WEBVTT 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. 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, 00:00:07.200 --> 00:00:10.640 cameras, everything today. We're also going to talk about 00:00:10.640 --> 00:00:14.560 merch messages. We're going to talk a little bit about merch messages, how they work, 00:00:14.560 --> 00:00:17.360 some record stats, and other interesting stuff about them. 00:00:18.000 --> 00:00:20.400 Yeah, we've got a lot to cover today, so let's get into it. 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 00:00:27.360 --> 00:00:33.760 this lovely table done by Nick Heavy, Callanan in Logistics. It's got some integrated lighting, 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 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. 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, 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, 00:00:57.600 --> 00:01:02.240 and you need to hold something next to your mouth or like have an availability there, 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, 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 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 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. 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, 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. 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 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 00:01:55.360 --> 00:02:02.000 rotate, and then they click in really nice like that. Our microphones here are the Electrovoice 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, 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 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, 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 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 00:02:34.560 --> 00:02:43.200 crosstalk between the two guys. Headphones here are the ATH M50X by Audio Technica. 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 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 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 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. 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 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, 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 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, 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 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 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 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 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, 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, 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 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 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 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 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 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? 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 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 00:05:07.680 --> 00:05:15.200 over here. These are some Philips Hue LED bulbs, which are controlled with a little controller 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 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 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 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 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 00:05:45.840 --> 00:05:52.240 sort of cable management. Oh wow. It's better than it was, but it's still 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. 00:06:02.560 --> 00:06:08.400 So this is just basically a single eight channels that go directly back to the computer. 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 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 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 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 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, 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 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 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 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 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, 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 00:07:25.440 --> 00:07:29.840 extra work where we routed a whole bunch of cables through this fake wall, and unfortunately, 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 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, 00:07:43.280 --> 00:07:50.080 and they kind of set. However, they were before, which is useful. Coming and turning everything 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 00:07:56.400 --> 00:08:01.520 to those, but I have my inline preamp here. Because these are a dynamic microphone, the 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 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 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, 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 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 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 00:08:39.120 --> 00:08:43.280 directly into the microphone. You can't use them with condensers because they need phantom power 00:08:43.280 --> 00:08:54.000 48 volts to actually function. Okay, so our microphones come into the audio rack. Linus and 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. 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 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, 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 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 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 00:09:33.760 --> 00:09:38.960 in, two channel out. That allows me to kind of prevent Linus from clipping because sometimes 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, 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 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 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 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 00:10:11.120 --> 00:10:15.120 it's kind of holding that, and there's like an attack and delay and release, 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, 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 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, 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, 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, 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. 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, 00:10:59.200 --> 00:11:05.520 and then they are completely brought through into the octopree here at the bottom. 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 00:11:13.840 --> 00:11:17.600 are underneath them, right, so they're always connected together. It's like a physical patch. 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, 00:11:25.840 --> 00:11:30.720 so the microphone comes through into the octopree, and then it's looped out 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, 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 00:11:42.880 --> 00:11:50.400 into the Scarlet, which is our interface, and then we've got some lineouts here, 00:11:51.360 --> 00:11:58.400 which go into our headphone splitter, so our four channels of lineout 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, 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 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, 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, 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, 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, 00:12:28.320 --> 00:12:32.480 so there's no latency whatsoever, otherwise it makes it really difficult to like talk. 00:12:32.480 --> 00:12:37.760 Yeah, so the headphone outputs are this side, and then they go to the headphone extensions, 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. 00:12:46.640 --> 00:12:51.680 These two are connected via ADAT, which is optical, so this can accept like eight 00:12:51.680 --> 00:12:56.720 additional channels. Let's have a look at the computer next, I guess. 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, 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 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 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 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 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 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 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 00:13:50.720 --> 00:13:58.000 computer. After the focus right, it then goes into this really awesome little program called 00:13:58.000 --> 00:14:07.040 ASIO LINK PRO. ASIO is an audio transport protocol that's like extremely low latency, 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, 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 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 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 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 00:14:39.680 --> 00:14:46.400 more complicated, ASIO has like basically four microphone inputs, if you want to think about 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 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 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 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, 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, 00:15:18.320 --> 00:15:25.600 up here into output three, four, and then that also goes into avid mix pros for 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, 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, 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, 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, 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 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 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 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 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 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 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 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 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 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, 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 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 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 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 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 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 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 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 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 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 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 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 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 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 00:18:42.640 --> 00:18:48.400 timing, especially when you have two people talking over each other and some strange pauses, 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 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, 00:19:01.520 --> 00:19:05.680 it doesn't make it necessarily silent, but it just makes it a little bit quieter, 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 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 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, 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 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 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 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 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 00:19:49.200 --> 00:19:55.520 standard of negative one decibels full-scale and then negative 14 loudness units full-scale 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 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 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, 00:20:17.040 --> 00:20:22.000 that's channel four, which plays constantly, so it's constantly playing that bleep tone 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, 00:20:27.760 --> 00:20:32.000 and finally we're into Vmix here, the nice thing about doing it this way is 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 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 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 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 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 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 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 00:21:17.760 --> 00:21:22.880 inputs from Lucan Linus and myself, so no latency in hearing exactly what's being recorded, 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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, 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 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 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, 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 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 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 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 00:24:12.720 --> 00:24:16.720 project when we were doing some more of the 4K stuff for Dennis's integrations, 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 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 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 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 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 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 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 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 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% 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 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 00:25:34.480 --> 00:25:41.280 like hundreds of inputs, it supports a thousand inputs as well as a thousand simultaneous NDI 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 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 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 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 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 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 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 00:26:30.320 --> 00:26:38.480 700 different versions of this with all my possible inputs right, so I want to have, 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 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 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 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 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 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, 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, 00:27:23.120 --> 00:27:31.920 so vMix allows for four sub stream mixes which can also all be output simultaneously, 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 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 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 00:27:47.840 --> 00:27:53.280 camera simultaneous streams to Floatplane, so you could pick which camera you wanted to watch 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 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 00:28:06.240 --> 00:28:11.600 actually change the input into mix two, they change the input into mix two 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 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 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, 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 00:28:39.840 --> 00:28:44.000 anything else, the other nice thing about using a submix is my color correction 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 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 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 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, 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, 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. 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 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 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 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, 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, 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 00:31:48.720 --> 00:31:54.080 things with timers and you can trigger timers with other timers or like multiple timers simultaneously 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, 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 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 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 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 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 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 00:32:50.880 --> 00:32:57.200 countdown finishes it then adds this as a secondary layer, so right we have these four 00:32:57.200 --> 00:33:04.480 sub mixes for video production and in seven seconds five seconds something like that, 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 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 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 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 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 00:33:34.880 --> 00:33:39.840 like well now it's four seconds right, set that to four seconds and now this 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 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 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 00:33:56.720 --> 00:34:02.160 complicated because they would produce these pictures and then we would have I would have to 00:34:02.160 --> 00:34:05.920 individually display them on screen for a set amount of time so it was like 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, 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, 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 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 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, 00:34:37.360 --> 00:34:41.120 the green one here indicates the next integration so we have integration one, 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 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, 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 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 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 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 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 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. 00:35:36.160 --> 00:35:40.800 We've got our banner here which is another browser source which is integrated directly 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 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 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 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 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 00:36:18.960 --> 00:36:24.640 so where does merge messages come from? At Flowplain we have this thing called creative day 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 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 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 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 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 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 00:37:02.560 --> 00:37:08.880 merge messages is actually entirely AI written but it has since been completely refactored 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 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 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 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 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 00:37:43.040 --> 00:37:50.560 information from that such as your email, your name, and what your actual merge message is 00:37:50.560 --> 00:37:57.280 we extract information from the order and we generate a merge message object that object 00:37:57.280 --> 00:38:03.600 gets added into a backlog which stores more information about it such as the time remaining 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 00:39:56.960 --> 00:40:03.760 splice this message directly after the initial message in the queue if the initial message 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 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 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 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 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 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 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 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 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 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 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 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 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 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 00:41:38.640 --> 00:41:44.720 is it will actually display the message on the chyron so it's there visible 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 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 00:41:59.920 --> 00:42:05.200 and that's what these really obnoxious buttons are for you can see nice RGB 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 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 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 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 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 00:42:42.160 --> 00:42:47.760 some egregious advertising or you somehow broke merge messages and your message couldn't be there 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 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 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 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 00:43:16.880 --> 00:43:24.240 and we lost our youtube channel you guys came through and just overwhelming support 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 00:43:30.960 --> 00:43:38.080 second at some points and we were maintaining around 40 merge messages a minute consistently 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 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 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 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 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 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 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 00:44:25.200 --> 00:44:29.920 customizable i mean compared to something like LTT Store Floatplane like it's not 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 00:47:18.400 --> 00:47:24.880 of a different route our stream deck integration actually uses midi i have this secondary program 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 00:49:36.400 --> 00:49:40.080 because you're manually pulling a keyboard there's no latency anything like that so 00:49:40.960 --> 00:49:45.600 love that aspect of it and then that gets fed directly into v-mix with like 00:49:46.880 --> 00:49:53.120 with no delay required so it's super robust everything else is kind of also 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 00:50:03.040 --> 00:50:11.120 all of these different shortcuts for all of the different inputs and outputs and they're 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 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 00:53:06.400 --> 00:53:10.080 detailed understanding of where I am in the show and where I need to push them 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 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 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 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 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 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 00:53:52.560 --> 00:53:57.200 okay so now I just need a quick quick pickup talking are you still recording