Naturally, we bring some of these to the table for discussion. Many of the Cartographers have been exposed to new tools and creative methods for leading worship because we travel for work. Tools range from songs, moments of reflection and silence, interactive art stations, main screen projection, environmental projection, artwork submitted by artists in the congregation, communion, offering, non-linear worship environments, video interviews, and the list goes on. Part of our process is determining what’s currently in our “toolbox,” as well as what tools we would love to have one day. The Cartography team meets weekly to brainstorm creative worship expressions for our Sunday Gathering, including everything from the songs we sing to the images we put on the screen. Our creative team (that we call “Cartography”) is made up of a few artists and storytellers, some of who are staff and some of who are volunteers. We don’t have a large staff, and our congregation is around a thousand people. The culture at Journey is very relational. My goal and hope here is to provide some inspiration, and perhaps you will be able to take away some principles and apply it to your own setting. I’d love to share some stories about my own church, Journey (in Franklin, Tennessee) as one example. To truly determine whether or not a tool in your arsenal is effective, you need to hear from your congregation. – Earl Waldrup, Using Visuals Aids in a Churchīecause we live in a world where resources and tools are falling from the sky like manna from heaven, we need to understand that just because we can do something doesn’t mean we necessarily should. “Why use visual aids in a church? Each user must know the answer to this question if he/she is to use visual aids correctly & effectively.” It’s the most freeing and creative approach you could ever take with your visual worship ministry. Perhaps the best way to clarify what I’m suggesting is this: Your congregation shouldn’t necessarily determine whatspecificmultimedia tools to use, but how you are using them, and more importantly, why you are using those tools to begin with.
MATROX TRIPLE HEAD2 GO EDGE BLENDING SOFTWARE
Is it the congregation’s place to say what software I should use? Or if I should use a motion background versus “IMAG”? Do they know the ins-and-outs of an HD system better than the person on staff who was trained in the ways of the visual Jedi? This VC stuff, with something like TH2G, is the future of simming.Wait … come again? The title is what? How is that going to work?
MATROX TRIPLE HEAD2 GO EDGE BLENDING FULL
It's like being half blind or having 2D vision once you have TH2G with full VC and then look at a PC with 2D cockpit panels. You have to see it to understand how stunning it is. There could be no going back-ever.I did miss my 2D panels initially as I've said above but in time I quickly realized this was the ONLY way to go. My panels gave me a 52" diagonal view with great clarity and unbelievable imagery. When I put it together and turned on TH2G, it was simply sensational. I couldn't think of anything else once I'd experienced it.I'd always hated the average VC up till then in FS20 and felt that the imagery was nothing special, the performance was slow nd sometimes jerky, and that my 2D panels were far superior.Little by little, over about 18 months, I stitched together a 3 LCD set-up, in stages, lining up a second monitor first (24" DELL - wow!), spanning dual monitors to make a single image, then getting a DELL XPS Gen 4 top-end with much more powerful processor and RAM, upgrading to an eVGA 7900 GTO video card (nVidia-based, the better choice for TH2G) then a third (DELL) monitor with the actual TH2G. I think the aircraft at the time on screen was the Level-D 767. The first time I ever saw a full 3D VC spread across 3 LCD screens with Matrox TH2G was at one of the AVSIM conventions a few years ago.
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