What Do You Call The People In Your Video Control Room?

One of the great things about being on a professional film set is that crews worldwide share common terms, procedures, and methods for making a film or video project. In my career, shooting in the United States, Brazil, Israel, Canada, South Africa, and many other countries was relatively seamless because everyone was used to the same way of working.

However, in just about every church or media ministry I visit, they all do it differently. Job titles vary, and control room layouts and workflows are all over the board. But by using common titles and procedures, it’s easier to work with multiple churches, or have freelancers help out in different locations. Plus, in many situations, churches partner for combined services, so you may have the opportunity to work in other control rooms and with other teams.

Let’s start with a shout-out to Will Chapman, online minister at Cottonwood Creek Church, who sparked this idea.

So let’s start with job titles for people involved in a multi-camera video, livestream, or TV production. Below are the key roles you’ll find in a professional broadcast television control room, with clear, real-world descriptions of what each person actually does during a live or recorded program.

Executive Producer (EP) – While this role may also serve as the head of the media department, the Executive Producer is the top creative and strategic authority. They set the program’s vision, tone, and priorities, approve major content decisions, and ensure the program aligns with the pastor’s vision, the church’s mission, standards, and budget. While they’re not calling specific shots, their fingerprints are on every creative and editorial choice.

Producer – The Producer is the show’s operational brain. They manage rundowns, timing, scripts, guests, and segment flow, and they make constant decisions to keep the program on track. During a live broadcast, the producer is usually calling adjustments—cutting segments, stretching others, and reacting in real time to breaking issues. In some cases, this role could be called a Production Manager.

Director – The Director is responsible for what viewers actually see on screen. Sitting at the center of the control room, usually next to the Technical Director (see below), the director calls camera shots, cues transitions, and coordinates all visual elements. They work closely with the technical director to execute fast, precise decisions under intense time pressure – which is why they should be sitting side-by-side. For the record, I prefer an experienced team member or volunteer. Directing is far more important than most church teams realize, because the director can make or break the project.

IMAG Director – In many churches, there may be a secondary director calling the shots for the IMAG screens. This is a limited job, because we generally only want the closer shots on the IMAG – especially during the sermon or teaching segments.

Technical Director (TD) – The Technical Director physically operates the video switcher. When the director says “Take Camera 2” or “Roll video,” the TD executes those commands instantly. This role requires technical precision, muscle memory, and calm nerves—especially during live broadcasts where there are no second chances.

Associate or Assistant Director (AD) – The Associate or Assistant Director manages timing and communication. They track the countdown clock, cue on-air talent, coordinate video roll-ins, commercial breaks, and keep the show aligned with the rundown. If it’s a studio taping, the AD is often the voice talent hears in their earpiece, making this role critical to pacing and clarity.

Audio Engineer (A1) – The Audio Engineer controls all sound—microphones, music, effects, and remote feeds. They ensure dialogue is clear, levels are balanced, and nothing distracts from the broadcast. Viewers will forgive a bad shot faster than bad audio, making this role mission-critical. And critically important, he or she is mixing for the livestream or TV mix – not the front of house mix.

Graphics Operator – The Graphics Operator manages lower thirds, full-screen graphics (such as on-screen scriptures or sermon points), and on-screen branding. They often operate apps like ProPresenter. They follow the rundown closely and must be perfectly timed—bringing graphics on and off cleanly without distracting from the content.

Playback / Video Operator – If needed, this operator rolls pre-recorded packages, clips, and commercials. They must be ready instantly when called, often juggling multiple sources and backup options in case something fails.

Shading Engineer – This is the person who’s controlling the exposure and color of the cameras. This is a critical role with multiple cameras because it’s their job to ensure the cameras are all matching (even when they’re different brands or generations).

In many ways, a video control room is organized chaos—a high-trust environment where clarity, preparation, and calm leadership determine whether a broadcast succeeds or collapses. When it works well, viewers never notice the complexity.

And that’s the point.