Church video systems
built for real teams.

Three things: which rooms need a picture, what each output has to show, and who will run it on a normal Sunday. IMAG needs a tight shot with almost no delay, while the stream wants a slower edit with lyrics and lower thirds. Count the volunteers you can staff every week, not only at Easter, before choosing a switcher.

A church video system is scoped around the room and the crew. A one-room stream and recording system with PTZ cameras is the lightest scope; a sanctuary with IMAG, separate stream mixes, and lobby or overflow feeds adds cameras, routing, and a larger booth; broadcast-led or multi-room production adds broadcast and cinema-style cameras, multi-bus switching, and campus-wide destinations. Displays such as an LED wall are budgeted separately, and Qohr prices each system from the room, so send your rooms and outputs for a proposal.

Camera positions and lenses, separate screen and stream outputs, cable distances, network readiness, and equipment you can reuse all affect the budget. The controls also need to suit the volunteers available each week. Start with those requirements before choosing equipment or planning phases. Explore church AV consulting.

The right count depends on the room, service style, sightlines, available operators, and the variety of shots the production needs. Qohr designs the church camera system around the workflow first, so the camera count supports the team instead of overwhelming it.

In smaller rooms, often yes. PTZ cameras work well for wide and preset shots and for a stream. In larger rooms, the tight IMAG shot from the back usually needs an operated camera with a longer lens to stay sharp and steady on a large screen.

At minimum: one or more cameras, a switcher or software to combine cameras and graphics, a dedicated audio mix from the console, an encoder, a reliable wired internet connection, and a streaming destination. Recording a local copy protects the service if the connection drops.

In many churches, yes. The system must be intentionally simplified through camera control, switcher macros, reliable graphics and playback routing, clear monitoring, and repeatable service presets. More complex productions may still benefit from additional operators.

The common ones are buying cameras before fixing the stage light, treating stream audio as an afterthought, sending one feed to every screen, designing for the most experienced operator, and skipping conduit and network capacity during construction. Each is cheaper to avoid in the plan than to fix after install.

Yes. Qohr designs signal distribution for lobby displays, overflow rooms, cry rooms, classrooms, backstage confidence monitors, signage, recording destinations, and other spaces that need a clean, dependable feed.

Yes. Training is built around the installed cameras, switcher, graphics, playback, streaming, recording, monitoring, presets, and the recovery steps volunteers may need during a live service.