As a church creative team, we always look forward to Easter. It’s a weekend we know we’ll have more seekers than typical, so we bring extra intentionality into every creative element.

While brainstorming for Easter 2019, we asked ourselves the question, “Why is God good? And how do we show that goodness to someone who doesn’t know Him?”. That thought process led us to realization that many people who are walking into our Easter services may not have ever known the goodness of God. We’ve all experienced loss, anxiety, pain, and fear; and with all that’s wrong with the world, it can sometimes be hard to see God’s goodness.

So it’s with this that we conceived the idea of “Is He Good?” A series of questions without answers. We set up the need but don’t provide the solution. We take the viewer on a journey that may be familiar. Scenes of anxiety, rejection, fear, and loss. Frozen in time as if to capture the moments of uncertainty.


The process for “Is He Good?” was very unique. We only had about 3 weeks to figure out how we wanted to bring this project to life. Pre-production was a massive undertaking with hundreds of hours spent sourcing and building props. We worked with our crew to design the set, and develop camera movements and a lighting plan. We were able to go into the project with a pretty solid grasp on all we needed to do.

We decided we wanted to capture the entire film as a one-shot, with an obvious nod to the fact that this is a set/facade. This presented a challenge because it meant we had to get a perfect shot that lasted for 3 minutes. During our pre-production process we made the decision to shoot with hidden cuts. So although it feels like one shot, it’s actually five separate shots edited together as one.

The first time around the set, everyone is frozen in their scene. Caught in the moment of despair. The second time around we added movement to our talent and began to reveal the facade of the set walls and equipment. The purpose of this was simply to show that so often what we put up facades of our own. We put on a show when the reality is that there’s much more beneath the surface.

Each scene is color-specific. Every item was picked with intentionality to create a separation of color between the scenes. If you watch closely, you’ll notice that every poster, label, decoration, etc. has an element from our script. This overly-stylized approach lent itself to the message of the warped reality we sometimes find ourselves in.

The final reveal is a camera raise to further drive home the fact what we are seeing is more than we thought. There’s more going on and the over-head shot shows us the big picture.