Joyce Meyer Ministries, a global nonprofit based in Fenton, Mo., communicates the gospel to people around the world through practical Bible teaching, humanitarian aid and sophisticated media technologies. With a potential broadcast audience of more than 4.5 billion people reaching two-thirds of the world, its signature program, “Enjoying Everyday Life,” airs daily on more than 400 stations worldwide in 39 different languages. For its recent transition to high-definition production, the ministry purchased 10 new Fujinon lenses through Houston-based Broadcast Technical Services.
“We always strive to have our television production be something that is very high quality,” said John Pipes, Senior Producer, Joyce Meyer Ministries. “Which is why, after our recent transition from standard-def to high-def, we stayed with Fujinon lenses.”
“We always strive to have our television production be something that is very high quality,” said John Pipes, Senior Producer, Joyce Meyer Ministries. “Which is why, after our recent transition from standard-def to high-def, we stayed with Fujinon lenses.”
To support the ministry’s aggressive broadcast needs, production activities involve a variety of challenging shooting environments. Pipes explained, “Enjoying Everyday Life” is a daily program, so we shoot a lot of material in large arena events as well as in the studio. We also do quite a bit of EFP shooting, highlighting our humanitarian aid efforts around the world.”
A Joyce Meyer arena event is a seven-semi truck production with one just for broadcast equipment, including six Sony HSC-300K triax-based HD cameras-two of which are equipped with full studio configurations and Fujinon XA87x9.3BESM box lenses. “In the studio, we use a four-camera system, including three HA26X6.7 lenses and we have three EFP cameras,” said Pipes. “So we’re constantly shooting with those 13 cameras any given day of the week on one type of system or another.”
On a regular basis, 15 Fujinon lenses are used on all the cameras. There are more lenses than cameras because Joyce Meyer Ministries uses both wide angle and standard lenses with its Sony PDW-F800 XDCAM EFP camcorders. The lens inventory includes some Premier Series HA lenses as well as some cost-effective HD Select Series ZA lenses.
“We purchased four wide angle ZA series lenses for our arena events and our studio because they don’t take the beatings that the EFP cameras do,” said Pipes. “We felt optical quality was comparable and the cost savings in going with the ZA series was beneficial.”
Pipes and his team use the HA Series lenses for their EFP work, which often takes the production teams to challenging shooting conditions around the globe. Recent trips have included shoots in South Africa, Zimbabwe, Uganda, Papua New Guinea, Australia and South America.
“I have a team in Haiti doing documentary film work with our HD cameras,” he said. “Those cameras have to have the best glass they can. We’ve counted on Fujinon lenses for many years.”
Even after the transition to HD, Pipes has kept some of its larger Fujinon box lenses that were purchased in 2004. “As a testimony to the quality of the Fujinon lenses, FUJIFILM said they could be mounted on the new HD cameras,” he said. “We were able to use those five lenses on the new HD cameras.”
A Joyce Meyer arena event is a seven-semi truck production with one just for broadcast equipment, including six Sony HSC-300K triax-based HD cameras-two of which are equipped with full studio configurations and Fujinon XA87x9.3BESM box lenses. “In the studio, we use a four-camera system, including three HA26X6.7 lenses and we have three EFP cameras,” said Pipes. “So we’re constantly shooting with those 13 cameras any given day of the week on one type of system or another.”
On a regular basis, 15 Fujinon lenses are used on all the cameras. There are more lenses than cameras because Joyce Meyer Ministries uses both wide angle and standard lenses with its Sony PDW-F800 XDCAM EFP camcorders. The lens inventory includes some Premier Series HA lenses as well as some cost-effective HD Select Series ZA lenses.
“We purchased four wide angle ZA series lenses for our arena events and our studio because they don’t take the beatings that the EFP cameras do,” said Pipes. “We felt optical quality was comparable and the cost savings in going with the ZA series was beneficial.”
Pipes and his team use the HA Series lenses for their EFP work, which often takes the production teams to challenging shooting conditions around the globe. Recent trips have included shoots in South Africa, Zimbabwe, Uganda, Papua New Guinea, Australia and South America.
“I have a team in Haiti doing documentary film work with our HD cameras,” he said. “Those cameras have to have the best glass they can. We’ve counted on Fujinon lenses for many years.”
Even after the transition to HD, Pipes has kept some of its larger Fujinon box lenses that were purchased in 2004. “As a testimony to the quality of the Fujinon lenses, FUJIFILM said they could be mounted on the new HD cameras,” he said. “We were able to use those five lenses on the new HD cameras.”
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