1 00:00:00,000 --> 00:00:04,160 Hey everyone and welcome to the Dan Show. We've got a bunch of great topics for you today. We're 2 00:00:04,160 --> 00:00:08,960 going to go through the whole set here. We're going to go through VMIX, cameras, everything today. 3 00:00:08,960 --> 00:00:13,120 We're also going to talk about merge messages. We're going to talk a little bit about merge 4 00:00:13,120 --> 00:00:17,280 messages, how they work, some record stats and other interesting stuff about them. 5 00:00:17,920 --> 00:00:20,320 Yeah, we've got a lot to cover today, so let's get into it. 6 00:00:22,960 --> 00:00:28,480 All right, so we're going to start off by talking about the set here. We've got this lovely table 7 00:00:28,480 --> 00:00:34,640 done by Nick Heavy, Callinan in Logistics. It's got some integrated lighting. It's got everything 8 00:00:34,640 --> 00:00:39,680 that we need right here on the table. So I guess the first thing that we got here is our laptops. 9 00:00:40,240 --> 00:00:45,760 They are all connected via HDMI. They go all the way back to the computer. I get a lot of questions 10 00:00:45,760 --> 00:00:53,760 about the mic arms. I don't know the exact brand of them, but I do know that they're from wheelchairs. 11 00:00:53,760 --> 00:00:59,440 So if you have a wheelchair or something like that and you need to hold something next to your 12 00:00:59,440 --> 00:01:06,800 mouth or like have an availability there, this kind of clicks on. It's rotatable. It's got this nice 13 00:01:06,800 --> 00:01:15,520 little locking plug there and it's flexible and they're quite strong. So they're more non-traditional. 14 00:01:15,520 --> 00:01:20,160 They're kind of non-standard, but they're really kind of nice for a nice solid mounting. 15 00:01:20,800 --> 00:01:27,200 They do have the tendency to droop a little bit. These mics are very heavy, but that's probably 16 00:01:27,200 --> 00:01:34,000 about it for the mic stands. They come in different kind of girths, I guess, and they've got a standard 17 00:01:34,000 --> 00:01:41,200 thread on the end and then this like ball detent. You can't rotate them, but you can pull them up 18 00:01:41,200 --> 00:01:48,560 if I can do this. There we go. So you can see on the mounting attachment here there's a bunch of 19 00:01:48,560 --> 00:01:54,640 like individual holes for these ball detents on the bottom. So you can kind of get them set in 20 00:01:54,640 --> 00:02:00,560 and then they don't rotate and then they click in really nice like that. Our microphones here are 21 00:02:00,560 --> 00:02:08,080 the Electrovoice RE20s. So these have less of a near field effect. So when you're getting close to 22 00:02:08,080 --> 00:02:12,720 it or you're kind of farther away, the sound doesn't change too much. It's a bit of a crossover 23 00:02:12,800 --> 00:02:20,160 between the SM7B and the RE20. And SM7B is basically just like a different brand of the 24 00:02:21,440 --> 00:02:28,320 SM57. So these are kind of a bit nicer. Yeah, they're both a dynamic microphone, so they've got a 25 00:02:28,320 --> 00:02:33,760 little bit of a lower output than something like a condenser. They don't pick up so much room noise 26 00:02:33,760 --> 00:02:43,200 or any crosstalk between the two guys. Headphones here are the AT-HM50X by Audio Technica. 27 00:02:45,200 --> 00:02:50,640 They're kind of, they're okay. They're okay. They get a little bit tiring after you've been wearing 28 00:02:50,640 --> 00:02:57,040 them for like five hours, but otherwise they sound fine and the monitoring's like not too bad. 29 00:02:57,040 --> 00:03:01,440 Yeah, a pair of stream decks here. So this is where Linus and Luke control everything. We'll 30 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. 31 00:03:07,600 --> 00:03:13,760 The lighting here on the table is RGB and it's completely controlled over Bluetooth with an 32 00:03:13,760 --> 00:03:19,840 iPad app. It's got a whole bunch of different modes. We can go like RGB puke, take up the brightness. 33 00:03:19,840 --> 00:03:27,040 Let me do that. There we go. Yeah, so they're pretty, they're pretty intense. We can increase 34 00:03:27,120 --> 00:03:34,080 the speed too. There we go. That's, that's a WAN Show. I wish we did it all like this. 35 00:03:34,080 --> 00:03:42,800 Yeah, that's great. Oh wow, that's, that's bright. Yeah, turn that down. Right, so we used to also 36 00:03:42,800 --> 00:03:47,920 use the iPad to control a couple of Titan tubes that we had at the back, but they were kind of 37 00:03:47,920 --> 00:03:53,040 dark. If you look at like last year or even like a few months ago before I installed these, 38 00:03:53,040 --> 00:03:59,920 the red and blue were kind of dim. So we use these new, they're really bright. 39 00:04:01,520 --> 00:04:10,240 These are like outdoor, I guess 80 watt or something like that rated LED lights, RGB, 40 00:04:11,040 --> 00:04:17,120 that we, I think we bought them for the whale land and I stole a couple, well I stole four 41 00:04:17,600 --> 00:04:24,320 to throw here. Due to the power outage we had, I guess back in December, everything now has 42 00:04:24,320 --> 00:04:30,320 jackeries supporting it. So there's a jackery just for these back lights and there's also a 43 00:04:30,320 --> 00:04:36,480 jackery up there for the china ball and aperture. This background is eventually going to get replaced 44 00:04:36,480 --> 00:04:40,800 with some new products that we're developing. I'm not entirely sure I'm supposed to talk about them, 45 00:04:40,800 --> 00:04:48,400 but you'll see that. Obviously they're covered in wrinkles. I'm so sorry. We'll get that fixed 46 00:04:48,400 --> 00:04:54,320 eventually. Just the fabric is really difficult to kind of, because it's foam, so it doesn't 47 00:04:54,320 --> 00:05:00,960 sit particularly well. What else we got? We got our secret Labs chairs. This is something that we 48 00:05:00,960 --> 00:05:04,960 don't get to show off too often just because they never use the side cameras. We've got a whole 49 00:05:04,960 --> 00:05:13,120 bunch of like weird set deck things over here. These are some Philips Hue LED bulbs which are 50 00:05:13,120 --> 00:05:17,680 controlled with a little controller on the desk there. We'll go through. Wow, these look like some 51 00:05:17,680 --> 00:05:23,520 old school bulbs. Yeah, they've kind of had a big resurgence with these like more aesthetic 52 00:05:23,520 --> 00:05:28,800 LED things instead of just like providing light. They provide a bit of ambience and set deck, 53 00:05:28,800 --> 00:05:36,160 that sort of thing. Behind we have our halo lights. They're wasps. They're kind of more 54 00:05:36,160 --> 00:05:41,600 just stuff we had lying around. Wanshoe gets the stuff that we have lying around, unfortunately. 55 00:05:43,360 --> 00:05:47,040 Let's dump under the desk and I'll show you the sort of cable management. 56 00:05:48,160 --> 00:05:54,640 Oh wow. It's better than it was, but it's still not as great as I think it could be. 57 00:05:55,600 --> 00:06:00,560 I've got this really nice eight channel snake by Mogomi. 58 00:06:02,480 --> 00:06:08,320 So this is just basically a single eight channels that go directly back to the computer. 59 00:06:10,240 --> 00:06:16,720 Cameras, cameras, cameras. These are the C200. Again, the three of these were just ones that 60 00:06:16,720 --> 00:06:21,600 we had laying around. They're probably a little bit overkill for like a podcast set. I think the 61 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 62 00:06:26,800 --> 00:06:33,600 Sony products that we have. Well yeah, so we got three of those. These are just kind of 63 00:06:33,600 --> 00:06:38,160 to prevent a little bit of extra spill from the China ball. They connect via HDMI back to the 64 00:06:38,160 --> 00:06:44,000 computer and I think that's about everything we've got here. We've got a grid up here that needs to be 65 00:06:44,800 --> 00:06:48,400 a little bit more finished off, but that'll allow us to mount a whole bunch more 66 00:06:49,040 --> 00:06:54,960 stuff if we ever need to. And on the ceiling, I guess we've got those Elgato 67 00:06:56,080 --> 00:07:01,360 sound panels which don't really do much in this room, unfortunately. 68 00:07:03,920 --> 00:07:12,000 Yeah, I've got Linus's head. This is all like the extra stuff that we have. And this is my 69 00:07:12,080 --> 00:07:19,040 office, I guess. So I've got my stream decks. This is our audio system. Computers here. 70 00:07:19,040 --> 00:07:22,080 Don't look at the cable management under the desk. No. 71 00:07:24,240 --> 00:07:27,760 There was supposed to be some extra work where we routed a whole bunch of cables through this 72 00:07:27,760 --> 00:07:35,520 fake wall and unfortunately that didn't end up happening. So yeah, it's just going to sit down 73 00:07:35,520 --> 00:07:41,840 there and be ignored for as long as we can. Here's the controller for the Phillips Hue, 74 00:07:41,840 --> 00:07:47,840 you know, and you just turn them on and off and they kind of set however they were before, 75 00:07:47,840 --> 00:07:52,480 which is useful. Coming and turning everything on is basically push a couple buttons and it's 76 00:07:52,480 --> 00:07:59,120 all done. This is my microphone, so it's similar to those, but I have my inline preamp here. 77 00:07:59,120 --> 00:08:05,600 Because these are a dynamic microphone, the output of them is a lot lower than something 78 00:08:05,600 --> 00:08:11,360 like a condenser. And so we can use an inline preamp to bump that level up without introducing a 79 00:08:11,360 --> 00:08:17,840 whole bunch of noise. They're very, very similar to a cloudlifter, but I think they're about half 80 00:08:17,840 --> 00:08:23,680 the cost. And they're also way smaller and so much so that you can kind of have it attached to your 81 00:08:23,680 --> 00:08:30,720 mic directly instead of having this big box kind of somewhere else and having to use two cables. 82 00:08:32,000 --> 00:08:36,720 The two for the Wancho set are hidden underneath, so we are using those kind of two cables. So go 83 00:08:36,720 --> 00:08:41,920 snake, inline preamp, and then directly into the microphone. You can't use them with condensers 84 00:08:41,920 --> 00:08:50,960 because they need phantom power 48 volts to like actually function. Okay, so our microphones come 85 00:08:50,960 --> 00:08:59,760 into the audio rack. Linus and Luke go into this Apex Compeller. And what this is, is it's a automatic 86 00:08:59,760 --> 00:09:10,080 gain leveling system. So unlike a traditional gain control system, this one, if there's silence, 87 00:09:10,640 --> 00:09:16,480 it doesn't continue to bring the level up to like incredible high volumes and then they start talking 88 00:09:16,560 --> 00:09:23,280 than it ducks. So the noise floor stays where it needs to be. There's basically a gate on the 89 00:09:23,280 --> 00:09:28,400 voltage control to amplifier that controls the level of the gain. And it's really, really fast 90 00:09:28,400 --> 00:09:33,200 because it's pretty much completely analog. There's no plugins or anything you need. It's just kind of 91 00:09:33,200 --> 00:09:38,560 two channel in, two channel out. That allows me to kind of prevent Linus from clipping because 92 00:09:38,560 --> 00:09:44,240 sometimes he screams. And when you're about halfway through the Wancho and people are tired, you know, 93 00:09:44,240 --> 00:09:51,200 you're not on that extreme on style of existing that he kind of maybe is at the right at the 94 00:09:51,200 --> 00:09:56,880 start of the show. Yeah, so that's two channels. So I've got Linus and Luke here. Conrad, if you 95 00:09:56,880 --> 00:10:04,800 want to go tap one of the mics, maybe we can see it like functioning. There you go. So we've got our 96 00:10:04,800 --> 00:10:10,160 input here and we can sort of switch between that and then also the gain reduction. So you can see 97 00:10:11,040 --> 00:10:15,760 it's kind of holding that and there's like an attack and delay and release. And then you can 98 00:10:15,760 --> 00:10:20,800 also sort of adjust how much silence is required for that noise gate to trigger. And then if you 99 00:10:21,440 --> 00:10:27,760 stop, you can see that has popped on. And now it's holding that amount of gain reduction where it 100 00:10:27,760 --> 00:10:34,880 was the last step. So that noise floor doesn't come up and go crazy. And then that loops in through 101 00:10:34,960 --> 00:10:40,720 the rest of this rack. We've got this patch bay here. And so all of our inputs and outputs are 102 00:10:40,720 --> 00:10:47,600 kind of normal together. So if I do have to make a change, I can come in and patch it. But most of 103 00:10:47,600 --> 00:10:52,400 the time it just stays completely static. We've got a bit of a map here at the top. 104 00:10:54,480 --> 00:11:03,120 So our microphone ties come in through the top left here. And then they are completely brought 105 00:11:03,120 --> 00:11:10,240 through into the octopree here at the bottom. So the microphones are in here, one through eight. 106 00:11:10,880 --> 00:11:15,840 And then the ties back down to the octopree are underneath them, right? So they're always connected 107 00:11:15,840 --> 00:11:22,800 together. It's like a physical patch. This is our octopree. So this is our, I'm using this as a preamp 108 00:11:22,800 --> 00:11:30,720 and inline compressor. So the microphone comes through into the octopree and then it's looped out 109 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. 110 00:11:37,360 --> 00:11:43,520 So it comes in through the octopree, out into the Apex for processing, and then it comes back into 111 00:11:43,520 --> 00:11:52,640 the Scarlet, which is our interface. And then we've got some lineouts here, which go into our 112 00:11:52,640 --> 00:11:59,840 headphone splitter. So our four channels of the lineout go into our headphone splitter so I can 113 00:11:59,840 --> 00:12:05,120 have two mixes. So we have our main mix, Luke, Linus, and myself over here on channel eight. And 114 00:12:05,120 --> 00:12:11,360 then if I need to monitor directly Vmix or the output to stream, I can simply hit one button. 115 00:12:11,360 --> 00:12:16,640 And now I'm on my submix, which I can control completely digitally and like route what I need to. 116 00:12:16,640 --> 00:12:21,680 So if we have a guest and I need to monitor that, but I don't want it in Linus and Luke's 117 00:12:21,680 --> 00:12:27,360 headphone mix, because there's a whole bunch of delay. Channel A is pretty much just direct 118 00:12:27,360 --> 00:12:31,840 mic monitoring. So there's no latency whatsoever. Otherwise, it makes it really difficult to like 119 00:12:31,840 --> 00:12:37,760 talk. Yeah, so the headphone outputs are this side. And then they go to the headphone extensions, 120 00:12:37,760 --> 00:12:46,560 which go to the table and also my side here on the floor. So that's kind of the audio thing. 121 00:12:46,560 --> 00:12:52,560 These two are connected via ADAT, which is optical. So this can accept like eight additional channels. 122 00:12:53,040 --> 00:13:00,400 Let's have a look at the computer next, I guess. So focus right gives you control panel. So you 123 00:13:00,400 --> 00:13:10,560 can see our eight channels of ADAT here, which are the those are the octopree inputs. And then 124 00:13:10,560 --> 00:13:17,120 analog one, two are the inputs from the compiler. So we don't necessarily have to use the compiler. 125 00:13:17,120 --> 00:13:25,120 It's digitally routed into the chain via analog, you know. And then my playback one through 10 126 00:13:25,120 --> 00:13:31,040 are at the bottom here. So I have two submixes, monitor outputs one, two go to their headphone 127 00:13:31,040 --> 00:13:37,520 mixes, and then line output three, four goes to the submix in the headphone splitter. And so if I 128 00:13:37,520 --> 00:13:42,880 need to adjust my submix here, I can like mute different sections or I can mute my microphones. 129 00:13:42,880 --> 00:13:49,520 All the microphones are muted. And so I'm just kind of monitoring my playback that way. So that's 130 00:13:49,520 --> 00:13:56,320 our end through the computer. After the focus right, it then goes into this really awesome 131 00:13:56,320 --> 00:14:06,400 little program called ASIO LINK PRO. ASIO is an audio transport protocol that's like extremely low 132 00:14:06,400 --> 00:14:13,200 latency. It does require some level of exclusivity. And so because we use three or four different 133 00:14:13,200 --> 00:14:20,560 programs, I don't want them to take exclusive control over the focus right. So we use ASIO LINK PRO 134 00:14:20,560 --> 00:14:26,720 as like a middleman. So ASIO gets full exclusivity. And then it can route it wherever it needs to be 135 00:14:26,720 --> 00:14:32,000 in through like digital data channels. It's kind of like voice meter or voice meter banana, but 136 00:14:32,000 --> 00:14:39,600 like a little bit more free in how you want to route it. So my ASIO routing layer is kind of a 137 00:14:39,600 --> 00:14:46,560 bit more complicated. ASIO has like basically four microphone inputs, if you want to think about it 138 00:14:46,560 --> 00:14:54,880 that way, or destinations that I can send to. So Reaper here, the output one, two is set to 139 00:14:54,880 --> 00:15:01,040 one of the ASIO outputs. And so that kind of comes in here, one, two, which then I can route 140 00:15:01,040 --> 00:15:06,000 somewhere else. And then the ones along the bottom are the outmixes, which because it's 141 00:15:06,000 --> 00:15:10,560 hooked into the focus right are kind of like the focus right line outputs. This is where it gets 142 00:15:10,560 --> 00:15:16,480 really complicated. I'm so sorry. And my sub mix B, I have the output from Reaper sending through 143 00:15:16,480 --> 00:15:25,520 main mix one, two up here into output three, four. And then that also goes into avid mix pros for 144 00:15:26,320 --> 00:15:32,000 eight channel outputs, one, two and one, two, probably just because I don't really use them. 145 00:15:32,000 --> 00:15:38,160 I just it's another destination they can go. If say I wanted to send it to a remote guest, 146 00:15:38,960 --> 00:15:45,520 I can use one of these as a speaker destination. So I can set my microphone input on like say 147 00:15:45,520 --> 00:15:51,280 discord or something like that into output one, two, so they can hear what I can hear on three, 148 00:15:51,280 --> 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 149 00:15:58,080 --> 00:16:02,800 kind of it's one destination, but it's also two destinations. And that's what ASIO link pro 150 00:16:02,800 --> 00:16:10,080 lets me do. So this lineup here is my direct microphone inputs. And what I can do is I can 151 00:16:10,080 --> 00:16:17,680 send them into the ASIO host mix. So now we're going from the scarlet, which is here into ASIO's 152 00:16:17,680 --> 00:16:26,080 kind of mic inputs. So in Reaper, like digital inputs seven and eight would be digital input 153 00:16:26,080 --> 00:16:35,920 seven and eight here. So I'm coming in analog one, two from the compiler to the scarlet in analog one, 154 00:16:35,920 --> 00:16:40,560 two, and then I'm routing one and two over to seven and eight. So that's now my 155 00:16:41,360 --> 00:16:49,360 ASIO link microphone inputs. And so input seven and eight are arriving here. Digital 10 is going 156 00:16:49,360 --> 00:16:54,480 to be from the octopree, which is my microphone. And that's just directly brought down because it's 157 00:16:54,480 --> 00:16:59,600 an ADAT input. It's like actually input 20, which can get really confusing when I'm like, whoa, 158 00:16:59,600 --> 00:17:04,400 what is it? I don't know. I have the avid pro speaker out just basically directly routed all 159 00:17:04,400 --> 00:17:11,200 the way down. So Reaper's output on channel one, two goes directly to playback one, two. 160 00:17:12,000 --> 00:17:19,920 I have that muted in the AMEX for Linus and Luke, but it's available for me to listen to if I want 161 00:17:19,920 --> 00:17:29,840 to in sort of playback one, two. Okay, so we've gone from analog into the focus right. So the 162 00:17:29,920 --> 00:17:36,320 computer in focus right control. And then we're going from the scarlet over ASIO into ASIO link 163 00:17:36,320 --> 00:17:42,240 pro. And then that goes into Reaper. So Reaper kind of just has four channels at the moment. 164 00:17:42,800 --> 00:17:47,920 You can see here we've got this will be Linus's mic. We've got Luke's mic. And then we've got my 165 00:17:47,920 --> 00:17:58,320 mic over here, the producer mic. And those are kind of just like raw from the computer. So analog 166 00:17:58,320 --> 00:18:05,600 one, two from the compiler. All of those go to our main channel, which has an output to one, 167 00:18:05,600 --> 00:18:12,480 two, which then goes into V mix. This has a bunch of different effects on it. So we'll come over 168 00:18:12,480 --> 00:18:19,920 here. I don't know if you can see that. Okay. So my chain is basically a master chain rather than 169 00:18:19,920 --> 00:18:27,280 doing any individual tweaking. We start with a compressor. And then we have a slightly different 170 00:18:27,280 --> 00:18:35,360 compressor. This is just some more free plugins. Then we have this like trail dynamic system as 171 00:18:35,360 --> 00:18:40,960 well. So I didn't want to use a gate because it can be a little bit harsh and a little bit 172 00:18:40,960 --> 00:18:46,160 difficult to like control the attack timing, especially when you have two people talking 173 00:18:46,160 --> 00:18:50,640 over each other and some strange pauses. And I wanted to keep the noise floor down as much 174 00:18:50,640 --> 00:18:56,480 as possible. So the nice thing about Reaper's built in like dynamic thing is you can set a custom 175 00:18:56,480 --> 00:19:04,240 roll off. So as people stop talking, it doesn't make it necessarily silent, but it just makes it a 176 00:19:04,240 --> 00:19:09,760 little bit quieter. So when that noise floor comes up, and you can kind of hear more of the room tone, 177 00:19:09,760 --> 00:19:16,480 it's not as offensive, right? And it's got a bit of decay you can see on there. And then we just 178 00:19:16,480 --> 00:19:21,600 basically go into a limiter. So it keeps everything at negative one, which is kind of like your main 179 00:19:21,600 --> 00:19:26,560 standard. I would like to implement some more real time mastering stuff or at least balance the 180 00:19:26,560 --> 00:19:32,400 levels to kind of master for Spotify and the rest of the platforms in real time. The problem with 181 00:19:32,400 --> 00:19:37,600 doing like a live thing like this without writing faders or doing a proper master is the levels don't 182 00:19:37,600 --> 00:19:43,680 really match. So Spotify, maybe our podcast is a lot quieter than the other ones. Most platforms 183 00:19:43,680 --> 00:19:49,200 like YouTube and Spotify and all of those like iTunes music and that sort of thing have a mastering 184 00:19:49,200 --> 00:19:55,520 standard of negative one decibels full scale and then negative 14 loudness units full scale 185 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 186 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 187 00:20:11,280 --> 00:20:16,160 oh yeah, the bleep button as well. So there's another channel here, which is the bleep sound. 188 00:20:17,040 --> 00:20:22,160 That's channel four, which plays constantly. So it's constantly playing that bleep tone in the 189 00:20:22,160 --> 00:20:28,480 background, but it's muted. So we'll talk about how that functions a little bit later. And finally, 190 00:20:28,480 --> 00:20:34,240 we're into Vmix here. The nice thing about doing it this way is when we're in Vmix, we only have 191 00:20:34,240 --> 00:20:40,400 two channels of audio that come in. So we don't have to do any processing and we don't have to do 192 00:20:40,400 --> 00:20:44,400 any processing in Vmix. We don't have to worry about adding plugins. We don't have to worry about 193 00:20:45,360 --> 00:20:48,960 you know, making sure the levels are right because that's all handled in Reaper and then we just 194 00:20:48,960 --> 00:20:55,360 send in our final mix. So it's kind of like a pre-mix and then we have our final output. Vmix is 195 00:20:55,360 --> 00:21:04,480 nice because it allows for a secondary routing channel if we go audio outputs. So my headphone 196 00:21:04,480 --> 00:21:13,440 output is speakers 03, which is what you can kind of see over here on 34. So for me, I have basically 197 00:21:13,520 --> 00:21:20,000 three choices for routing. I can monitor the direct microphone inputs from Lucan Linus and myself, 198 00:21:20,000 --> 00:21:24,720 so no latency and hearing exactly what's being recorded. My second choice is to monitor the 199 00:21:24,720 --> 00:21:30,880 direct output from Reaper, which allows me to make sure that my plugins are working and then 200 00:21:31,520 --> 00:21:39,280 kind of all of that is just one output. And my third option is to monitor what Vmix is outputting 201 00:21:39,280 --> 00:21:46,720 through that secondary headphone mix. And because I only have one mix, I have to use the second one 202 00:21:46,720 --> 00:21:53,120 here. So I just mute Reaper output and I can listen to Vmix's output because you can see it adds 203 00:21:53,120 --> 00:21:58,880 a bit of latency there. And so it becomes really difficult to like monitor in real time if I'm 204 00:21:58,880 --> 00:22:06,560 just monitoring Vmix's output. And then yeah, I guess that's basically the entire audio chain. 205 00:22:07,360 --> 00:22:12,960 Simple enough for you. One of the reasons why it's so complicated is the versatility. 206 00:22:14,400 --> 00:22:20,720 If we were just doing all of this in OBS or all of this in Vmix internally, I wouldn't have the 207 00:22:20,720 --> 00:22:29,440 option to have so many places to monitor and for so many places of fine tune adjustment or control. 208 00:22:29,760 --> 00:22:36,640 I mean, this is pretty simple routing. It's just kind of like two inputs into another two inputs 209 00:22:36,640 --> 00:22:42,400 into another two inputs. But it gives me a place in the chain to like insert effects or like make 210 00:22:42,400 --> 00:22:50,560 modifications and the less plugins I can use, the more the computer is stable and the more kind of 211 00:22:51,120 --> 00:22:57,200 fast and responsive it is. And the more resources I have to like deal with video processing or like 212 00:22:57,920 --> 00:23:02,560 actually doing the streaming because it's kind of all one system. It's also nice having physical 213 00:23:02,560 --> 00:23:08,400 buttons like here. So if Linus is a bit too loud, I can just tweak him down a bit. I haven't touched 214 00:23:08,400 --> 00:23:13,920 these in a long time. It's kind of designed to be set and forget. So I don't have to be sitting here. 215 00:23:13,920 --> 00:23:20,800 Somebody else who has very little training can come down, they open Reaper, they open Vmix and 216 00:23:20,800 --> 00:23:26,240 then everything is good to go. It's basically two programs and you're done. That's kind of the other 217 00:23:26,240 --> 00:23:30,800 reason why it's so complicated in the back end to make it simple in the front end. You kind of have 218 00:23:30,800 --> 00:23:37,200 to go more complicated to make it more simple. Vmix next I guess from the video side of things. 219 00:23:37,200 --> 00:23:46,640 Vmix is pretty neat in that you can have like an obscene quantity of inputs. So in Vmix I have all 220 00:23:46,640 --> 00:23:55,920 of these. So currently I think there's about 84. 84 simultaneous inputs and these are all handled 221 00:23:55,920 --> 00:24:05,360 directly NVIDIA memory. So if I open up my task view here and see I'm running an RTX 4000 222 00:24:05,360 --> 00:24:12,640 which has 16 gigs of GPU memory. Currently there's about four gigs of VRAM used in this 223 00:24:12,640 --> 00:24:16,640 project. When we were doing some more of the 4k stuff for Dennis's integrations, 224 00:24:17,360 --> 00:24:23,520 it got up to like 10 or 11 gigs of VRAM and there wasn't like enough to do recording or 225 00:24:23,600 --> 00:24:29,680 streaming at the same time so we're getting a bit of hiccups. Like 4k MOV files uncompressed 226 00:24:29,680 --> 00:24:34,640 with transparency uses a lot of VRAM especially if they're held constantly. So if you're going 227 00:24:34,640 --> 00:24:42,160 to be using Vmix it's really GPU intensive and unless your set is as complicated as this you 228 00:24:42,160 --> 00:24:47,600 probably don't need an A4000. I used to run on a 2080 Super. 2080 Super was my old card. 229 00:24:48,080 --> 00:24:55,920 This computer has an i9 10980 XE which is a bunch of gibberish words. It's 36 core. 230 00:24:56,640 --> 00:25:02,080 Completely absolutely unnecessary but it runs 4 channel memory. Vmix is a fun beast. 231 00:25:03,280 --> 00:25:08,960 The nice thing about it is it has every single kind of built-in function that you would need 232 00:25:08,960 --> 00:25:13,440 already in it. Like you don't have to have any plugins that might cause performance issues or 233 00:25:13,440 --> 00:25:21,360 crash. Vmix from the get go has always been focused on 100% stability so I have touched wood. 234 00:25:22,000 --> 00:25:27,360 I have never had a crash with Vmix and I've been using it for like I guess nine years now 235 00:25:28,400 --> 00:25:35,600 and it's never it's never failed on me. And I guess that's great even with like hundreds of 236 00:25:35,600 --> 00:25:42,160 inputs. It supports a thousand inputs as well as a thousand simultaneous NDI camera inputs 237 00:25:43,040 --> 00:25:48,400 which is nuts. I don't know who has the internet bandwidth to use that much but it's pretty crazy. 238 00:25:49,760 --> 00:25:55,760 It can be a little bit difficult to get your head around how to structure a set like this but 239 00:25:55,760 --> 00:26:00,400 it's also applicable to OBS. Like you would do it I would do it in the same way just to kind of 240 00:26:00,400 --> 00:26:07,920 minimize work. So we kind of have our raw cams that come in here. So there's our raw cam from the 241 00:26:07,920 --> 00:26:14,160 wide cam. We've got Linus's camera and then we've got Luke's camera. We've also got their laptops 242 00:26:14,160 --> 00:26:21,280 and then Reaper audio and then Merch message lower banner. And then we have our first kind of like 243 00:26:21,280 --> 00:26:30,320 combination. I want to keep this banner open all the time but I don't want to have to make 244 00:26:30,320 --> 00:26:39,440 700 different versions of this with all my possible inputs right. So I want to have this 245 00:26:39,440 --> 00:26:45,760 is my broadcast image and then I want to be able to change things underneath it which kind of makes 246 00:26:45,760 --> 00:26:54,640 everything easier down the road. So this has a few multi-layers in it. So it's got a virtual mix 247 00:26:54,640 --> 00:27:00,880 which is kind of like another set of different cameras and then we have the lower banner and 248 00:27:00,880 --> 00:27:06,080 then we have another browser source over here which we'll talk about a bit later. So this is 249 00:27:06,080 --> 00:27:10,720 kind of our main thing and when I switch the cameras underneath right I'm switching between 250 00:27:10,720 --> 00:27:16,720 wide Linus and Luke. The browser source and everything I've done to it stays right there. 251 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. 252 00:27:23,120 --> 00:27:32,640 So vMix allows for four sub stream mixes which can also all be output simultaneously. So it's kind 253 00:27:32,640 --> 00:27:38,400 of obscenely powerful in that way. So the one that you're watching on stream is kind of mix number 254 00:27:38,400 --> 00:27:42,880 one for video and then mix two and three can be either used for other things or sent to other 255 00:27:42,880 --> 00:27:48,960 destinations. Something that we wanted to plan or like play with would be multi-camera simultaneous 256 00:27:48,960 --> 00:27:56,160 streams to FlowPlane. So you could pick which camera you wanted to watch like live on FlowPlane. 257 00:27:56,160 --> 00:27:59,280 I think that's been talked about a little bit. I don't know if that's ever going to happen. 258 00:27:59,840 --> 00:28:07,040 And so our our submix what our buttons on the stream deck do here is they actually change 259 00:28:07,040 --> 00:28:17,600 the input into mix two right. They change the input into mix two and then I use mix two in the 260 00:28:17,680 --> 00:28:25,440 camera only set so that I have one input into my kind of final output. So it's this kind of live 261 00:28:25,440 --> 00:28:31,120 compositing right. It's just the one but I can still change it and it's a submix powering a 262 00:28:31,120 --> 00:28:37,280 final mix. So if I want to add something to the main output all I have to do is add another button 263 00:28:37,280 --> 00:28:42,000 to change it in the submix and then I don't have to touch anything else. The other nice thing about 264 00:28:42,000 --> 00:28:51,760 using a submix is my color correction is all done directly in the final output. So instead of making 265 00:28:51,760 --> 00:28:59,360 a change say in the wide cam right I want to do color correction here. Now I have to duplicate 266 00:28:59,360 --> 00:29:04,800 that color correction to this one and this one but when you use submixes like this you can just 267 00:29:04,800 --> 00:29:09,520 apply color correction to like every single camera simultaneously and then if you want to make a 268 00:29:09,520 --> 00:29:14,160 change it's in one place. That's kind of the idea make a change you only have to do it once 269 00:29:14,160 --> 00:29:18,560 ever makes it faster I can do it live I don't have to fuss about you know all that sort of stuff. 270 00:29:20,480 --> 00:29:29,280 Ping is our kind of a software that we use to do like remote calls. So it's basically very 271 00:29:29,280 --> 00:29:35,600 similar to discord but the nice thing about ping is you can get a direct link to your guest 272 00:29:36,480 --> 00:29:44,400 as like a browser source and then we can add that directly to OBS or Vmix without having to like 273 00:29:44,400 --> 00:29:48,160 screen record or screen capture it's just you just throw it in there and it's great. 274 00:29:49,120 --> 00:29:55,360 Same with the audio that's just basically that's another one in here so our guest audio like you 275 00:29:55,360 --> 00:30:02,400 would set your speaker in discord to one of these inputs like three four and then you can bring that 276 00:30:02,400 --> 00:30:09,360 into Vmix by grabbing one of the digital outputs as well the same thing you would kind of use for 277 00:30:09,360 --> 00:30:15,680 voice meter or anything like that and then we have our pop-up banner we've got our picture and picture 278 00:30:16,320 --> 00:30:23,520 so this is another thing that we can do is we can add our multi-view here of our like camera 279 00:30:23,520 --> 00:30:30,960 thumbnail but then we can just move it somewhere else so right it's down here in the corner right 280 00:30:30,960 --> 00:30:39,760 so that's our like complete submix there and then when we go to Linus's laptop the whole main mix 281 00:30:39,760 --> 00:30:44,560 moves down there and I get rid of the banner because we don't need it and then I can display their 282 00:30:44,560 --> 00:30:51,280 laptop there so it's all extremely seamless when we go between the two and I made it do 283 00:30:51,280 --> 00:30:57,920 it all zip thing because it's kind of fun right um then what else what else we got we've got our 284 00:30:57,920 --> 00:31:07,120 output clock yeah a lot of shows always late custom outputs we've got our intro so if we go back to 285 00:31:07,120 --> 00:31:15,680 our main thing here the intro is triggered with another shortcut here but Conrad has implemented 286 00:31:15,680 --> 00:31:21,520 this really neat thing of browser sources which we'll talk about a bit later so if we roll our 287 00:31:21,520 --> 00:31:29,040 intro here we've got play back there you know we can still talk over the intro if we want 288 00:31:29,600 --> 00:31:36,400 and then the wan intro let's see if it's over here it has a timer that counts down and then when the 289 00:31:36,400 --> 00:31:45,920 timer is finished it turns on a browser source which plays the sponsors right so the nice thing 290 00:31:45,920 --> 00:31:50,800 about vmix is you can do these like really advanced trigger things with timers and you can trigger 291 00:31:50,800 --> 00:31:56,160 timers with other timers or like multiple timers simultaneously if you want really advanced 292 00:31:56,160 --> 00:32:03,120 weird things to happen so when I hit this it triggers a timer if I look at the triggers here 293 00:32:03,120 --> 00:32:08,320 there we go so on transition and it turns on the secondary overlay so what it's actually 294 00:32:08,320 --> 00:32:17,440 doing is it's putting the the it's putting the intro video over top of the the camera right so it 295 00:32:17,440 --> 00:32:24,560 doesn't it doesn't like switch to it it just it just places it over top and then what it'll do 296 00:32:24,560 --> 00:32:31,680 is it'll set the countdown timer back to its its start right I want to play 18 seconds right so 297 00:32:31,680 --> 00:32:40,640 it'll reset the countdown to 18 seconds and start it playing and then when we leave it switches 298 00:32:40,640 --> 00:32:49,040 automatically back to our our cam only and stops the countdown now the countdown then has other 299 00:32:49,920 --> 00:32:56,480 triggers so when the countdown finishes it then adds this as a secondary layer so we're right 300 00:32:56,480 --> 00:33:03,520 we have these four sub mixes for for video production and in seven seconds five seconds 301 00:33:03,520 --> 00:33:09,520 something like that what this will do is it'll trigger this to turn on there we go and then 302 00:33:09,520 --> 00:33:16,240 it'll trigger another countdown timer to set the length of how long that stays on screen how long 303 00:33:16,240 --> 00:33:21,600 it displays the sponsors and another reason why we do this is because I can make a change of that 304 00:33:21,600 --> 00:33:27,120 really easily if some guy from the business team comes down and is like we'd really like you to 305 00:33:27,120 --> 00:33:33,680 show the sponsors for a little bit longer on screen all I have to do is right click title editor 306 00:33:33,680 --> 00:33:39,840 settings and then like well now it's four seconds right I set that to four seconds and now this 307 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 308 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 309 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 310 00:33:56,720 --> 00:34:02,160 complicated because they would produce these pictures and then we would have I would have to 311 00:34:02,160 --> 00:34:07,200 individually display them on screen for a set amount of time so it was like five to six timers 312 00:34:07,200 --> 00:34:14,000 and the beautiful tool that Conrad's developed to simplify that even more the outro is cool and 313 00:34:14,000 --> 00:34:18,240 more complicated but we'll talk about that a bit later what else we got we got the integrations for 314 00:34:18,240 --> 00:34:24,000 Dennis I can't show one of them unfortunately but we can talk about a couple of the other ones 315 00:34:24,080 --> 00:34:34,320 so these are triggered with this dream and deck and basically I get a script and then I read along 316 00:34:34,320 --> 00:34:40,080 with Linus and just push the buttons in order the green one here indicates the next integration so 317 00:34:40,080 --> 00:34:44,960 we have integration one integration two and integration three I can do 32 and if he screws up 318 00:34:44,960 --> 00:34:51,440 and gives me more I can have a little couple extra ones on that and all that they really do is just 319 00:34:51,520 --> 00:34:59,840 play a video that loops it's not very complicated the first one it has some individual triggers 320 00:34:59,840 --> 00:35:05,520 so when I push this it plays the first music and when I hit my next integration it'll stop the music 321 00:35:05,520 --> 00:35:12,080 and play the next piece of music so it's it's a little bit more simplified it also allows us to 322 00:35:12,080 --> 00:35:18,960 have a camera over camera so we can do those layer things and like have Linus say in the 323 00:35:19,920 --> 00:35:24,400 in the corner brand seemed to like to see Linus's face I have no idea why 324 00:35:26,000 --> 00:35:30,880 that's the integrations they're not super weird and then when I go back to cam only there's 325 00:35:30,880 --> 00:35:37,920 another trigger that stops all the music and like makes it completely finished we've got our banner 326 00:35:37,920 --> 00:35:42,160 here which is another browser source which is integrated directly with merge messages so we 327 00:35:42,160 --> 00:35:47,600 kind of have three different sections that are that are merge messages that aren't just merge 328 00:35:47,600 --> 00:35:58,880 messages this browser source and then as well as our sponsor integrations and then also the top 329 00:35:58,880 --> 00:36:06,000 down banner at the top and then also the outro but I think I will let Conrad take it from here 330 00:36:06,000 --> 00:36:12,160 and talk to you about merge messages all right so let's talk a little bit about merge messages 331 00:36:12,160 --> 00:36:19,680 I am Conrad a developer at Flowplain and merge messages is my magnum opus so where does merge 332 00:36:19,680 --> 00:36:26,080 messages come from at Flowplain we have this thing called creative day and so what that is is the 333 00:36:26,080 --> 00:36:31,920 last Friday of every month every developer gets to work on whatever they want it has to be work 334 00:36:31,920 --> 00:36:37,680 related and you're it's supposed to be so you can learn new things and so that's where merge 335 00:36:37,680 --> 00:36:44,880 messages came from was I wanted to learn web sockets Shopify web hooks and OBS browser 336 00:36:44,880 --> 00:36:50,800 sources I had also just gotten access to github co-pilot and I wanted to play with that as well 337 00:36:50,800 --> 00:36:58,800 I created merge messages initially in a day just using github co-pilot and I would write little 338 00:36:58,800 --> 00:37:04,240 comments and then get it to generate code so the original version of merge messages is actually 339 00:37:04,240 --> 00:37:11,680 entirely AI written but it has since been completely refactored so how does merge messages work 340 00:37:11,680 --> 00:37:18,960 so when an order is placed on Shopify in the cart stage of the checkout you have a form that you 341 00:37:18,960 --> 00:37:25,200 can opt into and you can put a little piece of text and that will be your merge message so we 342 00:37:25,200 --> 00:37:30,800 have a server this running and when this server starts up it creates a web hook subscription 343 00:37:30,800 --> 00:37:38,560 over to Shopify on order create so when Shopify creates an order it's going to send our server 344 00:37:38,560 --> 00:37:44,960 a request containing information from that order and we can extract information from that such as 345 00:37:44,960 --> 00:37:53,360 your email your name and what your actual merge message is we extract information from the order 346 00:37:53,360 --> 00:38:00,160 and we generate a merge message object that object gets added into a backlog which stores 347 00:38:00,160 --> 00:38:06,240 more information about it such as the time remaining until it displays its order in the queue 348 00:38:06,240 --> 00:38:12,160 and so on if we come here there's this little stat in the control that's basically the time 349 00:38:12,160 --> 00:38:17,200 remaining so when a message comes in there's a hundred and eighty seconds or three minutes 350 00:38:17,200 --> 00:38:23,760 for Dan to do something before it will just enter a queue when it enters a queue it then 351 00:38:24,480 --> 00:38:31,840 in turn in order displays on the banner itself or various other browser sources such as the 352 00:38:31,840 --> 00:38:39,280 pop-up if we're viewing someone's screen and whatnot so when a merge message comes in Dan views it 353 00:38:39,280 --> 00:38:44,960 in the incoming table he has the message really big nice and center so he can read it and then on 354 00:38:44,960 --> 00:38:51,520 the side he has various controls of what he can do to it so for example he could say oh I hate this 355 00:38:51,600 --> 00:38:57,440 message I do not want this to display I'm going to archive this message and then it goes away and 356 00:38:57,440 --> 00:39:03,520 gets tucked into a different table which you can view separately so there's this follow-up button 357 00:39:04,240 --> 00:39:09,760 which will flag the message so that we will follow it up with an email later in the week 358 00:39:10,320 --> 00:39:15,840 there's this support button which will send it to support like it'll create a ticket in their 359 00:39:15,840 --> 00:39:21,920 ticketing system so they'll reply to it there's a potential which is sort of a category I don't 360 00:39:21,920 --> 00:39:28,560 understand but they seem to use it so it's fine with me potential curate this is what happens 361 00:39:28,560 --> 00:39:35,040 when Dan decides your message is great I want Luke and Linus to answer this on screen so he 362 00:39:35,040 --> 00:39:41,520 curates it there's the show option so that just displays your message and no response and then 363 00:39:41,520 --> 00:39:51,280 there's the reply option so when you click the reply option this form comes up and you can come here 364 00:39:51,280 --> 00:40:00,080 and type a response and then click enter and it will splice this message directly after the 365 00:40:00,080 --> 00:40:06,720 initial message in the queue if the initial message has not displayed yet it will actually append 366 00:40:07,280 --> 00:40:13,440 the original message and the reply message to the end of the queue there's also these template 367 00:40:13,440 --> 00:40:21,440 responses which we sort of need to rework none of these are really useful but you can just click 368 00:40:21,440 --> 00:40:27,840 this and it will just add it to the end of whatever you've typed and then you can hit enter or 369 00:40:27,840 --> 00:40:34,080 click submit and the response will be set after the incoming table there's the potential table 370 00:40:34,080 --> 00:40:41,360 so what the potential table is is during the when after dark Dan decides that a message goes into 371 00:40:41,360 --> 00:40:46,880 the potential table that means he wants Luke and Linus to deal with it during the WAN Show after 372 00:40:46,880 --> 00:40:52,960 hours you know when they dim the lights and just read merch messages so there's a couple options 373 00:40:52,960 --> 00:40:58,080 they can curate it so that Dan will read it oh now I need to potentiate a couple more 374 00:40:58,880 --> 00:41:06,320 they can curate it they can reject it because they hate the message and they think Dan should 375 00:41:06,320 --> 00:41:13,200 not have potentiated it they can reply to the message themselves and they'll sign it LS or 376 00:41:13,760 --> 00:41:19,200 ll if they reply to it or they can just archive it straight from here if they don't want to do 377 00:41:19,200 --> 00:41:27,280 anything with it the curated table is pretty simple it's just for Dan to come here hey Dan 378 00:41:27,280 --> 00:41:32,240 hit me with three merch messages and he will read off three merch messages when he's reading the 379 00:41:32,240 --> 00:41:39,520 merch messages he has this broadcast button so if I click this what it does is it will actually 380 00:41:39,520 --> 00:41:49,120 display the message on the Kyron so it's there visible for when he's reading it also pauses the 381 00:41:49,120 --> 00:41:55,760 queue so that any merch messages that might be displaying during this time they won't so that 382 00:41:55,840 --> 00:42:01,200 you actually have an opportunity to have your messages displayed and that's what these really 383 00:42:01,200 --> 00:42:10,640 obnoxious buttons are for you can see nice RGB but what this does is it's just a nice reminder 384 00:42:10,640 --> 00:42:17,200 to resume the queue so it doesn't stay paused so if I click this it'll go away and now the queue 385 00:42:17,200 --> 00:42:23,360 is resumed and it's going to keep cycling through the merch messages that are queued up to display 386 00:42:23,360 --> 00:42:29,520 on screen there are two more tables which are fairly boring just a push to stream table which 387 00:42:29,520 --> 00:42:37,920 includes you know just a message and if it's response if it got one and the archive table 388 00:42:37,920 --> 00:42:45,040 so this one's kind of fun if we think you're doing some egregious advertising or you somehow 389 00:42:45,040 --> 00:42:50,240 borough merch messages and your message couldn't be there we can purge it entirely from the queue 390 00:42:50,320 --> 00:42:57,040 and the backlog and it won't show up in any data exports we have all sorts of cool stats 391 00:42:57,600 --> 00:43:03,600 that can be displayed to luke Linus and Dan so they can keep a track of what's going on 392 00:43:03,600 --> 00:43:10,080 so we have the stream duration obviously important merch message count and the most 393 00:43:10,080 --> 00:43:17,120 merch messages we've ever gotten in a day is 1700 and that was after the hack happened and 394 00:43:17,120 --> 00:43:24,640 we lost our youtube channel um you guys came through and just overwhelming support crashed 395 00:43:24,640 --> 00:43:31,520 the merch message server it was amazing but we were receiving about 19 merch messages a second 396 00:43:31,520 --> 00:43:38,400 at some points and we were maintaining around 40 merch messages a minute consistently throughout 397 00:43:38,400 --> 00:43:44,400 the show and that was just too much for the server to handle and a race condition happened and the 398 00:43:44,400 --> 00:43:51,520 server came down but that's actually being patched so it's not even possible for that to happen now 399 00:43:51,520 --> 00:43:58,560 when Linus leaks the dashboard i get a lot of comments that this is a very ugly UI and to some 400 00:43:58,560 --> 00:44:05,120 degree they're right because you're not supposed to care about how internal tools look they're 401 00:44:05,120 --> 00:44:10,960 just supposed to be functional and this is the most functional thing i've ever made a row of 402 00:44:10,960 --> 00:44:18,720 buttons at the top a bunch of detail summaries with information that doesn't really have to look 403 00:44:18,720 --> 00:44:26,560 nice you can however set the color to be whatever you want it's nice and uh customizable i mean 404 00:44:26,560 --> 00:44:32,880 compared to something like LTT Store Floatplane like it's not client facing so we really don't 405 00:44:32,880 --> 00:44:39,840 have to worry about making it actually look nice it just has to look functional over everything 406 00:44:39,840 --> 00:44:46,800 else but what a browser source is is in vmix or obs or whatever broadcasting software you use 407 00:44:46,800 --> 00:44:53,680 you can usually create an element that you can put in a frame and you just give it a url that url 408 00:44:53,680 --> 00:45:00,080 will be an actual website that just decides what displays in that element so if i switch over if it 409 00:45:00,080 --> 00:45:06,960 create a little sponsor here and i click show this sponsor thing will come up so this would be if 410 00:45:07,520 --> 00:45:13,360 Dan is not streaming a WAN Show but we still need sponsors to display on screen he can use this 411 00:45:13,360 --> 00:45:22,080 element and it will display a sponsor on screen when he wants to there's also the pop-up element so 412 00:45:22,080 --> 00:45:28,320 what this is is if Linus and luke are sharing their screen they can use the pop-up browser 413 00:45:28,320 --> 00:45:34,480 source and this will just display a little square from the top of the screen and that way it's less 414 00:45:34,560 --> 00:45:40,960 obtrusive we don't have the whole wan banner obstructing half of their screen and they can see 415 00:45:42,160 --> 00:45:48,560 this is the banner the chyren as i like to call it because that's what it is and as you can see 416 00:45:48,560 --> 00:45:56,000 it's just a web page you can just go to it displays your messages nice and fun we have the 417 00:45:56,640 --> 00:46:03,360 sponsor spots for the intro as Dan was talking about earlier where after that intro sequence is 418 00:46:03,360 --> 00:46:10,640 played it will show this on screen briefly and that way he doesn't have to have it generated 419 00:46:10,640 --> 00:46:18,560 as an image every time instead he can just insert some sponsors into the merge message dashboard 420 00:46:18,560 --> 00:46:24,000 and they'll just be appended to this list or he can remove sponsors or whatever he wants to do 421 00:46:24,000 --> 00:46:31,920 and finally we have the outro browser source we use merge messages for the outro for a couple 422 00:46:31,920 --> 00:46:42,560 reasons first of all switching to an outro scene through vmix is kind of tedious and not easy to 423 00:46:42,560 --> 00:46:48,080 do so using a browser source that just displays on top of everything is very simple to do it's 424 00:46:48,080 --> 00:46:53,920 basically just a web page that sits there and we can also have the outro sit there for as long as we 425 00:46:53,920 --> 00:47:01,200 want all right that is all for merge messages i am working on a blog post for the newsletter that 426 00:47:01,200 --> 00:47:06,960 will go up in a few months hopefully but let's throw it back to Dan so the last thing we kind of 427 00:47:06,960 --> 00:47:12,320 have to go over is the stream deck integration and stream deck has some implementations directly 428 00:47:12,320 --> 00:47:20,000 with obs but with vmix and kind of also reaper i went a little bit of a different route our stream 429 00:47:20,000 --> 00:47:26,320 deck integration actually uses midi i have this secondary program called loop midi which is like 430 00:47:26,320 --> 00:47:33,680 virtual midi ports and then all of these are like another free plugin that is just midi control 431 00:47:34,320 --> 00:47:41,120 so each of the buttons here instead of sending direct messages it just sends midi controls and 432 00:47:41,120 --> 00:47:46,640 there's lots and lots of different uh there's lots of different data sources that you can use for 433 00:47:46,640 --> 00:47:52,880 these and we're just using the the cc messages i spent ages trying to figure out how to get 434 00:47:52,880 --> 00:47:58,720 the bleep button working and i if you remember there was always problems with it that integration 435 00:47:58,720 --> 00:48:05,280 was in obs and that was kind of like a toggle mute so the bleep button was playing constantly 436 00:48:05,280 --> 00:48:12,880 in obs and then the stream deck triggered a toggle mute in obs when you're trying to bleep 437 00:48:12,880 --> 00:48:20,640 yourself in obs it triggers the push to mute uh instantly right and that doesn't work with the delay 438 00:48:20,640 --> 00:48:26,080 from the audio and the camera so what i had to do is i had to write an auto hotkey script to 439 00:48:27,760 --> 00:48:34,720 press the shortcut after like 144 milliseconds so that it would be timed properly and then 440 00:48:35,440 --> 00:48:40,480 because it also triggers the push to mute instantly i had to program a second one that when you 441 00:48:40,480 --> 00:48:47,040 release the button it kept it held for another 140 milliseconds or something like that so it was 442 00:48:47,040 --> 00:48:51,040 it was very very difficult to like time properly and it was also very difficult to like get it 443 00:48:51,040 --> 00:48:57,520 working consistently so what we do now is we use this midi control so when i push the the 444 00:48:57,520 --> 00:49:03,760 square bleep you can see it updating the the midi data there right so when you push the the 445 00:49:03,760 --> 00:49:09,360 square bleep it triggers midi and then what that does is we have a midi control in reaper and what 446 00:49:09,360 --> 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 447 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 448 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 449 00:49:28,800 --> 00:49:36,400 and it's incredibly robust like the midi doesn't fail ever it's really fast it's really responsive 450 00:49:36,400 --> 00:49:40,080 because you're manually pulling a keyboard there's no latency anything like that so 451 00:49:40,880 --> 00:49:45,520 love that aspect of it and then that gets fed directly into vmix with like 452 00:49:46,800 --> 00:49:56,000 with no delay required so it's super robust everything else is kind of also midi shortcuts 453 00:49:56,000 --> 00:50:04,240 and then they come into vmix through the vmix shortcut system so we have all of these different 454 00:50:04,240 --> 00:50:12,080 shortcuts for all of the different inputs and outputs and they're they're really easy you kind 455 00:50:12,080 --> 00:50:20,080 of just you come here you go find you push your your button it finds the midi control immediately 456 00:50:21,200 --> 00:50:27,600 and those are those are done instantly if we bring the stream deck back up 457 00:50:28,400 --> 00:50:32,720 yeah these are pretty easy you just put in a control change you can pick your channel 458 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 459 00:50:40,480 --> 00:50:48,000 kind of a few you can also set your button type so hold push toggle for all of these so for example 460 00:50:48,000 --> 00:50:58,240 the producer is a toggle so what my producer live button does is it mutes and unmutes my microphone 461 00:50:58,240 --> 00:51:04,800 here and the nice thing about doing it with the midi is these are always in sync so if I close 462 00:51:04,800 --> 00:51:12,480 down the stream deck or I close down the or close down reaper it's not backwards so I can have it 463 00:51:12,480 --> 00:51:19,600 green and I know that green is always unmuted right because it's a you're pushing a note or 464 00:51:19,600 --> 00:51:25,280 you're not pushing a note so the toggle works really really well for that cam only is you know 465 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 466 00:51:30,960 --> 00:51:38,160 like Luke's laptop and then in the bottom whoops let's close that in the bottom left here so we 467 00:51:38,160 --> 00:51:44,800 can switch down to Luke laptop and still have control over the various cameras in the picture 468 00:51:44,800 --> 00:51:50,960 and picture so that's kind of really nice and simple what else is there yeah we can trigger our 469 00:51:50,960 --> 00:51:55,680 intro out outro we can turn on my producer cam hello there we are looking here 470 00:51:57,280 --> 00:51:59,680 turn my producer cam on and off that sort of thing 471 00:52:01,840 --> 00:52:06,400 and then we've also yeah it's the same thing that works for Dennis's integrations 472 00:52:06,400 --> 00:52:12,720 and then over here this is a new thing that we're experimenting with so this is the add-on deck for 473 00:52:12,720 --> 00:52:23,440 like other extra things v-max allows you to have output logs to file so for our editors it works 474 00:52:23,440 --> 00:52:31,360 really nice if we have timestamps right so when we start the show I can hit a various timestamp 475 00:52:31,360 --> 00:52:41,200 here and what that'll do is write to the log file that is generated along with every single recording 476 00:52:41,920 --> 00:52:48,400 um the exact time of the recording plus my my custom uh wording for what the timestamp is 477 00:52:49,120 --> 00:52:54,880 I also have this kind of production clock here um for the length of the WAN Show because we're 478 00:52:54,880 --> 00:53:01,040 trying to keep it to to about three to three and a half hours now and so when we go live on youtube 479 00:53:01,040 --> 00:53:07,920 what this will do is it'll start this timer so I have a very um detailed understanding of where 480 00:53:07,920 --> 00:53:13,440 I am in the show and where I need to push them um I made some I made some little cards here 481 00:53:14,640 --> 00:53:18,720 two or three more topics right which just keeps Linus and Luke on track 482 00:53:18,720 --> 00:53:24,800 and I just I just plop them there and they can see exactly when when that's supposed to happen 483 00:53:24,800 --> 00:53:29,440 and I can keep an eye on the time um because I would be because of the pre-show the recording 484 00:53:29,440 --> 00:53:35,840 time and the actual live time is slightly different um so it's very difficult to get an accurate picture 485 00:53:35,840 --> 00:53:41,280 of of where all our time timestamps are thanks so much for tuning in that's about it for the Dan show 486 00:53:42,000 --> 00:53:45,760 tune in next time same bad time same bad channel bye 487 00:53:52,480 --> 00:54:00,880 okay so now I just need a quick quick pickup talking are you still recording all right