Conference Day Rehearsal This rehearsal is the most streamlined because of time and because everything is already prepared and ready to go. Use this time to cover only the essentials and to freshen / focus on that morning or afternoon.


GLS Programming – Rehearsals (continued) Practice / Rehearsal I know many of you practice every week with your teams so I won’t belabor this point too much. There are several things you can accomplish in practice to prepare everyone well for the conference.

• Ensure everyone knows their part. • Define and rehearse the flow of the song (ie. Verse 1 /

chorus / verse 2 / chorus / chorus / bridge / chorus / tag ) • Work on memorization and communication • Internalize the music. Allow time to let the songs sink into

your soul. You can’t express or communicate authentically on stage what you haven’t experienced yourself personally.

• Time the songs. This way you know how long the worship sets and elements really are.

• Pray. Take the time to pray for each other and for each person who will come to the GLS. Prepare your heart. Pray for protection.

Practice hints:

• Practice it right! • Practice it the way you will perform it. Don’t wait until you

have a live audience to engage fully in a song or dance or drama. Every time you step on stage you want to bring (and practice) your best. Don’t assume that your best will just show up during the performance.


GLS Programming – Rehearsals (continued) Dress Rehearsal

• This is your chance to pull it all together. Use this rehearsal to check everything. Everything including lighting transitions, worship graphics, sound checks, video rolls and transitions, lighting and audio levels. In many ways this rehearsal is more for tech than for the vocals and band.

• Dress rehearsal includes understanding what comes

immediately before and after each element of the program / where to stand / when to go on and exit stage / feedback on communication / etc.

• This is first time for everyone to see and hear it.

• Rehearsing for a conference is not the same as preparing

for a weekend service. For some it will be like rehearsing for 7 services back to back to back!

GLS Programming – Rehearsals (continued)

Producers need to effectively plan and use this time wisely. Your goal is to rehearse everything but at the same time not wear your team out. I have put together a planning guide to help keep this rehearsal running efficient and smooth. See rehearsal schedule example in the Appendix

Dress Rehearsal Timing Guideline

Band Sound Check 20 – 30 minutes. This is your best time to get a full, quality sound check.

Preludes - instrumental 5 minutes each

Vocal Sound Check 10 minutes

Worship Sets 1.5 times the scheduled length. This gives time to cover transitions and clear up problems that arise.

Vocal Specials 15 minutes each. This gives time to run the song 1 time / give coaching – direction / run it a 2nd time

DVD elements Final chance to make sure everything runs fully and properly. Check everything for audio levels and EQ


GLS Programming – Rehearsals (continued) Dress Rehearsal hints:

• Honor your volunteers by scheduling them carefully. I try to stagger the team’s arrival and departure times so they aren’t standing around waiting. For example:

o Bring tech in first to make sure everything is operational, rehearse the DVD’s, lighting transitions.

o Then, bring in the band for set up and a full sound check.

o Run all instrumentals o Vocals in next for sound check o Run each session worship packages (this includes

graphics to make sure the slides are in the correct order, checking for spelling)

o Vocal specials – this may give the opportunity to let some of the team leave who aren’t involved in vocal specials

• Rehearse the transitions. As you rehearse, always go into the next element, even if it’s only for a few measures. That way you will build everyone’s confidence on “what comes next.”

• If the team is well prepared, I’ll have them run a full set,

without stopping until it becomes evident to the band, worship leader or producer that you need to back up and fix something.

• Have the team pace themselves…. This is a marathon

rehearsal. Schedule adequate breaks. Have water available. Plan for dinner.

• Carve out a time when everyone is present to re-envision

the team of the impact of the conference. Take time to play together.

• One thing I’ve done is to have the team scatter into the

seating areas of the auditorium / sanctuary / hall and pray for that person who will sit in that seat or the section.

HINT:

Rehearse so that you end up rehearsing the first session last.

That way the first session will be fresh on everyone’s mind and ready for the next morning


GLS Programming – Rehearsals (continued)

• Have the team pace themselves…. This is a marathon rehearsal. Schedule adequate breaks. Have water available. Plan for dinner.

• Carve out a time when everyone is present to re-envision

the team of the impact of the conference. Take time to play together.

• One thing I’ve done is to have the team scatter into the

seating areas of the auditorium / sanctuary / hall and pray for that person who will sit in that seat or the section.


GLS Programming – Rehearsals (continued) Conference Day Rehearsal Plan to have rehearsals each day of the conference. 4 rehearsals: two each day, morning and lunch-time. You only need to focus on the next one or 2 sessions in each of these rehearsals. To conserve time and energy this is only a “heads and tails” rehearsal. That means for worship sets, we only rehearse the beginning first verse and chorus / skip to the last chorus / run right into the next song continuing until the set is complete. In essence, establishing the tempo and ins and outs of each song while practicing the transitions. Everything else is shortened to ensure levels and freshen our memory for that next session or two.

See rehearsal schedule example in Appendix Coaching Tip: Have the team meet together 20 minutes before each session. This gives you the opportunity for you to remind the team of that session’s order, cover any minor details / announcements and pray together. This allows everyone to focus on one thing at a time.

Conference Day Rehearsal Timing Guideline

Band Sound Check 5 minutes..

Preludes - instrumental 1 time through each

Vocal Sound Check 5 minutes

Worship Sets 50% of the scheduled length. Heads and tails and transitions only

Vocal Specials 1 time each.

DVD elements Final chance to make sure everything runs properly. Double check for audio levels and EQ

HINT:

It is much easier to move the band and vocals onto the stage if you have them all in one place right beforehand


GLS Programming – A Great Start

A Great Start Some notes from Larry Dahlenburg International Producer, Willow Creek USA: A great first session for a conference is critical. If we are able to knock down barriers, open hearts and build bridges to our audiences during the first session, we will set the stage for great ministry opportunities along the course of the conference. We put a lot of effort into the details of how this session should go but there are some things we need to have in order to achieve this. I believe we do this by raising and exercising certain values. Excellence Excellence brings honor and glory to God. He deserves our very best! So does your audience. Excellence inspires us all to be better. It raises the “bar” or level wherever you experience it. Imagine the impact on countless congregations and businesses because you modeled excellence on every aspect of the program for the attending leaders! This is where it gets personal for me. My dream for us is to raise the level of the arts and worship services all over the globe. This is an unbelievable opportunity for us beyond the impact of the teaching and training that everyone will receive! Answer these questions:

1. What does excellent worship look and feel like?

2. What happens when we do this?

3. How do we program with excellence?

• Transitions • Features • Lighting • Graphics • Sound • Stage


GLS Programming – A Great Start (continued) How do we communicate with excellence? One more thing…Excellence removes distractions from what is most important. Make sure the stage is clean and well laid out. Change burned out light bulbs. Clear any extra clutter. Practice transitions between session elements not for perfection but to create a smooth flowing program that engages the audience from the time they sit in their seats until they are dismissed. Honor We’ve already touched on this. Here a few practical things we can do to raise the bar. Honor your guests by starting and ending sessions on time. Commit to honoring their time by running on time! Honor your volunteers. Organize the details of the conference prep, set up and rehearsals. Use their offering of time well. Volunteers want to be useful. Make sure they know their contribution is valuable and valued… well worth their efforts. This takes some pre-planning on your part but pays huge dividends. Authenticity I believe we all want to see real people leading, serving, engaging, communicating, and interacting with us in a loving, authentic way. Model this on your teams. Minister to others as they see how you interact with each other and with them. Give permission and coach the worship team, band and on-stage artists to be authentic. Have vocals reflect the words and heart of the music they sing. Encourage the band to sing along during worship. It shows that they are not just playing music. Encourage the tech team to engage in what is happening in the room. They are part of a dynamic team that God can use in a mighty way on AND off stage. Most important: Do the spiritual soul work to prepare to lead others. Come with hearts and lives that are fully surrendered to God, ready and available.


GLS Programming – A Great Start (continued) When we come fully prepared, fully surrendered we can experience a whole new level of service and ministry during this event. I place a large emphasis on the first session. A great first session is critical to setting the tone and direction for the entire conference. You want to gain as much ground as you can in session one. People come to a conference expectant but not fully open until bridges are built from the stage to the audience. If we can establish a bridge in the first session it prepares the way for a greater level of openness, “buy-in” and a deeper spiritual experience


Global Summit Central

Global Summit Central

Global Summit Central serves as a helpful tool as you plan and create an event which inspires leaders to develop their leadership. Global Summit Central provides access to communications, documents and other resources you will need in your team role.

We pray God will use you to propel His Kingdom forward through the training and motivating of all leaders all around the world.

We encourage you to become familiar with Global Summit Central and to check it frequently, especially as your conference date gets closer.

Create a User Account All users need to create a log in and password for Global Summit Central.

1. Open your web browser 2. In the address line type

www.globalsummitcentral.com 3. Click Create New User Account


Global Summit Central (continued)

4. Create your Account profile

• Select Country and City from the dropdown menu

• Select your role(s) • Complete required fields of information: First

name, Last name, Email, Direct phone • Complete optional fields of information: Street

name, City, State/Region, Postal Code Mobile Phone and Fax.

• Create an Account Password and Confirm

5. Click to enter Global Summit Central.

6. Update your account profile at any time by clicking on Edit Account in the top right corner of the page. If you have any problems, send an e-mail to [email protected]

mailto:[email protected]


Global Summit Central (continued)

Already have a Global Summit Central Account: 1. Enter your user name (your e-mail address) 2. Enter your password

Home Page The Global Summit Central Home Page provides:

• Navigation to site pages • General Summit Information and stories • Global Contact database • Registration Report

The Global Contact Database provides contact information for all users. The contact information can be sorted within the page or downloaded as an Excel file. The Registration Report should be updated by each country as registrations are received.

Site Pages There is a site page for each GLS role; Marketing, Event Manager, Production, Technical, Facilitation and Resources. Click on any navigation label to access the information. Site pages include:

• Announcements – information that will help you plan your

Summit event • Handbook • Downloads – a list of downloadable documents • Webinars – Training or presentations available via the

internet available to view or download from your computer to assist or add value in your GLS role.

• Español – Spanish translation of announcements • Other – information specific to a GLS role

NOTE: You may notice that some pages are grayed out and not yet accessible. As information is uploaded these pages will become active.

Problems If you have any problems, send an e-mail to [email protected]

mailto:[email protected]


Appendix A: Programming Essentials: The BIGGIES

As Producer, you are responsible for everything that happens inside the “room.” You are responsible for working with and through the Technical, Lighting, Worship, Music, Facilitator and Creative teams. 1. Check the DVD’s – Make sure all DVD’s are tested and played. You want to

guarantee that they all work, all the way though. Check the DVDs in your venue using the DVD players that will be used for the conference.

2. Great quality Picture and Sound. This is the centerpiece for the GLS.

Ensure that you have the best equipment possible to create a great picture and great sound. (Screen, Projector and Switcher/Scaler – see the Technical Handbook)

3. Facilitation – Work with the Facilitator to determine how the process time will

be programmed into each session. The facilitation time should be designed to help groups and individuals maximize learnings and ministry impact from the Summit. Review each messages and plan a strategy for facilitation.

4. Worship – Ensure that the program has moments of authentic worship mixed

in key times each day. Challenge your team to truly worship not just sing songs. If your worship team worships it paves the way for your attendees to worship. Plan well, Choose songs that people know and love and don’t be afraid to adjust the plan if it’s not working. Your goal is the give people an opportunity to fully engage in worship.

Ensure that the program has moments of authentic worship appropriately integrated into the program each day. Plan how worship will engage people to connect with God. Challenge your worship team to truly worship and not just sing songs. Choose songs that people know and don’t be afraid to adjust the plan if the worship is not working. Your goal is to give people an opportunity to fully engage in worship.

5. Communication – Plan ahead how you are you going to communicate with

the tech producer, lighting, sound video and stage directors during the conference. We recommend: 1-2 channel clear com system with headsets. Walkie-talkie type radios if using ear pieces so the talk doesn’t distract others around you. Practice using the communication equipment in rehearsals.


Production Pointers – The Biggies (continued)

6. Rehearsal Everything.. especially the Transitions – Schedule rehearsal time to practice the transitions from facilitator to DVD and back to facilitator. It takes many people working together simultaneously to do these transitions smoothly. Do not wait until the first session to practice. Transitions takes practice and a plan. Try a transition (facilitator to DVD and back to facilitator) 10 times and see the difference a little practice can make.

7. Cues – Review the sample cues and use them as a guideline to capture all the details for executing the program. Make the cues available for all the team leaders (sound, lights, video, graphics, band, worship) so everyone is working off the same page. (see sample at the end of the Producer handbook)

8. Team meeting – Schedule a 10-15 minute meeting with the team before every session. This will bring everyone back together on time, give you an opportunity to focus and direct the team, prepare and pray for the next session.

9. Coach and Encourage – Lead the team. You are the only one on your team

who is not “performing” through an instrument, voice, soundboard, lighting, etc. You have the amazing opportunity to bless and challenge the team. If you see something done well, thank him/her. If you see something that needs improvement, appropriately challenge and coach him or her to another level.

10. Don’t Stop Producing until the Conference is Over – It’s like riding a bicycle – once you start pedaling, keep pedaling and steering until the ride is done. Be present through the entire conference. The Producer always needs to be 2-3 steps ahead of the cues or the schedule. Make sure that your teams are focused on their work, yet staying open to what God may be doing in the room and ready to adjust / adapt appropriately.


Appendix B: WCA History and Vision

History and Vision

Any endeavor’s successful outcome starts with having a clear understanding of its background, purpose, and objectives. As you prepare for The Global Leadership Summit be sure to pass on the History and Vision of the Summit to all those serving on the Summit Team. Having a common vision can rally the team to get behind this project and invest ownership into their role. It will ensure that everyone is on the same page. Use this chapter to familiarize yourself with the History and Vision of the Summit as well as each key Role on your Summit team. Your team will need to work as one unit to make the Summit a successful event in your church and community.

History Since 1992, the Willow Creek Association (WCA) has been linking like-minded, action-oriented churches with each other and with strategic vision, training, and resources. Our desire is to serve local church leaders in building biblically functioning churches that reach increasing numbers of lost people, not just with innovations from Willow Creek, but with God-given breakthroughs, with widespread potential from any church in the world. The WCA is a not-for profit ministry with more than 12,000 Member Churches from 90 denominations and 45 countries. They represent a wide variety of sizes, denominations and backgrounds, and are ministering in literally every corner of the world. As they pursue their own unique, God-given vision for ministry in their community, Member Churches confirm a shared commitment to Christ and a passion for reaching lost people. In 1995, the Willow Creek Association (WCA) hosted its very first Leadership Summit in North America. Its purpose was to raise the value of leadership in the church, to sharpen the skills of church leaders who have leadership responsibilities, and to urge and equip those with leadership gifts to stand up and lead. In the years since, God blessed the Summit beyond any of our expectations with more than 59,000 leaders attending the Summit in North America, and over 77,000 internationally annually. The Global Leadership Summit has grown to reach more than 200 cities and 70 countries.


WCA Vision and History (continued)

The WCA will bring this premier leadership development event to churches around the world. The Global Leadership Summit is a two day event featuring world class speakers, along with live worship, music, and drama created especially for leaders. With state-of-the-art video and huge projection screens, the Global Summit brings together the hearts and minds of tens of thousands in an amazing, Spirit-filled way. The Global Summit is the ideal opportunity for those who are busy with the demanding work of the local church to guarantee themselves access to top-notch leadership development once each year. It’s also a great tool to assist them in doing what only leaders can do—develop other leaders and potential leaders in their church. In fact, many churches now use the Summit as an annual leadership retreat to kick off their ministry year. The Global Leadership Summit is broadcast live via satellite from the Willow Creek campus near Chicago to more than 160 locations across North America. It is experienced via videocast in an additional 200+ cities around the world. This event offers people and teams in your community the opportunity to join hearts and minds with church leaders from around the world in one spectacular event to:

• Explore cutting-edge leadership principles and embrace a leadership culture that grows stronger from year to year

• Enjoy latest learnings and motivation from topic communicators and leadership experts

• Tackle issues unique to the role of leaders including casting vision, motivating others, self-management, team building, managing volunteers, problem solving, decision making, and much more

Laser-focused on leadership, this multi day event challenges and stimulates as it provides clear vision, practical development, and heartfelt inspiration. Each session is filled with transferable principles for every level of leadership.


Vision To stir-up, challenge and unite God’s people for church transformation

Mission The GLS is to inspire, stretch and equip Christian leaders around the world

Below is an excerpt from Critical Importance of Leadership, a message that Bill Hybels gave at the first Summit in 1995. He has cast this vision on many occasions and in many countries since then and he’s eve it today. It gives us all a glimpse of how passionate Bill is about the local church and why effective leadership within the church is so extremely important.

Critical Importance of Leadership (1995) “I say it a lot, but I mean it every time I say it. One of the reasons why leaders are so important is because the local church is the hope of the world. I don’t know if you really buy that. But I’ll tell you, I think you should. Just look at our world, friends. It is unraveling at a rapid rate, and pretty much nobody knows how to fix it. Bill Bennett said it well when he said, “I submit to you that the crisis of our time is spiritual. What afflicts us is a corruption of the heart and a turning away of the soul. Nothing has been more consequential in the unraveling that’s going on in our society than large segments of the American people privately turning away from God. And, to turn things around, there must be wide-scale personal spiritual renewal. Question: Who traffics in the spiritual renewal business? We do! The church! I’ve come to the crystal clear conclusion that the church possesses the single ray of hope left in the darkening skies of human depravity.”


Appendix C: Programming Grid

GLS 2011 Programming (country) - (city)

(day) 75 minutes (0 minutes over)

Prelude: Cong Worship: Intro: Message: (speaker) (DVD) Facilitation/Intro: process time Dismissal: Host

30 Break

Session 3: (session title)

(speaker) 2:00 – 3:15 pm (75 min.)


Appendix D: Cue Sheets

Global Leadership Conference – {CITY}

S1

{INSERT TITLE / SPEAKER}

PRE-SESSION REHEARSAL Tech call DVD check 8:30 Doors 8:40 Team mtg./prayer 9:00 Prelude Begins

TECH NOTES Audio Video Stage TIME ELEMENT LENGTH

8:30 Doors/Walk-in:

30:00

9:00 Prelude:

9:03 Opening:

Worship:

Welcome/Intro:

Message:

Dismissal:

Walkout:

SESSION ROLES: FACILITATOR: HOST: PRODUCER: TECHNICAL DIRECTOR: FOH Sound: Name Monitor Mix: Name Lighting Director: Name Video Director: Name PPNT Operator: Name Stage Manager: Name

VOCAL TEAM

Name Worship Leader

BAND TEAM Name Acoustic Piano Name Keys Name Guitars Name Perc Name Drums Name Bass Gtr Name Gtr


Programming Cues (continued)

Time Element / Stage Direction Min. Director

Cues PPNT Video Program Audio Lighting Stage

Doors / Walk in

30 min

5 min warning:

band on stage 1 minute warning 30 second cue

Prelude:

Opening:

Worship Set:

Piano trans

Welcome/Intro:

DVD:

Close:

Walkout:

Break


Appendix E: Rehearsal Schedule

GLS Rehearsal Schedule – DRAFT

EXAMPLE Sep. 6, 12

Venue Name City

Thursday, September 29 Morning load in Final checks on all DVD Check lines Afternoon 2 pm Production meeting 3:30 final checks / details Evening 5:00 Band load in

5:40 Band Sound Check 20

6:00 Preludes Session 2-8 35 5 min ea.

6:35 Opening video w/band 20

6:55 Vocal check 10

7:05 S. 5/6 Worship Set 20 1.5 x

7:25 S.7 Worship Song 5 1.5 x S. 7 Special: Give Me Jesus 10 7:40 S.8 Worship Set 15 1.5 x Opening - Closing - Special 15 8:10 Break 15

8:25 S.3 Gospel Medley 15 2X

8:40 S.2 Worship Set 15 2X S2 Vocal Special: 10 You Can Use Me


Rehearsal Schedule (continued)

9:05 S1. Vocal Special 15 History Maker S1. Worship Set 15 9:35 Wrap up / Pray ??? DONE Tech wrap up / clean and straighten stage Friday, September 30 Also need to check S3 pictures / Friday PPNT 6:30 Tech call time 6 6:30 Check video roll ins (6) 20 6:50 Band check / 1prelude 10 7:00 Vocal check 5 7:05 S2 Worship 5 7:10 S2 Vocal Special 10 7:20 S1 Worship 10 7:30 S1 Vocal Special 10 7:45 S1 Opening Run 30 8:15 Check fac lav / mic 15 Touch-up stage 8:30 Doors Open 8:40 Team meeting in green room 9:00 Session 1 10:40 Team meeting in green room Check S3/4 Preludes 10 1:00 S3 Gospel Medley 15 1:15 Check speaker lav 5 1:30 Doors open 1:40 Team meeting in green room 3:40 Team meeting in green room 5:30 Additional tech rehearsal 30-40 minutes


Rehearsal Schedule (continued)

Saturday, October 1 6:30 Tech call time 6:40 Check video roll ins (9) 20 7:00 Band check / 2 prelude 10 7:10 Vocal check 5 7:15 S5 Worship 15 7:30 S6 Drama 30 8:00 Check fac lav / mic 30 Run S5/6 transitions Touch-up stage 8:30 Doors 8:40 Team meeting in green room 10:40 Team meeting in green room 12:45 S8 Worship 10 12:55 S8 Vocal Special 10 Heaven… 1:05 S7 Vocal Special 5 1:10 S7 Solo: Give Me Jesus 10 1:20 Check speaker lav 5 Practice Map exercise 5 1:30 Doors 1:40 Team meeting in green room 3:40 Team meeting in green room


The GLS production team in Port-Au-Prince Haiti set up using as small of a “footprint” as possible, and executed a perfect event with a minimum crew.

Appendix F: Technical Staffing

The following is a minimum crew list. Of course, the size of your crew will vary depending on the size and requirements of your venue. These lists include production staff only. In most cases, a producer, assistant producer, music director, drama director and production assistants (to help coordinate content or talent) are also involved and may end up being considered part of the running crew. In the simplest production environment, the minimum running crew consists of the following. This three-person production crew should only be attempted in the most reliable, stable, predictable GLS environments. If there are any uncertainties (the band has a tendency to show up late, power might be unreliable, or last-minute changes are possible) the three-person production crew is not recommended since no one will be available to handle any of these challenges.

Position Location Description Production Director/ Stage Manager

Front of house

Responsible for crew and all aspects of production technology, interface with producer. In a small running crew, the Production Director calls cues (doubles as the Stage Manager). In this “minimum” configuration, we’re assuming that the site has a small, simple lighting system. The production director/stage manager could easily run simple lighting cues, as well.

Audio Engineer

Front of house

Runs audio console, responsible for all audio cues & mixing the band. Your audio engineer (A-1) is one of the key players on your team.

Video Engineer

Front of house

Is responsible for anything projected on the video screens. In a small running crew, the video engineer cues the playback and switches between input sources. In this “minimum” configuration, the video engineer also does double-duty as the graphics operator, but all graphics (PowerPoint, ProPresenter, EasyWorship, etc.) should be prepared in advance, with no anticipated on-site changes.


Staffing (continued) A “typical” GLS running crew consists of five people. A five-person team still assumes that the environment is stable (no power concerns) and that the band is technically savvy (they can handle their own monitors, backline equipment, etc.)This is the ideal crew size for most GLS experiences:

Position Location Description Production Director/ Stage Manager

Front of house

Responsible for crew and all aspects of production technology, interface with producer. In a small running crew, the Production Director calls cues (doubles as the Stage Manager).

Audio Engineer

Front of house

Runs audio console, responsible for all audio cues & mixing the band. Your audio engineer (A-1) is one of the key players on your team.

Lighting Board Operator

Front of house

Controls the lighting equipment, adheres strictly to the cues and instructions from the Stage Manager.

Video Engineer

Video control area

Is responsible for anything projected on the video screens. In a small running crew, the video engineer cues the playback and switches between input sources. In this “minimum” configuration, the video engineer also does double-duty as the graphics operator, but all graphics (PowerPoint, ProPresenter, EasyWorship, etc.) should be prepared in advance, with no anticipated on-site changes.

Graphics Operator

Video control area

Is responsible for all CG (PowerPoint, typically) which is displayed on the screen. Tracks with all music, lower thirds and scripts.


Staffing (continued)

A larger running crew may be required in larger facilities or when there are more uncertainties. (Last-minute scrambles due to power or weather issues, changes to graphics, a band that needs a lot of assistance, or host pastor/facilitator who needs to be “cued” onto the stage.)

Position Location Description Production Director/Stage Manager

Front of house Responsible for crew and all aspects of production technology, interface with producer. In a small running crew, the Production Director calls cues (doubles as the Stage Manager).

Audio Engineer (A-1)

Front of house Runs audio console, responsible for all audio cues & mixing the band.

Assistant Stage Manager

Backstage Controls the cueing and pacing of all entrances/exits. Is the Stage Manager’s “eyes and ears” backstage.

Lighting Board Operator

Front of house Controls the lighting system, adheres strictly to the cues called

Video Engineer Video control room Runs the video switcher (also called the TD in broadcast environments) and switches between playback and graphics.

Video Playback Engineer

Video control room Runs the playback (DVD) decks. Familiar with all menus, operation of DVD player, timing and pacing of media and equipment (countdowns, pre-roll, responsiveness of equipment, etc.). Typically has a notepad with total running times and can report to the Video Engineer or Stage Manager how much time has passed, or is remaining.

Graphics Operator Video control room Is responsible for all CG (PowerPoint, typically) which is displayed on the screen. Tracks with all music, lower thirds and scripts. Has a hard copy of all graphics & communicates to the Stage Manager the number of remaining screens, etc. (as needed).

Backstage Stagehand

Backstage Available to help move the band (and equipment) on or off stage. Available to move set pieces, lectern, and replacement equipment as needed. Familiar with all emergency evacuation procedures, etc.

Front Row Stagehand

Audience front row Available to move lectern on or off as needed, can hand a replacement microphone to the host or worship leader. Is in communication with Stage Manager & Producer & can communicate to the host (on or off the stage) with additional announcements or in the case of an emergency.


Staffing (continued)

In some facilities even more crew may be required. IMAG (image magnification), for example, will most likely add the following positions:

Position Location Description Video Director

Video control room

Runs the video crew, directs camera operators & selects shots.

Video Shader

Video control room

Runs camera remote control units, once cameras are dialed in, the shader operates the iris control.

Camera Operators

Camera positions

Operates camera, per the video director’s cues.

Assistant Camera/Cable Page

Camera positions

Supports shoulder-operated camera operators by helping with entrance/exit moves, organizing camera cable, etc.


Appendix G: Host / Emcee

Host Job Description The Host gives announcements from the stage providing information to the guest during the conference. Announcements may include:

• Conference logistics • Session times • Resources

The Producer will provide the Host with: • Scripted announcements and instruction for going up on the stage. • Cue sheet for the conference day • Event emergency announcements

o he Host may be responsible for relaying information to the guest during the event, including transmission issues, emergency exit procedures etc.

Host Responsibilities • Work with the Producer to be prepared with the announcements • Know time to arrive each day of the event • Know what to do if there is a power outage or projection issue • Understand emergency exit procedures

Guidelines • Use a handheld microphone • Give only 1-2 announcements at a time to minimize any confusion • Keep announcements short • Honor others who need to be on the stage outside of the Host Role • Do not sell Resources until after lunch on the first day • Use a prop during Resource announcements • If available, use PowerPoint slides on the side screens to support

and or substitute for an announcement • No announcements after the last session of the day • Start on time • End on time


Announcements The Announcement Grid for GLS will be posted on Summit Central. The grid below provides an example of session announcements during the Global Leadership Summit. Programming of Announcements is finalized by the Producer. Announcements that are specific to session content and not session order are listed at the end of the grid under “Scripted Announcements.” These announcements are not all-inclusive. The announcements to be made are determined by the Producer, Regional Director and Organizing Committee.

Session Time Announcements Session 1

Opening of Session These first announcements are made by an Organizing Committee member or Host Pastor. (see suggestions below in the scripted announcements) Dismissal after Session - Introduce yourself as the host for the Summit - Volunteers: As you spend the next few days here you will notice volunteers

wearing a “here to serve” name badge. Please take the opportunity to speak to one of the many volunteers making this event possible. So as we wear our name badges, we ask that you do the same so we can greet you.

- Break Release: Please exit __________. The next session will begin at 00:00 We will start on-time!

- Any building Logistic

Notes: Do not make resource announcements until after lunch the first day

| Producer Orientation & Reference Documents 63

WORKSHEET: Host Thank you for being a Host for The Global Leadership Summit! We are glad you are willing to partner with us. The following information will guide you in your tasks during the event and before and after every session. Thank you!

• Arrive early for sound check and meeting with Summit Producer • Meet with Producer at times listed below before each session • Prepare to speak before and after every assigned session

Friday Arrival Time:________________ Location:___________________ Meet with Producer before each session for changes Session Pre-Session

Meet Time Scripted Announcements?

Props?


Saturday Arrival Time:_________________ Location:___________________ Meet with Producer before each session for changes Session Pre-Session

Meet Time Scripted Announcements?

Props?

Note: Be sure the Producer knows where you are during the session in case of emergency, loss of power, or other emergencies.


WORKSHEET: Host

Directions in Case of Loss of Power:

Emergency Exit Procedures:

EMERGENCY CONTACT INFO Producer ___________________________________ Cell ________________________ Event Manager ______________________________ Cell ________________________ TD _______________________________________ Cell ________________________


Appendix H: Loss of Power Procedures To prevent a power loss, or expedite recovery from one:

1. Confirm the power draw of all equipment and the circuit capacity. If replacement equipment is delivered (upgraded projectors, different lighting fixtures), re-calculate as needed.

2. Use twist-lock connectors (video) and stage-pin (lighting) whenever possible

3. Use the most reliable tape available (depending on your environment, and the effects of humidity on some kinds of tape) to secure all connections

4. Use sandbags to weigh down cables running on the floor (immediately under wall connections) to prevent accidental disconnect

5. Use caution tape, white tape or glow tape to indicate all power cables running backstage or in any other potentially unsafe location.

6. Use well-labeled rubber mats or cable “crossover” if guests will be walking near or over power runs.

7. Establish front-of-house (production booth) and backstage power captains to:

a. Confirm that no un-authorized devices are connected (guest’s cell phones, laptops, coffee makers) into production power circuits

b. Familiarize themselves with the location of circuit breakers for power running to their area

c. Check for tripped power strips, conditioners or circuits immediately upon loss of power

8. If using a generator, confirm fuel levels at the beginning of each day. Confirm safe, secure connections to power distribution boxes.

9. Technical coordinator knows the location of all circuit breakers and power disconnect boxes

10. When possible and practical, use extension cables with built-in light indicator.


In the event of a power loss:

1. Producer determines how instructions are communicated to the audience

2. Power captains check for power in the following order:

a. Specific equipment (video monitors, for example, are the most obvious)—connected and switched on

b. Power conditioners or power strips—connected and switched on. Reset circuit breaker.

c. Check main power (extension cables connected)

d. Quick check for severed power cable on the way to . . .

e. Main circuit breaker check

3. Technical Coordinator proceeds immediately to main circuit breaker

panel and/or generator. If the problem is found, inform front-of-house and backstage power captains to turn off all power until main breaker (or disconnect) is re-set or generator is re-started.

If possible, recruit a trained electrician with a continuity tester/volt meter as a member of your production team. Even as a camera operator, graphics person or stagehand, this person could prove invaluable in a worse-case scenario. Lean on their expertise throughout the load-in, set-up, rehearsals and sessions.

Full-length rehearsals at full volume and full lighting with ALL equipment on can help prevent power outages.

Be mindful of anyone plugging in anything that wasn’t in use during rehearsal. Coffee makers, guests’ laptops and/or cell phones and other devices not connected during rehearsals SHOULD NOT be allowed on technical power circuits.

We suggest that you negotiate with your equipment vendors to provide projectors at least a day in advance. In most cases you should not be billed for rehearsal days, and rehearsing with projectors ON will help prevent power issues.


Appendix I: Stage Management Tips & Tricks

By “stage management” we mean directing the production team by “calling the show” or giving them the cues—typically using a communications system—exactly as they should be executed. Many churches don’t adopt formal stage management techniques—and depending on your culture or the style of your church, it may not be necessary. But for the GLS, it’s important that the technical production go as smoothly as possible. This means that you’ll want to take the time to understand the basics of “show calling” and incorporate whatever tips are necessary to ensure a smooth-running event. There are several books available on this topic, but most deal with theater management and production, so (at best) only a few chapters will apply to what we do for services and conferences. Although this isn’t a comprehensive guide to stage management and, this basic introduction should be enough to help things go smoothly. Responsibility & Authority Once rehearsals start, it’s the stage manager’s job to ensure that the technical resources (people, equipment) needed to execute the conference are in-place and ready to go. A big part of your job as a stage manager (and sometimes one of the most challenging) can be keeping track of your crew. This means giving them the freedom to work on various tasks when time allows, then quickly getting them focused and ready to rehearse or execute the conference. You’re also responsible for making sure that your crew has adequate breaks—and that a plan is in place for getting food, coffee, snacks, etc. when necessary. Sometimes this means engaging other volunteers to help. Sometimes it means ensuring that the production crew eats first & will be allowed to “cut” to the front of the line. In most circumstances, taking care of the production crew and getting them back into their role will take priority over most other things.

The stage manager should confirm the functionality of the systems and readiness of the production team prior to getting the producer, band leader, musicians involved in rehearsals. This “pre-flight checklist” will confirm that your team is ready, and help your rehearsals go as smoothly and effectively as possible. Choose a segment of your first session which will allow you to: • See graphics on the screen • Roll video (and hear audio) • Raise and lower lighting

levels • Confirm that the audio line

check was successful, all microphones, monitors and playback sources are ready

Plan this “step-through” far enough in advance to allow your team to make any necessary changes or adjustments before your rehearsal begins.


Stage Management (continued)

When it’s time to get underway, use a microphone to make the announcement:

“Crew to Com please” or “Production Crew to Headset”

This announcement is an important way of getting the crew together and focused on what’s happening on the stage and what you need them to do. Once your crew is used to listening for this announcement, they’ll have a good understanding of when they need to be on headset and when they’re free to be working on other tasks. In return, be sure to keep them informed of break times and when they’re free to work on other tasks. It’s helpful to delineate the difference between the following situations:

“We’ve got a few minutes while the band sorts a few things out, you can work on other things, but please stay on com. I’ll let you know when we’re starting up again.” “Okay, the producer is going to meet with the host and facilitator for about 15 minutes before we get started. You’re free to get back to your ‘work lists’ but don’t wander too far & please be ready to go back to headset when you hear my announcement.” “We’ll pick up where we left off in 90 minutes—lunch is provided down the hall. Please finish up anything critical on your ‘work list’ but make sure you get at least 30 minutes to relax & get a bite to eat.”

Providing a brief picture of what’s going on is helpful to the crew—it answers certain questions without much additional communication required. For example: The audio engineer knows that he may be needed on the stage to confer with the band. The lighting director knows that now is a good time to re-focus a light—but NOT to lower the house lights. Video will know that the graphics need to remain on the screen so the band can talk through their worship set. It’s a good idea to get your crew on com well in advance of a rehearsal. For the event, consider having your crew on headset at the same time doors are opening. A more formal announcement such as “doors are opening, crew to com, please” can be appropriate and helpful (not just to your crew, but for the band, greeters, ushers, etc.)



Before getting started, most stage managers will take a minute for a roll call. It’ll sound something like this:

Stage Manager: “Okay, crew. I’m going to run through a quick roll call . . . audio and lighting, I see you’re both on com, you hearing me?” Lighting Operator: “Lighting Here” (Audio nods) Stage Manager: “Great. Video?” Video Director: “Video is standing by. Stage Manager: “Thank you. Graphics?” Graphics Operator: “Graphics is ready.”

Stage Manager: “Great. We’re about five minutes away from getting started. Of course, we rehearsed this yesterday, but let me walk you through how we’re going to open up . . . ”

With so much going on (and sometimes rehearsals need to happen out of order) it can be helpful to remind the crew WHEN you rehearsed a session or specific sequence. It can be hard to put yourself in someone else’s shoes, but it’s not uncommon for one (or more) of your team to completely forget that they even rehearsed something. A simple reminder (“this is the one we rehearsed right after dinner last night”) as well as stepping through the first couple of cues on headset can communicate the right amount of confidence and serve as enough of a refresher to help get them focused. As your program goes on, your crew may want to use the com system to make comments or carry on conversations. It’s up to you how much “chatter” you’ll allow. They’ll follow your lead—so if you keep it mostly business, they’ll usually do the same. But if you feel that personal conversation could get in the way of running a smooth conference, don’t be afraid to issue this simple direction, as often as needed:

“Quiet on Com”

Composure No matter what happens, you’ll want to always “keep your cool” when directing your crew on headset. Communicate to the crew and call your cues in a calm, consistent manner and your crew will follow along—even amidst last-minute changes and unexpected challenges.


Stage Management (continued) Focus and awareness One of the biggest keys to a stage manager’s success is staying focused and aware—and helping every crew member stay equally focused and aware. You’ll want to keep your eyes on the stage as much as possible, and know everything that’s going on that could potentially impact the production of the conference. Ask your crew to keep you informed on anything they see or hear, as well. Something as insignificant as a momentary power fluctuation, an unexpected guest backstage, change in weather, or unnoticeable wireless glitches are examples of the types of things you should be made aware of.

Calling Cues Creating a tempo is one of the keys to getting your crew settled into a consistent, smooth-running program. Getting the production team into the right tempo starts with the way you call your cues and deliver information. When you call a cue tell them WHO the cue is for, then WHAT you want them to do. Traditionally, there are three parts to each cue – from general (and sometimes casual) to specific:

1. The first part is the “warning”

Use the word “warning” when you call the cue—this will focus your crew on what’s coming up next, and help create an important tempo. A warning can be issued a minute or two before something happens, or (if you’re in a particularly long segment) it could happen farther out, just to ensure that everyone is “in the game”. It could sound something like this:

Stage Manager: “Okay audio, video and lighting, this is a warning— the band is going to come out and we’ll get started in just a few minutes”

It’s a general announcement to the crew (and anyone on headset or tied into your communication system) that things are about to get started. There’s not always a need to warn individual departments—if something’s going to happen with audio, it usually means that something will happen with video, lighting and on the stage as well. Train your crew that a warning cue is for everyone to check their cue sheets for a last-minute look at what they need to be ready to do next.


Stage Management (continued) 2. Next comes the “standby”

In some cases, the standby can be for everyone (if the cues are happening simultaneously) but this is usually for well-rehearsed theatrical shows, or very experienced teams. It certainly doesn’t hurt to call a cue for each department. Also, get your crew in the habit of acknowledging a standby cue. Typically you’ll want your audio engineer to keep his or her eyes on the stage, and hands on the console—so eye contact and silent acknowledgement from you’re A-1 usually works best. In most programmed church services and conferences it could sound like this: Stage Manager: “Standby to send the band to stage. Audio—standby to duck walk-in music” (Stage Manager looks at the A-1 to confirm) Backstage Manager (or band leader): “Band is ready, standing by” (A-1 makes eye contact with the SM and nods.) Stage Manager: “Lighting—Standby to fade the house lights, and standby stage lighting cue” Lighting Operator: “House and stage lights standing by” Stage Manager: “Video—standby to dissolve backgrounds to screen, and standby with song lyrics” Video Operator: “Video, standing by” Graphics Operator: “Lyrics are ready, standing by”

3. Last, is the “GO” But it’s not just a matter of blurting “GO”. The tempo becomes increasingly important the closer you get to executing the cue. Most stage managers prefer a three-second countdown to help the crew time the moment perfectly:

“Audio start to duck, video and lighting in three . . . two . . . one . . . GO.” Sometimes a cue will come up fast, so the timeframe between the standby and GO cues will be compressed, such as:

“He’s jumping right into the announcements. Standby graphics to screen. Graphics to screen in three . . . two . . . one . . . GO.”

If the cues all need to happen simultaneously, remind your crew who the GO cue will be for:

“Standby for the video—this will happen fast. On my cue, audio will mute the lav, open up audio from video, lighting will fade stage lighting, and roll video . . . here it comes, everyone together . . . in three . . . two . . . one . . . GO”



Consistency An important part of calling a show is consistency—using the same words and phrases, in the same order, to mean the same thing, all the time. It also means calling cues in the same fashion, with the same tempo and inflection. No two stage managers use the exact same technique, but the best ones will call it almost the exact same way, every time. This instills confidence in the crew and helps avoid uncertainty and mis-communication Part of calling a consistent show is a strict adherence to a department-specific vocabulary. In other words, there are a lot of words that could mean a number of things to nearly every one of your production departments. Imagine the chaos of unclear, frantic instructions such as:

“Fade that out, fade that out!” or

“dip out of that!” or

“Dissolve, dissolve, dissolve!”

Unless your crew can read your mind, they’ll need a lot more explanation before they even know who you’re talking to, what you’re talking about & what they should do. The best stage managers have settled into a vocabulary that eliminates all uncertainty. For example, you might consider getting into the habit of grouping your words in this way: Audio Consistency In addition to the audio-specific terms that you’d use when talking with your A-1, consider using the words “duck” and “push” in place of more confusing words. The examples above apply well here, but even worse is a phrase like “bring it back”. (Bring what back? And to where? Bring it back into the mix? Into the house? Take the fader down?) Notice how few words are required in these examples: “Can you push those background vocals a bit?” “Audio—I’m going to have you push the opening video a little hotter than we did in rehearsal.” “Standby—audio, when he picks up the microphone, duck the keys down to a pad” This idea of reserving words for certain production departments when calling a show may not be obvious at first—and you may have been getting along well enough without this added level of discipline. But you may be surprised at how little time it can take to communicate once you eliminate the “gray area” of confusing, potentially overlapping words.

It’s interesting to note that many stage managers don’t ever say the word “GO” over headset unless they’re actually calling a cue. As funny as it may sound, they’ll spell the word to avoid confusion. It’ll sound like this:

“Okay, this is the last worship song of the set. We’ll come out of this very slowly into the video. Lighting—standby to slowly fade the stage lights out. We’re going to hold in that moment—do not take the video cues until you hear my G-O.”



Video & Graphics Consistency Since video professionals live with the words “dissolve” and “take” all the time, it works best to let them keep these words. “Advance” works well for graphics. Examples:

“Video—stand by to dissolve the theme graphic to screen.” “Graphics, stand by to advance to your first slide, and take the song lyrics on your own.”

Granted, “advance” isn’t the fastest word to say, but the important thing is that it means one thing to one crew member. You’ll appreciate this when working through a graphics-intensive portion of a conference or service, such as announcements. Your cues to the graphics operator require only one word:

“Advance . . . advance . . . and . . . advance” Lighting Consistency The numbers corresponding to individual lighting cues are rarely called in church services, and are becoming less frequent in conference production as well. This is due to:

1) the extreme flexibility of most lighting consoles (with the ability to name cues, easily insert new cues during rehearsal, and see them all in sequential order on a display screen), and

2) the fact that new lighting control consoles can be programmed and operated in a number of different modes & layouts, depending on the preferences of the programmer/operator

After stepping through the cue list, programming, and rehearsing, lighting is usually the one production discipline that can execute cues exactly the same way from rehearsal to live conference. (There are no guitar foot pedals, stairs to trip on, new sound absorption factors, or DVD menus to navigate. And if the band leader changes the order of the verses, or repeats a chorus a few more times, the lighting operator doesn’t have to do a thing to stay on cue.) That said, calling lighting cues can be as simple as you choose to make it. Consider “dip”, “fade”, and “restore” as lighting-exclusive terms for purposes of stage management. For example:

“Okay crew, we’re still in a warning to get started—people are taking their time coming back from break. Lighting, I’m going to have you dip the house lights up & down a few times to get people in their seats.”


Stage Management (continued) “Lighting, standby to fade the house lights to 50%, and standby for your stage wash” “Standby—audio, out of this video the host is coming back on lav 2. Video—you’ll dissolve to the theme graphic on center screen, and standby to restore stage lights”

You may choose to transcribe the lighting cue numbers onto your cue sheet. Some stage managers will even pre-assign cue numbers that they want the lighting programmer to use. But for our purposes, we typically don’t have to hand-hold the lighting operator once they’ve set-up their cues to correspond to the simple flow of the GLS. And, for simple lighting consoles (Elation Scene Setter, ETC SmartFade, Leprecon 600 series. NSI, etc.) or simple lighting systems (a handful of fixtures to light up the stage), words like “dip”, “fade”, and “restore” will be just about all the direction your lighting operator may need anyway.


Appendix J: Videotaping Suggestions & Requests Capturing the images, excitement and attendee reactions can play an important role in building the momentum for the Global Leadership summit at your site, in your nation and around the world. We created this appendix as a guideline to help you capture the best, footage with the most variety in the most efficient way possible. We always receive a lot of great submissions, but we're hoping that with these suggestions, GLS sites will continue to "break the mold" of just recording image magnification (IMAG) feed or setting a camera in the back of the room. There are innumerable uses for this footage--in promo videos to increase attendance and awareness, on DVD, service roll-ins, video podcasts, streaming from the web. Please coordinate with your WCA affiliate leader or country producer on any specific uses that they may have in mind. The WCA International office will continue to develop "worldwide" promotional material for certain audiences, and you'll want to make sure that your site (and nation) is well represented!

Where possible, we're suggesting that GLS sites add a roving camera crew, independent of any IMAG cameras. Camera Equipment A 3-chip broadcast or industrial camera is best, but many of the 3-chip palmcorders which record onto DV tape will work okay. We prefer to receive a digital "clone" of your camera original tapes (transferred via firewire or SDI). Transferring the standard (from PAL to NTSC) is not necessary. Where possible, we recommend that footage be shot in the 16x9 (widescreen) aspect ratio. We also endorse 24p (film like) as a shooting "mode". However, we advise against HDV and prefer that HDV cameras be set to record in "DV" for our uses here. Audio For B-roll and stage shots "wild" or "natural" audio using the on-camera microphone will work fine. If a tie-in to the audio system is available, a "clean" signal from the mixing console is nice, but if the signals are too hot (loud), or mixed poorly, sticking with the on-camera microphone is probably best. One suggestion is to connect the audio feed to channel 1 and record the ambient sound from the on-camera mic onto channel 2. The first choice for shooting interviews is to use a high-quality directional overhead boom mic ("shotgun"). The second choice is to use a wired or wireless lavalier microphone clipped on the interviewee. Lastly, the interviewer could use a handheld microphone in typical "person-on-the-street" fashion (but use this option only if necessary).


Crew Size & Skill For shooting B-roll and stage shots, usually only one person (the camera operator) is required--especially if they have a good eye for meaningful and artistic shots. For interviews, you'll need a 2-person camera crew minimum--the camera operator and interviewer. The camera operator will need to wear a headset to monitor the audio (typically coming from a lavalier microphone on the subject for interviews conducted by a 2-person crew). The interviewer is really a facilitator--helping to identify people to interview, briefly explaining what it's for, and asking simple, open-ended questions. Although the interviewer's questions are typically edited out during post-production, standing off-camera to the left or the right of the lens gives our subjects someone to make eye contact with. Their comments will be much more natural than a direct-address into the camera and will carry much more credibility. (Direct-address into the camera can usually only be pulled off by experienced professionals.) Improved audio (with a dedicated engineer and upgraded equipment) is the "next level" of interviews. An audio engineer with a boom mic, field mixer, and headset can speed up the process, relieve the camera operator of the responsibility of closely monitoring audio, and help ensure the best-sounding interview. Audio-for-video professionals bring a wide variety of great techniques--and they should be encouraged to do what works best for them, provided it doesn't slow down the process. Content We've concluded that the types of footage you'll want to gather fall into three equally important categories:

Stage Shots B-Roll, and Interviews


Stage Shots

A little IMAG footage goes a long way. A few minutes of national speaker, worship band, or creative programming is all we’d need for promotional and “highlight reel” purposes.

On the other hand, a camera crew that’s free of the requirements of IAMG framing can capture the action

on stage from a unique perspective.

Shots which show both the stage and audience tell an even bigger story.


Wide audience shots are an inevitable part of gathering interior b-roll. But be sure to get close-ups of faces as well.

B-roll should start with (or at least include) interior and exterior static shots, pans, pushes and pulls. A variety of shots are

helpful—some with smooth lens movement, others with dramatic “snaps” to a person, object, or architectural feature. GLS-branded

banners and signs are very useful shots in post-production.

The images on the left communicate a message just as powerful as a wide pan showing a packed audience.

This over-the-shoulder shot of attendees taking notes illustrates—by visual example—an engaged audience

Shots from the audience’s perspective can be the most effective in communicating the “feel”.

Avoid empty seats, and look for the shots that communicates the “experience” from an attendee’s point of view.

B-Roll

The camera operator’s patience paid off in this invaluable shot showing the crowd rushing for prime seats.

This shot featured a rack focus from the audience to the man in the foreground looking at his conference notebook. This shot

perfectly shows both the size and scope of the event, while connecting the viewer to this particular attendee.

Similarly, Scotland’s band leader Russell was “revealed” in this rack focus shot.


Great reactions, thoughts, and observations captured “in the moment” will go a long way towards telling the story and building the momentum of the GLS. Having a lot of great comments by guests can make it easy to craft a highlight video for your site or country.

Be sure to get first and last names, with spelling. The more information (such as church, city and country) the better.

Getting a close-up,

in-focus shot of the interviewee’s name badge is the easiest way to get all of the information you need as quickly & efficiently as possible.

Keep in mind that the interviewer’s role is to simply “prompt” attendees for their response. Finding the RIGHT people to interview can be a bit of an art form, but—if necessary—you cam make up for it in sheer numbers. If an interviewee isn’t giving you usable content, just as one last question and move on. If an interviewee is particularly well-spoken and has great things to say, ask them the entire battery of questions if time allows! Here are some suggested questions: Is this your first time attending the Global Leadership Summit? (if no) What brought you back? (if yes) Has it met your expectations? Are you here alone or with a team? What has surprised or personally impacted you? Can you describe your experience in one word? (Attendees will often answer with one word, followed by a whole explanation which will often be perfectly usable.) How would you describe The Global Leadership Summit to someone who didn’t experience it for themselves? Would you recommend the Global Leadership Summit to a friend or co-worker? What are some specific ways the learnings from this event could impact your ministry? Your city? Your country?

Interviews