This set was for a series on giving and generosity. Materials were 8 sheets of white cardboard and a furring strip wood frame for the piggy bank. The coins were made of 1″ styrofoam with silver foil on one side. Jeff found a pic of the piggy bank that he liked and made a transparency and enlarged it using an overhead projector and hand painted it. The bank and floating coins were hung with wire.

Adapting This Piggy Bank Stage Design for Your Church

A recognizable object can communicate a sermon series theme before the first slide appears. Here, the oversized piggy bank and floating coins connect the stage directly to giving and generosity. The original build uses white cardboard over a furring strip frame, with foil-covered foam coins providing contrast. The suggestions below are adaptation ideas for your team, rather than additional details from Jeff’s original construction.

Start with a scale sketch of your platform and mark the speaking position, instruments, screens, and walking routes. Give the piggy bank enough space to read as one clear silhouette without crowding the worship team. Check the proposed outline from the back row and through your widest camera shot. If the ears, snout, or coin slot disappear at that distance, simplify those shapes before cutting full-size panels.

For a volunteer-friendly layout, draw the silhouette on a small paper template first. Enlarge it with a projector, or transfer it using a measured grid if a projector is unavailable. Plan cardboard seams around the supporting frame so panel edges have backing. Number the pieces on their reverse sides and photograph a dry assembly; those simple steps make it easier to rebuild the set without guessing where each panel belongs.

Make a sample coin before producing the complete group. Test foam-compatible adhesive on a scrap, smooth the foil carefully, and view it under your actual stage lighting. A reflective surface can create distracting bright spots on camera even when it looks attractive in the room. Adjust the coin angle or the lighting direction before committing to the full arrangement. A painted metallic finish is another option to test if foil reflections prove difficult to control.

Build your shopping list around sheet materials, framing, paint, adhesive, and the approved support system rather than estimating from the photograph alone. The original design used eight sheets of white cardboard, but your quantities will depend on the chosen scale and sheet sizes. Price those items locally, allow for test pieces, and reuse suitable stock where possible. Keep cardboard and foam away from heat sources, and have your facility team review material requirements and placement before installation.

Pro Tips for a Giving and Generosity Set

Keep the silhouette readable: Use a simple background behind the piggy bank. Competing graphics can make the prop harder to recognize from distant seats or a small livestream screen.

Test the complete lighting look: Check the painted bank and reflective coins with both speaking and worship cues. Confirm that the design does not pull exposure away from faces.

Have suspension reviewed: The original pieces were hung with wire, but that is not a rigging specification. Use a qualified person to select attachment points and rated hardware; do not treat cardboard or foam as structural support.

Plan for storage: Label detachable components, protect painted faces, and store coins flat where possible. A documented assembly order helps volunteers reuse the design for another generosity series.

Related Designs

• I Beams – Explore another approach to turning lightweight foam into oversized scenic forms.
• Jesus, Light it Up – Compare a bold message-focused stage with lightweight panels and textured elements.
• Stacked Carefully – See cardboard boxes and foam shapes used in an arcade-inspired design.
• Pointing! – Find a different visual direction for a church celebration of generosity.
• Winter Wonderland – Compare another use of lightweight foam-board scenic cutouts.

The post Here Piggy Piggy appeared first on Church Stage Design Ideas.

For this set, they wanted to create dimensionality behind the band risers to help create as much natural depth on camera as possible. The idea came from attending a concert at an old theater and wanting to create a stage look with an industrial, brick and mortar feel.

Robby found a blog post on creating faux I-Beams out of pink foam board insulation and stopped at the gray paint step, as he didn’t need the “grunge” look for this design. They constructed 12’ x 12’ frames out of 2” x 6” board, bolting them directly to their stage and rigging them with aircraft cable to their lighting grid. This eliminated the need for large legs to prop up the set from behind and saved valuable stage space.

They screwed the foam I-Beams to the wooden frames and then covered the screw holes with fake bolt heads made from slicing square and round dowel rods to ¼” pieces that were glued and spray painted a dark metallic gray. They used 1” x 4” boards to make an “X” in the center of the I-Beam frames (painted the same gray as the foam) and glued RGB-LED strip lights to the “X’ and surrounding frames. Their LD even found he could rig some of their smaller LED wash fixtures to the top frame of the set, which helped him with his lighting design.

For the center backdrop, they used 4’ x 8’ sections of faux brick paneling (available at Lowes) and foam I-Beams to cover the seams between the panels. Cutting 9” holes in the brick paneling with a router and circle-jig, they fastened aluminum reflector work-lights in place to make the backdrop “pop” on video. (idea taken from Deer in the Headlights). They were surprised to see how well the reflectors caught color from the LED Cyc lights used to light the set.

By scaling down the size of the beams and eliminating some of the more technical elements (LED strips and reflector lights) from the design, they were able to copy the design at one of their satellite campuses with ease.

Materials List:
• Pink ¾” rigid insulation foam (5 sheets)
• Aluminum reflector work-lights (20)
• Brick Paneling (9 sheets)
• RGB-LED Strips (10 strips)
• 1 and 1/4” square dowel rod (2)
• ¾” round dowel rod (2)
• 2” x 6” (14 – 12’ long boards)
• 1” x 4” (12 – 8’ long boards)

Planning an Industrial Church Stage with Faux I-Beams

Discovery Church’s design works by separating the band risers, structural-looking frames, and brick backdrop into visual layers. The foam beams suggest substantial steelwork without requiring the scenic finish itself to be steel. Before adapting the look, sketch your stage from above and mark musician positions, screens, entrances, and camera locations. Leave enough space between scenic layers for equipment access and lighting. Check the view from side seating as well as the main camera; a convincing center view can still hide a musician from another angle.

The original twelve-foot frames describe this particular installation, not a universal construction plan. For a smaller room, begin with a scaled drawing and one sample beam section. Compare its width against a person standing onstage and view it from the back row. Narrower beams and fewer frames can preserve the industrial character without overwhelming the platform. Keep the distinction between decorative foam and the supporting structure clear: the foam creates the appearance, while a separately designed support system carries the loads.

Testing Foam Finishes and Brick Panel Seams

Make a small material sample before painting every beam. Use adhesives and coatings identified by their manufacturers as compatible with the exact insulation foam you have selected; some solvent-based products can damage foam. Test the entire sequence, including any primer, gray finish, and faux bolt attachment, and allow it to cure as directed. Review the sample under your stage lighting rather than relying on its appearance in a workshop. A finish that looks metallic nearby may need a different contrast level to read clearly on camera.

The original team concealed brick-panel seams with foam beams, making the joints part of the composition instead of a distraction. Lay out the panel joints and beam positions together before cutting materials. Consider how the brick pattern meets across neighboring sheets and where a beam can naturally cover an edge. If your adaptation includes reflector openings, mock up one panel first and confirm the fixture mounting, ventilation, cable access, and required clearances before repeating the cutout pattern.

Lighting the Layers and Organizing the Build

Try the scenic lighting in separate groups: the perimeter and diagonal LED strips, the brick wash, and the reflector accents. Bring up each group individually, then combine them with the normal lighting on faces. This makes it easier to find hotspots and judge whether the scenery supports the people leading the service. Check the actual video feed for clipped highlights, visible LED points, or flicker, and test speaking and music cues before the installation is considered finished.

Divide volunteer work into sample preparation, foam finishing, panel layout, and labeling. Keep a cut list and photograph a completed section so repeated pieces match. Estimate the full adaptation cost, including suitable supports, approved hardware, cable management, coatings, and labor; the original materials list is not a complete current-price budget. Have qualified venue personnel review structural attachments, overhead rigging, electrical work, and the fire suitability of scenic materials. Do not copy the described aircraft-cable arrangement or attach fixtures to a decorative frame without an installation-specific assessment.

Pro Tips for Faux I-Beam Stage Designs

Prototype the bolt detail: Attach a few sample dowel pieces to a finished foam offcut. Check their spacing and contrast from the congregation’s viewing distance before producing a whole batch.

Keep maintenance accessible: Plan removable scenic sections around power supplies, LED connections, and reflector fixtures so a failed component can be serviced without dismantling the entire backdrop.

Separate scenery from structure: Treat foam beams and brick facing as visual finishes, not load-bearing members. Have the responsible installer specify supports, attachment points, and any fixture loads.

Record the repeatable look: Label panel positions and lighting groups, save the final cues, and photograph both the front and rear of the installation to simplify resets and future adaptations.

Related Designs

• Shine – Compare reflective window frames and industrial lighting for another layered stage atmosphere.
• Paint Can Lids – Explore an industrial-looking backdrop built around repeated paint cans and pallets.
• Angels and Demons – See a different approach to creating architectural texture with a painted foam wall.
• Tilted Rectangles – Compare lightweight foam scenery with repeated shapes and angled placement.
• Light Squares – Explore wooden frames outlined with LED tape for a simpler illuminated framework.

Related: Here Piggy Piggy – Explore a cardboard piggy bank and foil-covered foam coins for a giving and generosity stage design.

The post I Beams appeared first on Church Stage Design Ideas.

They bought the same curtain ideas that they had for a blacked-out stage, just white, for the backdrop. Then they added white deck paint to the floor.

For the platforms, they built them with wood, then painted the tops and put a white fabric skirt around the sides.

At their other campus instead of the curtain in the back, they just painted the back wall white and it accomplished the same thing.

Planning an All-White Church Stage

The appeal of Lifehouse Church’s design is its consistent palette: the backdrop, floor, and platform skirts read as one setting instead of competing scenic pieces. When adapting this idea, begin with a stage plan showing instruments, microphone positions, entrances, and camera angles. Decide which surfaces need to be white and which equipment can remain visually quiet. A simple palette makes small differences in texture and brightness more noticeable, so compare samples together before purchasing enough material for the whole room.

The original installation offers two approaches to the background: white curtains or a painted white wall. Curtains introduce folds and can conceal an existing surface; paint keeps the backdrop flatter and avoids storing fabric between installations. These are design alternatives, not interchangeable construction methods. Check how either option will work around doors, ventilation, wall fixtures, and access points. Hold a fabric sample against a painted sample under the actual stage lights to see whether their whites match closely enough for your intended look.

Testing Paint, Fabric, and Lighting Together

White flooring can help unify the scene, but it also makes scuffs, cable runs, and shadows easier to see. Before repainting a whole deck, test a small area using a coating appropriate for the existing surface and stage use. Follow the manufacturer’s preparation, drying, and cure instructions. Evaluate the finish from the seating area and through the cameras; a glossy patch may produce a reflection that is not obvious when viewed from directly above. Plan how the team will clean the floor and handle touch-ups without interrupting rehearsals.

For the wooden platforms, Lifehouse painted the tops and used white fabric skirts around the sides. In an adaptation, measure each platform after its final position is confirmed, then make a sample skirt before cutting the rest. Choose an attachment method that permits removal for cleaning and inspection. Keep fabric clear of walking routes, equipment vents, and cable connections. The fabric is a visual finish, not a substitute for checking the platform’s structure, loading, and stability.

Build your lighting look in layers. Start with comfortable, consistent light on faces, then add illumination to the white background. White surfaces can become much brighter than people, especially in a wide camera shot. Ask someone to stand in the speaking and singing positions while the operator checks exposure, shadows, and separation from the backdrop. Try a restrained background level before increasing the front light. Colored light can offer additional variations, but test each color across the curtain, paint, and skirt rather than assuming all three materials will respond identically.

Pro Tips for a White Stage

Compare whites in the room: Bring paint and fabric samples together under the installed lighting. A warm fabric beside a cooler painted wall may look mismatched even when both products are labeled white.

Rehearse the widest camera shot: Check the whole stage with people in place. Adjust background brightness so the white scenery retains detail without making faces appear dark.

Make maintenance repeatable: Label removable skirts, record the paint product and finish, and photograph the completed setup. Keep a short reset checklist so volunteers can restore the look consistently.

Protect access and clearances: Keep skirts and curtains away from fixtures and electrical connections, and have the venue team confirm that scenic materials and mounting methods meet its requirements.

Related Designs

• String Trees and White Branches – Explore white yarn and painted branches as light-catching scenic textures.
• Offset – Compare white fabric-covered projection flats with a white-painted wood backdrop.
• Winter Wonderland – See how white scenic layers support a seasonal stage composition.
• Short Ceiling Lighting – Consider lighting layers when adapting a bright stage to a lower room.
• So Fantastic, Wrapped in Plastic – Compare how translucent plastic and white-painted material respond to light.

The post White Stage appeared first on Church Stage Design Ideas.

To create this set they used 2’2 Coroplast panels affixed to each other with 1 1/2″ binder rings. The center section was rigged to a pulley system to raise up during worship to expose the drummer. The textured columns on the sides were made from aluminum screen material from Lowe’s – crinkled then lit with Chauvet Color Strips.

They had 3 WXGA projectors for the 3 screens – Epson EX7210’s 2600 lumens for about $500 each. The moving light fixtures in the picture were Chauvet Intimidator 250’s. They ran about $800 a fixture.

The stage was painted blue, with a metallic overlay, then clear coated with water based polyurethane. All water/latex based paints were used to reduce smell and dry time.

The “Jesus sign” is made from 4/4 poplar and had 2 and 3 foot t8 fluorescent light fixtures mounted to it. They had it hooked up to a cheap electric winch from Harbor Freight tools. They spent a total of about $650 for the whole element and got the idea from a Hillsong conference opener.

Planning an Illuminated Jesus Sign and Layered Backdrop

This design combines three distinct visual layers: a readable illuminated word, a repeating Coroplast backdrop, and textured side columns. Each has a different job. The sign establishes the focal point, the panels frame the stage, and the crinkled screen material catches colored light. When adapting the concept, start by deciding which layer should lead during music and which should recede during speaking. The suggestions below are planning ideas for a similar set, not additional specifications from Elevate Church’s original build.

Sketch the full platform before cutting materials. Mark the drum position, musicians, projection surfaces, and access paths, then draw the sign at a scale that can be read from the back row. Check that its silhouette stays clear of projected lyrics and faces. A cardboard lettering mockup can help your team compare spacing without committing to finished woodwork. Photograph the mockup from the center and side seating so a strong front view does not conceal an awkward overlap elsewhere.

Test Panels and Texture Before Building the Full Wall

Build one sample Coroplast connection and one sample screen column before producing the entire backdrop. Check the panel spacing and how the joints look under both front light and backlight. Binder rings connect scenic pieces, but they should not be assumed to provide an engineered overhead support system. Ask a qualified scenic or rigging professional to specify the supports appropriate to your venue. Treat exposed metal-screen edges carefully and plan a finished edge that will not snag hands, clothing, or cables.

Test the crinkled screen with a fixture you already own. Move the light across the sample rather than immediately adding more fixtures: a change in angle can reveal texture that a straight-on wash hides. Compare a restrained speaking look with a more saturated music look. Keep the sign bright enough to read without letting it overpower faces or turn into an indistinct white shape on camera. Review the actual video feed as well as the view from the room.

Choose a Practical Lighting and Movement Approach

The original team used fluorescent fixtures and moving scenic elements. For an adaptation, compare suitable LED options on a small lettering sample, checking diffusion, visible hotspots, camera flicker, and the manufacturer’s installation requirements. Have a qualified electrician review the intended power distribution and controls. The equipment names and dollar amounts in the original account describe that particular build; obtain fresh quotes for your own materials, supports, electrical work, and labor rather than treating those figures as a complete project budget.

A stationary sign and fixed backdrop can preserve the visual concept without adding moving scenery. If movement is essential, do not reproduce a pulley or winch arrangement from photographs alone. Have a qualified entertainment-rigging professional design and review the complete system, including rated components, load paths, limits, and operating procedures. Rehearse approved movements with the stage clear, establish an exclusion area, and assign one trained operator. Document panel positions, lighting cues, and setup order so volunteers can reinstall the design consistently.

Pro Tips for an Illuminated Stage Sign

Prioritize legibility: Test full-size letter spacing from the farthest seats before building the finished sign. Leave visual separation between the lettering and projection content.

Control competing light: Aim backdrop washes away from projection surfaces and compare every cue with face lighting active. A quieter background can make the sign more effective.

Price the complete installation: Include mounting, wiring, transport, storage, and professional review in addition to scenic materials. Separate reusable purchases from consumable supplies.

Plan for repeatable assembly: Label panels and photograph their connections, fixture positions, and cable paths. Keep access routes clear throughout installation and operation.

Related Designs

• Shine – Compare reflective mylar and frosted-plastic frames illuminated from the front and rear.
• Hyper Techno Dots – Explore a layered wall with Coroplast backing, patterned panels, and integrated light boxes.
• Offset – See how separated projection panels create another layered stage composition.
• Triangle Wall – Compare a geometric Coroplast design combining projection and illuminated edges.
• The Doors – Explore contrasting front and rear lighting with a projected Coroplast scenic element.

The post Jesus, Light it Up appeared first on Church Stage Design Ideas.

From Cody: This was our Christmas-season set.

For the real trees, these are actually branches off of larger trees that were in abundant supply thanks to a recent hurricane. They were each painted with flat white spray paint. While painting, someone followed behind with large flake silver glitter which made the trees sparkle. Then they were potted in a 5 gallon bucket with half a bag of quikrete. We wrapped the bucket in brown burlap. Strung white Christmas lights.

The string trees:
Bases were made from irrigation tubing to create hoops. Connected with irrigation tube couplers to make 2 6 foot diameter and the center 8ft diameter. I then hung D rings from a rope above. Then, taking white yarn, we tied to the hoop base and with someone on a ladder, fed the yarn through the bottom loop back to the hanging D ring and back down through the hoop.
This is a VERY time consuming process. You have to make sure your spacing and tension remain even the whole way around. Eventually it will want to pull the hoop bases off the ground. I taped bricks to the hoops to keep this from happening. A few LED bars and pars to light everything and we were set.

Planning a String Tree and White Branch Christmas Stage

The strength of this Christmas design is the contrast between two textures: the straight, repeated lines of the yarn trees and the irregular silhouettes of the painted branches. The white surfaces give colored light something to catch, while the open string shapes keep the scene from becoming a solid wall. When adapting the idea, start with a stage sketch showing musicians, microphones, screens, entrances, and camera positions. Group the trees at different heights and leave enough empty space for the congregation to see the people leading the service.

Cody’s original hoop bases measured six feet across for the outside trees and eight feet for the center tree. Those dimensions describe this installation rather than a required starting size. Mark your proposed footprints on the floor before buying tubing, then check the view from the back row and side seats. A smaller room may benefit from fewer or narrower trees. Make one sample first so the team can judge the yarn density, assembly time, and amount of floor space needed.

Building Consistent Yarn Trees

Even spacing is easier when the attachment points are marked around the hoop before stringing begins. Divide the circumference into matching sections, and use the same spacing pattern as volunteers work around the base. Keep the yarn tension consistent rather than pulling individual strands as tight as possible. As Cody noted, the accumulating tension can lift a lightweight hoop. Have the installation team review the whole support arrangement and suitable ballast instead of assuming that a heavier hanging point alone will solve movement at the base.

Separate volunteer jobs into hoop preparation, yarn handling, spacing checks, and final lighting. Keep yarn organized so it does not tangle as it travels between the hoop and the upper connection. The original build required substantial stringing time, so schedule a prototype session before committing the whole team to a deadline. Work at height should use appropriate access equipment and trained helpers. Ask a qualified installer to specify overhead attachments and load-rated hardware; yarn is a scenic material, not a substitute for structural rigging.

Finishing Branches and Lighting the Scene

The submitted branch treatment used flat white spray paint with silver glitter, then placed the branches in concrete-filled buckets wrapped in burlap. For an adaptation, select sound, dry branches and remove loose pieces before finishing them. Apply coatings according to their product directions and allow them to dry fully before bringing them into the room. The bucket, branch height, and spread all affect stability, so test each completed unit and secure it appropriately. Keep burlap and other decorative materials clear of electrical connections and fixture ventilation.

Try the tree lights and scenic LED wash together before final placement. A restrained cool wash can emphasize the white branches, while warmer string lights provide a contrasting glow. Evaluate those choices with your normal front lighting on people, not just with the room dark. Photograph a speaking position and a wide stage view to check whether bright branches distract from faces. Budget for yarn, tubing, connectors, paint, lights, approved supports, and installation labor; the original submission does not provide a complete project cost.

Pro Tips for String Trees and White Branches

Mark the hoop first: Use evenly spaced reference marks so multiple volunteers can keep the yarn pattern consistent without guessing their way around the circle.

Test one finished tree: Check its silhouette, base movement, setup time, and lighting before repeating the design across the stage.

Protect clear pathways: Keep hoops, buckets, and cables outside musician routes and exits, and inspect the layout under service lighting.

Plan the rebuild: Label matching hoop parts, record the yarn spacing, and photograph branch groupings so volunteers can repeat the arrangement without starting from scratch.

Related Designs

• Winter Wonderland – Explore layered Christmas trees, glowing ornaments, and a snowy stage landscape.
• Sky Full of Stars – Compare star curtains and projected light for an immersive Christmas atmosphere.
• Frosty Windows – Find another approach to a winter-themed Christmas stage.
• Flock of Cups – Compare a string-based installation that rewards careful spacing and volunteer coordination.
• Offset – Explore a white scenic backdrop with repeated suspended elements and colored light.

Related: White Stage – Compare Lifehouse Church’s white curtains, painted floor, and fabric-skirted platforms for a unified stage palette.

The post String Trees and White Branches appeared first on Church Stage Design Ideas.

The set was built out of 6 wooden window frames covered with mylar. The windows were created and covered with loose 8mm frosted plastic. The set was then lit in front and from behind to create a multitude of looks.

Blue industrial lights were hung from above to add to the look.

Planning a Reflective Window-Frame Backdrop

The visual strength of Shine comes from repeating a simple window shape while giving light more than one surface to interact with. The original design combines reflective mylar, frosted plastic, and illumination from opposite directions. To adapt that idea, begin with a small sample rather than covering every frame immediately. A test panel lets your team compare reflection, diffusion, and color before committing materials or volunteer time. The suggestions below are adaptations to try, not additional specifications from the original build.

Sketch the frame arrangement against your actual stage dimensions. Include the drum enclosure, music stands, speaker positions, and any projection screens. Keep a clear outline around the speaker’s position so the brightest reflections do not compete with faces. Six frames do not have to form an evenly spaced wall: pairs, staggered heights, or a central opening can create depth while leaving room for entrances and equipment access. Check the layout from side seating as well as the center aisle.

Test the Materials Before Building the Full Set

Reflective film and translucent plastic behave differently. Mylar can produce sharp highlights, while a frosted surface can soften light passing through it. Use your sample to decide which effect each frame should contribute. Change one variable at a time: material tension, fixture angle, or distance behind the panel. Record the version you prefer with photographs and simple notes so volunteers can reproduce it across the remaining frames. Do not assume that every product sold as frosted plastic will transmit the same amount of light.

Before purchasing, list the timber, film, plastic, fasteners, mounting hardware, and lighting already available to your team. Price a single complete frame, including its support, before multiplying the estimate. Reusing sound frames may reduce material needs, but inspect joints and edges first. Ask your venue’s responsible facilities or safety professional to review material suitability and installation, especially where plastic film and suspended elements are involved. Decorative frames are not load-bearing rigging points.

Build Lighting Looks Around Contrast

Start your lighting session with the room in its normal service conditions. Bring up the rear light alone, then the front light alone, and finally combine them. This makes it easier to identify whether a distracting hotspot comes from a direct beam or a reflection. Aim reflective surfaces away from the congregation and camera lenses, and keep film clear of fixtures according to manufacturer instructions. A little brightness may be enough when the surrounding stage is dark.

Save a small set of repeatable cues rather than relying on constant movement. Try a quiet single-color look for speaking, a contrasting front-and-back combination for music, and a restrained transition between them. Review each cue on the actual camera feed as well as in the room. Shiny surfaces can clip to white on video even when they appear colorful from the seats. Photograph the final setup and label frame positions to simplify the next installation.

Pro Tips for Mylar and Frosted-Plastic Stages

Check every viewing angle: Walk the seating area with the lights running. Adjust the frame or fixture angle if a bright reflection lands at eye level or washes out the camera image.

Make assembly repeatable: Label frames, supports, and attachment locations. Keep a small sample of the chosen material with the setup notes so replacement panels match the existing finish.

Separate scenery from rigging: Have a qualified person specify supports and any overhead attachments. Maintain access routes, and never use thin film or decorative frame joints to carry lighting equipment.

Protect the finish in storage: Store panels so reflective faces cannot rub against exposed screws or rough timber. Test handling and packing with one panel before your team transports the complete set.

Related Designs

• Offset – Explore separated scenic panels, wooden flats, and a layered lighting backdrop.
• Triangle Wall – Compare front projection with backlit translucent edges in a geometric set.
• Tilted Rectangles – See how repeated shapes and varied angles change a simple backdrop.
• A Couple Notes – Find another application of vertical mylar panels in a music-themed stage.
• Neon Jesus – Explore another stage design that uses mylar alongside other scenic elements.

Related: Jesus, Light it Up – Compare an illuminated Jesus sign with a Coroplast backdrop and textured, color-lit metal-screen columns.

The post Shine appeared first on Church Stage Design Ideas.

The team was inspired by the Hillsong Chapel DVD as well as a set they saw (don’t tell anyone!) on Glee.

They welded together 3 sections of steel tubing (2 20’x20′ 1 12’x20′) with cross bracing and then welded all-thread in 2″ 4″ 6″ and 8″ increments to create their grid. Off the grid they hung OSB drilled with 2″ 3″ and random hole sizes in 2′ increments. They sanded and stained the OSB.

Then they backed the OSB with Coroplast. Mixed in with the OSB panels they put 23 2’x’2 light boxes made from OSB and loaded with 16 65W flood lights. Each light box was circuited individually which allowed them to do some cool chases. The entire wall was back lit with 16 ETC Seledor Vivid R’s.

The light bulbs you see in some of the pictures were an extra element they added for their Christmas Eve services.

Download the design drawings.

[tentblogger-vimeo 30609476]

Related: Jesus, Light it Up – Compare an illuminated Jesus sign with a Coroplast backdrop and textured, color-lit metal-screen columns.

The post Hyper Techno Dots appeared first on Church Stage Design Ideas.

The backdrop was 1×2 wood furring strips painted white, cut in 3 different lengths to give a random look, and stapled and hung on thin black string.

The projection screen was four various sized “planks” hung with thin 4mm steel cable to appear completely floating. The planks were wooden flats wrapped in a white fabric. They were hung out over center stage about 15ft from the rain backdrop.

The video images were then masked within ProPresenter to only project onto the “planks”, leaving the LED lighted backdrop alone. For lyrics, Jeremy set up a template with four text boxes in order to quickly know their margins when adding a song.

Planning an Offset Projection Screen

The appeal of this design comes from separating two jobs that a single backdrop often has to perform. Four fabric-covered flats carry the projected imagery, while the white wood strips behind them catch colored light. The open spaces between the screens make the composition feel less like a conventional rectangle. When adapting the idea, begin with a drawing of your stage that includes musicians, microphone positions, the projector, and the seating area. Place the screen shapes where they will remain visible without crowding the people leading the service.

Make a small mockup before building the full-size flats. Arrange four paper rectangles in different sizes, then test how a short lyric phrase could fit across them. A visually interesting arrangement is not automatically a readable one. Leave generous margins around each text area, and avoid layouts that force the congregation to jump unpredictably between panels. Check the proposed arrangement from the rear seats and side aisles as well as from the main camera position.

Testing Fabric, Masking, and Backdrop Lighting

The original screens were wooden flats wrapped in white fabric. For your own version, test a sample of the chosen fabric with the actual projector before covering every frame. Look for even brightness, visible seams, wrinkles, and any texture that distracts from lettering. Pull the fabric consistently across each flat, and compare the finished samples under both projected video and plain white output. Keep the frame construction and support method appropriate to the size of the panels rather than assuming a decorative surface can carry structural loads.

Once the panels are in their final positions, use a simple alignment image to identify their edges and establish the projection mask. The original team used ProPresenter to keep imagery on the separated planks. Treat this as a workflow idea rather than a promise that every software version has identical controls. Test short and long lyric lines in the four-box template, then check several complete songs. Dark masked areas can still reveal stray projector light, so evaluate the look with your intended stage lighting instead of judging only the computer preview.

The rear layer uses white-painted 1×2 furring strips cut to three lengths. Repeating those lengths gives volunteers a manageable cutting plan while the varied placement keeps the texture from feeling rigid. Lay out a sample section on the floor and photograph it before installation. Try a side wash and a more direct wash to compare shadows between strips. Keep enough contrast between the lit wood and the projected screens that the two layers remain distinct; brighter scenery is not always a clearer composition.

The submitted design placed the screens about 15 feet in front of the strip backdrop and suspended them with steel cable. Those details describe this installation, not a required spacing or a ready-made rigging specification. Have a qualified installer review the complete panel weights, connections, support locations, and retention of the wood strips. If your room cannot accommodate suspended scenery, discuss an appropriately supported alternative with your facilities team. Include projector sightlines, access routes, storage, and installation labor when planning the adaptation.

Pro Tips for Offset Projection Panels

Lock the layout before masking: Finish panel placement first, then align the projected image. Label the panel positions and document the projector location so a later setup does not start from scratch.

Build a lyric stress test: Include your longest song lines and a few short phrases in the template. Check readability from the least favorable seats before introducing motion backgrounds.

Separate scenic and people lighting: Keep the wood-strip wash independently adjustable so color changes do not compromise faces or wash out the fabric screens.

Prepare a simple fallback: Keep a readable, low-motion lyric look ready for services. Rehearse the transition before relying on a more elaborate video treatment.

Related Designs

• Triangle Wall – Compare projection mapping across dimensional surfaces with a separately backlit scenic layer.
• The Doors – Explore a physical backdrop paired with a projected digital door.
• Dots Between Projection – See another approach to separated projection panels, masking, and decorative light.
• Shine it Out – Compare white scenic surfaces and a repeated pattern made from 1×2 wood strips.
• Light Squares – Explore geometric frames made from 1×2 lumber and accented with LED tape.

Related: Shine – Compare a reflective mylar and frosted-plastic window-frame backdrop with front and rear lighting.

Related: Jesus, Light it Up – Compare an illuminated Jesus sign with a Coroplast backdrop and textured, color-lit metal-screen columns.

Related: White Stage – Compare Lifehouse Church’s white curtains, painted floor, and fabric-skirted platforms for a unified stage palette.

The post Offset appeared first on Church Stage Design Ideas.

It was Wednesday afternoon and they needed to have a set by Thursday at noon. They had ordered 200 one gallon paint cans the week before for a different set. They also had several pallets that were lying around in their warehouse. They put the two together and this is what they came up with.

They screwed 35 paint can lids onto each pallet and attached the cans to the lids. They did this with four regular sized pallets and one larger 8′ pallet.

Then they flew the pallets using chain, wire rope, and tie line to pull the back and give each suspended pallet some angle.

Related: I Beams – Compare Discovery Church’s foam I-beams, faux brick panels, and LED accents for an industrial stage with layered depth.

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They got the statues on the walls from a landscape shop. They were about 16″ tall and lit from underneath with an LED cabinet. The statue in the back was printed vinyl on foam board with an amber gel on it.

They created the wall from foam board painted to look like stone work. Finally, the fabric behind it all is made of 18 foot tall red silk strips.

Warning: With a super scary set like this you might need to cover your seats with plastic if you allow children in your service.

Related: I Beams – Compare Discovery Church’s foam I-beams, faux brick panels, and LED accents for an industrial stage with layered depth.

The post Angels and Demons appeared first on Church Stage Design Ideas.

From Robin: This design was created for a new sermon series, Jesus First. I wanted something simple yet visually powerful. I created it first on photoshop to work out the proportions for our 20x40ft stage. I projected the letters onto 1/4″ birch luan, then cut them out with a jig saw and painted them white. We mounted them on 2 4×8 1/2″ plywood that was painted black, which we actually trimmed down to 4×12′. The ‘rays’ are 6ft 1×2’s painted gold. After we mounted the letters to the black plywood, we hung it and began attaching the rays. The vertical lights are shop lights that we painted gold on the inside, flat black on the outside. We used the largest Edison bulbs we could find. We mounted those light fixtures on a 12′ 1×12 board painted black. We will keep this design up until the series ends.

The post Shine it Out appeared first on Church Stage Design Ideas.

“Our Winter Wonderland scene stays up long past Christmas, bringing joy through the winter months. The display features handmade trees cut from foam board using an electric hot cutting knife, illuminated “ornaments” created from Dollar Tree bowls with battery-operated lights, and a snow-covered landscape using pillow stuffing and snow blankets.”

Materials & Cost

• Foam board (36″x48″) – $200
• Electric cutting knife – $35
• Dollar Tree bowls & lights – $25
• Snow materials & decorations – $40
  Total: Approximately $300

Creation Tips

Trees were cut from plastic-coated foam board, with larger ones made by joining two boards. For the glowing ornaments, we drilled holes in plastic bowls and added battery-operated lights. The original design came from a greeting card, with the Holy Spirit guiding our implementation.

Special thanks to Darlene’s friend, Praise for helping with setup as we arranged the trees against the wall, rather than throughout the stage.

Related: Angels and Demons – Compare another foam-board set that combines illuminated focal pieces with a layered scenic backdrop.

Related: String Trees and White Branches – Compare white-painted branches and open yarn trees as another way to build a layered Christmas scene.

The post Winter Wonderland appeared first on Church Stage Design Ideas.

*You could also accomplish this with ModScenes projection products.

This set consisted of a triangular grid that supported 180 build out triangle pieces. The triangles were made of translucent Coroplast strips for the edges, scored to create the shape, and a thin masonite for the front surface. The reason for the material choices was that both materials were fairly light, and he wanted to be able to back light the set and get light glowing in from the edges of the triangles, but he needed the front surface to be opaque to support projection and create the look he was going for when they weren’t projecting on it. The triangles were all built out at various heights so the the glow from back light would illuminate the front faces of the triangles to varying degrees creating a really interesting design when they weren’t projecting. They constructed this in 3 interlocking pieces of 60 triangles each and then rigged them to be supported both from the floor and from the air to minimize compression on the triangles over time.

From the beginning this set was designed to be a surface for projection mapping. They projected onto the set from the front with 3 15k lumen projectors, each handling a third of the triangles. The differences in depth among the triangles that they needed to achieve the back lit look had to be corrected on the projection end so they could create coherent images. The projection for each triangle was individual positioned to match the actual position of the triangle it was projecting on. This was done with a custom piece of software they wrote to allow them to handle all the mapping, and then also tie it into their lighting console for control during their services. Although they did make a good deal of custom video content for this set, they knew that it was unrealistic that they’d be able to produce the number of distinct video pieces they’d need to source this for every service element they would do over the 5 month period of time that they were going to use this set. They addressed this by giving control of the projection system over to the lighting console. From there, if they weren’t running video across the rig, they could treat each triangle in the rig as it’s own individual lighting fixture with the ability to set color, intensity, and texture to allow us to create looks on the fly programmed into our lighting cues. Videos played back on the system were triggered via midi show control and midi time code from lighting as well. They used a combination of Lightforge and an ETC Ion for lighting control.

Content for the screens was created almost entirely through Blender, with some compositing done through Sony Vegas, and a little bit in After Effects. In order to work with the number of surfaces they were working with and control them in a meaningful manner they wound up developing a handful of Blender addons that allowed them to manipulate the rig in ways that wouldn’t have been possible otherwise.

As far as cost goes, this was a fairly inexpensive set. Most of the materials for this set were reused from a previous set, and all of the gear they used is just stuff they have on hand. It was however a very labor intensive and tedious build. They had a decent crew of people working on this throughout the construction phase to get it built and up in time.

Here are a couple videos of it in action during their Christmas services:

O Come O Come Emmanuel

Christmas Service

God In The Hay

And here are a few more from a Halloween event they do. For their part of this event, their team decided to create electronic remixes of songs from Frozen and perform them.

Do You Want To Build A Snowman

Love Is An Open Door

Related: Offset – Compare four separated projection panels with a white wood-strip backdrop, including masking and lyric-layout ideas.

Related: Shine – Compare a reflective mylar and frosted-plastic window-frame backdrop with front and rear lighting.

The post Triangle Wall appeared first on Church Stage Design Ideas.

They built this set for their student center “The Hub.” They bought six 4’x8′ sheets of styrofoam from Lowes for about $80 and attached them to to 1″x1″ rods. They hung the rods from brackets they already had on their back wall. The whole set cost around $140.

The post Tilted Rectangles appeared first on Church Stage Design Ideas.

Tracey shopped Habitat For Humanity ReStore for some great doors that varied in size and color. Then they recruited artists from the church to paint a door–no other instructions, no theme to the doors. Then they assembled them into 3 door walls.

They lit them with Source4’s from the front with a seedy pink color and through the glass with a yellow-gold color.Then they created a ‘digital door’ using Coroplast and a projected image.

They also had “response stations” associated with the series. They were fashioned of doors as well, carrying the image through the whole service.

Total cost of the doors: $200.

Related: Offset – Compare four separated projection panels with a white wood-strip backdrop, including masking and lyric-layout ideas.

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Cody made two 11′ tall, 7′ wide, 1′ thick crosses made of Coroplast. He designed this to where all of the points met in the very center, which allowed an artistic look as well as a nice place he could make the connection fit with the style. They were held together with some very good black duct tape and 30lb fishing line to give the outer arms some structural support to the top center arm. Each cross used two and a half pieces of 4’x8′ 10mm Coroplast.

He started by scoring one side of the Coroplast so that when he made the cross arms they still had the support of being attached, rather than having four individual pieces without the structural support of them being attached. Then after scoring, he measured two of the beams and made a point at the halfway point and 6″ down the sides. The two sides that that were not at a point, he simply cut 6″ off of them. That way when the cross fit together everything would line up snugly.

He did this for all four beams. The base beam was 8′, and all of the others were 4′.

Once all were cut, he squared the pieces up and ran a 2″ piece of duct tape down the crease, for more structural support. Then he attached all of the pieces together. He taped the inside very well along each crease, then the outside very well along each crease. He put a 1’x1′ cap on the end of all but the bottom (which is where he put an LED light).

How to Adapt This Hollow Cross Design

The most useful part of this build is the way a flat sheet becomes a dimensional shape. Scoring one face of the Coroplast lets the material fold while the uncut face remains connected. Before cutting full-size panels, make a small sample from a scrap piece and test which side should face the audience. A shallow score should guide a clean fold without slicing through the opposite skin. Label each beam and dry-fit the pointed ends at the center so the arms meet evenly before applying tape.

Plan the footprint as carefully as the silhouette. These crosses were 11 feet tall, 7 feet wide, and 1 foot deep, so check ceiling height, sightlines, stage entrances, and storage space before committing to those dimensions. If your stage is smaller, keep the proportions but scale every part down together. A cardboard or tape outline on the floor can help volunteers judge how much room the finished pieces will occupy. Keep the original 4-by-8-foot sheet layout in mind when estimating material waste and transportation needs.

The light source at the open bottom turns the hollow body into a glowing scenic element. Test your LED fixture inside a sample beam before final assembly: its beam angle, distance from the Coroplast, and color will change how evenly the surface glows. If bright spots appear, move the light farther from the panel or add an appropriate diffuser that does not contact a hot fixture. Keep power connections accessible, secure cables away from foot traffic, and follow the fixture manufacturer’s clearance and electrical guidance.

For a repeatable installation, document which pieces join at the center and where the support lines attach. Inspect the tape seams and fishing line before each use, especially after the crosses have been moved or stored. Lightweight scenic materials still need a stable base and approved anchoring; have a qualified person review any rigging or overhead placement. This gives the team the visual impact of a large cross without treating the Coroplast shell itself as a load-bearing structure.

Pro Tips for Illuminated Coroplast Crosses

Score a test strip first: Practice the fold on scrap material so the face stays intact and each arm holds its intended shape.

Control light spill: Position LEDs so the cross glows evenly without shining directly into the congregation or cameras.

Reinforce the center: Dry-fit the four beams, then inspect the taped joint and support line before lifting the piece into place.

Design for storage: Measure doorways and storage space early; modular sections are easier to move than one permanently assembled scenic piece.

Related Designs

• Sullivan Stage – See another scored Coroplast approach that creates dimensional stage texture.
• Light Squares – Explore LED-lit geometric frames and practical mounting ideas.
• LED Wave Pattern – Compare a larger translucent Coroplast design lit with LED tape.
• Sheer Backing – Consider another lightweight backdrop that responds to colored light.
• What are Stage Flats? – Learn how reusable flats can support dimensional scenic builds.

Related: Compare these internally lit shapes with Triangle Wall, a Coroplast-edged geometric backdrop that combines backlighting and front projection.

The post Hollow Crosses appeared first on Church Stage Design Ideas.

The wall was 8′ tall and was stapled to flats that they’ve used for multiple series/sets. There were only 3 contact points from top to bottom along the 8′ height. The top and bottom Coroplast pieces moving all the way down the line were scored at three different points and alternated up and down to give the suggestion of some randomness too and to get closer to the Sullivan design. The bend angle was maintained under the Coroplast’s own strength, but they had to be careful not to score them too deeply.

They flipped the weave in some ways. They thought they could flip something like that vertically and make it an asymmetrical pattern. They added two triangle shaped pieces of coro to each side of the wall to suggest Christmas trees and kind of give it a little more seasonal flair.

They also did a Let It Be Christmas festival of trees and people decorated Christmas trees according to different Beatles song titles. This allowed them to kind of “crowd source” the decoration of the lobby and unleash a lot of creativity.

Related: Planning modular scenery? This guide explains Broadway and Hollywood stage flats, including framing, bracing, finishes, and storage.

How the Sullivan-Inspired Backdrop Works

The impact of this set comes from repetition with a controlled break in the pattern. Long Coroplast strips create a rhythm across the wall, while alternating the scored bends keeps the surface from looking like a flat grid. The original team attached the wall to reusable flats at three points over its eight-foot height. That underlying structure matters: it gives each flexible strip a consistent starting position, so the angles read as an intentional design instead of a collection of loose pieces.

If you want to adapt the idea, begin with a measured sketch of your stage width and the sightlines from the far-left and far-right seats. Mock up one narrow section before cutting material for the whole wall. Put the test section under your normal front light and side light, then view it both in person and through a camera. Small changes in the bend angle can make a large difference in the shadows, especially when the folds are repeated across the full backdrop. Keep enough space behind the surface for access to the flats and any lighting you plan to use.

Coroplast is light and easy to shape, but scoring is the step to practice. Mark the fold lines consistently, cut only deeply enough to encourage the bend, and try a sample before committing to full-length pieces. The original build relied on the material’s own strength to hold the angle, so an overly deep score could weaken the fold. Label the pieces and photograph the spacing during assembly; volunteers can then recreate the pattern more quickly when the set is reused.

The asymmetry is useful beyond the Beatles reference. Rotate or rearrange sections to change the visual weight without rebuilding the entire wall. For a seasonal service, the original designers added triangular Coroplast pieces at the sides to suggest trees. A different accent color or lighting cue could shift the same structure toward another series while keeping the core flats in place. Their lobby tree display also shows how a stage concept can continue into the gathering space without requiring every piece to be built by the scenic team.

Related Designs

• Light Squares – A repeating geometric frame pattern with a different lighting approach.
• Shooting Stars & Bricks – Layered wall texture and light for a dimensional stage.
• LED Wave Pattern – Repetition and light used to create movement across a backdrop.
• What are Stage Flats? – A practical guide to the reusable scenic foundation behind this build.
• Sky Full of Stars – Another way to carry a seasonal visual idea across the stage and room.

Pro Tips for a Folded Coroplast Stage

Test the score first: Make one short sample strip and check that it bends cleanly without tearing or losing its spring.

Plan for camera angles: Walk the room and check your stream framing before fastening every section; repeated folds can merge visually from a distance.

Secure the flats: Confirm the support structure and attachment points are appropriate for your room, and keep access clear for safe setup and removal.

Document the pattern: Number the strips and save a few assembly photos so the design can be reset or adapted by another volunteer team.

Related: Hollow Crosses – See how scored Coroplast and interior LED lighting create dimensional cross shapes for a church stage.

Related: For another dimensional Coroplast approach, explore the Triangle Wall projection-mapped backdrop, which combines opaque faces with translucent, backlit edges.

Related: For another tree-inspired seasonal scene, explore Winter Wonderland, a church stage design with glowing ornaments and layered snow.

The post Sullivan Stage appeared first on Church Stage Design Ideas.

Square frames: Led wooden frames were built by 1x2s braced with corner L-Shape brackets and painted black. Rigged onto each square frame is LED tape, we had a hard time only using adhesive on the back of the tape and the small clear plastic braces that LED tape comes with, so we used transparent zip ties as needed. For LED tape corners, we used L shape LED light strip connectors. There is no diffusion on them but we don’t go past 50% intensity (usually stays at 25%).

Wall rigging: We painted a 12ft 2×4 and screwed it onto the very top of the wall, this building has thin sheet metals as studs, so we used heavy-duty sheet rock anchors with proper distribution for even weight support (highly recommend you look into building blueprint before making any installs).

LED square to wall rigging: Some squares we rigged individually, some we rigged into each other. For the individual squares, we screwed in 2 O-hooks on the 2×4 and 2 on the square frames, spaced out for even weight distribution, then we used fishing wire looped through a few times for extra support. For the bigger squares and squares rigged to each other, we used bigger hooks with fasteners to adjust the height as desired, for better weight distribution we used 4 instead of 2 which worked out perfect. Because of bottom squares rigged into top squares, squares started to warp causing disruption in uniformity.

LED tape to power: We used 22 AWG 4 conductor extension cable with LED 5050 strip to wire, there is plenty of options for this part, and we found this combination to be the most seamless and quality controlled (in this part always overestimate quantity, after rewiring and troubleshooting as needed we were very happy to have extras from previous builds).

DMX conversion: We ran the extension cable from each LED strip to a “central” part that was closest to a power source and DMX while still keeping a consistent, clean look (this part will make or break the entire look, always choose clean over convenient). We ran the cable along the frames keeping them in place with thin black zip ties strategically placed between pixels, then along the fishing line, and finally along the top of the 2×4 and screwed in using the plastic screw-in holders from the LED tape. For decoding we used the 24 channel DMX512 input DC 5V-24V output 24V x 3A, we used a 3 channel patch for each square so with the 24 channel we had enough for an entire side of squares. To power the decoder we used two 12V power supplies for each decoder (quality power source is HIGHLY recommended specially for big builds/long LED strips).

Final thoughts: The build definitely took longer than expected but was a great opportunity for the community and to sharpen hands-on experience. A lot of prayer, a lot of patience, a lot of laughs, a lot of coffee, and a lot of Jesus.

Related: A repeating geometric wall can also be made with scored Coroplast. See the Sullivan Stage for a flexible, flat-mounted variation.

Related: Hollow Crosses – See how scored Coroplast and interior LED lighting create dimensional cross shapes for a church stage.

Related: See a contrasting take on repeated geometry in this tilted rectangle backdrop built with foam sheets.

Related: I Beams – Compare Discovery Church’s foam I-beams, faux brick panels, and LED accents for an industrial stage with layered depth.

The post Light Squares appeared first on Church Stage Design Ideas.

This design was created for a series called “Games People Play.” They wanted it to have an arcade inspired theme. In order to give it a Pacman kind of look, they took a cue from “Big Baller” with half styrofoam balls for the background and used LED tape to create a border around it and give it a Pacman board style look. They separated the panels to provide some drama and stretch the full width of the stage.

For the outside columns, they used white cardboard boxes from U-Line lit from above and below. This was to emulate 8-bit designs, with the boxes looking more like large “pixels.”

These outside columns were actually freestanding, using a tall thin frame that was built for a previous stage design. (This allowed them to move the column on house right to get to a baptistery built into the stage.)

They were originally going to lay out the back panels to have more LED tape strip lines cutting into styrofoam balls (similar to Pacman maze) but time constraints ruled this out (see original SketchUp ideas).

Related: Compare this layered foam treatment with a tilted foam rectangle backdrop that uses simple sheets and angled placement.

Related: Hyper Techno Dots – Compare this arcade-inspired look with a perforated OSB wall, glowing circular details, and individually controlled light boxes.

Related: Here Piggy Piggy – Explore a cardboard piggy bank and foil-covered foam coins for a giving and generosity stage design.

The post Stacked Carefully appeared first on Church Stage Design Ideas.

Her next hurdle was figuring out how to install it on the stage. After some discussion with some folks, she decided to use some plywood and drill a ton of holes into it, and then use cinder blocks as weights at the base. So they ordered all of their supplies and got the prep work started.

They cut 700, 40 ft. strings. They found the easiest way to do this was to set up 5, 8 ft tables and then just roll the string down the table. They weren’t all the same length, but they knew they’d be cutting them again anyways, so that wasn’t a big deal.

Once that was done and they had their plywood all drilled and painted, it was time to start threading the string through the boards. The total time this took was around 12 hours to do two of them.

So they starting stringing. Randy, her helper, pulled individual strings out for her, and then she took them and threaded them onto a yarn needle and strung them through the board. The second board was a lot easier because they learned a few things with the first board.

Once they were all threaded, they were ready to hang them up. Emily climbed up into the lift with the board in hand and went up to the ceiling to install the boards. She ended up using zip ties to secure them to the beams that they were resting on.

Now they were ready to tie 700 cups to the strings. They snipped off the ends of the cups, and threaded the string through the hole, and then threaded a nut on and tied the string around the nut. It took almost an entire week to complete that part.

700 strings and 700 cups later, they had a sweet stage design! Check out her blog post on it here.

Related: String Trees and White Branches – See another string-based installation with practical notes on even spacing, hoop bases, and volunteer assembly.

The post Flock of Cups appeared first on Church Stage Design Ideas.

They build the Bold letters with pink insulation foam from Home Depot. They cut the letters out then painted them white. Then they hung them up with a little fishing line. To light it, they shined LED lights onto them and there you go!

Why Oversized Foam Letters Work on a Church Stage

Large letterforms give a worship space an immediate focal point because the message is readable before the audience notices the construction method. The white finish on these letters keeps the word visually clean, while the deep shadows around each shape help it stand apart from the dark background. This approach is especially useful for sermon series, student events, conferences, or seasonal themes where one short word can carry the visual concept without competing with lyrics or teaching content.

Rigid insulation foam is a practical material for this kind of installation. It is light enough for volunteers to move and suspend, yet thick enough to create a dimensional edge that reacts well to side light. Before cutting, project or trace each letter onto the foam and mark a consistent baseline so the finished word reads as one composition. A long straightedge handles simple strokes, while a hot-wire cutter or fine-tooth blade makes smoother curves. Test tools on a scrap first, work in a ventilated area, and follow the manufacturer’s safety instructions.

Finishing, Spacing, and Lighting the Letters

Foam can react badly to solvent-based coatings, so choose a foam-safe water-based paint or apply a compatible barrier coat before the final color. Two light coats usually create a cleaner surface than one heavy coat. Painting the edges matters as much as painting the faces because the audience will see those edges from side seats and camera angles. Small imperfections disappear at a distance, but consistent color and thickness make the full word feel intentional.

Lay the letters on the floor at full scale before adding hanging hardware. Check the gaps from the center of the room and through the main camera, since visually equal spacing may differ from mathematically equal spacing around wide or narrow characters. Use independent suspension points where possible so each letter can be leveled without disturbing the rest. Clear monofilament can nearly disappear under stage lighting, but every connection and overhead point still needs an appropriate load rating and a secondary safety method.

LED fixtures let the same white letters support multiple moods. A saturated color wash creates a graphic silhouette, a shallow side angle reveals the foam thickness, and a soft front wash improves readability for cameras. Keep fixtures far enough away to blend the beam across the whole word, and store a few color looks in the lighting console for different moments in the service. If hotspots appear, widen the beam, add diffusion approved for the fixture, or increase the throw distance rather than moving the letters.

Plan the Letter Scale for the Room

Start by measuring the usable width and height behind the worship team, then photograph the empty stage from the center aisle and the primary camera position. Place a simple digital mockup over that photo before buying foam. The word should remain readable behind musicians, music stands, and instruments without crowding projection screens or exit paths. As a practical starting point, reserve generous negative space around the outside letters and keep the baseline above the visual clutter created by floor monitors. Tape the proposed outline on the wall or hang paper templates at full size, then view them from the back row. This quick test catches scale problems that are easy to miss on a laptop.

Choose the word before finalizing dimensions. Short words allow wider strokes and larger counters, making letters easier to cut and more legible under colored light. Condensed typefaces fit limited widths but can lose clarity when shadows fill narrow openings. A bold sans serif with simple curves is usually the most volunteer-friendly option. Print each letter on tiled paper, project it directly onto the foam, or build a reusable grid so every character shares the same cap height. Mark the front, top, and hanging points on the back of every piece before painting; those labels prevent flipped letters and speed up later installation.

Create a Safer, Repeatable Installation

Build and test one complete letter before producing the rest. That prototype should include the chosen paint system, attachment hardware, suspension line, and lighting angle. Weigh it after finishing because coatings and reinforcement can change the load. Any overhead installation should be reviewed by a qualified person, use hardware rated for the actual load, and include an independent secondary safety. Keep suspended pieces away from heat sources, sprinklers, moving fixtures, and required sightlines. If the room cannot support overhead rigging, mount the letters to lightweight scenic frames or ground-supported uprights designed so they cannot tip.

Document the finished setup with a spacing diagram, fixture positions, console colors, and labeled storage photos. Wrap each foam letter separately with a soft barrier and store it flat or fully supported so edges do not crush. Small jars of matching paint make touchups faster between services. For a fresh look, change the lighting palette, rearrange the letter depth, or add a contrasting background rather than rebuilding the entire set. This keeps the design flexible for multiple events while preserving the clean, oversized typography that makes the original concept so effective.

Pro Tips for Foam Letter Stage Designs

Prototype the Hardest Letter: Cut the most complex curve or interior opening first. That test reveals whether the selected foam thickness and cutting tool can deliver the finish you want before the team commits to the entire word.

Reinforce Hanging Points: Spread each load with foam-safe anchors, washers, or a lightweight backing plate instead of tying line through a small puncture. Always use rated hardware and qualified oversight for anything suspended above people.

Label Every Connection: Mark the back of each letter and its matching suspension line. A simple left-to-right numbering system speeds installation and preserves the intended spacing when the design is reinstalled.

Test Through the Camera: White foam can clip or glow on video before it looks too bright in the room. Check exposure, focus, and color under the actual service cues, then adjust intensity for both the congregation and livestream.

Related Designs

• Letters and Lights – See another dimensional-letter installation that combines readable typography with dramatic illumination.
• Extruded Letters – Explore a bold lettering concept that uses depth and shadows to strengthen a simple message.
• Love Letters – Find inspiration for turning one memorable word into the visual center of a worship environment.
• String Typography – Compare a different lightweight method for building large-scale text with texture and negative space.
• Words with Friends – See how oversized words and inexpensive sheet materials can create a playful, recognizable stage theme.

Related: For another lightweight scenic approach, see this foam rectangle stage design made from tilted panels.

Related: See how plywood lettering, gold rays, and decorative bulbs work together in Shine it Out’s Jesus First stage backdrop.

The post Bold appeared first on Church Stage Design Ideas.

From the team: The design that we created was a little complicated since our auditorium does not have much height, besides that we added to the stage assembly we have a grid of lighting for TV. We use led and beams technology.

The number of machines we have are as follows:

-24 High Bright Led Torque
-10 Beam 5R
-10 Led Bar
-12 Pair Led for walls
-04 Wash Mobile with zoom
Soon we will add a led screen P5 and will share the new design of our auditorium.

The post Short Ceiling Lighting appeared first on Church Stage Design Ideas.

In this article, Duke DeJong shares about four different lighting techniques, as well as creating zones to evenly light your stage.

We’ve talked a little about lighting options. But what exactly do we do with all of these lights? Let’s look at some traditional methodologies of lighting which include everything from one to four fixtures per lighting zone.

One-Point Lighting

Most of us experience one-point lighting in nature every day. Yes, I’m talking about sunshine. In many occasions, a single source of light creates a very natural, sometimes dramatic look that will draw people’s attention to the single lighted person or surface. And if it’s good enough for nature, there are times it might be good enough for you. The catch? As anyone can see with a walk around the park, a single source looks two dimensional or flat, and rarely hits people straight on, so it creates shadows.

Two-Point Lighting

When you want the subtleness of a single light source but want your people to stand out in 3D, two-point lighting can be a great way to add dimensionality without going overboard on your lighting. I often use this approach for bands in churches that like a more aggressive lighting vibe by taking a single light source from straight on in front of the lighting zone, about 30-40 degrees up. I then add a top light above and slightly behind the zone (about 60-70 degrees) in order to define the head and shoulders of the people in the zone, creating a three-dimensional look without using too much light. There is still quite a potential for shadowing if a person turns their head either direction, but where a little shadowing is okay, this can be an effective way to bring focus.

Three-Point Lighting

Not everyone is happy with the shadows that two-point lighting can produce, so the logical solution would be to add two light fixtures from the front, still 30-40 degrees up but having each fixture hitting your zone from 45 degree angles off center. Add that same top light from above and slightly behind, and you’ve got three fixtures giving you light on both sides of the face (regardless of the direction it faces) and a multi-dimensional look. This approach is commonly used in theater and worship stages where cameras aren’t used, or at least aren’t a big focus.

Four-Point Lighting

When cameras are being used, especially HD cameras, three-point lighting can actually fall short of providing even lighting across your lighting zones. Think of a 10-foot wide circle as your lighting zone. As you move to the right, the right side of your face will become brighter as you get closer to the right fixture and farther from the left fixture. Turn around and head back the other way and the opposite happens. Cameras tend to pick up on this more than our eyes, because our brains compensate where a camera does not. In order to fix this, in places where cameras play a critical role, I tend to use four-point lighting. That means a front light straight-on the lighting zone, providing the primary light, and two fill lights 45-60 degrees off center to fill in the sides of the face. The straight-on light is my primary source, so for example I may have that intensity at 80%. If that’s true, my fill lights might be at 60% and then of course I have my top light providing the dimensionality I want from behind. All three of the front lights would still shoot at a 30-40 degree angle and my top light would be above and behind at 60-70 degrees.

Creating Zones

Lighting is most effective when you have good control of what your light is hitting and not hitting, and the best way to make a plan of attack for your stage is to divide it into zones. Most lighting pros will divide their stages into zones of 8-12 foot diameter circles with a slight overlap of zones to make sure there are no holes in the coverage. If your stage is 30 feet wide and 30 feet deep, you would likely end up with 3 zones across down-stage, 3 zones across mid-stage, and 3 zones across up-stage. Breaking your stage into these zones not only helps make lighting them evenly more manageable but also allows for greater control of special lighting. For example, perhaps you want to draw attention to a speaker down-stage left for one part of your service and then immediately cut to down-stage right for the next part. By lighting each zone individually at the right times, you draw everyone’s attention to the right place at the right time.

What’s Right For You?

This may take some experimentation, but if you’re starting out with no lights (and no video cameras), I’d say start off with two or three point lighting for every zone on your stage. Work the angles the best you can. If you have to fudge three point lighting at 40 degrees off center instead of 45 degrees or have your single front light in two point lighting be slightly off center, it’s not the end of the world as long as it looks good to you and puts focus where it needs to be. In fact if you only have two fixtures per zone and choose to have a flatter look but less shadows, you can use two fixtures from 45 degrees off center from the front, creating a more even front look.

If cameras are a big part of what you do, I typically look at two or three-point lighting for the zones the band will be in and then four-point lighting for the down-stage areas my speaker will use. The beauty is with four-point lighting on the down-stage sections, I can choose to only turn on three of them to match the rest of the stage for worship and then add the fourth light once my speaker comes on stage. The same holds true with a two-point approach. But when it comes time for the message, the lighting looks even from side to side with no shadows when the head turns and a 3D look because of our top light.

The long and the short of lighting is that while there are tried and true theatrical methodologies, lighting is all about focusing attention and creating atmosphere. Whatever accomplishes those tasks for you is “right”, regardless of how exactly you get there. Some churches will want very minimal white light but will have layers and layers of color. Some will choose to do 4 or more white lights per zone. The goal should always be creating a look that enhances what you’re doing and brings focus where focus is needed.

Duke is passionate about equipping the next generation of ministry leaders, especially those serving churches with technology. He serves as Church Relations Director for CCI Solutions, a design build technology solutions provider. Follow Duke on Twitter: @dukedejong

Related: Simple and Elegant Easter Decor – Minimalist decor ideas for Easter services

Related: beginner’s guide to LED stage lighting — For fixture selection, placement, and camera guidance, use this

Related: See how a real church combined LEDs, beams, bars, and washes in this short-ceiling stage lighting design.

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They already had some 5’ x 8’ spandex shadow boxes left over from another series. So using two Optoma ultra short throw projectors (model W307UST), a Mac Mini running Pro Presenter, and a Matrox Triple Head2Go, they projected video on the spandex. They used the masking feature to add “black” between the screens and to keep bleed off the walls. To get the signal from the Triple Head 150’ through conduit, they purchased a pair of Kanex VGA over Cat 5 extenders (model VGAEXTTX1).

To keep the ground projectors “sync’d” with the lights, they purchased the communications module add on for Pro Presenter. Their console (Jands Vista T2) sent commands via artnet to the Mac Mini. For each service, they created a new show with several song looks and series graphics to make everything match. The Vista would basically tell Pro Presenter which slide to fire per cue.

Another addition to the look was 12 light strips to warm up the look. The strips were your common Altman 3 circuit colored border light strips (model R40-8-3) except they took out all the gel and re loaded them with cheap 65 watt R30 lamps as opposed to its original 300 watt lamps. To keep the strips upright, they removed the original yokes and attached a 24” plywood base with a 1/2” bolt through the bottom. They laid two more in front of their band risers.

They wired each strip to its own dimmer to chase during songs. For the most part, they parked them at 20% to give a nice warm glow and peaked them at maybe 40% during chases—not to abuse the audience too much. The price was awesome too: free! James pulled them out of a high school that was being renovated.

The total cost of the project was under $2000. They had some of the items already in house with the exception of the strip light lamps, projectors (rental), cat 5 extenders, and Communications module.

Related: Offset – Compare four separated projection panels with a white wood-strip backdrop, including masking and lyric-layout ideas.

Related: Hyper Techno Dots – For another layered lighting approach, explore a perforated wood backdrop that combines small glowing dots with larger light boxes.

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Ryan combined Derek Studt’s shower curtain design and Camron Ware’s weed block design.

First they used the shower curtain idea and made one, large 22-foot by 18-foot shower curtain broken down into 2 by 2 frames. Unlike Derek’s design they didn’t connect the center of each sheet and only connected each sheet width every three squares.

They lit them with 4 color faders and two inexpensive LED’s. They hung three of the CF’s from behind the curtain and aimed them straight down. The two LEDs they aimed in front at the holes that were left from the CF’s. Then they placed one CF on the ground behind the curtain on the ground to make a very diffused spot on the sheet.

Then they hung weed block painted white on the sides. They lit them with some Robe Color spot 575’s and blew out some Gobos to cover either side of them.

Related: White Stage – Compare Lifehouse Church’s white curtains, painted floor, and fabric-skirted platforms for a unified stage palette.

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From Cameron: Our Advent series was The Wonder of Christmas. We wanted folks to walk in to our Christmas Eve service and be filled with awe and wonder. We projected a sky full of stars on the walls and ceiling of the room. The stage area has a lot of dark surfaces and we didn’t think projection would create the impact we were going for in that area, so we opted for star curtains. We ordered 5 6’x10′ panels, each of which are DMX controllable. The panels were $170 each, for those wondering about cost. We put three on the back wall and one on each side of the proscenium. Each curtain has a controller box where the dmx and power connections were made and then a 5 pin pigtail between the box and curtain itself. The curtains we used have grommets for mounting and included Red, Green, Blue, and White stars that could be dimmed independently, which we were able to incorporate into lighting changes for different songs.

We also used a second platform off to the side to allow for tighter transitions and make our space feel larger. We did a lot of things differently in this service that created a big impact for folks who came to participate. Our house lights were off for a majority of the service, we used way more haze than normal, we used burlap to cover some of the more recognizable features of the room, we used aromas. Changes like this, while subtle, helped to transform our space into something completely new and different and allowed for a Wonder-filled Christmas Eve.

Related: For a snowy forest alternative to star curtains, explore Winter Wonderland, a church stage design with glowing ornaments and layered snow.

Related: String Trees and White Branches – Explore a Christmas stage that pairs glowing tree lights with white branches and yarn silhouettes.

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The back rectangular pieces were a black wood frame with white yarn making a star pattern in them. Then, they used LED tape lights inside the wooden frame to add light to the yarn for a cool effect.

The rest of the design consisted of properly placed lights, using backlight a lot for cool effects.

Related: For a larger celestial environment, see how DMX star curtains, projection, haze, and layered lighting created an immersive night sky.

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For this set they wanted to do an 80’s urban feel. Sean got the idea to use the brick for a backdrop from watching ‘Next Food Network Star’. Their whole set has a lot of brick lit with LED light and he loved the way it looked on TV. It added more texture than just a flat up-lit wall. Then he knew he wanted to attach LED strips to the front that would mimic old neon tubes that were so popular in 80’s clubs and décor.

They started by buying 4×8’ sheets of fake brick from Home Depot and attaching them to a frame made up of 2×4’s. Lining up the seams and making the sheets look like a solid wall took a bit of time but it wasn’t too difficult. For attaching the LED’s to the wall, they took All-thread and cut it into 8ft strips. Then they took 6in. pieces of All-Thread and welded two pieces on to each 8ft stick. Then they drilled holes in the brick wall and using a nut and washer on each side of the wall. They secured them 4 inches off the wall to give some depth and help the LED’s pop. They took the LED strips and zip tied them to the All-thread with the bottom end of the strip bending around the bottom brace and going back into the wall to give it more of the neon tube look. Then they wired up the LED’s on the backside of the wall.

We already owned the LED bars that are lighting the brick and the LED strips, so the only cost we had was for the brick which is $25 a sheet at Home Depot. We used 15 sheets for our set which is 40 feet wide and 12 feet tall. So overall we only spent around $400 on this set.

How to Build a Faux-Brick LED Stage Wall

This concept works because it combines two different kinds of depth. The molded brick panels create a textured surface that catches uplight, while the LED strips sit several inches forward and read like glowing lines suspended in front of the wall. Before construction, sketch the complete line pattern and mark every pass-through point for power and data. Keeping drivers, controllers, and cable connections behind the scenery gives the audience a clean neon effect while leaving the technical team access for troubleshooting.

Build the scenic wall in manageable framed sections rather than one continuous piece. A 4-by-8-foot module matches the panel size, makes seam alignment easier, and allows volunteers to move or store the scenery safely. Paint exposed framing and visible gaps a dark matte color so the supporting structure disappears under stage lighting. When adjoining panels, dry-fit the brick pattern before fastening anything; even a small vertical offset can make the seam noticeable from the room.

The stand-off method is what gives the LED lines their visual separation. Threaded rod is strong, but every cut end should be deburred and capped, and welded supports should be inspected before installation. Use washers on both sides of the scenic panel to spread the load. If welding is not available, lightweight aluminum channel or securely mounted conduit can create a similar effect. Keep the LED product within its rated bend radius, and use frequent, consistent attachment points so the line stays straight without pinching the strip.

Lighting, Power, and Budget Planning

Use the brick uplights and the front LED lines as separate visual layers. Warm amber or saturated red uplight emphasizes the masonry texture, while a contrasting cyan, magenta, or white on the forward strips makes the linear pattern stand out. Program a few restrained looks before adding chases: a static architectural look, a slow color transition, and a brighter musical look will cover most service moments without distracting from the platform.

Calculate power demand before wiring the wall. Add the wattage of every LED strip at full output, include a safety margin, and distribute the load across correctly rated power supplies and circuits. Label both ends of each cable and provide strain relief where wiring passes through the scenic panels. Any connectors or power supplies should remain ventilated, accessible, and separated from combustible materials. Prices for panels and lighting vary, so build the budget from current local quotes rather than relying on an older material total.

Pro Tips for Brick and LED Stage Designs

Hide seams in shadow: Place panel joints behind a vertical LED line or in a darker part of the lighting composition so minor pattern differences are less visible.

Test one module first: Build and light a single 4-by-8-foot section to confirm spacing, color, brightness, and camera performance before producing the entire wall.

Plan service access: Leave removable rear panels or clear pathways to controllers, power supplies, and connectors so a failed component can be replaced quickly.

Check every viewing angle: Inspect the wall from the front rows, balcony, livestream camera, and side seating; adjust stand-offs or cable routing wherever the illusion breaks.

Related Designs

• Neon Stacks – See how layered glowing forms can create a colorful, contemporary focal point.
• Black and Brick – Explore another high-contrast approach to using brick texture in a worship environment.
• Coro Bricks – Learn how lightweight Coroplast can suggest masonry without the weight of rigid wall panels.
• Floating Bricks – Discover a dimensional brick-inspired backdrop with strong shadows and visual depth.
• Neon Tubes – See another way to use bright linear lighting for a bold, neon-style stage look.

Related: Compare this animated LED treatment with a wraparound star-curtain stage using individually controlled RGBW points of light.

Related: For another textured backdrop built around repeated shapes, explore the Sullivan Stage and its folded Coroplast pattern.

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The piece measured 2.5 x 15 meters.

It was a cotton sheer muslin painted with diluted gouache to keep the fabric transparent.

They nailed the material to wood panels with a layer of absorbing fabric underneath to absorb superfluous paint. This allowed the use of a backlight without unwanted shadows.

The design was sketched with charcoal using a string grid to scale, then inked black with brushes on long bamboo sticks and then colored in.

A velcro band was attached onto the upper seam and its counterpart nailed to a ledge on the stage. The three other hems were tunneled, a separate cord run through each tunnel so the backdrop could be stretched out.

LED flood lights were used to light it from the front and the back.

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They purchased a large 100′ parachute from an army surplus center locally and simply tied the center to a truss high above the rear of the stage and used simple rope to tie the far ends to the roof beams of our buildings ceiling which made a beautiful backdrop for environmental projection or to throw some LED washes onto.

The triangle truss columns were actually salvaged antenna tower they snagged for free from an antenna tower supply yard. They used silver metallic spray paint to give it a traditional truss finish and used pipe flanges to anchor them into the stage floor.

They used LED Pixel Bars to create the V-shaped lighting configuration, simply attached to the truss and stands. They repurposed their gymnasium to fit their expanding student ministries, so they literally removed the basketball goal and used the existing framework to attach their projection screen. Total Cost on the parachute backdrop was $125.

Related: For a different environmental projection surface, see Triangle Wall, where layered geometric faces are mapped individually instead of using one fabric canvas.

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