This is State Tech Hawaii, Community Matters here. The Honolulu African American Film Festival presents films each February that help to eliminate this imbalance. The Honolulu African American Film Festival takes place every February at the Doris Duke Theater at the Honolulu Museum of Art, Honolulu's only art house theater and premier platform for independent and international film in Hawaii. Our mission is to celebrate African American cinema and the African cultural diaspora. The Honolulu African American Film Festival provides a platform for black filmmakers, screenwriters and actors to present their art. Emerging talents and established artists are able to contribute to the cinematic legacy of Africans Americans. I'm your host Sharon Thomas Yarbrough. Welcome and thank you for joining Sister Power. Our topic for this episode, Seventh Annual Honolulu African American Film Festival, celebrating black cinema throughout the year. Today, we will discuss the film festival with committee member, Sister Power VIP guest David Goldberg and we have John Nichols on the phone with us as well. Thank you so much for having me on the show Sharon. Thank you for coming. We're excited because this is our Seventh Annual African American Film Festival and another thing that's a first for Sister Power, you are our first man to appear, you and John. For real? Yeah, yeah, absolutely. Well, I'm extra honored especially in these days, you know what I mean, given where the climate is, I'm honored to be included and again, I appreciate you inviting me and John to come here and talk about what's going on this year with the festival. Thank you, John. Is there something you would like to say to us and Aloha to our people? Aloha. We are so happy that we've had such success and what a success it has been and the public has really responded to these crossover films and we'd love to invite people to come out on Saturday the 3rd of February to enjoy once again another opening reception. Thank you so much for having us on at this time Sharon. Oh, you're welcome. We're excited and so our film festival is from February 3rd until February the 10th and we're going to dig right into our festival and I'm excited about opening night which is next Saturday, February the 3rd and the film is The Gospel According to Andre and let's talk a little bit about Andre Talley. Andre Talley is a fashion forward person, he is an icon, take it from there. I have to say, this is actually my first year on the committee after getting involved in bringing a short experimental documentary to the festival that got squeezed in last year so I'm actually getting up to speed in a lot of great ways in terms of paying attention to these films because my area I'm coming from is from media studies that's a little further out on the fringes and where people are making stuff up as they go along so for me I'm excited about this festival because some of these films I haven't seen myself you know and what I'm really into is the the diversity that's coming through in this year's program in the sense that on one hand you have a culturally focused festival but in a place as diverse and multicultural as Hawaii the films that we've selected this year actually speak to everybody in the state you know so I'm really psyched about that so the idea that we that we start the festival off with you know this discussion of fashion right knowing full well that we're committed to fashion week here we're committed to investing in our local creatives and there's probably most of the people that are concerned with fashion and style know who Andre is absolutely for this for us to make this debut and really cross those cultures you know which brings gay straight men women you know fashion style and all this is coming together and that's the spirit that I think all of the films are coming from this year well what I like about this that John that you're on board John Nichols was our brain the brainchild for this committee and we're so happy that he's able to join us and John give us your take on our seven years of the Honolulu African-American Film Festival well thank you show and I was a co-founder and I'm very happy that out of a discussion actually with Faye Kennedy that the Film Festival became a reality and the kind of on the top of the food chain in some ways and that we have such diversity and we have such a multicultural atmosphere here and the high end is interested in diversity even if it's on a trending nominal basis you'll find that these films are on the one hand really on the cutting edge if you will you know you have a fashion icon you also have an abstract artist whose name has been synonymous with the high-end art world lately that's Basquiat and it's really neat to be able to even have him on the cover this year and I was just back from the Miami Basel where he was front and center and a lot of different discussions that I was a part of with jury to be exact but I'm really glad that you know everybody will come out and that high fashion best and that's the key it is a fashion statement and it'll be glamorous very stylistic if you will and so get dressed up for next Saturday for sure absolutely the start at 6 30 p.m. and the film the actual opening night starts at 6 30 p.m. but before we start talking about the other films David we should thank our committee because if it wasn't for Taylor Chang absolutely and Sarah and Manette yet at the Honolulu adores Duke Theatre the Honolulu Museum this would not take place and also yet absolutely also let's talk about our members so we have Daphne Barbie Wooten mm-hmm we have Akimi Glenn is a new member new member like me yeah both of you came on board and we have Marcia McFadden and John Nick was you're on the phone Toddy Rice Sandra Sims and of course myself I'm on the committee as well so I'm excited and we want to send a shout out to all our members and thank the Honolulu Museum of Art and let's move forward and talk about what's next we have our opening night which is Saturday night and we're it's gonna be an extravaganza so we're inviting everyone to come out and then we have that's gonna be shown twice I think it's gonna be shown yeah most of the films gonna be shown more than once if you miss me of course you don't want to miss the opening night that's where everybody comes out and that's where you get that energy of everyone that's celebrating that you know the opening night of the festival but most of these films are gonna screen at least twice yes so that includes the the Andre film you know the the Basquiat documentary what's the other one mud mudbound mudbound mudbound that's hold it there for a sec right because that's that's exciting we have Mary Jade Blige who is up for a nomination am I correct? Supporting actress right I think I think she's she's got that best supporting actress best supporting actress I'm so proud of the sister to come she's excellent songwriting musician yeah and continuing that tradition of crossing over out of other areas of entertainment into film which is also a great marker you know of progress and opportunity for a lot of our artists that are you know getting out of the the narrow ranges and taking advantage of you know how a lot of our artists are operating at higher levels you know than ever before he knows it's great to see that that happening which I think is really the spirit you know the festival and well can I talk about the whole like the scope across the year because we have a track we have a trailer to show right right I mean I think you know in this in this first bit I think it's important for people to know that one of the the purchase from the usual festival formula that we're doing is looking at spreading out this appreciation of black cinema black visual culture across the year right so it's not just February that we're doing this but we're also looking at having a program in June or July which celebrates the idea of Juneteenth which is the African African American historical marker that has to do with the fact that when the Civil War ended and emancipation was declared it didn't travel instantly because we didn't have the internet back then you couldn't just hop on Twitter and say oh we free right so it took some time for that message to travel from say Atlanta to you know the Panhandle of Texas right so there was a wave of awareness and so no one could really decide which day we became free so therefore Juneteenth right it's June-ish right June-teenth June-ish so we're actually gonna be doing some programming during June and then folks might not know that August is a budding month that we're looking for at black futures so we're trying to tap into stuff that Akimi is doing in terms of the Popolo project here and also the the global effort to look at blackness in the Pacific to look at Afrofuturism to look at the the sort of future of black culture as you move forward so we're really looking at how to spread this festival out over the course of the entire year because 28 days is you know never enough to celebrate at all and we and we hope that it'll become a model that takes off here in Hawaii to recognize that we can look at our individual cultures and the history that we bring but why do we have to confine them to like one space when really the point is that we should be constantly celebrating each other's culture each other's cuisine each other's presence each other's cinema right so the I think the African- American film festival is trying to take that lead and say that you know we can break out of the we have a rich history yeah this is phase one and so does everybody else you know I believe this is everybody's stuff braiding together yeah you know I mean over the course of 365 days you actually get this diversity and this change and this rich texture of what people have to offer all the way all the way year-round well let's show a trailer on the Honolulu African-American film festival we have a quick trailer that we would like to show our audience so they can just get a sneak peek of what's coming up next it's not wonderful we gotta talk about Anita right we've got to talk about you know let's talk about Anita Hill is so present which he experienced what was it 20 years ago or I think so 20 some years ago and we're dealing with the me too movement right now let's talk about that film Anita Hill John you want to jump in on that before we yeah you know I just want to say that we in the past we've partnered with the Jewish Film Festival initiative they're going to do the Sammy Davis a documentary which is kind of a crossover again but I do like the idea of the community outreach and being able to cross-pollinate if you will mm-hmm so Anita Hill Anita she was like the OG right yes I mean here's a woman who you know historically you know has to go before this grueling committee 14 white men and she was gracious yep and then select you all and spoke her truth yep and and here we had and mean it I mean you know I was I think I was I still in high school 20 years ago rub it in we me were you in oh you know so I mean after admit that you know Anita story I was I was kind of at the dawn of my political awareness right so I have to admit that you know what she went through I didn't really come to appreciate I understand it so much later right and I think there's a lot of folks that don't really recognize the pioneering effort that she put forth just by going through it right and when you think about the bind that she was put in where you have Clarence Thomas as the first black Supreme Port Justice and we're supposed to make that decision of like well who do we throw under the bus mm-hmm you know do you throw the black woman under the bus do we throw the black man under the bus did we do the judge do the right you know how are we going to work this out and I think that the the fact that her knowledge kind of went underground and it's something that people in schools in the Academy sustain but her story kind of faded from mainstream memory right so for us to show her story again to recognize how long this problem is going on I mean it's like it's not really a surprise right now sexual harassment you know the hierarchy over women I mean it's it's in the DNA of this country right yeah you know but but her story is really remarkable because once again you have the situation where it's an African-American person that's at this crossroad and it's not often until decades later that we look back and we realize all y'all are like the canary in the coal mine on that one so here we are again you know trying to present this opportunity you know for people to understand how long this struggle has been going on and also to see this film to understand like you were just saying what grace what humility but what's inner strength and commitment really looks like you know because we're still dealing with these repercussions so you know we're really trying to figure out the best way to make the African-American visual and cinematic experience relevant to everyone and demonstrate that day-to-day we will be panel discussion be on the Anita film film on Anita Hill film that will be Sunday panel discussion oh the panel discussion yes it's on Sunday February the 4th at 4 p.m. and I'm glad you did bring it up John we we do have a panel and that will discuss this amazing amazing woman is directed by Academy Award-winning filmmaker Frieda Mock and the film is both a celebration of Anita Hill's legacy and for the people who need to catch up like you know you were in high school now that she did have to speak up tell the people a little bit about what happened to Anita Hill back then John it was it was it was a I believe it was a moment in history that was a watershed moment and the Me Too movement right now is it's really nice to see how it is the momentum is continuing with the Me Too movement and I'm really delighted that we're able to be on the forefront again as it relates to bringing relevant issues to the forefront and this is certainly one that should garner a lot of attention and I'm really excited about attending as well I mean she was effectively put on trial I mean that she was put on trial as the victim you know which shows you the the core imbalance of how our system looks at these issues right well the entire country was transfixed when she was telling her truth her story and I just so admire her and I'm so glad we're able to show Anita Hill's documentary at the Honolulu African-American film festival agree all right well let's just move I'm sorry John no truly I you know I was on a panel in Philadelphia this past summer where she was one of them I was none not on the panel with her but I was with a very powerful position female positions and one of them was a Vivian Pin who they named a couple universities after medical schools after and she was on that panel with Anita and it was just really neat to see that Anita is getting a lot more attention in different regions as well as in different genres of our culture as well well good with this film she will be on the documentary discussing you know her truths and she'll be openly talking about it so I'm so very very excited about showing this film and we can move on because I could just talk about Anita Hill on it I'm so excited when I am excited about that we are going to come back and we're going to pick up David where we left off and we're going to continue to talk about the seventh annual African-American film festival very good all right I'm going to the game and it's going to be great early arriving for a little tailgate I usually drink but won't be drinking today because I'm the designated driver and that's okay it's nice to be the guy that keeps his friends in line keeps him from drinking too much so we can have a great time a little responsibility can go a long way because it's all about having fun on game day aloha my name is mark schlau I'm the host of think tech Hawaii's law across the sea law across the sea comes on every other Monday at 11 a.m. please join us I like to bring in guests that talk about all types of things that come across the sea to Hawaii not just law love people ideas history please join us for law across the sea aloha welcome back to sister power and we are discussing the seventh annual Honolulu African-American film festival here with my special guest David Goldberg thank you so much all right this is exciting so this is our seventh year and we are holding it at the door stoop theater and please come and purchase your tickets at the Honolulu Museum of Art yep and it starts February 30th through the 10th and so we were discussing the various films and so let's talk about we covered opening night with the the gospel according to our great yep let's talk about boom so this is a documentary by Sarah driver who looks at the early life of Jean-Michel Basquiat and as John was saying in the first part I mean Basquiat is an African-American artist of Haitian American descent who single-handedly kind of transformed the contemporary art world he came to a tragic and early end due to heroin addiction but it's a very complicated story because he engaged street art the gallery system Andy Warhol the the major collector museums you know there have been several films both documentary and dramatic that are made about him you may have seen the Jeffrey right Jeffrey right played him in his biopic so I mean Basquiat is a significant significant figure in the art world people are still writing books about him to this day they go back to his paintings they discover new hidden messages in them you know because he integrated music and history African spiritual systems I mean he's this young man was was was brilliant and this is a special film because it's the first look at his early life sort of before he got famous well we have an art the artist John Nichols on the phone one of the committee members and John give us your take on this film boom for real the late teenage years you know something as a committee member uh we all have an opportunity to screen these films in advance and I can tell you you're not going to want to miss this one especially if you appreciate abstract art expressionism I happened to a little bit yet I was in I did two shows in Paris in the early 90s and Basquiat had just passed away and his work was in Paris it was a huge retrospective and I recall going in and seeing phenomenal large format pieces that were just really uh are inspiring and to see his productivity at that age and to see how he would bring into his art things that he would experience in the city and he was in Soho I would imagine Soho had its own hundreds won't say it layers of sophistication and I had been in the Bronx I was at graduate of Syracuse University and several of my roommates who were New York artists and residents of the Bronx as well as Manhattan we all respect and appreciate seeing someone who can go from the primary market to the secondary market to the tertiary market and by that I mean Basquiat is now being sold through galleries and museums and his works are now being collected throughout the world so that's um it's really quite a wonderful opportunity to see a a young person who really expressed himself in a beautiful way get that type of recognition oh wonderful so we wanted the audience know John boom for real when it's going to air when it's going to be shown at the Honolulu Museum Sunday February the fourth at 1 p.m and it's going to be screened again at 7 30 p.m also it's going to be Wednesday February the 7th at 1 p.m and again before we discuss further we're going to show a quick trailer of the Honolulu African-American film festival so everyone can see the excitement that we're going to display I'm excited we have so much information for folks so you have to forgive us if things come at you at a slightly um out of order but obviously you can go to the website Honolulu Museum dot org to get everything you need to know but there's some other stuff we want to definitely point out and one of that is that we have a special green room event on February the 10th to 7 with the US poet laureate Tracy K Smith and you know if you're familiar with the way we do the festival we always try to bring out a special guest and offer our members the museum members something special they can spend some time with people and and these are folks that are true movers and shakers and innovators so in this case we're looking at having Tracy K Smith here to for the green room special so don't miss that definitely don't miss that and we also have a facebook page Honolulu African-American film festival go to our facebook page you can find all the information um that we've covered today and it's just an exciting time for us as I said seventh annual the number seven seven that's a mystery it is a good number so it's from February 3rd to the 10th and we have John Nichols the artist on the phone one of the co-founders of the film festival and John you want to add a little bit about Tracy Smith I'm looking forward to hearing her and I'm really delighted that we were able to cross over once again and bring her in through the green room because it is a February event and it really peered rather nicely with our offerings as well so it's it's a real seamless momentum that we have continued to expand upon so I'm really looking forward to hearing what she has to say as well yeah I'm excited about that and that is again Saturday February 10th February the 10th at what time is that again 7 p.m 7 p.m get your tickets and we want the people to know that every year we sell out this is a sold out event so get your tickets early do not wait we've had cheaper for members I mean there's always something to the door but definitely if you're a member of the museum you know you get that discount I think you buy online if I'm not mistaken yes absolutely but definitely definitely get them now because people come out for the stuff they do it's always a good party it's always a good party definitely especially come out in your high fashion best for Saturday next Saturday night because it will be a film about fashion and iconic films be attacked and what I like about the our opening nights you know we don't always have a the opportunity here in Hawaii to dress up and and just come and mingle with your peers and this is the time and place to do it and also I want to again if you missed our first segment is think are the Honolulu African-American Film Festival committee absolutely and again Tadia Rice, Daphne Barbie-Wilton, Marcia McFadden, Sandra Sims and our new member Akimi Glenn and a shot goes out to Taylor Chang and her crew there we are we they're so wonderful to work with I mean Taylor you know Taylor manages an amazing she manages an amazing group of singular individuals like that's what I've been so impressed by you know my meetings it's just like the degree of commitment to film and cultural representation you know on this board and I mean not that that's unique to ours but I have to say okay you know you just say it I'm gonna say it yeah and for ever someone like Taylor you know to be able to to manage these very strong personalities and true visionary folks you know it's a testament to the folks that are working at that museum and the and the vision that I think the museum has for supporting everybody in the community on this island I'm excited about that so very quickly let's just go over the films and so I'm gonna run down the list real quick yeah run down the list right so it's good so we've got on February 3rd the 6th and the 7th the 3rd is the opening night we have the Gospel according to Andre on February 4th and 7th we have Boom for Real which is the documentary about the young Michelle Basquiat on February 4th and 5th we've got the documentary about Anita Hill and we didn't get to talk about this a lot but that's what the internet is for we've also got Mudbound running on the 8th and the 10th so for our first leg of our sort of three-part celebration of African-American film we have a really great suite of four films that cover a broad range of the African-American experience by male and female directors I mean we really tried to represent and make sure that we were not being hypocritical that we were trying to address the fact that even within communities that we're diverse and we're trying to get as many voices and stories told as we can so we've got history we've got art we've got politics we've got fashion we're trying to do it all inclusiveness inclusiveness is what it's all about well I'm excited about this and if they again is on Ward Avenue at the Honolulu Museum of Arts and the Doris Theater Doris Duke Doris Duke Theater and this is our seventh year and we have celebrated so many wonderful documentaries over the years from Nina Simone to Nat King Cole James Baldwin last year people came off without me right Muhammad Ali black lives matters right sold out so we're keeping it rolling keeping it rolling staying on the high street this is just and then so opening night when you come in they're gonna have photo booths so you can you know style and so I mean I gotta talk to my wife about how I'm gonna address for this because you know I tend to be a little academic casual so I have to consult with her to see how we're gonna arrive okay everyone is welcome no matter what everyone is welcome no pressure right no pressure but we're so happy to have you John on the phone I'm glad you could join and David Goldberg thank you so much pleasure and we look forward to seeing everyone out for the seventh at a Honolulu African American film festival February 3rd through February the 10th oceans of Aloha peace and boy blessings Aloha


Okay. Good morning everyone. Welcome to BC314, our course on media and technology. We've been doing a little bit of learning on digital equipment just as a way of introduction, giving us an overview of some of the equipment that typically goes into use in church and Christian ministry just to give us a little familiarity with some of these things. So we're going to continue that today. Let's take a moment to pray and we'll get started. Could somebody pray with the class, please? We'll start. Okay. Somebody? Abinas? Somebody pray? Yes, your pastor. Thank you. Dear heavenly Father, we thank you for this time Lord Jesus. This time we again come to you, Father God. And Father God, as we are going through this Book Lord Jesus, media and technology, we ask you that Lord give us more of your understanding and as we are learning all the gadgets and things, Father God, help us to learn in a deeper way and a greater way, Father God, so that we could learn how to use all these equipments and gadgets so that by this Lord Jesus we can serve you in a better way, Father God. We commit all these classes to you. Handle out in Jesus and we pray. Amen. Amen. Thank you. Right. So we were talking about its equipment very quickly to review last class, last week. We did a little bit about graphic software. Just kind of introduced some of the things that are available, what you can do with the software that you have. We talked a little bit about desktop publishing software, media presentation software that I just shared with you, generally how we go about coordinating these things here at APC. We looked a little bit about photography cameras, because at some point people will say, we need to buy some camera for the church or the ministry and then you'll have to make some decisions. So this information hopefully will help you determining what would be best for your use. And then we just started last week towards the end of the class to talk about public address system. So we'll pick up from here. So this is something again to keep in mind when you are meeting in a hall or in an auditorium that it's not, of course, your PA system is important, but you also need to make sure that the sound, the way the sound field is distributed inside the auditorium is something that's useful for all the people who are coming. It should be audible, but it shouldn't be too hard on the years. And so this is where you will tell people to do some sort of a sound check across the auditorium. So your sound people will do it. Other people whom you're hiring the equipment or buying the equipment, they can do this for you. So typically when you set up your speakers and your public address system, you will see what are the sound levels across the auditorium in various places. And so you'll have receivers put in different points and then you'll measure the sound level. Or you could do it, you know, you could have receivers in multiple places all across the auditorium. Typically you should do that all across the auditorium. And you see, you know, what is the dB level, the sound level at all of these points. And then you can see it. Okay, how do we need to change what's being output through these speakers? Generally what we don't want to do is we want to keep the sound level at something that's very comfortable, which is in the range of 65 to 85 dB. So that's decent level, right? Now you also have to take into account how the sound level would change, how the sound field would change. You know, you have an empty auditorium that you measure, but you also measure when there are people in. Because, you know, more people means sound is going to be absorbed. Just the way the people are experienced at the auditorium.  And then based on that, you try to keep it at a level that's comfortable for people between 65 to 85 dB. So basically just tell your sound people, hey, just do a check. So we do that from time to time just to make sure things are okay, right? Keep this in mind. And it's a simple thing.  And if you go to Google Play Store, you search for sound level meter, you'll find an app that you can put on your phone, and you can use that to measure. Or if you're getting a vendor, a vendor will bring in a system that has all of these receivers positioned across the auditorium. They collect all the information. They measure different things, and they can generate a graph like this for you, right? Then you get to know, okay, it's pretty high in all of these places. I need to bring it down, so on and so forth. But just to keep this in mind when you're buying or you're looking at sound inside an auditorium. Now, when you talk about the public address system, so your public address system is basically what is going to give you that sound in the auditorium. We've got different things that we need to be aware of. We have pre-packaged PA systems. That means that these are fully packaged, ready to set up and play public address systems. You also need to think about portability versus control. Portability, meaning you can move them around in case you're doing small events here and there in smaller halls. You want a system that you can carry around with you very easily. So that's one criteria versus something that gives you more control on what's happening. Of course, that would be something you use in a place and so on. So we're going to just talk about all of these things, speakers, monitor speakers, microphones, cables, and just to give us a little understanding of these things, okay? I'm not expecting us to memorize all this. That's not the point. The point is just to be aware. So that when you are interacting with people who are serving, you have a common language. You understand what they're saying, and you know what to ask for or speak about. We're not trying to make all of us experts in sound. That's not the point. Just to give us a little understanding.  So typically what happens is you have your speakers that are on the stage, which are facing the audience, and you have control here. A console that would typically mix the sound that comes in from your input. So you'll have a lot of mics on stage, and the input from those mics, they come in here to this console, and then the mixer here, and then from the mixer it goes out to the speakers. And right now, in this picture, I'm just showing you two. Obviously, there would be more. We will look at it a little later, but just for simplicity. So all the inputs come here. There's a mixing happening. Then it goes out. If you're doing live stream and you're doing also presentations inside the auditorium, like you've got your power points, you've got your LED screens. That's what people use these days, or you have your projectors going up.  So what happens, you would also take audio. You would take, so you mix the audio for the auditorium. So this is called front of house console. That means this is mixing the sound for the people inside the auditorium. But you mix the sound differently for the people who are online. So there are people who are, for example, they're watching online live stream. The sound for them typically is mixed separately. So all of these inputs, these inputs, the raw inputs are sent out to another console. We call it the broadcast console. And over here, there's another person sitting who will mix the sound here for live stream, right? That means the people who are, from here it goes out to the live stream. This is a switcher. They control what shots to send out along with the audio. So they do that here. And now you also have, you can mix either using physical hardware or you can mix using software. We'll talk about that a little later. And then you have a present a laptop where here's where you can present your lyrics or your PowerPoint and all that. And sometimes you also play videos from here. So there's an audio output that comes from here, goes in and it goes to both places. It goes out to the live stream and it also goes back into the auditorium. So what you play, for example, we play video announcements or we play video from the present machine and that goes back into the auditorium, right? So this is the high level schematic of the connections. And if you just get into a little bit more detail, some things you need to know is typically, now you would have speakers that are facing the people on the stage, the musicians or the preacher. We call them stage monitors, right? Nowadays we don't always have to have stage monitors because we have what we call as in-ear monitors. We'll talk about that. There's a lot of little things that people put into the years but generally you'll have stage monitors to give sound to the people on stage so they know how things are sounding. And then you'll have speakers that go out to those in the hall. Sometimes you may just have these top level main speakers and these speakers have three built-in levels of speakers in them, which we will explain. In addition to that, you'll have what is called a subwoofer. This is a lower frequency sound. These are subwoofers that kind of fill in lower frequency. So keep in mind for the human here, we have a range 20 hertz to 20 kilohertz. That's a human audio range, right? 20 hertz to 20 kilohertz. So subwoofers give a lower sound so they're closer to somewhere from 200 to 20 hertz, lower sound, right? Now, within these main speakers, you have, within that big box that we call the main speaker, typically you'll have three levels of speakers, three kinds of speakers, or actually even four kinds of speakers that give different range of sound. Subwoofers, they produce the lowest level, lowest range. Then you have woofer, which goes 500 hertz in below. Mid range, it covers this to 100 to 3 kilohertz range of frequencies and the tweeter that it goes up. So we don't have to, you don't have to memorize this, but just keep in mind that within this box, this box that you call as a speaker, there are actually three or sometimes even four level, four kinds of speakers that cover four levels, four ranges of frequencies. So what has happened, the reason I'm explaining that is sometimes, you know, our sound people would come and say, hey, the woofer is gone or the tweeter is gone. Like, whatever, what's he talking about? What they are saying is that these cones inside, you know, they're the three or four levels of cones inside. Typically it's three and so you have an additional fourth outside. That one of them in a particular range of frequency has blown. It's been damaged for whatever reason. So the sound that people hear is a little awkward, you know, because that range is not filled in. They feel empty, right? So you're wondering like, hey, why is the sound not right? Why can't you tune it?  Okay, that's because, you know, even case a particular range of speakers gone, you know, your sound person will say, sorry, Pastor, today something happened.  Sound is not good. At least you know what he's talking about is a certain range of frequencies. It's not that. It doesn't mean people are not here. People will hear, but they don't feel it's complete. Nothing is missing because a certain range, sound is not coming through in that range, right? So that's what they mean. So just for us to understand, it has happened, you know, they'll use that language and tell you. And so you understand what they're saying. Okay. Again, when you're buying speakers, you need to know that there are two kinds of speakers that are active speakers and passive. Active means they have built-in amplifiers with them. So it's easy to carry. It's portable. You just carry one box. You've got the amplifier in it. You just plug it in. You can put the mic in, power it. You're fine. You're ready to go. You don't have to carry another amplifier. But a passive speaker requires another equipment piece called an external amplifier. So typically when you want to use, you know, things for portable things, if in case you're having small meetings here and there or you're having open air meetings, those kinds of things, then it's always good to buy an active speaker, a speaker that has a built-in amplifier, right? So you just carry one box, one speaker box. The amplifier is already in it. It's easy. You can move from place to place. If you're doing a setup for a, you know, like an auditorium that you're just coming in once a week, then passive speakers are fine because you'll have your external amplifiers and all of that. A full range speaker is a cabinet speaker is basically it has all of these four, three or four levels of ranges of frequencies all built into one box. That's how typically you would buy a speaker, right? The other thing just to mention is typically we could do away with these stage monitors these days because we have what are known as in-year monitors. So these are little things that people wear in their years and they have a transmitter and a receiver. The receiver, they tuck it on their belt and they plug this into the year. So people in the worship team typically would wear these in-year monitors. Now, if you don't have in-year monitors, then you definitely need to have these stage monitors. Otherwise, it's very difficult for them to know how they are sounding and how they're all working together. But if you have these in-year monitors, then it makes it very easy for them. It's also easy on their years. And each person in the worship team can have their sound tailored to them what they need to hear. They need to hear their own voice, how they are sounding and maybe they need to hear certain instruments or it's mixed just for them so that they can sing well. In times past, now we don't do it these days, but you could have a phone app put on your phone and you would plug this into your phone and put it in. But nowadays, everybody has their own receiver set, which they put on their belt and then a transmitter. So they are all tuned for each of the people on stage. So it makes it easy for them and they can work well together. So in case your worship team says, we want to buy in-year monitors, you know what they're saying. They're just saying that they want these things, the transmitter receiver, which they can bring their own headset, listen to their sound so that they can know how they are sounding and they can do well in what they are doing. Let me pause here. Everyone's good so far? You're following me? Yes, Prista. Yeah, I know this may not be very, what to say, theological, but this is just the practical side of things when you're having a church or ministry. Sorry, Christopher, I see your hand raised. Do you have a comment or a question? Yeah, just a quick question. You mentioned that all the different vocals, the instruments, they go to a mixer and the mixer is basically, I guess, mixing the individual sounds and then making it as sounding as good as possible. So this in-year monitor is receiving the sound after it goes to the mixer. Is that correct? And I guess what I'm coming from is that when a person is playing an instrument or singing, he may be singing in a certain way and anyway is going through a mixer which is maybe making some changes and some ways modulating maybe the sound of the vocals of the instrument. So how does that kind of sync with what they are actually doing and what they are actually hearing? So there is a mixer for, so the front of house mixer that is for the sound inside the auditorium and then there's a separate thing that is done for the people on stage, for the worship team. So that's separate. They have their own transmitters and receivers and their own mixing that happens for each individual. That's done separately. The front of house is done for people inside the auditorium. So the person in the front of house who is controlling the mixer, what's called as a F4H, front of house mixer, he is controlling the sound for the people in the auditorium so that they can all have good sound. There's a separate setup for the in-ear monitors which is to tune the sound for the worship people, the people who are doing the music for each one of them so that they can know how they are sounding along with the rest of the band. So they are coordinating among themselves and they also have a director of music. So what happens is basically in that setup the director of music is actually giving all of them instructions which none of that audio comes out into the people in the auditorium. So the director of music is saying, okay, let's repeat stanza one. So he's giving instructions to all of them so they all hear that. So Tarun knows this well. They have input that's specific to them. So the director of music is telling them instructions, giving them instructions. So all that is happening with these people on stage. Tarun, you want to share something more? Yeah, so in fact the in-ears are very specific to those who are on the stage and the music director is usually a bass guitarist or an electric guitar who is not a worship leader because they are supposed to give instructions on the stage. So when they are speaking, the drummer will listen to them, the acoustic guitar, the worship leader will listen to them. So they will be giving the lead. Something very internal and the audience won't hear it. And that goes as an input to all those who are on the stage so that he could lead the worship. And also every person who is on the stage would want their in-ears at certain levels. For example, the drummer want to hear only the worship leader so that he can match up his beat with him and not the guitarist much or an electric guitarist. He would want to hear only the worship leader and the drummer so they can adjust the levels like they want so that they can sync up with it. They need not hear the same thing that the congregation hears but they have an option to adjust like the way they want individually. Right. So how is that handled? Is there a person who is handling that mixer for the worship team? Yes. So it is set up initially even before the congregation worship starts we spend about half an hour doing the stage setup. After the whole setup is finished like all the cables are connected the in-ear setup alone happens in a half an hour time period where every person who is on the stage actually asks for what they want and they get that setup. So the levels are set up in the mixer. So it's kind of previously set up in such a way that they get what they want. Like every five minutes with each person on the stage asking for what do you want is everything is okay and then once their levels are set up so it's all kind of pre-recorded in the mixer. Like once that is set up that levels can be stored. Like for example I know that the drummer wants this much from the guitar this level from the worship leader and I have set that up. The mixer actually holds that setup clearly so when the worship is on that setup is kind of like already set. So he gets what he wants. So at 30 minutes it's separately spent only for setting this up. Thank you. Thank you Taran. You got it? Yeah. Like Taran was saying they go through the setup and in fact in our modern mixers these things can be stored. So your settings can be it's almost like pre-programmed. You kind of set it up and week after week you can just turn it on and it's at a certain level. Everything is set. You turn it on and then of course you fine tune it because there are different people leading worship or in the worship team you can fine tune that and also in the auditorium for that if you need to fine tune you can fine tune. But a lot of this is stored in the mixer itself pre-programmed. Is that correct Taran? Yes, it's pre-programmed. We know for which person what and we just like press the button and that levels will all show for that person. Yeah. Thank you. Thank you. So Taran was actually heading up our sound and setup team here in Bangalore for a long time. So he knows this in and out very well. Okay. Yeah. So let's go back to this thing. So, okay. Any other questions so far on this? Okay. Let's move forward. Just talk a little bit about mics. Just to keep in mind there are different kinds of mics, right? So generally we say there are dynamic and condenser mics. You would use these condenser mics near drum kits and so on and you would use these dynamic mics for on stage purposes. And also when you're using these mics we need to know that there are what are known as unidirectional mics typically you use it for vocals for speaking so on unidirectional as opposed to omnidirectional picking up sound from all directions.  So sometimes you can see people they hold the mic wave down they're speaking you know they're speaking at a certain time the mic is down it's not picking up sufficiently or they're holding it to the side. Well, a unidirectional mic is not designed to pick up sound from all directions it has to be in the line for it to get maximum voice sound input it has to be in the line of your voice, right? So you hold the mic properly. It's a simple thing but it does help the sound person because if you hold the mic properly you know that reduces a lot of their effort that okay you know you're speaking into the mic your voice is going into the mic and then they can amplify it correctly, right? So of course these days we have wireless microphones we have microphones you can put around your head on your face and or you know handheld so many different options are there but I think the most important thing as pastors and preachers be mindful that most of the mics that we use for preaching speaking are unidirectional so they have to be held properly and so on. If your people ask you oh we need to buy mics for our you know musicians especially these drummers those are you know playing on cymbals and those kinds of instruments and you need a condenser mic so that can capture sound at different levels or unidirectional mics for those kinds of use whereas for speaking and singing you typically use unidirectional mics. So generally sound that is picked up in the microphone goes out to a mixer then you might you know have an equalizer and amplifier so they work on the sound they refine the quality of the sound and they send them off to speakers so whether they are speakers that go to the audience or these are speakers that go to the this goes to the people on stage or to the Indians on stage right additionally you could have effects done but typically you have these things all packaged in one box called a mixer so again a mixer this is just a simple picture you've got all a wide range of mixers but you've got your inputs coming in and this is where you can adjust the sound you can work on the quality of the sound over the frequencies over the sound levels amplify them correctly and so on and this is this is a basic small mixer 12 channels and you've got huge mixers if you have a lot more people on stage or things on stage that are giving out sounds you buy bigger mixers but typically I mean this is the small one and so this is important so at some point you know your church or your ministry would have to buy a mixer especially after you go beyond say three four people on stage you definitely need a good mixer so that the sound you know especially when there are instruments different instruments coming in singers coming in you have to put all their sound together and put it out to the audience so of course all of these things are taken care of by an audio engineer they understand all this and they would do this for you so in terms of just knowing what is done to the sound the equalizer balances out the different frequencies so that you know what is heard is good clear they can mix the different frequencies coming in obviously people are speaking at different frequencies you've got instruments giving out sound in different frequencies all of these have to be put together and those frequencies are tuned so that the final sound is good so that's done with this equalizer and then there are ways to work with these sounds that you can split these sounds again all of these things will be taken care of by your sound person who is handling it and they can work with these sounds split these range of frequencies and send them out to various speakers in your PA system so that's called crossover and speaker management they will handle that for you again this is just general information about cables you know if people come and say we need to buy XLR cables they're talking about these type of cables they say they want TRS cables and they're talking about this again it's not something to memorize but just to know because they may use this language we need these kind of cables so you know that this is what they're referring to and so you go out and buy them and this is where a snake cable so basically snake cable is there are a lot of these cables nicely bundled into nice big cable and then it comes out so they're inputs and they're outputs so this whole thing is called a snake cable so I didn't know this and the first time we had to buy this I had to tell them tell me what is a snake cable and then they explained this to me and understood so generally you would need a snake cable when you have multiple wired systems coming in and outputs going out so you'll need that of course there are a lot of wireless things happening as well so wherever possible we can go with wireless mics and so on but there will always be some amount of wired inputs and outputs for which generally they will ask you to buy a snake cable and this is what they're referring to there are a lot of other areas that you can go and look at and get more information so that's a quick run through on audio, PA system any questions like let's say let me just look at the chat here Tharon said any channels any channels are separate output channels are from the monitor output channels so what Tharon is clarifying for us is the outputs that goes to the India's monitors those outputs are separate from the outputs that go into the house speakers so you can manage them separately store their settings separately Roshan's question for a home recording like podcast what mixers would be good again I haven't done this myself but maybe I can suggest is to even use software so you don't have to buy a physical mixer if it's just a PA system so you have multi-channel like maybe 2-3 people sitting around coming in you could probably use a software as your equalizer and mixer Tharon do you have any thoughts on that on Roshan's question I think the choice of mixer is actually based on the need of the number of channels that you need like how many mics you have how many instruments you have so how many input channels and how many output channels that determines the choice of mixer that you buy for a home podcast you might just need like one channel to input mix so a basic one would do and then you have analog and digital digital makes it much more easier to manage and it's little expensive than the analog but there are like wide range of choices software is definitely a good option there are quite a few apps which enable you to do that if you get a good mic and connect to a good app it should enable you to do that okay thank you so Roshan if it's like if it's a home based thing if you're doing this recording at home with your laptop most likely you could do your mixing within your software and like Tharon was saying it just depends on how many more inputs you have in your home recording is there somebody having a question yeah go ahead Roshan Roshan which software would be good for the podcast recording so not getting the name of it sorry not getting the name Tharon audio mixing what's it called I remember Jeff just suggested some for me when I tried I'm just taking okay Roshan I don't know offhand we'll look it up and let you know audio mixing I see these guys using it all the time in church I'll find out and let you know okay alright Elisha for an average of 500 congregation how much in USD should be for sound so let me see let me convert from Indian to peace so sorry I think I lost connection between I hope this is still recording yeah can you all hear me okay so Elisha yeah yeah it depends on you know like how much you want to spend because say example the mics right the microphones you have a wide range of microphones that you could buy and so there are a lot of variations in terms of mics and so example in your monitors do you want to use in your monitors or do you not want to use in your monitors so for a long time we were functioning without in your monitors our worship team just had those stage monitors we didn't buy in your monitors for you know our worship people until much later but then you know just a label to leadership and serve and all of that so there is a a lot of options but I would say generally and I just did a quick you know estimate say around 5000 yeah so around maybe 5000 US dollars for a decent setup so in Indian rupees it would be like 400,000 Indian rupees so a decent mixer mics and all of that so in that range again this is just an approximation and over time of course we've spent more buying all of these things but for that kind of audience congregation size something in this range but there are variations you can choose from in terms of the mics and the different parts of the PA system so Tharuna shared thanks Tharuna shared okay in short and Dolby so he shared these two these two apps that you could try out what were the other questions that were on the chat after Elisha's question I kind of I lost it because I lost connection could you type your questions again I'm not sure who put the questions I noticed there were some questions after Elisha's question so I've lost them in my chat yeah feel free to ask additional questions if you have any so let's move to the next section oh okay so the question was why less versus why it mics any difference in quality so to my understanding in times past there was very obvious difference people preferred wired mics because of quality but I think now our wireless microphones have improved significantly so I don't think there's you know any degradation in sound quality using wireless mics they are just what to say wireless obviously are much easier to work to work with other people using sound but in terms of quality I think they're pretty much on par with each other Tarun Shah's wired is faster than wireless but delay can be adjusted the sound delay but I think in terms of quality and things what we experience then the experience is pretty much fine but wireless are a little bit more expensive for these reasons so that's just a thought to keep in mind when you're buying wireless mics cost alright good good questions so let's just now shift over to video production so this is we're getting into video production just again this is just general information so you will either have video production as in having your team create videos or you'd have live video production which is live streaming your event so we'll talk about both now this initial part handles video production as in creating a video so typically we use video for our Sunday announcements so you know in the early days we used to have a physical person come up and do the announcements then there were you know that is nice but then there were you know we can't we have to give them in exactly what needs to be said and you know it would take 15 minutes maybe you know to actually go through all of that so somewhere along our journey we decided that our announcements would be done on video so basically we can finish all our announcements in 5 minutes sometimes it very readily go on to 7 minutes but generally in 5 minutes we can finish our announcements just play and of course it can be very visual text coming up so all of those things we can do if you want to so doing our announcements on video we changed to that quite sometime back we can do promotional videos to promote events you know reports of events mission trips so on we could do testimonials and so on films movies music videos so all of this would involve what we refer to as video production so in your video production basically it goes to 3 stages so your people who are working on the video production typically we will talk about pre-production production post-production so pre-production is basically planning for the whole thing what you are going to shoot pre-production that is where you as a pastor will be involved we want to know what exactly you are trying to achieve who are going to be the people involved and what kind of a set would be best suited for what you are going to record so you need to give your input so your team can plan this pre-production they will want to know the script what exactly is going to happen what is the set it will suit what is going to be shot who are the people who are going to participate the cast and of course they will bring in the crew for the audio video so pre-production so once that is done then comes the actual production which is the shooting the actual place and time when what needs to be recorded is recorded the sound the video all of that scene is being recorded that is the production the post-production is they bring all the raw footage and the people who do all the video editing they sit down they merge everything they put the whole video together right so all of this takes time and as as a pastor as a leader they will need your involvement in various stages so you understand what they need your team your video production team what they need you give them the inputs and what they need for post-production you provide them the inputs and so on so for example let me just take 2 minutes and I will finish so for example we are recording of our daily devotional so that means there is a short video that we put out 5 minute video that we put out as part of our daily devotional but all of these are recorded at least one month or more in advance so how does it happen so there is one person Samuel who is in charge of our video production so he will plan for every week we have one team so one pastor will record for one full week that means 7 episodes so he will plan so as a pastor you are going to record on this particular day we are going to record 3 weeks or 4 weeks of devotions that you are going to do that means you have to do 21 or 28 episodes but we tell him in advance this week this team week 3 so he plans it out so they will go so we record it in an apartment where they do the background they arrange the set what the background should look like generally it might be a living room setting sometimes it could change depending if you are doing something for Christmas or Easter or some other thing the set would match what you are recording on and then so you come and you do the recording that means you look in the cameras they will have all the cameras set up come and do the recording that is the production that happens then after for post production you have to send your sermon notes that means this is what you want that episode heading the title for that episode the scriptures that you have used so that when they are doing that video for that devotional they make sure that that episode has that correct title the correct scriptures of course and everything they put each each episode for that week they put it together so there is a coordination that needs to happen between you between the pastor who is doing the recording and the video production team so for the production there will usually be about four people one is the director who sets up all the set then there is two people helping the camera and the lighting and there is one person doing the audio recording so four people are recording this is just a simple a daily devotional recording so there is one pastor speaking but there are four people doing all of this making sure the recording happens properly so on they will continue this tomorrow and I have gone over by a few minutes any questions Abraham's question translation or interpretation any idea so Abraham are you talking about live translation or I am not sure what the question is I wanted to know if the interpreter standing on the stage is better than the interpreter being behind the stage like using earpiece or something to interpret for the people to listen and then also when it goes to the video production to how do you fix that interpretation into that video production okay so these are two different we handle them two different ways so one if you are having a live audience you are speaking to a live audience it really depends if it is only one language then it makes sense to have your interpreter right next to you so the example English and Vietnamese maybe another language so then it is good that both are on stage the congregation is listening and they can see the actions and movements of both the English speaker and the Vietnamese interpreter that is good if that is what you are doing but if you are doing more than one language that means people have headsets people in the congregation are having headsets to receive it Vietnamese I don't know what other languages Indonesia, Paso Indonesia Malay and you know Chinese I don't know so four or five different languages all in the same group then they are on headsets then of course these interpreters will be in a separate room where they will be doing live interpretation and it is transmitted in for these people so that makes sense when you are having multiple languages to have them all off stage to do live interpretation and each one receives it in their own language so that is one scenario the translation of a recorded video is what we call as dubbing that is done usually using the voice of the English speaker that is placed with the recorded voice of the interpreter so it is that video but the voice is dubbed so that is done offline so basically the process and we do that for our English to Hindi videos what happens is we send the English video to the person who is going to do the dubbing they listen to it they manually transcribe the whole thing and they actually record the voice on the video of course everything has to be timed so that whole video has now the same speaker but a different voice in a different language so that is a different process that is done separately what I do want to mention is nowadays because of software technology natural language processing dubbing can actually be done through software for major languages so for all the world's major languages so you can go from English to French you can go from English to German or major languages you can dub, you can actually do it through software and the software can also be trained because sometimes it will make some mistakes especially example religious broadcasting so you train it and you can actually drive it through software we are looking into it and it will definitely save us a lot of time and effort if we begin to use that ok Basta, thank you so much that's awesome ok, so we will continue this tomorrow let's close for today could somebody pray and dismiss us please so we could pray and send us can we go to the stress? go ahead Asha thank you all once again for this class we have been working for a long time we have been working for a long time we have been trying to translate some of those to understand thank you for helping us to understand how natural is life and how people work out with technology and things like that thank you so much for your advice Asha and for your brother and sister that they will continue they will continue to reach out to me through the gadgets you have given to us our well lord that they will help us on the weekend thank you as their best friend of the rest of life God willing to surrender to you thank you Jesus for this class we pray thank you Rowan have a good weekend enjoy your time oh, we have class tomorrow so we will see you tomorrow thanks, bye now


The first week of the high school sport season in Bemidji has come and gone, but the cross-country squad has been putting in miles all summer long. Those long runs are crucial to make sure the team hits the ground running when the season starts. It's super important to build up our endurance and get ready for the season. We do like 10 mile Saturdays and lots of runs to get ready. Today was the team's annual two-mile time trial which creates a race-like atmosphere to break things up. Well it's really good because we finally get to get our legs moving, get the tempo under our legs, and then when we have our first race we'll be able to keep the same pace hopefully. It's also a great way to gauge how the team is shaping up, heading into the air. It was a solid effort out of both the boys and girls. I was very happy. It kind of shows what I was thinking that the team is in pretty good shape. They've had a good summer and I'm excited to see how the season is going to unfold for us. Today we did pretty good as a team and we had four guys up where we've never had before. For the boys team it's all about depth and competition. Well we have a really deep team this year. We have a lot of guys really close together competing with each other so it's going to be fun to watch how it all pans out. Well we'd like to have a few of us in the top 10 individually and definitely want to win the section championship. And for the girls it's all about replacing strong graduated runners including six-time state competitor Sadie Hammerin. We've lost a few super fast people but I think everyone's pushing this year to get faster. We have a few freshmen that are really stepping up their game and it's really good to see them progress. They keep us going because we don't want them to catch us so that's always good and then we're always there just trying to lead the way helping them get faster. They'll begin their season in just over a week at Shockey Strand Invitational at Moorhead. If you enjoyed this segment of Lakeland news please consider making a tax-deductible contribution to Lakeland PBS.


How to use the one-click importer on the AutoDS Chrome Helper dropshipping extension or in other words How to add products in just one click to any one of your dropshipping stores and save a whole lot of time while you're at it Let me show you exactly how that is done. So first things first We are going to left-click on the AutoDS helper icon and we're going to search for a product on any one of our suppliers So we can add them to our stores using the one-click product importer You can search for products manually on your suppliers websites, but the quick and easy way to do it will always be through the extension so I'm going to leave it on Amazon US and I'm going to conduct a quick search for Gardening tools on Amazon US Click on search now and in less than a second the results already load up So from here, let's choose a product to add to our stores using that one-click importer So what I'm going to do now is just hover over one of these products and as you see here on the top left We have an icon. This is the one-click importer from AutoDS from the extension that we downloaded and installed So once I click on it What's gonna happen is this product over here and all of its variants inside Will simply import to my store to the draft section of my store where I can continue to optimize it before Publishing it to my store and once again that can simply be done in just one click over here This is one place where you can see that one-click importer icon The next place is inside the product listing itself. So let's enter this one and Once the product loads up give it a second and here it is right above the title We have the import to auto DS one-click importer button Which is of course available once we downloaded and installed the auto DS helper Chrome extension So once I click on it as I've mentioned, it's going to import to my store And if you have multiple stores and you want to choose which store it's going to import to Simply click again on the auto DS extension and here you have all of your available stores So let's say for example, I don't want to add it to best shop USA. I want to add it to top shop 1999 I can add it to both I can add it to multiple or I can just add it to one So once the right stores are highlighted I'm going to close the extension and now I'm going to click on import to auto DS as You see the animation here begun and once the color changes over here That's when I'll know that it finished the import process to my drafts page And then I can head on over there continue optimizing the product and then publish it to my store And here we are just a few seconds later the color turned to orange Which means it finished the import process and that's how simple it was to add this product to the drafts page of our store So here is the auto DS platform on the left side. We have a one next to drafts. It's probably that one product We're gonna click on it And here it is that set of garden tools that we imported using that one click importer from the auto DS Chrome extension What I'm gonna do now is show you really quick that it got all of the information Passed it over in just that one click again. No need for other tools No need to do it manually do it in just one click and save yourself that time that you really need to be able to Scale and grow your drop shipping business So we have all of the products information over here in the description We got the product description and in the variance, which is what I wanted to show you It imported all three variants or all three colors that we had on those gardening tools right over here on the variance page And of course all of the product images. So once again, that's how easy it is to import products to your store Even when they have variations inside using just the one click product importer to save you the most amount of time And allow you to invest your time on tasks that really matter the most


They wouldn't that be a shame if they took all my money out of both our wallets. Well, it's just good to have you guys here. Can I get you folks something to drink? Uh, yes, I'll just have flat water. Um, do you have high sea tropical punch? Thank you.