Jump to content
Sign in to follow this  
Scott Karlins

Wirecast - Producing and Broadcasting with Remote Cameras and Computer Screens

Recommended Posts

My day job is working for an engineering firm, where we do failure analysis. Plane, train and vehicle crashes, explosion scenes, machine accidents and many other crazy things. My job is to bring new leading edge technologies into the company. Over the last 10 years, I have brought 3D laser scanning, a fleet of drones, and several VR and AR applications. My latest task was to quickly deploy a method to host multi-party lab inspections virtually. By quickly, I mean 10 days! From having no gear or kit of any kind, to three of our larger offices fully outfitted, and trained. I said "yes" to this?!?

Normally, our offices will host multi-party lab inspections to look at components and parts to determine how things failed. Due to COVID-19, having 30 people fly in and congregate in one lab or highbay area is not feasible. So, I built out custom PC workstations capable of running Wirecast, to be able to host these inspections remotely over a Zoom, Skype, WebEx or MS Teams video conference call. (see my post on this forum in the 'Building a PC' Topic, under 'Computer Hardware & Accessories'). I will be providing a full list of all the PC components within that topic soon. These workstations needed to be capable of creating a Virtual Camera, and also live stream to an RTMP server if needed. They also needed to be able to save all these sources as ISO recordings at full 1080p30 to local storage.

Here is a screen grab from Wirecast of my typical setup.

Capture-4.thumb.jpg.2f8e27df48bfb37c8e83f221b137d713.jpg

 

What is interesting about this particular inspection above, (which I am broadcasting as I write this article) is that my Wirecast studio is in Atlanta, while the inspection is taking place in our Illinois lab! All the Sources for Wirecast are coming to me over a VPN tunnel to my home in Atlanta. I have IP cameras, Webcams, and feeds from several computers to capture their screens. All the computer screens are sourced using NDI Scan Converter, installed on each PC. Wirecast will see these sources within the Network Source list:

Capture-6.jpg.e3123ae5fd8dba3ec67a3758d2bdaaab.jpg            Capture-10.jpg.996eed68c239def4222231cbea054466.jpg

 

All the IP cameras are established as RTSP Web Streams directly from the static IP's of the IP cameras:

Capture-8.jpg.816f0d02c0822a69c48d575a5e215452.jpg             Capture-9.jpg.68c0b2bb4461fad6a2983f746a1f3365.jpg 

 

All my audio is handled using one or more Rode Wireless Go microphones. For this particular inspection, I have a laptop on the table in the lab at the Illinois office running the conference software. That user chooses the Rode Go mic as there audio source. So, the audio goes directly to the conference software. Normally, when my Wirecast studio is in the same room as the lab inspection, the Rode Go is plugged into my Wirecast PC's Audio In jack on the motherboard. If I am using more than one mic, I use a RODECaster Pro to mix the mics down.

Once I have fully setup Wirecast and tested all my sources, I am ready to Start the Virtual Camera feed from Wirecast, select the 'Wirecast Virtual Camera' source in my conference software, and start the conference call.

 

Insane that this all works so well! I get a constant 30fps feeding to the conference software, clear and smooth video. One of the nice abilities of Wirecast, is the ability to create standby graphics, lower thirds, timers and clocks, all of which I utilize.

 

I hope you found this topic useful, and as always, feel free to reach out to me with any questions!

 

Capture-5.jpg

  • Like 1

Share this post


Link to post
Share on other sites

awesome work, have been very interested in the NDI development over the last few years.

The encoders/decoders will only get cheaper as the technology grows.

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Sign in to follow this  

  • Popular Topics

  • New Posts

    • I go between x mount lenses for small jobs,  and PL glass on bigger ones.  
    • An update to anyone interested, check out some of the cool submissions:  https://motionarray.com/learn/motion-array/on-my-desk-contest-submissions/
    • What lenses are you folks using? My brother has an XT-3 that I've poked around with enough to make me consider purchasing one, but the X mount makes me hesitate.
    • Hi Everyone. I've been scouring every corner of the internet for days now trying to figure out which camera to go for and I'm pulling my hair out. I'm looking for a versatile mirrorless camera for a mix of documentary and narrative work. I'm confident that all the options I'm looking at are suitable for the kind of narrative, commercial and music video work I do. However I also need something that I can use for documentary work - largely handheld. Sometimes filming actuality, following subjects around. Sometimes nice cinematic b-roll. I like to keep DOF relatively shallow. My priorities: - Good IBIS - Good lowlight - Ability to record and monitor audio - Good for photography - A good native zoom lens for general documentary work Secondary considerations: - 10- bit internal would be nice - Autofocus - AF is something I've never used in the past. Being trained in natural history filmmaking a decade ago - the idea of using AF for video was laughable. I'm unsure whether I'm missing a trick here. Is some AF now truly good enough to accurately track and keep focus on subjects at shallow depths of field? Right now it's a real toss up between the Panasonic S1, Nikon Z6 and the Fuji XT4 For a while I was pretty set on getting the Panasonic S1. I like the idea of a bigger camera for handheld work and the IBIS looks great. Internal 10 bit also appealing. But once I add the costs of the firmware upgrade and an expensive L-series zoom, the whole kit will cost around €3200, instead of around €2300 for the XT4 or €2100 for the Z6. I considered the Gh5 and A7iii too but I'm leaning away from them because of the bad low light and m4/3 mount on the gh5 and the lack of 10-bit recording (even externally) on the a7iii. I'm leaning towards full frame options for what they offer in terms of shallow DOF and low light capabilities. I have a set of old Nikon AIS primes which I love using and plan on adapting these to whatever setup I have. Any help here would be much appreciated!
    • Hi everyone, I'm just an arts hobbyist who tried filmmaking last year by making a short about my depression. Feeling the itch of having another go after focusing on my music since the film. Here to learn more about the craft and equipment, won't probably write so much, mostly here to read and listen 🙂 Short here if anyone want's to see it:    
×
×
  • Create New...