Author: Laura Farrar

International Broadcasting Convention 2016, RAI Amsterdam


Event Details:

Dates: September 9-13, 2016
Location: RAI
Schedule: Click Here


About IBC:
Since 1967, IBC has grown to become the most influential annual event for professionals engaged in the creation, management and delivery of electronic media, worldwide.


Originally the International Broadcasting Convention, IBC has evolved from its technical broadcast roots and today it encompasses the whole breadth of media creation management and delivery, from online content to digital cinema, from automated workflows to high resolution capture and display.


IBC remains the principal event for the industry, and it continues to go from strength to strength. It now attracts more than 55,000 attendees, drawn from more than 170 countries, each September in Amsterdam.


The peer-reviewed technology conference remains the place to launch the most important new thinking. A fundamental part of the IBC Conference are the Technical Papers which sit alongside a wide-ranging program of panels, discussions and keynotes, which have attracted not just broadcast leaders but luminaries as varied as Professor Brian Cox and


The conference is matched with a comprehensive exhibition which brings together close to 1,600 exhibitors, each showcasing the state of the art in technology. IBC is unrivalled as a place to meet and share knowledge, and its networking opportunities and value added events – from awards to movie screenings – really contribute to the worth of attending.


To meet the demands of this new and hugely expanded market IBC continues to create innovative ways to engage with its audiences, including the introduction of the Rising Stars program aimed at helping the new generation of content and media technology professionals find their feet in the industry, and the exclusive invitation-only Leaders’ Summit, an event for 150 leaders of the electronic media and entertainment industry shaping future strategy. IBC has also created a new series of events – IBC Content Everywhere – which take IBC’s excellence in new directions.


All of the experience and knowledge of IBC, run by the industry for the industry, is reflected in this new series of events, which look to the connected future. IBC Content Everywhere demonstrates the changing nature of the world of connected electronic media. Like IBC it provides a forum for debate and discovery of the business, technical and creative opportunities, but IBC Content Everywhere reflects the very different nature of media connectivity in an IP world giving it a unique and carefully tailored look and feel.


Two editions of IBC Content Everywhere a year – in Europe alongside IBC in September and in the Middle East and North Africa in November – incorporate a vibrant exhibition, a content theater and a thought-leadership conference. Smart use of connected technology and social media make the information sharing relevant for today’s business leaders.

Join Us at TAB 2016 – August 11th at the Renaissance Austin Hotel

The Trade Show is ONLY August 11th!

The TAB annual convention and trade show is the largest state broadcast association convention in the nation, with 1,100+ annual registrants. Omega welcomes you to join us at the convention and trade show! Register here. Use Promo Code OME2016 for FREE registration!


About TAB:
TAB strives to promote and protect a favorable economic and regulatory climate for broadcasting and educate members and the public at large about the opportunities available and advances possible through the efforts of free, over-the-air broadcast operations.
–   Austin-based trade association representing the interests of Texas’ 1,200+ free, over-the-air radio and television stations
–  Formed in 1953; established permanent home in Austin in 1999
–  Nine full-time staff members
–  40-member policy making Board of Directors

Memberships open to:
–  Free, over-the-air radio and television stations (commercial & non-commercial operations)
–  Companies doing business with the broadcast industry
–  Current students or educators
–  Individuals who are retired from the broadcast industry



PAST EVENT: Join us for the inaugural Austin Drone League Series!


Come Fly With Us!

Hosted at Omega Broadcast Group: This will be the first event of many starting with nano-drones and growing to larger and faster drones.

Come join the fun to spectate or show us your flying skills.

This competition will be ladder tournament style and will start at 7:30PM. Sign-in for the competition will take place at 6:30PM. There will be limited number of spaces, so sign-up will be first come first serve. Nano-drones will be provided. Winners will be rewarded with a prize!

Race Details:

The delivery class involves transporting valuable goods from point A to B with a high success rate and under intense time constraints. Winners will deliver the ‘package’ fastest and in one piece through our challenging course.

This is a FREE event that is open to the public.

Food and Drinks Provided!

Date: Thursday, March 10, 2016
Location: Omega Broadcast Group at 817 W Howard Ln, Austin, TX 78753
At the Omega Broadcast Rear Studio Entrance!
Schedule: 6:00 pm to 9:00pm
Cost: FREE


PAST EVENT: FREE Panasonic DV-X200 Master Class — Austin, TX


Course Title: “Panasonic DVX200 Out of the Box and Beyond”

with Panasonic Pro Video Evangelist, Bernie Mitchell of Silver Platter Productions, Inc.

Full Event Description:

The AG-DVX200 is the world’s first large sensor, integrated lens, “run and gun 4K camera.” What does this mean to you and your business? Come to this FREE Master Class and find out!

Speaking at this event is Bernie Mitchell, President of Silver Platter Productions. Bernie has been shooting with the AG-DVX200 camera since an early engineering sample arrived back in July 2015. In the months that followed, he has shot in many different locations and production environments and will share that experience and footage with you.

This it is not a typical demo. This Master Class will consists of a lecture/presentation and considerable “hands on” time with a filmmaker that has put this camera through its courses. The attendees will be able to shoot their own footage, create custom scene files and learn how to edit the footage. Note: Attendees should bring their own SDXC Class 10 Cards!

All skill levels of shooters/DP/Producers/Directors/Editors will benefit from this Master Class. Attendance is limited, please RSVP!


1. Understanding 4K and UHD
– SD deliverables

2. Understanding Shallow Depth of Field
– What it Is
– When to use it and when not to.

3. What is the Film Look
– How do you get this on the DVX200

4. Overview of DVX200
– Features
– OIS Demo
– V-Log

5. Wireless Communication
– Internal Vs. External Recording

Break: (light lunch to be included)

Hands on:
1. Menu walk thru (what to do right out of the box)

2. In Depth Menus
– System Mode
– SW Set Up
– Auto SW
– Audio Set Up
– Output Set Up
– Display Set Up
– Other Function

3. Scene Files (We will create some)
– What is Pre-loaded
– How to Modify those
– How to download new scene files
– How to Create your own

4. Best Practice for post
– Copying files
– Importing in to NLE

5. Q&A


About Bernie

Bernie is an Emmy nominated Producer/Director/Writer/Editor, Multimedia Person of the year, and DVD Association Hall of Fame member. He is a past member of the Television Academy and was a Disc Jockey in the golden days of free form radio. His experience includes; overall responsibility for the launch of a global hi-def TV, Radio and Web network, broadcast and cable productions, running his own marketing, consulting and multimedia production company. Bernie is currently the Pro Video Evangelist for Panasonic focusing on 4K and P2 cameras and workflows. He has shot many hours of high definition, 3D and 4K images all over the world. He has published articles, presented lectures and workshops both domestically and around the world. He covered the Idiatrod Race, being on the frozen trail for 20 days from Anchorage to Nome Alaska, shooting in minus 67 degrees. He has also shot in the deserts of Arabia at 120 degrees. His favorite shoot is the one he is currently working.


CD Odyssey 7Q+ VS. Atomos Shogun

Article by Mark Johnson II

Sales Engineer for Omega Broadcast Group in Austin, TX.


This is a basic comparison between these two units. This list is not in any particular order and is not designed to be all-­encompassing, but rather a basic comparison based on topics I routinely compare when using either unit. Feel free to leave comments, questions, and clarifications!

1. Screen Quality: TIE

The Odyssey’s screen is larger and OLED so it is clean looking, however I don’t think OLED screens are the best choices for viewing film footage. But that’s a technical discussion for another day. The Shogun’s screen is very nice being IPS and you can see more detail, but it’s usable video area is smaller. I’ll say they are about equal in terms of quality vs size; the Odyssey comes with a decent screen protector and you’ll have to buy one separately for the Shogun. Ultimately neither are great touch screens as they are both unresponsive sometimes, but either will get the job done.

2. Form factor: Odyssey 7Q+

The Odyssey’s body is solid and metal and has (3) ¼­20 mounting hole on the bottom and sides, so I’m not so concerned about how fragile it is. I am going to buy a cage for my Shogun that gives me much more confidence with it being rigged up. It has (2) ¼­20 holes on top and bottom.

3. Storage and File Access: TIE

The 7Q+ may seem like it has the advantage with 2 slots but I’ll argue they are equal because the 7Q+ can only read/write one drive at a time. When you install/eject drives it takes the unit a while to register the drive and make it ready to go. The Shogun has only drive but it can load and unload the drive very quickly, giving you free carriages to put drives into. If you lose HDMI connection or something goes wrong otherwise, it can close out the file immediately and it’s ready to go again. With the 7Q+, if you lose HDMI for any reason, it takes a bit to attempt to closeout the file and then it will throw an annoying message at you non­stop until you restart the unit. Also, when scrubbing the video files, the 7Q+ will have a stutter that’s annoying to clients who see it, if you don’t pause the playback first, then scrub. The Shogun plays back and scrubs files flawlessly. The 7Q+ used to only take proprietary drives, which as a huge negative, but now they have certified a line of Samsung Pro drives for use that are affordable and perform well.

The Shogun will take just about any SSD you can buy, so look for the sales and get yourself some good deals on storage!

4. Power Consumption: Odyssey 7Q+

With the 7Q+ I can get around 7+ hours of operating time (with about 4 hrs of actual shooting) out of (2) NP­975 Watson batteries in series on a battery adapter via D­Tap. Not bad…actually I would call it great. The Atomos Shogun eats through batteries like it’s Cookie Monster and batteries are, well, cookies. I get around 1­1.5 hrs per NP­F975 battery, at best. If constantly recording, it’s closer to around an hour in total. It’s absurd and I can’t believe Atomos hasn’t addressed this issue in a big way. The first time I used it, I thought I had put 2 uncharged batteries into it…little did I know. See “Price” below for more details on power options for these units. Although the 7Q+ wins on power consumption, the Shogun wins in terms of power options.

5. Menu System: Atomos Shogun

With the Shogun, the menus are nice looking, clear, concise, and easy to understand. It’s very well laid out and younger people will have zero issues getting through the menus. The 7Q+ menus are simple, but can be a bit confusing at first. They get easier to understand once you work with them. Certainly nothing to write home about, but functional at a minimum. There seems to be a bit more “power user” type options on the 7Q+ like the System Status info (volts, power, temp, etc) but there is also more room for errors… For example, with the Shogun, you just plug any camera into it, and it will recognize what’s coming in and adjust for it. The 7Q+ requires you to select specifically what’s going to connected up and if it’s not right, you’re not going to get anything.

6. Accessories: Atomos Shogun

With the Shogun, you get a hard case for the tough regimen of filmmaking with space for extra batteries, hard drives, accessories, etc. The 7Q+ comes in a cardboard box. Oh, and a power cable. The end. Want more accessories? Be prepared to spend a few hundred more dollars.

7. LUT management: Atomos Shogun

The Shogun gives you a quick selection of 8 possible choices to be pre­loaded at one time, but it’s easy to switch it out and you have the ability to display the LUT on only half the screen so you can compare side by side. The 7Q+ gives you a seemingly unlimited number of LUTs to plug in and select from. One downside on that is every time you boot up or re­boot, it has to load them all and it takes more time if you have more LUTs.

8. Sound from unit: Odyssey 7Q+

The 7Q+ is essentially silent. The Shogun has fans in it so they make a small noise, but I doubt you’d ever be in a recording environment in which it will actually matter.

9. Temperature: Atomos Shogun

The Shogun has fans and heat pipes so the engineers knew it would get hot and they did something about it. It’s not silent but I haven’t had it overheat on me yet. The 7Q+ can overheat quite easily if it’s in direct sun or outside in a hot day. It has no fans and only uses small fins on the back as a way to dissipate heat. I know people who have had to rig external fans to blow across the back and covers for their units. There should be some type of external heat sink that can be applied when necessary, or even a fan that could be mounted into the extra SSD HD slot to help keep it cool. Side note: environments where you have things like SDI cables hooked up to the units actually act as heat sinks, so external cables can actually help keep your units cooler!

10. Recording sound: Atomos Shogun

The Shogun’s XLR breakout cables are great and the audio monitoring, headphone level controls, etc. are all laid out well. The 7Q+ has a single 3.5mm audio plug in and one out…There’s a lot to be desired there.

11. Clip marking/sorting/tagging: TIE

The Shogun has a really simple way to cut and tag clips, with a dedicated menu button and simple, graphical buttons like “Bad Audio”, “Wide Shot”, “Favorite”. The 7Q+’s menu isn’t as simple, but you can mark clips as good or bad and add clip notes. It’s time consuming and I usually don’t have time to enter in clip notes for each take, but the option to is nice.

12. Focus peaking, Zebras, False Color, Scopes: Odyssey 7Q+ (with a caveat)

Focus Peaking: Shogun. I only say this because I have had instances where the 7Q+ has been wrong about what’s in focus and what’s not. It likes to tell me contrasted areas that are not in focus are actually in focus. Also, since the Shogun has a 1080p screen, it’s easier to see things like edges and for pulling critical focus, it’s an advantage… Otherwise, as with most of these functions, the 7Q+ has a “power user” aspect to them with lots of adjustable facets of the function.

Zebras: 7Q+. There are more options, including High and Low IRE percentage values, etc. The Shogun’s Zebras work fine, and are very simple, with a slider bar to adjust IRE %.

False Color: 7Q+. The false color on it has an actual IRE percentage scale at the bottom that helps you interpret the information whereas the Shogun has a small color scale that seems to almost be an afterthought and contains no percentage values on it to help make it useful.

Scopes: 7Q+. Again the 7Q+ just has more options to control them, set values, etc. The menus don’t look as good but there are definitely more options.

13. SDI Inputs/Outputs: Odyssey 7Q+

the 7Q+ Just has more SDI Inputs/Outputs. If you are in a heavy video production environment and need these extra connections, this is the only one that’s got it. Otherwise, the Shogun has SDI In­Out, and Genlock.

14. HDMI Inputs/Outputs: Atomos Shogun

The Shogun has full sized HDMI. It seems like that shouldn’t matter but for whatever reason IT DOES. It’s much more reliable, and easy to connect in and out.

15. RAW support: Odyssey 7Q+ (for now)

The 7Q+ has a huge advantage in terms of RAW options, with the drawback of it being an extra

$1000. You can “rent” RAW capabilities if you need it only on a temporary basis, but for most people, that’s not going to be the preferred option. Atomos is working diligently on RAW support, and so far has gotten the Sony FS700 RAW capabilities now, with more coming in the future. Best part: they will be FREE in perpetuity as long as you own a Shogun or qualifying Atomos product.

16. Price: Atomos Shogun

The Shogun comes with essentially EVERYTHING you’ll need to start shooting immediately, except for an SSD drive, which you can pick up essentially anywhere. The unit has a built­in slot for an SSD, and a Sony NP­F type battery to connect up directly to the back of the unit. The hard case has space inside its foam slots for 4 batteries (I recommend Watson NP­F975), 4 SSD enclosures, SSD reader, wall power adapter, etc. The 7Q+ comes with: two internal slots for SSDs and a wall charger… Yes, that’s it. They had a deal in the past where it came with (2) 256GB SSDs pre­loaded and that made it much more competitive in terms of cost, but those units are essentially gone (unless you can find a reseller that still has those available).

Convergent Designs recently reported that their units now ship with (1) 256GB SSD included. That’s at least helping with the massive price gap. Another point about price: Any accessories you need for the 7Q+, including power adapter cables, a battery plate for the back of the unit, etc. are very expensive. Plan on spending a few hundred dollars at a minimum to actually get it ready to shoot. It’s power plug is proprietary and the cords to connect it up to, say, D­tap, are about $75. The Shogun’s power connection is a ‘standard’ 5.5mm pole tap connection with a 2.2mm center pole, so most 5.5mm/2.5mm tip positive power plugs will fit. This means you now have a myriad of aftermarket power options that are both inexpensive and flexible.


When it all comes down to it, I actually like both units equally. They both have good points and bad, and each are pleasurable to work with in their own ways. I like that the Shogun boots up quickly, has an integrated battery slot right on the back, can handle things like pulling an HDD out quickly, and has some really nice menu systems. I also like the 7Q+ because of it’s form factor, powerful scope and menu options, and battery life. I dislike that the Shogun eats through batteries, and I dislike that the Odyssey can overheat under modestly hot conditions (the Shogun can also overheat but it seems to be more resistant to it due to the heat pipes and cooling fans).


Panasonic Unveils Smaller Super 35mm VariCam LT with 4K Up to 60p

No Film School 2/12/16




While the Panasonic VariCam 35 is the company’s flagship Super 35mm 4K camera, they’ve just introduced a model at half the price and size, which can take Canon EF or PL mounts.

The new VariCam LT takes the sensor from the 35 and puts it into a much smaller body with slightly reduced specs — 4K up to 60p, instead of 4K 120fps. The LT takes over a lot of the same features, including the unique dual ISO sensor structure, which lets you shoot at 800 clean, or at 5000 clean. In addition, the camera has ProRes recording like its bigger brother. The camera will also be capable of up to 240fps in a crop sensor mode.


We also know that the Convergent Design Odyssey 7Q+ will support 4K RAW from this camera when it’s released in a firmware upgrade this summer. As for the price, it’s coming in at a suggest list price of $18K, and $24K with their OLED viewfinder. It’s worth noting that list prices can fluctuate from actual prices, so this may not be set in stone, and could be lower when it’s actually released in March.

According to Panasonic, this camera is aimed at a more specific market than the Varicam 35:

…the VariCam LT will be the ideal camera for handheld, SteadiCam, jib, crane, drone, gimbal and overall cinema verité work. The VariCam LT is likewise tailor-made for owner/operators, independent filmmakers, documentary makers and corporate production creators.



Here are the specs:

• Same 4K Sensor as the VariCam 35
• 14+ Stops of Dynamic Range
• Dual ISO: 800 and 5000
• Removable Canon EF or PL Mount Option ($1,300)
• 4K-UHD — AVC-Intra 4K422: up to 30p
• 4K-UHD — AVC-Intra 4K-LT: 30p to 60p
• 2K — AVC-Intra 2K444: up to 30p, AVC-Intra 2K422: up to 60p, up to 120p (cropped), AVC-Intra 2K-LT: 120p to 240p (cropped)
• HD — AVC-Intra444: up to 30p, AVC-Intra422: up to 60p, up to 120p (cropped), AVC-Intra100: 50i/59.94i, AVC-IntraLT: 120p to 240p (cropped)
• HD ProRes: 4444 up to 30p, ProRes 422HQ up to 60p
• One expressP2 card Slot
• SD Slot for Proxies — AVC-Proxy G6 (6Mbps): up to 60p
• RAW Output from SDI Coming in Summer 2016
• ND filters (CLEAR, 0.6, 1.2, 1.8)
• 256GB expressP2 card — 90 minutes of 4K/4:2:2/23.98p content
• Genlock IN, TC IN/OUT, LAN
• USB HOST (for Network Connect), USB DEVICE (miniB)
• XLR 5 pin x1, XLR 3 pin x2
• DC OUT 4 pin Hirose x2
• Lens/Grip Connector 12 pin
• 12 V DC-IN 4 pin
• Head Phone x1 3.5 mm Stereo Mini Jack
• Proxy FTP
• Can use Panasonic AU-VCVF10G viewfinder and 3rd party viewfinder solutions
• Weight: Under 6 Pounds Body Only
• Dimensions (W x H x D): 184 mm x 230.5 mm x 247 mm (7-1/4 inches x 9-1/8 inches x 9-3/4 inches)
• Power Consumption: 47 W (body only), 77 W with all ports maxed out
• Availability: March 2016
• List Price: $18,000 (body only), $24,000 (body + AU-VCVF10G viewfinder)

Sony F5/F55 firmware update: quick menu, simultaneous recording modes and more

Red Shark 2/12/16


Sony keeps the firmware updates coming, this time adding improvements and features to the F55 and F5 cameras.

Last week was a big one for Sony firmware updates, beginning with version 3.0 for the PXW-FS7 and, now, version 7.01 for the PMW-F5/F55 cameras (though technically version 7.0 never released due to a last minute issue, requiring a minor revision to v7.01).

Version 7.0 is a major release, with its new Quick Menu implementation, Zebra levels extending to 0%, Rec. 2020 Color Space (in F55 only) and the simultaneous recording of HD and 4K in 50i/50p or 59.94i/59.94p on SxS Pro+ cards.

In addition, a few bugs were squashed, including failure to apply a gain setting when recalling a scene file via remote controller, as well as a situation in AXS RAW and SxS simultaneous recording in which the internal SxS recording continued after pressing the Stop button.

Quick Menu

F5/55 users have long complained about needing to go deep into camera menus for many settings despite the operator’s side display. Version 7.01 brings Quick Menu which allows exactly that – quick selection of virtually every setting that an operator would need.

Pressing the Option button on the camera invokes Quick Menu in the sub display. This is divided into six possible sets of operations (see the visual below): Project, Monitoring, MLUT, Media, Viewfinder and Others. Press the appropriate button to select the operation set.F5-55QuickMenu_full_resThe highly-intuitive choices allow selections to be made quickly and without needing to dig deeply into Sony’s historically-dense menu structure.

Extended Zebra Range

Sony says it makes sense to extend the Zebra’s full range and I heartily concur. If Zebra settings under prior firmware never extended below 50%, how would one be able to expose an 18% gray card for Slog2 (32%) or Slog3 (41%)?

Rec. 2020 Color Space in Custom Mode (ONLY on F55)

As we prepare for HDR TV, we need to be able to shoot in the widest possible color gamut for DCI 4K or UHD deliverables. This is now demanded by producers gearing up for the HDR market. Note that Rec 2020 is only available in Custom Mode. The S-Gamuts (except for S-Gamut3.Cine) available in CineEI mode are actually wider color gamuts than Rec. 2020. Hence, there is no need for that option in CineEI mode. Those needing to shoot in CineEI mode for Rec 2020 delivery should shoot in S-Gamut3, for the widest possible gamut.

Simultaneous Recording Modes

Again, Sony is responding to a user base requiring the ability to shoot 4K 59.94p, while also needing a simultaneous record of MPEG2 50Mbps 4:2:2 or 10 bit 4K/UHD 4:2:2 XAVC. Simultaneous recording is now available and the timecodes on the dual recordings will match.

It is important to note that changing shooting modes of the cameras between Custom and CineEI modes still requires going into the main camera menu via viewfinder or external ‘dirty’ monitor.

Along with the firmware announcement, Sony reiterates its commitment to further firmware and feature development for the CineAlta line, with “exciting announcements” to come in the near future.

Firmware v7.01 for the PMW-F5/F55 is available for immediate download from your region’s Sony Professional site.


PAST EVENT: Quantum StorNext Storage


Date: TBD
Omega Broadcast Group 
817 W Howard Ln 
Austin, TX 78753

Omega Broadcast Group

Full Event Description: 
Come see a demonstration of Quantum’s StorNext storage solution for video professionals

What is Quantum StorNext?

The perfect collaboration storage solution for small workgroups is here. Just because you have a limited number of users, it doesn’t mean you have to compromise performance, capabilities, or compatibility. StorNext Pro Foundation is designed for collaborative workgroups with up to seven users, combining proven StorNext collaboration and workflow support with a new price point that puts the power of StorNext within your reach. 

PDF DownloadDownload StorNext Pro Foundation Datasheet (456 KB)

Sony Announces Documentary-Style PXW-FS7 4K UHD Camera

sonyFs7Camera Records 10-bit 4:2:2 to XQD Cards; Optional ProRes Recording and 12-bit Raw Output to Come….

At IBC today, Sony unveiled the PXW-FS7, a new 4K UHD XDCAM with a Super-35 Exmor CMOS sensor. Designed largely for shooters on unscripted/reality TV and magazine shows, the FS7 was engineered to be both small and lightweight — the camera body by itself is four pounds — making for comfortable handheld use. It’s expected to ship next month with a suggest list price under $10,000.

At launch, the camera will shoot at a maximum resolution of 3840×2160. However, the company indicated that a firmware upgrade in early 2015 will enable full 4K (4096×2160) recording. For a quick, two-and-a-half-minute infodump on the camera, watch the “official promotion movie” below, then read on for more details.

Read more

Omega is following all announcements coming from the IBC conference in Amsterdam. Check out our IBC Event page for more info.

Worship Facilities Conference & Expo


Celebrating 10 Years Of Serving Churches

: November 18 – 19, 2014
Location: Music City Center
201 5th Ave S.
Nashville, TN 37302
EXPO Only Registration is FREE!
Schedule: Click Here
Omega’s Booth: #307

What is WFX?
A 2 1/2 day conference and expo that trains church teams so ministries have more reach and impact through facilities, technology, and staff.

Who Should Attend?
Bring your entire church team (Pastors, Tech, Creative and Worship Directors/Teams, Facilities Managers and Volunteers) no matter your church size!

More About WFX?
We help churches of all sizes and traditions navigate new tools, technologies and approaches to reach the world with Christ’s message. In this mission, we guide, inspire and support church teams through the decisions and investments that really matter for ministry. Worship Facilities magazine and, the resources churches rely on to help them make wise purchases and stronger ministries, in collaboration with Church Production Magazine, proudly present WFX.

At WFX, our mission is to train, prepare, equip and inspire both leaders and team members to boldly and confidently create healthy and powerful ministries.

Topically focused Learning Modules help you to navigate your way through 100+ conference sessions and to significantly enhance your learning experience. Each Learning Module has been carefully crafted with the involvement and expertise of our Advisory Council members and presents the sessions in a logical learning progression; however, you are not limited to attend sessions in any one Learning Module exclusively. You are welcome to attend sessions across any and all Learning Modules, they are merely there to help guide you if you want to focus on one topic area exclusively.

We encourage you to examine the sessions offered and customize your agenda to meet your individual and team’s needs. Read More…

Go To The WFX Website

Who Will Be At WFX 2015?