1 00:00:00,000 --> 00:00:04,080 Hey everyone and welcome to the Dan Show. We've got a bunch of great topics for you today. 2 00:00:04,080 --> 00:00:07,200 We're going to go through the whole set here. We're going to go through VMIX, 3 00:00:07,200 --> 00:00:10,640 cameras, everything today. We're also going to talk about 4 00:00:10,640 --> 00:00:14,560 merch messages. We're going to talk a little bit about merch messages, how they work, 5 00:00:14,560 --> 00:00:17,360 some record stats, and other interesting stuff about them. 6 00:00:18,000 --> 00:00:20,400 Yeah, we've got a lot to cover today, so let's get into it. 7 00:00:23,040 --> 00:00:27,360 All right, so we're going to start off by talking about the set here. We've got 8 00:00:27,360 --> 00:00:33,760 this lovely table done by Nick Heavy, Callanan in Logistics. It's got some integrated lighting, 9 00:00:33,760 --> 00:00:37,920 it's got everything that we need right here on the table. So I guess the first thing that we 10 00:00:37,920 --> 00:00:45,040 got here is our laptops. They are all connected via HDMI. They go all the way back to the computer. 11 00:00:45,040 --> 00:00:49,840 I get a lot of questions about the mic arms. I don't know the exact brand of them, 12 00:00:49,840 --> 00:00:56,480 but I do know that they're from wheelchairs. So if you have a wheelchair or something like that, 13 00:00:57,600 --> 00:01:02,240 and you need to hold something next to your mouth or like have an availability there, 14 00:01:02,240 --> 00:01:08,320 this kind of clicks on, it's rotatable, it's got this nice little locking plug there, 15 00:01:08,320 --> 00:01:15,920 and it's flexible and they're quite strong. So they're more non-traditional, they're kind of 16 00:01:15,920 --> 00:01:22,320 non-standard, but they're really kind of nice for a nice solid mounting. They do have the tendency 17 00:01:22,320 --> 00:01:28,720 to droop a little bit. These mics are very heavy, but that's probably about it for the mic stands. 18 00:01:28,720 --> 00:01:34,800 They come in different kind of girths, I guess, and they've got a standard thread on the end, 19 00:01:35,520 --> 00:01:42,080 and then this like ball detent. You can't rotate them, but you can pull them up if I can do this. 20 00:01:44,480 --> 00:01:49,440 There we go. So you can see on the mounting attachment here there's a bunch of like individual 21 00:01:49,440 --> 00:01:55,360 holes for these ball detents on the bottom. So you can kind of get them set in, and then they don't 22 00:01:55,360 --> 00:02:02,000 rotate, and then they click in really nice like that. Our microphones here are the Electrovoice 23 00:02:02,000 --> 00:02:08,240 RE20s. So these have less of a near field effect. So when you're getting close to it, 24 00:02:08,240 --> 00:02:13,120 or you're kind of farther away, the sound doesn't change too much. It's a bit of a cross-up between 25 00:02:13,120 --> 00:02:23,040 the SM7B and the RE20, and SM7B is basically just like a different brand of the SM57, 26 00:02:24,000 --> 00:02:28,720 so these are kind of a bit nicer. Yeah, they're both a dynamic microphone, so they've got a little bit 27 00:02:28,720 --> 00:02:34,560 of a lower output than something like a condenser. They don't pick up so much room noise or any 28 00:02:34,560 --> 00:02:43,200 crosstalk between the two guys. Headphones here are the ATH M50X by Audio Technica. 29 00:02:45,280 --> 00:02:50,400 They're kind of, they're okay, they're okay. They get a little bit tiring after you've been 30 00:02:50,400 --> 00:02:56,640 wearing them for like five hours, but otherwise they sound fine, and the monitoring's like not too 31 00:02:56,640 --> 00:03:01,440 bad. Yeah, a pair of stream decks here, so this is where Linus and Luke control everything. We'll 32 00:03:01,440 --> 00:03:06,800 kind of go through what the buttons do a little bit later when we move into VMIX completely. 33 00:03:07,680 --> 00:03:13,840 The lighting here on the table is RGB, and it's completely controlled over Bluetooth with an 34 00:03:13,840 --> 00:03:19,920 iPad app. It's got a whole bunch of different modes. We can go like RGB puke, take up the brightness, 35 00:03:19,920 --> 00:03:27,120 and we do that. There we go. Yeah, so they're pretty, they're pretty intense. We can increase 36 00:03:27,120 --> 00:03:34,400 the speed too. There we go. That's, that's a WAN Show. I wish we did it all like this. Yeah, 37 00:03:34,400 --> 00:03:43,760 that's great. Oh wow, that's, that's bright. Turn that down. Right, so we used to also use the iPad 38 00:03:43,760 --> 00:03:48,720 to control a couple of Titan tubes that we had at the back, but they were kind of dark. If you look 39 00:03:48,720 --> 00:03:54,960 at like last year or even like a few months ago before I installed these, the red and blue were 40 00:03:54,960 --> 00:04:04,720 kind of dim. So we use these new, they're really bright. These are like outdoor, I guess 80 watt 41 00:04:04,720 --> 00:04:14,400 or something like that rated LED lights, RGB, that we, I think we bought them for the whale land, 42 00:04:14,960 --> 00:04:22,000 and I stole a couple, well I stole four to throw here. Due to the power outage we had, 43 00:04:22,000 --> 00:04:27,920 I guess back in December everything now has jackeries supporting it. So there's a jackery just 44 00:04:27,920 --> 00:04:34,240 for these back lights, and there's also a jackery up there for the china ball and aperture. This 45 00:04:34,240 --> 00:04:39,040 background is eventually going to get replaced with some new products that we're developing. I'm 46 00:04:39,040 --> 00:04:43,360 not entirely sure I'm supposed to talk about them, but you'll see that. Obviously they're 47 00:04:44,320 --> 00:04:50,960 covered in wrinkles. I'm so sorry. We'll get that fixed eventually. Just the fabric is really 48 00:04:50,960 --> 00:04:57,600 difficult to kind of, because it's foam, so it doesn't sit particularly well. What else we got? 49 00:04:57,600 --> 00:05:02,480 We got our secret Labs chairs. This is something that we don't get to show off too often just 50 00:05:02,480 --> 00:05:07,680 because they never use the side cameras. We've got a whole bunch of like weird set deck things 51 00:05:07,680 --> 00:05:15,200 over here. These are some Philips Hue LED bulbs, which are controlled with a little controller 52 00:05:15,200 --> 00:05:19,360 on the desk there. We'll go through. Wow, these look like some old school bulbs. Yeah, they've 53 00:05:19,360 --> 00:05:25,600 kind of had a big resurgence with these like more aesthetic led things instead of just like 54 00:05:25,600 --> 00:05:31,600 providing light. They provide a bit of ambience and set deck, that sort of thing. Behind we have 55 00:05:31,600 --> 00:05:38,640 our halo lights. They're wasps. They're kind of more just stuff we had lying around. Wanshoe gets 56 00:05:38,640 --> 00:05:45,200 the stuff that we have lying around, unfortunately. Let's dump under the desk and I'll show you the 57 00:05:45,840 --> 00:05:52,240 sort of cable management. Oh wow. It's better than it was, but it's still 58 00:05:53,280 --> 00:06:00,640 not as great as I think it could be. I've got this really nice eight-channel snake by Mogomi. 59 00:06:02,560 --> 00:06:08,400 So this is just basically a single eight channels that go directly back to the computer. 60 00:06:09,120 --> 00:06:16,800 Oh, cameras, cameras, cameras. These are the C200. Again, the three of these were just ones that 61 00:06:16,800 --> 00:06:21,680 we had laying around. They're probably a little bit overkill for like a podcast set. I think the 62 00:06:21,680 --> 00:06:26,800 bodies of these are like a few thousand dollars, but they're not quite as intense as some of our 63 00:06:26,800 --> 00:06:34,160 Sony products that we have. Yes, we've got three of those. These are just kind of to prevent a 64 00:06:34,160 --> 00:06:38,720 little bit of extra spill from the China Ball. They connect via HDMI back to the computer, 65 00:06:38,720 --> 00:06:44,000 and I think that's about everything we've got here. We've got a grid up here that needs to be 66 00:06:44,800 --> 00:06:50,160 a little bit more finished off, but that'll allow us to mount a whole bunch more stuff if we ever need 67 00:06:50,160 --> 00:06:59,440 to. And on the ceiling, I guess we've got those Elgato sound panels, which don't really do much 68 00:06:59,440 --> 00:07:08,080 in this room, unfortunately. Yeah, we've got Linus's head. This is all like the extra stuff that 69 00:07:08,080 --> 00:07:17,920 we have. And this is my office, I guess. So I've got my stream decks. This is our audio system, 70 00:07:17,920 --> 00:07:25,360 computers here. Don't look at the cable management under the desk. No. It was supposed to be some 71 00:07:25,440 --> 00:07:29,840 extra work where we routed a whole bunch of cables through this fake wall, and unfortunately, 72 00:07:29,840 --> 00:07:37,280 that didn't end up happening. So yeah, it's just going to sit down there and be ignored for as 73 00:07:37,280 --> 00:07:43,280 long as we can. Here's the controller for the Phillips Hue. You just turn them on and off, 74 00:07:43,280 --> 00:07:50,080 and they kind of set. However, they were before, which is useful. Coming and turning everything 75 00:07:50,080 --> 00:07:55,760 on is basically push a couple buttons, and it's all done. This is my microphone, so it's similar 76 00:07:56,400 --> 00:08:01,520 to those, but I have my inline preamp here. Because these are a dynamic microphone, the 77 00:08:02,960 --> 00:08:08,720 output of them is a lot lower than something like a condenser. And so we can use an inline 78 00:08:08,720 --> 00:08:15,280 preamp to bump that level up without introducing a whole bunch of noise. They're very, very similar 79 00:08:15,280 --> 00:08:20,720 to a cloudlifter, but I think they're about half the cost. And they're also way smaller, 80 00:08:20,720 --> 00:08:26,800 and so much so that you can kind of have it attached to your mic directly instead of having this 81 00:08:26,800 --> 00:08:34,320 big box kind of somewhere else and having to use two cables. The two for the WANTA set are hidden 82 00:08:34,320 --> 00:08:39,120 underneath, so we are using those kind of two cables. So go snake, inline preamp, and then 83 00:08:39,120 --> 00:08:43,280 directly into the microphone. You can't use them with condensers because they need phantom power 84 00:08:43,280 --> 00:08:54,000 48 volts to actually function. Okay, so our microphones come into the audio rack. Linus and 85 00:08:54,000 --> 00:09:00,880 Luke go into this Apex Compeller, and what this is is it's an automatic gain leveling system. 86 00:09:01,520 --> 00:09:11,760 So unlike a traditional gain control system, this one, if there's silence, it doesn't continue to 87 00:09:11,760 --> 00:09:17,200 bring the level up to like incredible high volumes, and then they start talking and then it ducks, 88 00:09:17,200 --> 00:09:24,000 so the noise floor stays where it needs to be. There's basically a gate on the voltage control 89 00:09:24,000 --> 00:09:28,960 to amplifier that controls the level of the gain, and it's really, really fast because it's pretty 90 00:09:28,960 --> 00:09:33,760 much completely analog. There's no plugins or anything you need. It's just kind of two channel 91 00:09:33,760 --> 00:09:38,960 in, two channel out. That allows me to kind of prevent Linus from clipping because sometimes 92 00:09:38,960 --> 00:09:44,240 he screams, and when we're about halfway through the WAN Show and people are tired, you know, 93 00:09:44,240 --> 00:09:51,280 you're not on that extreme on style of existing that he kind of maybe is at the right at the 94 00:09:51,280 --> 00:09:56,960 start of the show. Yeah, so that's two channels. So I've got Linus and Luke here. Conrad, if you 95 00:09:56,960 --> 00:10:04,880 want to go tap one of the mics, maybe we can see it like functioning. There you go. So we've got our 96 00:10:04,960 --> 00:10:10,240 input here, and we can sort of switch between that, and then also the gain reduction. So you can see 97 00:10:11,120 --> 00:10:15,120 it's kind of holding that, and there's like an attack and delay and release, 98 00:10:15,120 --> 00:10:20,240 and then you can also sort of adjust how much silence is required for that noise gate to trigger, 99 00:10:20,240 --> 00:10:26,480 and then if you stop, you can see that has popped on, and now it's holding that amount of gain 100 00:10:26,480 --> 00:10:31,440 reduction where it was at the last step, so that noise floor doesn't come up and go crazy, 101 00:10:32,240 --> 00:10:38,800 and then that loops in through the rest of this rack. We've got this patch bay here, 102 00:10:38,800 --> 00:10:44,480 and so all of our inputs and outputs are kind of normal together, so if I do have to make a change, 103 00:10:44,480 --> 00:10:50,000 I can come in and patch it, but most of the time it just stays completely static. 104 00:10:50,000 --> 00:10:59,200 We've got a bit of a map here at the top, so our microphone ties come in through the top left here, 105 00:10:59,200 --> 00:11:05,520 and then they are completely brought through into the octopree here at the bottom. 106 00:11:06,240 --> 00:11:13,840 So the microphones are in here, one through eight, and then the ties back down to the octopree 107 00:11:13,840 --> 00:11:17,600 are underneath them, right, so they're always connected together. It's like a physical patch. 108 00:11:17,600 --> 00:11:25,200 This is our octopree, so this is our, I'm using this as a preamp and inline compressor, 109 00:11:25,840 --> 00:11:30,720 so the microphone comes through into the octopree, and then it's looped out 110 00:11:31,440 --> 00:11:37,360 into the Apex, right, because we have to provide 48 volt phantom power to the inline preamps, 111 00:11:37,360 --> 00:11:42,880 so it comes in through the octopree, out into the Apex for processing, and then it comes back 112 00:11:42,880 --> 00:11:50,400 into the Scarlet, which is our interface, and then we've got some lineouts here, 113 00:11:51,360 --> 00:11:58,400 which go into our headphone splitter, so our four channels of lineout 114 00:11:58,400 --> 00:12:02,080 go into our headphone splitter, so I can have two mixes, so we have our main mix, 115 00:12:02,080 --> 00:12:07,040 Luke Linus, and myself over here on channel eight, and then if I need to monitor directly 116 00:12:07,040 --> 00:12:13,040 Vmix or the output to stream, I can simply hit one button, and now I'm on my submix, 117 00:12:13,040 --> 00:12:18,080 which I can control completely digitally, and like route what I need to, so if we have a guest, 118 00:12:18,080 --> 00:12:22,400 and I need to monitor that, but I don't want it in Linus and Luke's headphone mix, 119 00:12:22,960 --> 00:12:28,320 because there's a whole bunch of delay. Channel A is pretty much just direct mic monitoring, 120 00:12:28,320 --> 00:12:32,480 so there's no latency whatsoever, otherwise it makes it really difficult to like talk. 121 00:12:32,480 --> 00:12:37,760 Yeah, so the headphone outputs are this side, and then they go to the headphone extensions, 122 00:12:37,760 --> 00:12:46,640 which go to the table and also my side here on the floor, so that's kind of the audio thing. 123 00:12:46,640 --> 00:12:51,680 These two are connected via ADAT, which is optical, so this can accept like eight 124 00:12:51,680 --> 00:12:56,720 additional channels. Let's have a look at the computer next, I guess. 125 00:12:57,680 --> 00:13:04,480 So focus right gives you control panel, so you can see our eight channels of ADAT here, 126 00:13:04,480 --> 00:13:13,040 which are the those are the octopre inputs, and then analog one, two are the inputs from the 127 00:13:13,120 --> 00:13:19,440 compiler, so I don't necessarily have to use the compiler, it's digitally routed into the chain 128 00:13:20,560 --> 00:13:26,240 via analog, you know, and then my playback one through ten are at the bottom here, so 129 00:13:26,960 --> 00:13:33,520 I have two submixes, monitor outputs one, two go to their headphone mixes, and then line output 130 00:13:33,520 --> 00:13:39,120 three, four goes to the submix in the headphone splitter, and so if I need to adjust my submix 131 00:13:39,120 --> 00:13:43,920 here, I can like mute different sections, or I can mute my microphones, all the microphones are 132 00:13:43,920 --> 00:13:50,720 muted, and so I'm just kind of monitoring my playback that way, so that's our end through the 133 00:13:50,720 --> 00:13:58,000 computer. After the focus right, it then goes into this really awesome little program called 134 00:13:58,000 --> 00:14:07,040 ASIO LINK PRO. ASIO is an audio transport protocol that's like extremely low latency, 135 00:14:07,920 --> 00:14:13,920 it does require some level of exclusivity, and so because we use three or four different programs, 136 00:14:13,920 --> 00:14:21,120 I don't want them to take exclusive control over the focus right, so we use ASIO LINK PRO as like 137 00:14:21,120 --> 00:14:26,880 a middleman, so ASIO gets full exclusivity, and then it can route it wherever it needs to be in 138 00:14:26,880 --> 00:14:32,240 through like digital data channels, it's kind of like voice meter or voice meter banana, but like 139 00:14:33,200 --> 00:14:39,680 a little bit more free in how you want to route it, so my ASIO routing layer is kind of a bit 140 00:14:39,680 --> 00:14:46,400 more complicated, ASIO has like basically four microphone inputs, if you want to think about 141 00:14:46,400 --> 00:14:55,040 it that way, or destinations that I can send to, so Reaper here, the output one, two is set to one 142 00:14:55,120 --> 00:15:01,520 of the ASIO outputs, and so that kind of comes in here, one, two, which then I can route somewhere 143 00:15:01,520 --> 00:15:06,560 else, and then the ones along the bottom are the outmixes, which because it's hooked into the 144 00:15:06,560 --> 00:15:11,440 focus right are kind of like the focus right line outputs, this is where it gets really complicated, 145 00:15:11,440 --> 00:15:18,320 I'm so sorry, and my submix B, I have the output from Reaper sending through main mix one, two, 146 00:15:18,320 --> 00:15:25,600 up here into output three, four, and then that also goes into avid mix pros for 147 00:15:26,400 --> 00:15:32,080 eight channel outputs, one, two, and one, two, probably just because I don't really use them, 148 00:15:32,080 --> 00:15:38,160 I just, it's another destination they can go, if say I wanted to send it to a remote guest, 149 00:15:38,960 --> 00:15:45,280 I can use one of these as a speaker destination, so I can set my microphone input on like, 150 00:15:45,280 --> 00:15:51,360 say discord or something like that, into output one, two, so they can hear what I can hear on three, 151 00:15:51,360 --> 00:15:58,080 four, and also hear what I'm outputting at the computer at the top of one, two, right, so it's 152 00:15:58,080 --> 00:16:03,040 kind of, it's one destination, but it's also two destinations, and that's what ASIO link pro lets 153 00:16:03,040 --> 00:16:10,560 me do, so this lineup here is my direct microphone inputs, and what I can do is I can send them into 154 00:16:10,560 --> 00:16:18,480 the ASIO host mix, so now we're going from the Scarlet, which is here, into ASIO's kind of mic 155 00:16:20,000 --> 00:16:26,880 inputs, so in Reaper, like digital inputs seven and eight would be digital input seven and eight 156 00:16:26,880 --> 00:16:35,680 here, so I'm coming in analog one, two from the compiler, so a compiler to the Scarlet in analog 157 00:16:35,760 --> 00:16:40,640 one, two, and then I'm routing one and two over to seven and eight, so that's now my 158 00:16:42,560 --> 00:16:49,360 ASIO link microphone inputs, and so input seven and eight are arriving here, digital 10 is going 159 00:16:49,360 --> 00:16:54,560 to be from the Octopree, which is my microphone, and that's just directly brought down, because it's 160 00:16:54,560 --> 00:16:59,680 an ADAT input, it's like actually input 20, which can get really confusing when I'm like, whoa, 161 00:16:59,680 --> 00:17:04,800 what is it, I don't know, I have the Avid Pro speaker out just basically directly routed all the way 162 00:17:04,800 --> 00:17:12,880 down, so Reaper's output on channel one, two goes directly to playback one, two, I have that muted 163 00:17:12,880 --> 00:17:22,720 in the Amex for Linus and Luke, but it's available for me to listen to if I want to in sort of 164 00:17:22,720 --> 00:17:31,440 playback one, two, okay, so we've gone from analog into the Focusrite, so the computer in Focusrite 165 00:17:31,440 --> 00:17:37,840 control, and then we're going from the Scarlet over ASIO into ASIO Link Pro, and then that goes 166 00:17:37,840 --> 00:17:43,760 into Reaper, so Reaper kind of just has four channels at the moment, you can see here we've 167 00:17:43,760 --> 00:17:49,200 got, this will be Linus's mic, we've got Luke's mic, and then we've got my mic over here, the 168 00:17:49,200 --> 00:17:59,920 producer mic, and those are kind of just like raw from the computer, so analog one, two from the 169 00:18:01,440 --> 00:18:06,720 Compeller, all of those go to our main channel, which has an output to one, two, which then goes 170 00:18:06,720 --> 00:18:14,080 into Vmix, this has a bunch of different effects on it, so we'll come over here, I don't know if you 171 00:18:14,080 --> 00:18:21,120 can see that, okay, so my chain is basically a master chain rather than doing any individual 172 00:18:21,120 --> 00:18:29,520 tweaking, we start with a compressor, and then we have a slightly different compressor, this is just 173 00:18:29,520 --> 00:18:37,920 some more free plugins, then we have this like trail dynamic system as well, so I didn't want to use 174 00:18:37,920 --> 00:18:42,640 a gate because it can be a little bit harsh and a little bit difficult to like control the attack 175 00:18:42,640 --> 00:18:48,400 timing, especially when you have two people talking over each other and some strange pauses, 176 00:18:48,400 --> 00:18:52,720 and I wanted to keep the noise floor down as much as possible, so the nice thing about 177 00:18:52,720 --> 00:19:01,520 Reaper's built-in like dynamic thing is you can set a custom roll-off, so as people stop talking, 178 00:19:01,520 --> 00:19:05,680 it doesn't make it necessarily silent, but it just makes it a little bit quieter, 179 00:19:05,680 --> 00:19:10,720 so when that noise floor comes up, and you can kind of hear more of the room tone, it's not as 180 00:19:11,440 --> 00:19:17,120 offensive, right, and it's got a bit of decay you can see on there, and then we just basically go 181 00:19:17,120 --> 00:19:22,320 into a limiter, so it keeps everything at negative one, which is kind of like your main standard, 182 00:19:22,320 --> 00:19:27,040 I would like to implement some more real-time mastering stuff, or at least balance the levels 183 00:19:27,040 --> 00:19:32,720 to kind of master for Spotify and the rest of the platforms in real-time, the problem with doing 184 00:19:32,720 --> 00:19:37,680 like a live thing like this without writing faders or doing a proper master is the levels don't 185 00:19:37,680 --> 00:19:43,760 really match, so Spotify maybe our podcast is a lot quieter than the other ones, most platforms 186 00:19:43,760 --> 00:19:49,200 like YouTube and Spotify and all of those like iTunes music and that sort of thing have a mastering 187 00:19:49,200 --> 00:19:55,520 standard of negative one decibels full-scale and then negative 14 loudness units full-scale 188 00:19:55,520 --> 00:20:02,720 LUFS, which is kind of a measure over time about how loud an entire piece is, if you want to think 189 00:20:02,720 --> 00:20:09,920 about it that way, so that'll happen sometime, another Future Dan problem. Okay, so now we're in 190 00:20:11,280 --> 00:20:16,240 oh yeah, the bleep button as well, so there's another channel here which is the bleep sound, 191 00:20:17,040 --> 00:20:22,000 that's channel four, which plays constantly, so it's constantly playing that bleep tone 192 00:20:22,000 --> 00:20:27,680 in the background, but it's muted, so we'll talk about how that functions a little bit later, 193 00:20:27,760 --> 00:20:32,000 and finally we're into Vmix here, the nice thing about doing it this way is 194 00:20:32,640 --> 00:20:38,560 when we're in Vmix we only have two channels of audio that come in, so we don't have to do any 195 00:20:38,560 --> 00:20:43,040 processing and we don't have to do any processing in Vmix, we don't have to worry about adding 196 00:20:43,040 --> 00:20:47,520 plugins, we don't have to worry about you know making sure the levels are right because that's 197 00:20:47,520 --> 00:20:53,120 all handle in Reaper and then we just send in our final mix, so it's kind of like a pre-mix and then 198 00:20:53,120 --> 00:21:01,280 we have our final output, Vmix is nice because it allows for a secondary routing channel if we go 199 00:21:01,280 --> 00:21:10,000 audio outputs, so my headphone output is speakers 03, which is what you can kind of see over here 200 00:21:10,000 --> 00:21:17,760 on 34, so for me I have basically three choices for routing, I can monitor the direct microphone 201 00:21:17,760 --> 00:21:22,880 inputs from Lucan Linus and myself, so no latency in hearing exactly what's being recorded, 202 00:21:22,960 --> 00:21:29,440 my second choice is to monitor the direct output from Reaper, which allows me to make sure that my 203 00:21:29,440 --> 00:21:37,520 plugins are working and then kind of all of that is just one output, and my third option is to 204 00:21:37,520 --> 00:21:43,680 monitor what Vmix is outputting through that secondary headphone mix, and because I only have one mix 205 00:21:44,240 --> 00:21:52,160 I have to use the second one here, so I just mute Reaper output and I can listen to Vmix's output 206 00:21:52,160 --> 00:21:57,200 because you can see it adds a bit of latency there and so it becomes really difficult to like 207 00:21:57,200 --> 00:22:03,680 monitor in real time if I'm just monitoring Vmix's output and then yeah I guess that's basically 208 00:22:04,320 --> 00:22:12,000 the entire audio chain, is that simple enough for you? One of the reasons why it's so complicated 209 00:22:12,000 --> 00:22:19,120 is the versatility, you know if we were just doing all of this in OBS or all of this in Vmix 210 00:22:19,120 --> 00:22:26,240 internally, I wouldn't have the option to have so many places to monitor and for so many places 211 00:22:26,240 --> 00:22:34,080 of like fine-tune adjustment or control, I mean this is pretty simple routing, it's just kind of 212 00:22:34,080 --> 00:22:39,600 like two inputs into another two inputs into another two inputs, but it gives me a place 213 00:22:39,600 --> 00:22:46,480 in the chain to like insert effects or like make modifications and the less plugins I can use, the 214 00:22:46,560 --> 00:22:54,000 more the computer is stable and the more kind of fast and responsive it is and the more resources I 215 00:22:54,000 --> 00:22:59,680 have to like deal with video processing or like actually doing the streaming because it's kind of 216 00:22:59,680 --> 00:23:05,760 all one system, it's also nice having physical buttons like here so if Linus is a bit too loud 217 00:23:05,760 --> 00:23:10,400 I can just tweak him down a bit, I haven't touched these in a long time, it's kind of 218 00:23:10,400 --> 00:23:15,680 designed to be set and forget, so I don't have to be sitting here, somebody else who has very little 219 00:23:15,760 --> 00:23:22,880 training can come down, they open Reaper, they open Vmix and then everything is good to go, 220 00:23:22,880 --> 00:23:27,600 it's basically two programs and you're done, that's kind of the other reason why it's so 221 00:23:27,600 --> 00:23:31,600 complicated in the back end to make it simple in the front end, you kind of have to go 222 00:23:31,600 --> 00:23:37,280 more complicated to make it more simple, Vmix next I guess from the video side of things, 223 00:23:37,280 --> 00:23:46,720 Vmix is pretty neat in that you can have like an obscene quantity of inputs, so in Vmix I have all 224 00:23:46,720 --> 00:23:56,000 of these, so currently I think there's about 84, 84 simultaneous inputs and these are all handled 225 00:23:56,000 --> 00:24:04,240 directly NVIDIA memory, so if I open up my task view here and see I'm running an RTX 226 00:24:04,320 --> 00:24:12,720 A4000 which has 16 gigs of GPU memory, currently there's about four gigs of VRAM used in this 227 00:24:12,720 --> 00:24:16,720 project when we were doing some more of the 4K stuff for Dennis's integrations, 228 00:24:17,440 --> 00:24:23,600 it got up to like 10 or 11 gigs of VRAM and there wasn't like enough to do recording or 229 00:24:23,600 --> 00:24:29,920 streaming at the same time so we're getting a bit of hiccups, like 4K MOV files uncompressed with 230 00:24:30,000 --> 00:24:34,880 transparency, uses a lot of VRAM especially if they're held constantly, so if you're going to be 231 00:24:34,880 --> 00:24:42,720 using Vmix it's really GPU intensive and unless your set is as complicated as this you probably 232 00:24:42,720 --> 00:24:50,400 don't need an A4000, I used to run a 2080 Super, 2080 Super was my old card, this computer has an 233 00:24:50,400 --> 00:24:58,880 i9 10, 980 XE which is a bunch of gibberish words, 36 core, completely absolutely unnecessary but it 234 00:24:58,880 --> 00:25:06,880 runs 4 channel memory. Vmix is a fun beast, the nice thing about it is it has every single kind of 235 00:25:06,880 --> 00:25:11,920 built-in function that you would need already in it, like you don't have to have any plugins that 236 00:25:11,920 --> 00:25:18,880 might cause performance issues or crash, Vmix from the get go has always been focused on 100% 237 00:25:18,880 --> 00:25:26,080 stability, so I have touch wood, I have never had a crash with Vmix and I've been using it for like 238 00:25:26,080 --> 00:25:34,480 I guess nine years now and it's never it's never failed on me and I guess that's great even with 239 00:25:34,480 --> 00:25:41,280 like hundreds of inputs, it supports a thousand inputs as well as a thousand simultaneous NDI 240 00:25:41,280 --> 00:25:47,760 camera inputs which is nuts, I don't know who has the internet bandwidth to use that much but it's 241 00:25:47,760 --> 00:25:54,880 pretty crazy, it can be a little bit difficult to get your head around how to structure a set like 242 00:25:54,880 --> 00:26:00,320 this but it's also applicable to OBS, like you would do it, I would do it in the same way just to 243 00:26:00,320 --> 00:26:07,200 kind of minimize work, so we kind of have our raw cams that come in here, so there's our raw cam from 244 00:26:07,200 --> 00:26:14,240 the wide cam, we've got Linus's camera and then we've got Luke's camera, we've also got their laptops 245 00:26:14,240 --> 00:26:21,280 and then Reaper audio and then merge message lower banner and then we have our first kind of like 246 00:26:21,360 --> 00:26:30,320 combination, I want to keep this banner open all the time but I don't want to have to make 247 00:26:30,320 --> 00:26:38,480 700 different versions of this with all my possible inputs right, so I want to have, 248 00:26:39,200 --> 00:26:44,960 this is my broadcast image and then I want to be able to change things underneath it 249 00:26:44,960 --> 00:26:52,480 which kind of makes everything easier down the road, so this has a few multi layers in it 250 00:26:52,480 --> 00:27:00,000 so it's got a virtual mix which is kind of like another set of different cameras and then we have 251 00:27:00,000 --> 00:27:04,720 the lower banner and then we have another browser source over here which we'll talk about a bit 252 00:27:04,720 --> 00:27:10,320 later, so this is kind of our main thing and when I switch the cameras underneath, I'm switching 253 00:27:10,400 --> 00:27:16,720 between wide Linus and Luke, the browser source and everything I've done to it stays right there, 254 00:27:18,560 --> 00:27:23,120 that's kind of my favorite way to do it, this is done with a virtual camera mix, 255 00:27:23,120 --> 00:27:31,920 so vMix allows for four sub stream mixes which can also all be output simultaneously, 256 00:27:31,920 --> 00:27:37,600 so it's kind of obscenely powerful in that way, so the one that you're watching on stream is kind 257 00:27:37,680 --> 00:27:42,400 of mix number one for video and then mix two and three can be either used for other things or 258 00:27:42,400 --> 00:27:47,840 sent to other destinations, something that we wanted to plan or like play with would be multi 259 00:27:47,840 --> 00:27:53,280 camera simultaneous streams to Floatplane, so you could pick which camera you wanted to watch 260 00:27:54,400 --> 00:27:58,640 like live on Floatplane, I think that's been talked about a little bit, I don't know if that's 261 00:27:58,640 --> 00:28:06,240 ever going to happen and so our our submix, what our buttons on the stream deck do here is they 262 00:28:06,240 --> 00:28:11,600 actually change the input into mix two, they change the input into mix two 263 00:28:13,840 --> 00:28:23,120 and then I use mix two in the camera only set so that I have one input into my kind of final 264 00:28:23,120 --> 00:28:28,480 output, so it's this kind of live compositing, it's just the one but I can still change it 265 00:28:28,480 --> 00:28:35,360 and it's a submix powering a final mix, so if I want to add something to the main output, 266 00:28:35,440 --> 00:28:39,840 all I have to do is add another button to change it in the submix and then I don't have to touch 267 00:28:39,840 --> 00:28:44,000 anything else, the other nice thing about using a submix is my color correction 268 00:28:45,120 --> 00:28:55,840 is all done directly in the the final output, so instead of making a change say in the wide cam 269 00:28:55,840 --> 00:29:01,520 right, I want to do color correction here, now I have to duplicate that color correction to this one 270 00:29:01,520 --> 00:29:06,560 and this one but when you use submixes like this you can just apply color correction to like 271 00:29:06,560 --> 00:29:11,040 every single camera simultaneously and then if you want to make a change it's in one place, 272 00:29:11,040 --> 00:29:15,520 that's kind of the idea, make a change, you only have to do it once ever, it makes it faster, 273 00:29:15,520 --> 00:29:18,560 I can do it live, I don't have to fuss about you know all that sort of stuff. 274 00:29:20,480 --> 00:29:29,360 Ping is our kind of a software that we use to do like remote calls, so it's basically very 275 00:29:29,360 --> 00:29:35,600 similar to Discord but the nice thing about Ping is you can get a direct link to your guest 276 00:29:36,560 --> 00:29:44,480 as like a browser source and then we can add that directly to OBS or Vmix without having to like 277 00:29:44,480 --> 00:29:48,160 screen record or screen capture, it's just you just throw it in there and it's great, 278 00:29:49,200 --> 00:29:55,120 same with the audio, that's just basically that's another one in here, so our guest audio, 279 00:29:55,120 --> 00:30:02,240 like you would set your speaker in Discord to one of these inputs like 3, 4 and then you can bring 280 00:30:02,240 --> 00:30:09,040 that into Vmix by grabbing one of the digital outputs as well, the same thing you would kind of use 281 00:30:09,040 --> 00:30:15,440 for voice meter or anything like that and then we have our pop-up banner, we've got our picture in 282 00:30:15,440 --> 00:30:23,200 picture, so this is another thing that we can do is we can add our multi-view here of our like 283 00:30:23,200 --> 00:30:29,600 camera thumbnail but then we can just move it somewhere else, so right it's down here in the 284 00:30:29,600 --> 00:30:38,160 corner right, so that's our like complete submix there and then when we go to Linus's laptop the 285 00:30:38,160 --> 00:30:44,080 whole main mix moves down there and I get rid of the banner because we don't need it and then I can 286 00:30:44,080 --> 00:30:51,040 display their laptop there, so it's all extremely seamless when we go between the two and I made 287 00:30:51,040 --> 00:30:57,840 it do an all zip thing because it's kind of fun right, then what else, what else we got, we've got 288 00:30:57,840 --> 00:31:03,680 our output clock, yeah, yeah, yeah, a lot of Wansho is always late, custom outputs, we've got our 289 00:31:03,680 --> 00:31:13,200 intro, so if we go back to our main thing here, the intro is triggered with another shortcut here 290 00:31:14,240 --> 00:31:19,360 but Conrad has implemented this really neat thing of browser sources which we'll talk about a bit 291 00:31:19,360 --> 00:31:26,640 later, so if we roll our intro here, we've got play back there, you know we can still talk 292 00:31:26,640 --> 00:31:34,080 over the intro if we want and then the WAN intro, let's see if it's over here, it has a timer 293 00:31:34,080 --> 00:31:42,240 that counts down and then when the timer is finished it turns on a browser source which plays the 294 00:31:42,240 --> 00:31:48,720 sponsors right, so the nice thing about vmix is you can do these like really advanced trigger 295 00:31:48,720 --> 00:31:54,080 things with timers and you can trigger timers with other timers or like multiple timers simultaneously 296 00:31:54,080 --> 00:32:00,560 if you want really advanced weird things to happen, so when I hit this it triggers a timer, 297 00:32:01,280 --> 00:32:07,520 if I look at the triggers here, there we go, so on transition in it turns on the secondary overlay 298 00:32:07,520 --> 00:32:17,440 so what it's actually doing is it's putting the intro video over top of the camera right, so it 299 00:32:17,440 --> 00:32:25,200 doesn't like switch to it, it just places it over top and then what it'll do is it'll set the 300 00:32:25,200 --> 00:32:33,280 countdown timer back to its start right, I want to play 18 seconds right, so it'll reset the countdown 301 00:32:33,280 --> 00:32:42,320 to 18 seconds and start it playing and then when we leave it switches automatically back to our 302 00:32:43,120 --> 00:32:50,880 or cam only and stops the countdown, now the countdown then has other triggers so when the 303 00:32:50,880 --> 00:32:57,200 countdown finishes it then adds this as a secondary layer, so right we have these four 304 00:32:57,200 --> 00:33:04,480 sub mixes for video production and in seven seconds five seconds something like that, 305 00:33:04,480 --> 00:33:10,480 what this will do is it'll trigger this to turn on, there we go and then it'll trigger another 306 00:33:10,480 --> 00:33:16,880 countdown timer to set the length of how long that stays on screen, how long it displays the 307 00:33:16,880 --> 00:33:22,720 sponsors and another reason why we do this is because I can make a change of that really easily 308 00:33:22,720 --> 00:33:28,240 if some guy from the business team comes down and is like we'd really like you to show the sponsors 309 00:33:29,040 --> 00:33:34,800 for a little bit longer on screen, all I have to do is right click title editor settings and then 310 00:33:34,880 --> 00:33:39,840 like well now it's four seconds right, set that to four seconds and now this 311 00:33:40,720 --> 00:33:45,520 they'll display for four seconds right, so instead of having to reauthor like an entire video or 312 00:33:45,520 --> 00:33:51,040 anything like that I can just change one setting and it's done immediately, one place one setting 313 00:33:51,040 --> 00:33:56,720 adjusts everything that's kind of the whole goal of being fast and efficient, it used to be more 314 00:33:56,720 --> 00:34:02,160 complicated because they would produce these pictures and then we would have I would have to 315 00:34:02,160 --> 00:34:05,920 individually display them on screen for a set amount of time so it was like 316 00:34:05,920 --> 00:34:10,720 five to six timers and the beautiful tool that Conrad's developed to simplify that even more, 317 00:34:11,680 --> 00:34:17,120 the outro is cool and more complicated but we'll talk about that a bit later, what else we got, 318 00:34:17,120 --> 00:34:22,800 we've got the integrations for Dennis, I can't show one of them unfortunately but we can talk 319 00:34:22,800 --> 00:34:31,600 about a couple of the other ones, so these are triggered with this stream at deck and basically 320 00:34:31,600 --> 00:34:36,480 I get a script and then I read along with Linus and just push the buttons in order, 321 00:34:37,360 --> 00:34:41,120 the green one here indicates the next integration so we have integration one, 322 00:34:41,120 --> 00:34:46,240 integration two and integration three, I can do 32 and if he screws up and gives me more I can have 323 00:34:46,240 --> 00:34:53,840 a little couple extra ones on that and all they really do is just play a video that loops, 324 00:34:54,400 --> 00:35:01,120 it's not very complicated, the first one has some individual triggers so when I push this it plays 325 00:35:01,120 --> 00:35:06,640 the first music and when I hit my next integration it'll stop the music and play the next piece of 326 00:35:06,640 --> 00:35:14,240 music so it's a little bit more simplified, it also allows us to have a camera over camera so we 327 00:35:14,240 --> 00:35:23,120 can do those layer things and like have Linus say in the corner, Bran seemed to like to see Linus 328 00:35:23,120 --> 00:35:30,080 this face, I have no idea why, that's the integrations they're not super weird and then when I go back 329 00:35:30,080 --> 00:35:35,120 to cam only there's another trigger that stops all the music and like makes it completely finished. 330 00:35:36,160 --> 00:35:40,800 We've got our banner here which is another browser source which is integrated directly 331 00:35:40,800 --> 00:35:46,560 with merge messages so we kind of have three different sections that are that are merge messages 332 00:35:46,560 --> 00:35:56,720 that aren't just merge messages, this browser source and then as well as our sponsor integrations 333 00:35:56,720 --> 00:36:04,640 and then also the top down banner at the top and then also the outro but I think I will let 334 00:36:04,640 --> 00:36:10,320 Conrad take it from here and talk to you about merge messages. All right so let's talk a little 335 00:36:10,320 --> 00:36:18,400 bit about merge messages, I am Conrad a developer at Flowplain and merge messages is my Magnum Opus 336 00:36:18,960 --> 00:36:24,640 so where does merge messages come from? At Flowplain we have this thing called creative day 337 00:36:24,640 --> 00:36:30,480 and so what that is is the last Friday of every month every developer gets to work on whatever 338 00:36:30,480 --> 00:36:36,960 they want, it has to be work related and it's supposed to be so you can learn new things and 339 00:36:36,960 --> 00:36:43,600 so that's where merge messages came from was I wanted to learn web sockets, Shopify web hooks 340 00:36:43,600 --> 00:36:49,520 and OBS browser sources, I had also just gotten access to GitHub Co-Pilot and I wanted to play 341 00:36:49,520 --> 00:36:57,920 with that as well. I created merge messages initially in a day just using GitHub Co-Pilot 342 00:36:57,920 --> 00:37:02,560 and I would write little comments and then get it to generate code so the original version of 343 00:37:02,560 --> 00:37:08,880 merge messages is actually entirely AI written but it has since been completely refactored 344 00:37:09,760 --> 00:37:16,400 so how does merge messages work? So when an order is placed on Shopify in the cart stage of the 345 00:37:16,400 --> 00:37:22,880 checkout you have a form that you can opt into and you can put a little piece of text and that 346 00:37:22,880 --> 00:37:28,800 will be your merge message so we have a server this running and when this server starts up it 347 00:37:28,800 --> 00:37:36,560 creates a web hook subscription over to Shopify on order create so when Shopify creates an order 348 00:37:36,560 --> 00:37:43,040 it's going to send our server a request containing information from that order and we can extract 349 00:37:43,040 --> 00:37:50,560 information from that such as your email, your name, and what your actual merge message is 350 00:37:50,560 --> 00:37:57,280 we extract information from the order and we generate a merge message object that object 351 00:37:57,280 --> 00:38:03,600 gets added into a backlog which stores more information about it such as the time remaining 352 00:38:03,600 --> 00:38:08,800 until it displays, its order in the queue and so on. If we come here there's this little 353 00:38:09,760 --> 00:38:14,480 stat in the control that's basically the time remaining so when a message comes in there's 354 00:38:14,480 --> 00:38:22,160 180 seconds or three minutes for Dan to do something before it will just enter a queue when it enters 355 00:38:22,160 --> 00:38:31,360 a queue it then in turn in order displays on the banner itself or various other browser sources 356 00:38:31,360 --> 00:38:37,840 such as the pop-up if we're viewing someone's screen and whatnot so when a merge message comes 357 00:38:37,920 --> 00:38:44,000 in Dan views it in the incoming table he has the message really big nice and center so he 358 00:38:44,000 --> 00:38:49,920 can read it and then on the side he has various controls of what he can do to it so for example 359 00:38:49,920 --> 00:38:56,320 he could say oh I hate this message I do not want this to display I'm going to archive this message 360 00:38:56,320 --> 00:39:02,000 and then it goes away and gets tucked into a different table which you can view separately 361 00:39:02,000 --> 00:39:07,840 so there's this follow-up button which will flag the message so that we will follow it up 362 00:39:07,840 --> 00:39:14,080 with an email later in the week there's this support button which will send it to support 363 00:39:14,080 --> 00:39:20,080 like it'll create a ticket in their ticketing system so they'll reply to it there's a potential 364 00:39:20,080 --> 00:39:25,280 which is sort of a category I don't understand but they seem to use it so it's fine with me 365 00:39:26,240 --> 00:39:32,320 potential curate this is what happens when Dan decides your message is great I want Luke and 366 00:39:32,320 --> 00:39:38,560 Linus to answer this on screen so he curates it there's the show option so that just displays 367 00:39:38,560 --> 00:39:46,480 your message and no response and then there's the reply option so when you click the reply option 368 00:39:47,360 --> 00:39:56,240 this form comes up and you can come here and type a response and then click enter and it will 369 00:39:56,960 --> 00:40:03,760 splice this message directly after the initial message in the queue if the initial message 370 00:40:03,760 --> 00:40:11,040 has not displayed yet it will actually append the original message and the reply message to the end 371 00:40:11,040 --> 00:40:19,280 of the queue there's also these template responses which we sort of need to rework none of these are 372 00:40:19,280 --> 00:40:26,160 really useful but you can just click this and it will just add it to the end of whatever you've 373 00:40:26,160 --> 00:40:32,240 typed and then you can hit enter or click submit and the response will be set after the incoming 374 00:40:32,240 --> 00:40:38,640 table there's the potential table so what the potential table is is during the when after dark 375 00:40:38,720 --> 00:40:44,960 Dan decides that a message goes into the potential table that means he wants Luke and Linus to deal 376 00:40:44,960 --> 00:40:51,680 with it during the wancho after hours you know when they dim the lights and just read merch messages 377 00:40:51,680 --> 00:40:56,720 so there's a couple options they can curate it so that Dan will read it oh now I need to 378 00:40:56,720 --> 00:41:05,360 potentiate a couple more they can curate it they can reject it because they hate the message and 379 00:41:05,360 --> 00:41:11,520 they think Dan should not have potentiated it they can reply to the message themselves and they'll 380 00:41:11,520 --> 00:41:18,560 sign it ls or ll if they reply to it or they can just archive it straight from here if they 381 00:41:18,560 --> 00:41:25,280 don't want to do anything with it the curated table is pretty simple it's just for Dan to 382 00:41:26,000 --> 00:41:31,600 come here hey Dan hey me with three merge messages and he will read off three merge messages 383 00:41:31,600 --> 00:41:38,000 when he's reading the merge messages he has this broadcast button so if I click this what it does 384 00:41:38,640 --> 00:41:44,720 is it will actually display the message on the chyron so it's there visible 385 00:41:46,160 --> 00:41:53,760 for when he's reading it also pauses the queue so that any merge messages that might be displaying 386 00:41:53,760 --> 00:41:59,840 during this time they won't so that you actually have an opportunity to have your messages displayed 387 00:41:59,920 --> 00:42:05,200 and that's what these really obnoxious buttons are for you can see nice RGB 388 00:42:06,800 --> 00:42:14,080 but what this does is it's just a nice reminder to resume the queue so it doesn't stay paused 389 00:42:14,080 --> 00:42:19,840 so if I click this it'll go away and now the queue is resumed and it's going to keep cycling 390 00:42:19,840 --> 00:42:25,760 through the merge messages that are queued up to display on screen there are two more tables which 391 00:42:25,760 --> 00:42:33,440 are fairly boring just a push to stream table which includes you know just a message and if it's 392 00:42:33,440 --> 00:42:42,160 response if it got one and the archive table so this one's kind of fun if we think you're doing 393 00:42:42,160 --> 00:42:47,760 some egregious advertising or you somehow broke merge messages and your message couldn't be there 394 00:42:47,760 --> 00:42:54,720 we can purge it entirely from the queue and the backlog and it won't show up in any data exports 395 00:42:54,720 --> 00:43:01,600 we have all sorts of cool stats that can be displayed to luke Linus and Dan so they can keep 396 00:43:01,600 --> 00:43:08,000 a track of what's going on so we have the stream duration obviously important merge message count 397 00:43:08,800 --> 00:43:16,880 and the most merge messages we've ever gotten in a day is 1700 and that was after the hack happened 398 00:43:16,880 --> 00:43:24,240 and we lost our youtube channel you guys came through and just overwhelming support 399 00:43:24,240 --> 00:43:30,960 crashed the merge message server it was amazing but we were receiving about 19 merge messages a 400 00:43:30,960 --> 00:43:38,080 second at some points and we were maintaining around 40 merge messages a minute consistently 401 00:43:38,080 --> 00:43:44,000 throughout the show and that was just too much for the server to handle and a race condition happened 402 00:43:44,000 --> 00:43:50,080 and the server came down but that's actually being patched so it's not even possible for 403 00:43:50,080 --> 00:43:56,720 that to happen now when Linus leaks the dashboard i get a lot of comments that this is a very ugly 404 00:43:56,720 --> 00:44:04,720 ui and to some degree they're right because you're not supposed to care about how internal tools 405 00:44:04,720 --> 00:44:09,520 look they're just supposed to be functional and this is the most functional thing i've ever made 406 00:44:10,240 --> 00:44:18,080 row of buttons at the top a bunch of detail summaries with information that doesn't really 407 00:44:18,080 --> 00:44:23,920 have to look nice you can however set the color to be whatever you want it's nice and 408 00:44:25,200 --> 00:44:29,920 customizable i mean compared to something like LTT Store Floatplane like it's not 409 00:44:30,480 --> 00:44:37,040 client facing so we really don't have to worry about making it actually look nice it just has 410 00:44:37,040 --> 00:44:44,160 to look functional over everything else but what a browser source is is in v mix or obs or 411 00:44:44,160 --> 00:44:49,840 whatever broadcasting software you use you can usually create an element that you can put in a 412 00:44:49,840 --> 00:44:57,440 frame and you just give it a url that url will be an actual website that just decides what displays 413 00:44:57,440 --> 00:45:04,480 in that element so if i switch over if it create a little sponsor here and i click show this sponsor 414 00:45:04,480 --> 00:45:11,200 thing will come up so this would be if Dan is not streaming a WAN Show but we still need sponsors 415 00:45:11,200 --> 00:45:18,640 to display on screen he can use this element and it will display a sponsor on screen when he wants 416 00:45:18,640 --> 00:45:26,320 to there's also the pop-up element so what this is is if Linus and luke are sharing their screen 417 00:45:26,320 --> 00:45:31,920 they can use the pop-up browser source and this will just display a little square from the top of 418 00:45:31,920 --> 00:45:38,240 the screen and that way it's less obtrusive we don't have the whole wan banner obstructing 419 00:45:38,800 --> 00:45:46,240 half of their screen and they can see this is the banner the chyren as i like to call it because 420 00:45:46,240 --> 00:45:51,360 that's what it is and as you can see it's just a web page you can just go to it displays your 421 00:45:51,360 --> 00:46:00,720 messages nice and fun we have the sponsor spots for the intro as Dan was talking about earlier 422 00:46:00,800 --> 00:46:08,880 where after that intro sequence is played it will show this on screen briefly and that way he 423 00:46:08,880 --> 00:46:16,320 doesn't have to have it generated as an image every time instead he can just insert some sponsors 424 00:46:16,320 --> 00:46:22,160 into the merge message dashboard and they'll just be appended to this list or he can remove 425 00:46:22,160 --> 00:46:28,960 sponsors or whatever he wants to do and finally we have the outro browser source we use merge 426 00:46:28,960 --> 00:46:38,400 messages for the outro for a couple reasons first of all switching to an outro scene through vmix 427 00:46:38,400 --> 00:46:46,080 is kind of tedious and not easy to do so using a browser source that just displays on top of 428 00:46:46,080 --> 00:46:51,760 everything is very simple to do it's basically just a web page that sits there and we can also have 429 00:46:51,760 --> 00:46:58,480 the outro sit there for as long as we want all right that is all for merge messages i am working 430 00:46:58,480 --> 00:47:05,360 on a blog post for the newsletter that will go up in a few months hopefully but let's throw it back 431 00:47:05,360 --> 00:47:10,720 to Dan so the last thing we kind of have to go over is the stream deck integration and stream deck 432 00:47:10,720 --> 00:47:18,400 has some implementations directly with obs but with vmix and kind of also reaper i went a little bit 433 00:47:18,400 --> 00:47:24,880 of a different route our stream deck integration actually uses midi i have this secondary program 434 00:47:24,880 --> 00:47:32,320 called loop midi which is like virtual midi ports and then all of these are like another free plugin 435 00:47:32,320 --> 00:47:39,360 that is just midi control so each of the buttons here instead of sending direct messages it just 436 00:47:39,360 --> 00:47:45,920 sends midi controls and there's lots and lots of different uh there's lots of different data sources 437 00:47:45,920 --> 00:47:51,760 that you can use for these and we're just using the the cc messages i spent ages trying to figure 438 00:47:51,840 --> 00:47:56,960 out how to get the bleep button working and i if you remember there was always problems with it 439 00:47:57,920 --> 00:48:03,920 that integration was in obs and that was kind of like a toggle mute so the bleep button was 440 00:48:03,920 --> 00:48:12,480 playing constantly in obs and then the stream deck triggered a toggle mute in obs when you're 441 00:48:12,480 --> 00:48:19,360 trying to bleep yourself in obs it triggers the push to mute uh instantly right and that doesn't 442 00:48:19,360 --> 00:48:24,800 work with the delay from the audio and the camera so what i had to do is i had to write an auto hot 443 00:48:24,800 --> 00:48:34,400 key script to um press the shortcut after like 144 milliseconds so that it would be timed properly 444 00:48:34,400 --> 00:48:40,080 and then because it also triggers the push to mute instantly i had to program a second one 445 00:48:40,080 --> 00:48:46,160 that when you release the button it kept it held for another 140 milliseconds or something like 446 00:48:46,160 --> 00:48:50,480 that so it was it was very very difficult to like time properly and it was also very difficult to 447 00:48:50,480 --> 00:48:57,360 like get it working consistently so what we do now is we use this midi control so when i push the 448 00:48:57,360 --> 00:49:03,840 the swear bleep you can see it updating the the midi data there right so when you push the the 449 00:49:03,840 --> 00:49:09,440 swear bleep it triggers midi and then what that does is we have a midi control in reaper and what 450 00:49:09,440 --> 00:49:14,480 that does is it just solos this bleep thing here because the other thing that we want to do is we 451 00:49:14,480 --> 00:49:21,440 want to mute the output so you can't hear the swears underneath the bleep and this allows it to be 452 00:49:21,440 --> 00:49:27,360 absolutely perfectly real time with the audio because they're all kind of married in the pre-mix 453 00:49:28,880 --> 00:49:36,400 and it's incredibly robust like the midi doesn't fail ever it's really fast it's really responsive 454 00:49:36,400 --> 00:49:40,080 because you're manually pulling a keyboard there's no latency anything like that so 455 00:49:40,960 --> 00:49:45,600 love that aspect of it and then that gets fed directly into v-mix with like 456 00:49:46,880 --> 00:49:53,120 with no delay required so it's super robust everything else is kind of also 457 00:49:54,640 --> 00:50:03,040 midi shortcuts and then they come into v-mix through the v-mix shortcut system so we have 458 00:50:03,040 --> 00:50:11,120 all of these different shortcuts for all of the different inputs and outputs and they're 459 00:50:11,120 --> 00:50:18,400 they're really easy you kind of just you come here you go find you push your your button it finds 460 00:50:18,400 --> 00:50:27,600 the midi control immediately and those are those are done instantly if we bring the stream deck back 461 00:50:28,480 --> 00:50:32,800 yeah these are pretty easy you just put in a control change you can pick your channel 462 00:50:32,800 --> 00:50:40,480 you can pick your command so we have all of these we have 127 for 16 different channels so that's 463 00:50:40,480 --> 00:50:48,080 kind of a few you can also set your button type so hold push toggle for all of these so for example 464 00:50:48,080 --> 00:50:57,680 the producer is a toggle so what my producer live button does is it mutes and unmutes my 465 00:50:57,680 --> 00:51:04,160 microphone here and the nice thing about doing it with the midi is these are always in sync so 466 00:51:04,160 --> 00:51:11,920 if I close down the stream deck or I close down the or close down reaper it's not backwards so I 467 00:51:11,920 --> 00:51:19,520 can have it green and I know that green is always unmuted right because it's a you're pushing a note 468 00:51:19,520 --> 00:51:25,280 or you're not pushing a note so the toggle works really really well for that cam only is you know 469 00:51:25,280 --> 00:51:30,960 switch why cam we have independent control over the various cameras or I can come down and go to 470 00:51:30,960 --> 00:51:38,160 like Luke's laptop and then in the bottom oops let's close that in the bottom left here so we 471 00:51:38,160 --> 00:51:44,880 can switch down to Luke laptop and still have control over the various cameras in the picture 472 00:51:44,880 --> 00:51:50,960 and picture so that's kind of really nice and simple what else is there yeah we can trigger our 473 00:51:50,960 --> 00:51:58,240 intro our outro we can turn on my producer cam hello there we are looking here turn my producer 474 00:51:58,240 --> 00:52:04,880 cam on and off that sort of thing and then we've also yeah it's the same thing that works for 475 00:52:04,880 --> 00:52:10,800 Dennis's integrations and then over here this is a new thing that we're experimenting with 476 00:52:10,800 --> 00:52:19,360 so this is the add-on deck for like other extra things v-max allows you to have output logs to 477 00:52:19,360 --> 00:52:29,200 file so for our editors it works really nice if we have time stamps right so when we start the show 478 00:52:29,200 --> 00:52:39,440 I can hit a various timestamp here and what that'll do is write to the log file that is generated 479 00:52:39,440 --> 00:52:47,360 along with every single recording the exact time of the recording plus my my custom wording for 480 00:52:47,360 --> 00:52:54,160 what the timestamp is I also have this kind of production clock here for the length of the 481 00:52:54,160 --> 00:52:58,640 wanshow because we're trying to keep it to to about three to three and a half hours now 482 00:52:58,640 --> 00:53:04,320 and so when we go live on youtube what this will do is it'll start this timer so I have a very 483 00:53:06,400 --> 00:53:10,080 detailed understanding of where I am in the show and where I need to push them 484 00:53:10,880 --> 00:53:17,280 I made some I made some little cards here two or three more topics right which just keeps 485 00:53:17,280 --> 00:53:23,840 Linus and Luke on track and I just I just plop them there and they can see exactly when when that's 486 00:53:23,840 --> 00:53:28,720 supposed to happen and I can keep an eye on the time because I would be because of the pre-show 487 00:53:28,720 --> 00:53:34,720 the recording time and the actual live time is slightly different so it's very difficult to 488 00:53:34,720 --> 00:53:39,760 get an accurate picture of of where all our time stamps are thanks so much for tuning in that's 489 00:53:39,760 --> 00:53:45,840 about it for the Dan show tune in next time same bad time same bad channel bye 490 00:53:52,560 --> 00:53:57,200 okay so now I just need a quick quick pickup talking are you still recording