Welcome to Wirecast!
Introduction to Wirecast! Which version to use? Best gear?
How do we choose a version of Wirecast to get? Where do we learn about Wirecast? Which version is the best? Which version do I use? How do we download it and install it?
Will you please discover this with me here because this might help you to see what I use and how to get started?
If you haven’t already looked at Wirecast or bought Wirecast yet, will you please go to Jerrybanfield.com/resources and look under the “Live Streaming and Green Screen Tutorial Videos” section, then click on “Discover Wirecast” because you will feel good using this link to help me earn some money whenever you actually buy Wirecast.
I know whenever I have a friend that tells me about something, I feel really good helping them out because I know I’m paying the same price and they are getting part of the sale instead of the company getting all of it. I’ve made that available for you and I hope you will use it.
What we have got over here now after you click on the link is the Wirecast landing page.
Now, if you are starting off right away as a lot of people think, “Oh, my God. The price is high. It’s $695. That’s too much.”
You get what you pay for.
I’ve found one of the best things I’ve done in my business is committed to using the best equipment I can that will fully do the job.
Now, that doesn’t mean I just need to have something excessive, but I try to check how my equipment is performing every step of the way.
Wirecast gives me the flexibility to do a lot of things that aren’t that easy to do in alternatives.
For example, I can live stream on five or six websites at once. I have a deep level of customization for my live stream. I can move my head around like this easily or take my face off and put it back on.
I can throw little banners up very easily. I have different shots I can use almost effortlessly. I can turn the mic on and off all in real time. I can record videos without having to render them and live stream all in this exact same setup.
I have the green screen effortlessly built into Wirecast, and once I get Wirecast set up, it’s very easy to keep using it. I use Wirecast because it is extremely effective at both recording videos and live streaming.
It’s worth the money.
A lot of us are willing to waste money buying things like Ads with Google or buying things that are more status symbols. I’ve found spending money on things that help me reduce the amount of time I’m wasting on my equipment, that help me work faster, these are some of my very best expenses.
Wirecast is one of those very best expenses. The money I’ve spent on Wirecast allows me to film videos as much as five times faster than I used to before I bought Wirecast.
That’s why I use Wirecast.
It allows me to live stream at a level I don’t think there’s any live streaming software in the world, maybe just out of ignorance, I don’t think there’s anything in the world that’s as good as Wirecast. That’s why I use it.
Now, when you want to learn more about Wirecast you can click the “Buy starting at $695” button to take a look at different versions.
I use the Wirecast Pro version because it has all of the features of Wirecast on it. It cost $300 more and it’s got every single thing on there and that allows me to do pretty much anything I want with live streaming.
Now, you don’t necessarily need the pro version. You can look at the differences in features on these. If you want a comparison, you can take a look. It’s got an overview, a “Buy Now” button, and you can view the product comparison chart over here to see which one you want.
You can see that the difference is you can have IP cameras and web stream input on Wirecast Pro, which is very nice, but you get almost everything with Wirecast Studio.
You get nicer audio effects, instant replay on Wirecast Pro, but almost everything else is the same.
Now, it’s nice you got these enhanced monitor outputs.
The ISO record is really nice.
I can record just my face and this one camera view with an ISO record. I can actually record two different things at the same time.
The main record option records everything, but the ISO record can record a specific camera source. This is really nice. Let’s say you are live streaming a video game and you want to capture the video game footage purely for use as a tutorial. Then, what you can do is use the ISO record. You can live stream, you can then record your whole stream and/or you can ISO record, and that will just record the video game input.
I used to do ISO record for some of my gaming live streams where I knew I wanted to also make a tutorial. This way, I wouldn’t have my voice or my face on the video game recording, then I could take the pure video game footage, edit that and make it into a tutorial from there, and then put my face back over it with new audio without having that original live streaming audio on there.
The ISO record feature is very helpful in Wirecast and this is just available for the Wirecast Pro version, which is one of the things that I looked at to decide to buy the Pro version. I wanted to be able to record specific sources and I wanted to be able to do instant replay. If you are live streaming and something amazing happens, you can literally just do the instant replay and go back on it, or if you are live streaming and it’s the first day of a video game release, you can just replay your live stream if you want to, and then jump back on it at any time.
That’s why I chose the Pro version of Wirecast because it’s $300 more and it has some extremely helpful features. These are the basic differences in the versions you get on Wirecast.
Now, when you want some more detail, you can see that Telestream has several different products you may have already heard of. Things like ScreenFlow. I know some of my friends, Tomas George, uses ScreenFlow. You have got Wirecast Gear, which I just started learning about today.
Wirecast Gear is awesome if you want to have the computer, if you want a separate system like I have. I bought a Mac Pro to do my live streaming on.
Wirecast did not have Wirecast Gear at the time and now you can buy a complete system that does all the live streaming for you.
Now, if you don’t already have a system, this Wirecast Gear might be really nice.
Yes, it’s expensive at $5,000 and there are more expensive versions than that.
Again it goes right back to what I said before. Often the equipment provides a ridiculous number of limitations, based on my experience as an entrepreneur getting started online, and seeing other entrepreneurs trying to do things like build an audience online.
It’s amazing how many people I see who don’t realize how limiting their equipment is. I look at it and instantly see that if you had better equipment what you are trying to do would be easy. If you stopped spending money on these useless expenses, things like all these funnel and software programs — You don’t need all that stuff!
If you spend it on getting some better equipment, in one hour a day, you could do the same thing that’s currently taking you five hours using this ineffective setup you have.
Wirecast Gear is another example of this. You get Wirecast Gear and you don’t even need to buy a new computer or anything. It’s all set up specifically for live streaming and if I didn’t already have my Mac Pro that I bought specifically for this same purpose, I would absolutely get Wirecast Gear instead of buying another computer.
This allows you to just do everything all in one system, then you don’t need to go buy all these capture cards like I did. In addition to my Mac Pro, I bought all these other things like capture cards and accessories.
You have got four HDMI inputs directly on this Wirecast Gear, which is just outstanding. You have got HD-SDI inputs on these other versions of Wirecast Gear. You can stream to Facebook, YouTube, Twitter or RTMP.
You have got a bunch of built-in and you have got Wirecast already loaded on there.
You have got this 1.3RU Chassis for a rack mount. It comes standard with Microsoft Windows and you can get up to 2 Terabytes of storage if you want to have live videos on it.
You can even also finance this.
I am financing my Mac Pro because I didn’t want to drop $10,000 on it immediately, and yet I knew that it would be extremely helpful for the long term.
My Mac Pro, and correspondingly I recommend Wirecast Gear instead of buying a Mac Pro because you get exactly what you need and it’s cheaper than getting the Mac Pro. If you look at these different versions of it, you can figure out which one is ideal for you.
I’d say the Wirecast Gear 110 is probably good enough, however, if you want to do advanced live streaming, if I were to lose the Mac Pro or not have bought it, I’d probably get the Wirecast Gear 230.
That would be cheaper than what I did get. I did get this Mac Pro for $10,000, plus the capture cards for it, plus the audio interfaces and all that. I think that Wirecast Gear, when you combine it with Wirecast, is outstanding.
Now, if you want to invest some money in your business, this is the place to do it because equipment is an asset. It’s an asset you can use indefinitely to produce, to create, to make what you do easier. I’m able to film an entire 20-hour video course in approximately 40 or 50 hours of real time because my equipment is so good.
When I started out and I had ineffective equipment, it took me 40 or 50 hours to film a 2 or 3-hour video course. It took so long to render.
So, you have got these different versions of Wirecast. I would say for the very best option, if you don’t have a computer that’s good enough for live streaming or the one you use has been struggling, I’d say go for Wirecast Gear.
Pick a version you want to use. If you just want to live stream to one or two websites and record, the Wirecast Gear 110 will probably be good enough. If you want the very best options, you want the most storage, I’d say Wirecast gear 230 would be the way to go for it, and then get the Pro version of Wirecast and get started from there.
That will give you a huge asset that you can just use over and over again like I do to make thousands of videos, a bunch of video courses that will absolutely pay for itself, and you will come out way ahead compared to trying to do something that doesn’t work very well.
When you want to buy Wirecast, you just click “Add to Cart.”
You can buy it on Apple and on Windows. I’ve got it on Apple and it works very well. You can add it to cart for either one.
Once you have got it, you go through and buy it.
So, you add it to cart, you proceed to your cart here, and then you just complete “Checkout” with it and once you go through and check out, you will get a link to download it, and once you go download it, it’s pretty straightforward to install it.
Now, if you have got different hard drives, split hard drives. On my Mac, I’ve just got one 1-terabyte fast SSD, I think it is, so I don’t have one of those slower spinning ones.
If you have got multiple hard drives, you want to put Wirecast on whatever your fastest one is. For example, on my Windows PC, I’ve got a smaller SSD drive, and then I’ve got a much bigger like 2-terabyte slower hard drive. If I put this on my Windows computer, I would want to put it on the SSD drive because you want Wirecast to run as fast as possible. You want that instant access with the SSD drive.
One big downside of Wirecast is every time Wirecast releases a new big update, if you want to get it, you need to pay a significant fee like $300 to upgrade. I’ve paid it twice.
I bought Wirecast 6, two or three years ago, then they came out with Wirecast 7, I paid $300, and I bought Wirecast 8 for another $300. That said, my friend Tomas George bought Wirecast 7, he has not upgraded and it’s still working very well for him.
You don’t have to upgrade, but the upgrades Wirecast does are exceptional.
The Wirecast 7 to 8 upgrade was huge with tons of really helpful features, and the Wirecast 6 to 7 had the same thing.
I think I’ve talked about installing it and I’ve talked about the different versions. I think I’ve covered this in full detail here with you.
I’m grateful that I’m filming and recording the video you can watch below on Wirecast and I chose that because as far as I could see it’s the best in the world, and I like to use things that are the best in the world. They tend to work way better than alternatives.
That’s why I chose Wirecast before they had any affiliate program I was aware of or anything. I researched and I found Wirecast. This is the best option in the world that I see for live streaming, especially from a home office. It looks like Wirecast Gear, that they have since come out with, is the absolute ideal option to combine with Wirecast in order to have the perfect live streaming setup experience.
Thank you very much for reading this.
I love you.
You are awesome.
I hope this has been helpful.
If you haven’t already got Wirecast and you want to take a look, I will ask one more time.
Will you please use my resources link whenever you want to actually go complete the purchase because Wirecast is kind enough to give me 15% of the sale when you go through my link, and you don’t pay anything else extra?
That really helps me out, and the more you help me out, the more I’ve got to help you out.
If you forget that’s fine too, I won’t hold it against you. I’ve forgotten when buying stuff for my wife to use my own affiliate link.
I appreciate you reading this and I hope it’s helpful.
Thank you for reading this tutorial, which was originally filmed as the video below.
My Wirecast document setup and overview of key features such as shots and layers
Will you join me in getting to know the basics of a document inside Wirecast because this demonstrates how we move around and do all of the basic things inside Wirecast?
Right now, I am using Wirecast to record this and showing you how to use it at the same time, which is just one of those awesome things about Wirecast that you can do so much with it.
Here are the basics.
What we have got on the left side over here is a list of shots. These shots make up everything we are doing on here.
I can clear my face off of here to remove it.
This is the top shot on here and each of these are different choices that I’ve got for which shot I can use. I can add different shots and allow me to move around the screen this way.
Then, what I can do to add a shot, I go over here to any of these different options and this allows me to put a shot in for what I’m using.
Let’s say instead of my face, I want something else, and what I will encourage you to do right away is get familiar with saving things.
What I will do right now is go to “File,” and then “Save” before I go to make any of these changes.
Select “Save As” if you haven’t saved a document yet.
All of the things we are looking at in here make up a document.
Now, your area might look a little different because on the layout what I’ve done, I’ve hidden the live and the preview.
If yours looks a little bit like this, then what you are seeing is the live area and the preview area.
What the preview area allows you to do is to take a look at your changes before you actually make them live.
This is a common thing to do, let’s say for production TV, for having a broadcast where you have got a lot of different shots you rotate through. You want to make sure the one on the preview is ready to go before you put that up there.
Now, the way I do it, I just go to “Layout” up here, and I show live only because I just put everything to instant live.
So, whenever I make a change, I can’t be bothered to fool around with it and see if it looks just perfect in the preview window. What you see on mine is that all of my shots immediately just go live. I don’t fool with the preview at all because that’s just too much work for me.
Now, if you want to make sure and take the time to use the preview, what you can do, there is an option to go instant live.
What I do is I select “AutoLive,” which means every time I change a shot, it automatically goes live.
When “AutoLive” is off, you have to use the “Go” button to make your changes live.
If I do it like this you will notice now, the preview window does not immediately go live. I have to hit the “Go” button, and then that puts me live over here.
You can see that for how I live stream I wouldn’t want to do it that way and this just would add an unnecessary second step for me.
If you want to do it like that, you just go to switch on “AutoLive,” and then the preview and the live end up being the same.
When the preview and the live are the same, then you just show live only because there is no point in using the preview any more.
That’s how I do it.
That was one of the first changes I wanted to make using Wirecast.
The default preview thing and the live thing is really annoying the way I wanted to use it. That’s why I’ve shown you this first.
Now, what you have got, this is the top layer here. This means if I put something on this top layer, it will blot everything else out.
Let’s say I want to put something else on this top layer. I can throw in a screen capture or something like that. It can be a media file, whatever I want to put in over here.
Let’s throw a “Solid Color” in here, this will make the point really clear.
I will throw in a solid color and change the color up. I will put this 1920 by 1080 and I will put a solid color. This will become solid blue or I could have a little fun with it and do a gradient.
Let’s do a radial gradient.
Now, I just made a shot with a solid color. You see this is the top level shot now and it has blotted my beautiful face out.
If you want something like this, what you need to understand is that these are ordered from top to bottom.
The shot that’s on top goes on top.
So, my face is on top of several of these other shots.
The screen capture I’m on is actually down here on the third layer.
This is where I’m capturing.
If I click “Clear Layer,” then you just get a straight black screen behind me.
It’s on the third level to have screen-capturing behind me because this allows me to put my face on top of the screen capture.
Now, what I can do is move this solid color down one level.
Then, when I click the solid color down on the second level, my face is on top of it because it is on the top level. That solid color below me has wiped out the screen capture on the third level.
What I can do is double click on it to “Edit Shot,” and this allows me to change things about this particular shot.
I can do things then like I can reduce this in scale.
Now, you see that I made this shot smaller right here behind me and I can rotate it.
I can rotate it on the x-axis and you will notice that it does this weird rotation like that.
It’s got the y-axis that I can rotate like that.
We will set this back to zero, and then you can see a y-axis rotation.
I don’t exactly know how all this work, I don’t use them very often.
What I did do for this shot, the camera is actually upside down. This is my second level shot for my music production setup. I’ve got another camera directly above me that’s recording this, so you can see all the things I do on all these keyboards on my music setup.
On that shot, I rotated 180 degrees both ways because the input was upside down from how it needed to appear on the shot. I rotated both of those that way.
Now, on each shot, you also have an opacity option. If I put the scale back to 100% on this, you get it like that, but you can put the opacity down on it.
Let’s say I put the opacity at 50%. It kind of puts this hazy glow over the top of it, which can be cool if you want to fade something out like this.
You could put a shot like that to fade something out below it. You can just put kind of this gentle glow on it that then you can remove. I’m scratching the tip of the iceberg on what you can do in Wirecast. I’m giving you the basic things you can do and you want to know right away to get started.
If you have got a shot like this you want to use, you can also change on each shot the audio, you can do Chroma key*, and then you have got these shot properties. Since this is a solid color one, this has the solid color shot properties on it.
However, if you use a different shot like a media file, then this media file doesn’t have any specific settings on here.
These shots are media files that I’ve put on with the intention to just put a banner on top and what I’ve done to make this easy is making these files PNG formats with the banner on the top, and then transparent for the rest of it.
That means the banner shows clearly, but then the rest of it is transparent allowing the shot below it to show through.
I used to just do little black banners, and then I’d have to manually move them every time right up to the top here, which was annoying. You might want some banners because if you mention a specific link, it’s really nice to just say, “Hey, if you go to this page on my website real quick,” without having to superimpose that over the whole video.
What makes Wirecast so amazing is the ability to just do it right the first time. Even if it is a little sloppy, you want to just do it so that it’s functional without having to edit it, and I’ve got more tips on that in other places on my “Complete Live Streaming Course.”
Now, the third shot is where I have a Windows computer I usually screen capture from. I usually put this in on the third shot. What I’ve gotten on here are different screen capture options.
What you can do is put an entire playlist within this shot. Let’s say you have got a bunch of different camera angles or you have got a bunch of different videos you might want to play, you can put an entire playlist and this is where Wirecast really starts to shine.
If you look at this crypto playlist, I’ve got an entire playlist then of all these different possibilities in here, all these different screen capture views in one playlist.
I can literally take something, let’s say, I can have a ticker showing. I can then take a screen capture from Firefox. I can then take a different one from Google Chrome and I can rotate between all those within one.
If you have got something you want to do with depth to it, like if you have got a bunch of different shots you all want to put in on the same layer, you can then go in and add what’s called “Capture Devices” on here. You can put in all your different cameras.
There is a “Rendez-vous Session” which I tried, but it didn’t work very well. This allows you to essentially capture a meeting.
Then you have *”iOS Cam,” you can capture with Wirecast Go.
There is a “Clock,” which I haven’t even tried. Maybe I will put that in.
“Image Carousel,” is the next one and you can have a whole folder full of images you want to put in and screen capture those.
Then, “Media File” is what I’ve done with these shots that have banners up there.
You can screen capture to get one screen or you can take a specific game, you can take a specific monitor or a specific window. The “Screen Capture” function allows for amazing presentations.
You can do “Solid Color” and “Syphon Frame,” you can put specific text using “Text.” I could probably just put the media files on with text directly.
You can do “Web Display” or “Web Stream.”
Now, if you want to get a bunch of different shots all in, you can do an “Add New Playlist Shot” and that’s what this one is.
This allowed me to live stream and rotate different things. I did a Bitcoin and cryptocurrency ticker live stream before that showed all these different prices. It would show a Bitcoin ticker, then it would rotate to a different one and show a Coin Market Cap listing, then it would rotate again and show the Steem price. If you want to put a bunch of different shots all in one, you do “Add Playlist Shot.”
When we get down here, then I like to put the volume in separately. On the very bottom, I’ve got my two different audio. I’ve got my audio in from the screen capture and the microphone.
This is really nice, if you put them all together, then let’s say you are capturing from one and you switch to the other, but you had some music playing or something you wanted to hear, I like to have the audio that I can control in separate shots.
I’ve essentially got the background audio, and then I have my direct audio, which allows me to put in my microphone on the bottom. If I turn this off, my microphone audio goes off, and then this turns on the audio specifically from my Windows capture card.
Now, on each screen capture, you can do “Edit Shot.” If you do a screen capture, you have the option on each of them to use “Capture System Audio.”
Now, I’ve left that off because there is no system audio I need to capture on this particular lecture, but if there is, what I tend to do is add that in on the fourth layer. That way, I can turn the system audio on and off effortlessly whenever I want to.
The more you record videos, the more you film, the more things you experiment with, the more these kinds of features start to be really helpful where you say, “Wow. I do want to turn the audio off sometimes or kill the background music or whatever it is.”
Now, you get up to these buttons up to the top there, which is a whole lot more to go into obviously.
You need to understand first how to build all your different shots. Once you understand that, then you are ready for these buttons.
If I click this first button, it will start live streaming all at once to everything. So, definitely, I don’t want to click that.
The second button records using the default record option you have chosen.
Then, this third button does an ISO record, which just records one specific source. That’s an amazing feature in Wirecast. If I hit the ISO record what I could do is choose to record one specific shot or a set of shots.
For example, if let’s say I wanted to record this for use without my face, I could record just the screen capture background and I could record just a microphone, then none of the banners would come up, and my face wouldn’t come up either.
I could record just that part of this, which would make this ideal, let’s say for private labeling. If someone wanted to just upload this as their own course, then my face wouldn’t be all over it messing it up, but I’m too lazy for that.
Everyone who wants to private label me is stuck with my face because I can’t be bothered to record two different versions of every single video I record.
However, I’ve used the ISO record for video games when I want to do a tutorial. I hit the ISO record, and then record and live stream, all at the same time.
Now, each of these takes up resources, and this comes back to the gear. If you try to live stream and ISO record, and you notice your system can’t handle it, that’s an indication you either need to scale down what you are doing, in other words, record or live stream in a smaller resolution, lower bitrate and/or get better equipment.
The ideal combination is to use the lowest you can use, and then be able to maximize your equipment.
What you can see if you are just recording on Wirecast and it’s using a lot of your system CPU, that’s a good indication that you need to get some better equipment.
On mine, just recording, my system CPU is only at 10 to 13 percent and that means I’ve got a lot of space to do additional things, like I can ISO record, I can live stream.
If your system CPU gets above 80 percent, every time that happens it’s likely to drop a frame and the quality drops significantly. You don’t want to max your system out, and then end up dropping frames because the quality of everything you do starts to drop. Then you get that lurch recording view that makes things look low-quality and you’d be amazed how easily people are turned off by that, at least on my streams.
I hope I’ve given you a great overview here of the basic things to do and of my setup in Wirecast. What I will do now is guide you in individual parts through much more detail of Wirecast and get you to the point where you feel absolutely confident using Wirecast.
Thank you for reading this tutorial, which was originally filmed as the video below.
Wirecast chroma key and green screen shot setup tutorial!
If one of the things you are really hoping to do with Wirecast is to set up a green screen and have that nice background like I’ve got, I will show you how to do that from scratch.
What you want to do is use your top layer shot unless you want to put something over yourself in which case you might want to do a second layer.
If I wanted to cover up my chest or something weird, I could put it there. You are usually going to want to do the top layer.
What you do, you go to “Capture Devices,” and then you need to pick the exact source that’s got your footage coming in. I’ve got this on a Logitech Webcam C930E video. I pick that as my input source.
So, I put that in.
Now, this is what it actually looks like.
If I just had this in as my background, this wouldn’t look professional, would it?
This looks like you are in your bedroom filming at home and this one looks like you are in some professional studio somewhere.
How do we get it from this over to that?
There are a few basic things.
First, we need to get the right Chroma key color. We need to have all our lighting set up properly, and then when we pick the right Chroma key color, it fades out.
Another thing we need to do in Wirecast is cropping the shot and move it.
Now, there is an entire lecture in my “Complete Live Streaming Course.”
There is a whole section on getting the lighting right, getting the camera and all the equipment, including the light bulbs, which is a whole thing in and of itself.
If you’d like to see my setup, I’ve got all of it listed at Jerrybanfield.com/resources.
My whole setup, all my lights, the exact light bulbs, the paper lanterns I use, the exact cameras I use, I’ve got all of it listed right on there.
Now, what we have got here, you can see one of the lights.
I’ve got paper lanterns with “Reveal light bulbs.”
I found the “Reveal light bulbs” help my skin come out just correctly in the green screen. Using those daylight bulbs that I’ve seen some other people use doesn’t work with my skin for some reason.
Now, the lighting, positioning, everything is important.
I’ve cut all the natural light out because I don’t want any variability. If you have got any natural light in the room there is variability. At certain times of the day, there will be different levels of light, which then at different times of the day you are liable to get a different picture, which sometimes you might look different.
I like consistency, so I’ve got all artificial lighting in here and I try to go outside for at least an hour every day.
I’ve got a light directly over my head, then I’ve got lights on the left and right side, finally I’ve got three lights in different positions in the front.
This allows the green screen, which is a green curtain, to be lit up.
You see that there is minimal shadowing on it. The worst thing you can have for your green screen is inconsistent lighting. If you have got a huge shadow over one part or another, then when you hit the Chroma key you will notice it looks all messed up.
What you want is just to experiment with the lighting. Try to make it consistent so that one part of the green screen is lit just the same as another part of the green screen. You want it to be consistent when you go to Chroma key.
The basic thing the Chroma key does is transform this color green, which does not occur naturally in human pigment, and essentially deletes it.
It starts with one point, and then based on the settings you use it expands what it deletes. If you have got inconsistent lighting and you have got a bunch of shadows, some of the colors it deletes can end up being on your shirt, it can end up being on your face, it can end up being on your hair.
If you watch some of my older videos, I was struggling with my lighting for a while. You will see all these weird artifacts. My face is ghostly and faded out, my shirts are all messed up.
The green screen tends to be a work of art getting it to work just right.
That is a whole art form in and of itself.
I’ve given you the basics of that and just know that when you use exactly what I use, it might be easier. Once you have got that set up, then what we need to do is go into Wirecast and I take it off, so I can show you what it looks like in here.
What we need to do in Wirecast is to alter the position, and then crop it in order to get it to fit, and we need to use the Chroma key.
There are two different parts to this and I will show you these different parts in the upper left over here.
In these different parts, you have got “Use Chroma Key,” then you have got a specific color.
You have got a “Key threshold,” a “Black clip” and a “White clip.”
The idea is the color you use is the starting point. The color you use helps Wirecast figure out where it should begin.
What you want to do is have a color that most closely matches the color on your green screen. What I want to do is for the color I pick, I want this color to exactly match the green in the background because the closer this is accurate, the more the green screen when it deviates, it doesn’t have to deviate very much to get all of the whole curtain out.
If you pick a color that’s not accurate or you have got a bunch of different lighting, if your lighting is inconsistent, then what it needs to do essentially is deviating from what you have already got.
What you can do to pick the exact right color is using the thumb dropper.
You click on this, and then you can pick the color straight off your own green screen.
You won’t be able to see me do this on the actual shot, but I will click “Use Chroma Key” on it.
What I will do is just use the thumb dropper to pick a color manually, and then that now becomes my color.
You can see that I picked a color manually, but it isn’t as good as the color I’ve already got. You can see the green screen now is not perfectly faded out. You can also see that it’s not cropped over here.
It’s still in the exact same position, but it hasn’t been cropped yet, and I picked a color that then doesn’t perfectly fade the green screen out.
Now, you can try to manually fix this by messing with the “Key threshold.”
The problem is if you mess with the “Key threshold,” that’s essentially allowing Wirecast or the Chroma key to deviate more from the color you have picked.
I can just turn the key threshold up over here and it will essentially deviate more from the color I’ve picked up, and as it deviates more from the color I’ve picked, then you can see now it is faded out completely.
The problem with doing it this way is that there are more artifacts that are likely to happen.
The more you pick up the “Key threshold,” the more it starts to bleed over into greenish-white and black colors. Sometimes if the key threshold is too high, it will delete my facial hair allowing my face to do this ghostly thing. That’s the same thing with my hair, if the key threshold is too high, it will delete my hair.
You want the key threshold to be as low as possible. What you can do if you are not happy with that first color, you can go back through and pick a different color, but when the green screen is on, it’s not allowing me to just choose straight off the screen. What I need to do is turn the key threshold to zero, and that allows me to get a full picture of it.
I go back and grab the thumb dropper, then I can test a different color here, and now that color becomes the new color. It switches the color up slightly, so then when I turn the key threshold back up to 13, you can see what it looks like with that specific color.
Now, that I’ve got that done, it’s still not completely perfect. What I can do is just to experiment with this. I can just move the color around a little bit and see what it looks like. I can just change the colors a little bit. I can go back and repeatedly do this process, which may require a significant amount of effort.
One thing you can do is just click on whatever stuff hasn’t been deleted. You can click on that color and try it, and you can see that clicking on that specific color actually worked better than using it before.
Then you can see how your face looks in it. Each one of these different things you do, has consequences for how the green screen looks and some of these is just testing. You just have to iterate this essentially over and over again.
Now, the color I like on this is the #d3feed color.
The problem with the way I’ve done this right now is the green screen uses the same one for all of them. I have a specific color I’ve found that’s worked the best.
It looks like this spelled out: #d3feed.
This color perfectly blends it out. It keeps my face looking good, and then it doesn’t have very many artifacts in it.
I’ve just memorized that and I’m not even sure how I came up with it, I just picked and tested so many different colors, I finally just landed on this one. This one works well, but still, sometimes I get little artifacts on a gray shirt or something, and then that’s the opportunity to experiment with it.
The color I used based on my lighting and my green screen is the #d3feed.
That’s the hex color code for it.
Now, as you can see with this, this is one part of the green screen. We have got the green screen cleared out, but as you can see this is a big difference from how it looks on this other shot at the left and this shot at the right, which hasn’t been cropped yet.
So, getting the Chroma key set up is basically half of what I need to do, then the other half is to get this cropped.
There are two basic things I need to do to crop this then. I need to crop the left and the right. I need to crop off this part over here, which to me is my left side of the studio.
I need to crop the left side of the studio off and I need to crop this top part off where you can see this light hanging down, and you can see the fan up above me.
So, I want to crop the top and the bottom down.
Now, sometimes this messes up, so what I do is I just drag over the top, and then I hit live and see what it looks like.
Wow. Did it fix that?
It really worked this time without messing the whole shot up.
I cropped the top down.
Now, if I move the top back it will put the top back in.
What I can do is do this slowly too, to just cut out the very minimum if I want to and get it where it cuts out just exactly.
I can still see that there is still a little artifact up over here, so I want to cut this top down farther.
But if I cut it down too far, then it will cut into my head, or if I stand up, my head will get cut off.
I want to cut this off at just the right level and I can cut from the left also.
I will move the left side over here and maybe it has left and right differences. It’s right on Wirecast. The top is the same, but the right and the left sides are switched.
I cut the right side off over here and that cuts out the other part of my studio.
Now, it also cuts my hand off if I move over here, so again, you want to get it to crop just right.
I want to get that light cropped out of there as well, and then I’ve got it just done for that now.
Now, while the green screen is shot specific, the individual cropping the green screen goes for the entire layer.
When I use the Chroma key it works on all of my different shots.
You want to have all of your shots and you on the camera all on the same one. The individual cropping is unique to each shot though. When I crop on one, it doesn’t translate onto another one.
What you can do to make this easier is just essentially duplicate the shots.
I can duplicate this shot to then allow me to start from where I’m at on the previous one.
If you have done things like moving your different positions on it, this can be really helpful.
What I’ve got on this shot, it’s not actually zero-zero.
This one was slightly off.
This is what the actual shot looks like based on how it has been cropped, because the shot, when it’s in zero-zero, is actually up slightly on here for some reason.
When I crop the top like this, it crops the top down, and then what I want to do is position the shot, so that I’m not weirdly artificially cut off here.
On each of these upper left sides I’ve got the x and y positions.
Let’s say I want to move it down or move it to the left.
I hit 100 and that moves it to the left.
If I want to move it way over, I actually want to move the other way.
Let’s put it positive.
I want to move it way over the other way and I will put 500 in there and hit Enter.
Now, you can see it moved me way over here.
What I want to do now is lowering the shot on the y-axis.
Now, it moves me down and I’ve put myself in a nice spot of the screen. I’ve now got a shot that’s very similar to my far right shot.
I’ve got myself on the screen in a good position, and then this allows me to be flexible based on wherever I need to be with what I’m filming.
You can see I’ve set up a new shot from scratch right here.
Now, I can also modify the scale on this.
Let’s say I want to make my face smaller, I can make my face smaller like this, which you feel like my voice should be quieter.
“I should be talking smaller because I’m so much smaller now.”
I’m in this corner of the screen. I will move myself down if I put negative 400.
I will move myself down over here, just put this little itty-bitty tiny me’s face over here.
Let’s try 700, and I can move myself over there.
I’ve got little itty-bitty tiny Jerry in the lower right of the screen.
There is this itty-bitty tiny Jerry.
It’s like a watermark.
“Okay, I’m tired of that shot.”
I’m just going to delete that shot in there.
Now, I’m back at full size.
That’s how you set up a green screen and crop the shot, and get it in the exact position you want it to from scratch, starting from zero to setting it all the way up.
I appreciate you reading this.
I hope this is helpful in showing how to make your green screen shots.
Then, if you want different ones, you just hit “Duplicate Shot,” and then you change each individual shot.
For this one, I just change each shot and it’s nice. I don’t need different y-coordinates.
All I need to change on this is just the x-coordinate.
All I change on this is the position, and then I modify the cropping on some of them as well based on where I was positioned.
I’ve got these different options, which allows me to dynamically move around in every single video without having to awkwardly edit myself in different positions, which saves a ton of time and energy.
It is so much easier to just do it right the first time. It’s so much faster than having to do it halfway, and then fix it.
Thank you for reading or watching the video below.
I appreciate you going all the way through this tutorial.
I hope it’s helpful.
Thank you for reading this tutorial, which was originally filmed as the video below.
Wirecast output settings for recording, encoding, and live streaming!
How do we set up our output settings in Wirecast to be able to live stream to multiple websites at once?
How do we put in our stream keys?
How do we get the encoders just right?
I will hope to provide some help with that in this lecture because this has been one of the most challenging topics out of the questions I’ve asked of people actually using Wirecast, and it is easy once you get it set up.
It may look intimidating at first and I hope this helps with it.
Now, the first basic thing to do, which is under the “Output” tab, is to get the “Canvas Size” set at something you want to use across all different mediums.
It’s nice to just have one output. The same output to everything preferably, and then to use that output everywhere.
I’ve got monitors that are 1920 by 1080, which means the easy thing for me to do is to have the canvas be 1920 by 1080.
That means the entire screen is the same size as my monitor.
What I like to do then is just live stream in 1920 by 1080 also because that gives the viewer the highest quality option. If you have got bandwidth issues, if you have CPU limitations, which we all do, it’s just how much those conflict with what you are trying to do.
Setting it at 720p uses a lot less computing resources. I can probably do seven or eight websites and record if I live stream to 720p because there are not as many pixels to process. The 720p option is much easier on the computer CPU.
If you are using 1080p and you are running into limitations with bandwidth or CPU, the easy solution is to drop down to 720p and try using that.
I’m good using 1920 by 1080 most of the time. I run into some limitations if I’m live streaming on five or six websites at the same time.
I may drop to 720p for doing my live music stream in the future because doing 1080 even on my Mac Pro with all of its power still brings it down doing five or six websites at 1080p at once plus that’s a lot more bandwidth.
Therefore, the canvas size is a very important selection. When you pick the canvas size, it changes everything because every input you have got is relative to the canvas size.
If I pick 720p my entire setup will need to be modified. All of my camera shots, everything will need to be fixed into 720p.
In fact, you might even want to create a separate document if you are going to change the resolution.
The very important place to start is with the canvas size at 1080p.
Next, from there you have got the “Output Settings.”
The output settings are where we then basically take our canvas and everything we have produced and put that out to something.
Now, whenever you are recording you get this warning from Wirecast that says, “Output quality may be reduced.”
For example, if I was in 720p and I tried to put something while I was live streaming in 1080p, it might do that. You want to do this ideally while you are not doing anything.
I’m recording this so, therefore, I’m doing it while I’m showing you.
Now, you see on the left side the “Record to Disc MP4” and “RTMP servers” section, and then “Twitch” and “YouTube,” which are my destinations.
Within each of these are all the settings I need to use in order to be able to live stream to that specific destination and they require going down to hit the “Add” button, and then put in a new source.
You will start with a “Record to Disk” and that’s what we will look at first as we look at the recording. The destination is where you choose what basic type of stream you are doing.
On Apple at least, I’ve got a “Record to Disk” in MP4 and in MOV.
I use MP4 because that’s universally compatible. If I wanted to add this as a live streaming, I’ve got all of these options on here including ones that are built-in and I can create my own destinations.
RTMP Server is something that’s universal. I could live stream everything with “RTMP Server” to Twitch and YouTube as well. However, Twitch and YouTube have a specific integration, which allows for enhanced features versus RTMP streaming.
First, it’s important to get the output set up to just recording a file. Before you try live streaming, you want to make sure you can at least record things and get them to come out how you want to.
Therefore, the starting point is to get the recording feature to come out right, then the next step is live streaming.
You do this by starting off with the destination, “Record to Disk – MP4,” and then you can get more options in here if desired and you get a name for it. I’ve called this my “Low Quality Record to Disk” because I know my bitrate on this.
The bitrate is basically how much data I’m putting into the stream. When I’ve got a static background like this and just my talking face in a percentage of the screen, the bitrate can then just update what I’m doing and there’s not a lot of changes, which means I can use a lower bitrate, which then is a smaller amount of data.
If I want to record something that’s changing quickly like an animation, that’s taking over the whole screen and I use a lower bitrate to record it, the recording quality will come out low.
That’s why I’ve created a high and a low quality “Record to disc” with the only basic difference being the bitrate.
What I will look at now is the “Encoding.”
There are these default options that give you just these standard recording options. You can see on the “Low Quality Record to Disk” that I’m just using the default.
This is a 1080p30 with a bitrate of four megabits x 264 coding H.264.
You don’t need to know what all that stuff means. Basically, if you want to record in 1080p at 30 frames per second, this is the default.
Now, my cameras are putting in at 30 frames per second or less, so there’s no need for me to record at 60 frames per second in 1080p.
The 1080p60 means that’s 1080p, 60 frames per second and therefore, the basic options you may have on this is either 720p30 or 1080p30.
Now, I’ve got the 1080p30 default on here.
However, all these other options, all these other encoders are specific setups for Facebook, YouTube and Twitch.
If I want to look over at these other encoders, these each have their own specific settings. If I look at let’s say the “YouTube 1080 via RTMP,” this is still going to record to disc if I use the encoding, but it will put it in the format I used to record the live stream to YouTube.
This encoder then has a specific setting just for YouTube that’s got the width, the height, and that should match your canvas, because if it’s different, that uses additional computing resources to scale that and you ideally want it to match your canvas.
It’s got a frames per second, the average bitrate, the quality, the profile and the key frame.
Now, if you have got 30 frames per second and it tells you it wants a key frame every 2 seconds, you have to do a little bit of math.
30 frames per second times 2 seconds, that’s a key frame every 60 frames.
Then some of these encoders have “Strict Constant Bitrate” options or a “Key Frame Aligned.”
Then on the channels, you have got “Mono” here and I just realized for my YouTube setup and doing a music stream, I’m doing mono. It’s amazing how long you can use these things and just realize you have got these basic settings that need to mess up.
These things are always changing all the time as well, so it is good to check in on these like I just did. I haven’t checked the “YouTube 1080p” encoding, the “RTMP” for a long time because I haven’t needed to and the YouTube encoding I use for audio may be different. These options have different possibilities.
Now, what you can do is create a new preset.
You can put an “unnamed preset” in here, and then create your own options. If you want a higher bitrate, for example, what you can do is just put a higher bitrate.
Say, if you have an animation that’s moving quickly, that is bitrate intensive where there is a lot of changes and it needs a lot of data, it needs a higher bitrate to be able to show it without distorting or pixelating, then you can just manually enter that in.
When you have got a specific live streaming destination that has exact settings that want you to use certain things and if you need to change your frames per second you can go and I can put this over to “Stereo” in here for example, which is what I need to have on my YouTube, then I can have this record in stereo.
Now, this default preset thankfully records in stereo or else I would have been recording all my songs in mono.
Now, you can look at all these preset options and the “unnamed preset” saved in there right away.
What I can do is edit that, and then let’s say I don’t need this and I can just delete the “unnamed preset.”
I’ve got all these different encoder presets in here for various things that I don’t even know exactly what they are for, and then I can go in there and close that up.
Now, when I switch over here, I’ve got all these different encoder presets that I can use for whatever I want to.
Now, I’ve got that encoder preset in there and I’m ready to record.
So, I can hit the “OK” button that you can see at the bottom right of the screen.
You want to make sure to hit “OK” because if you don’t, it will not save anything you just did. If you get one thing out of this, make sure you hit “OK” after you make all these changes.
Then after doing all this, you need to go and hit “File” and either “Save” or “Save As.”
If you have made big changes that have disrupted what you have done before, for example, if you are making a new live-streaming setup document, but you want to be able to use the old one, it’s a good idea to go in and “Save As” on this, so that you can use the old one and revert to it in case you mess something up.
Now, notice I did not hit “OK” because my settings are how I want them, I don’t want to mess any of my settings up on here. I just went in and edited those and now I hit “Cancel” and it disregards everything I did. It’s like I didn’t even do anything. Keep that in mind when you do it.
That’s how you go in and set up a basic record, and this is the same basic thing you want to do with all of these different destinations.
All you need to do with all of these different live streaming destinations is to get them in the right format. Let’s say you have got “Dlive servers,” all you need to do is get these encoder presets set up correctly to match the encoding you are using.
Now, Dlive currently requires a smaller resolution, so this is an additional processor hit and consideration for me when I’m doing my streaming.
I’ve got each of these set up and I can actually live stream my audio in some in stereo and in others in mono. That’s the depth you have got with this, but that’s also the complexity. It’s easy to mess some of these things up as you have seen already having that old YouTube thing going mono.
Now, I will check my YouTube channel in a minute and see if it actually is going in mono. Anyway, that’s a look at how you do the output settings in Wirecast.
I hope this is helpful for you if you are trying to do these output settings and get it to come out this right.
I’ve learned a lot of these things the hard way, essentially by recording videos and seeing the bitrate was not high enough to do whatever I was trying to do live streaming.
One more thing, when you are recording you want to have one directory and just to auto increment file names. That way, all you do you is just hit record and turn it off. You can hit record again and it just records it as “my stream 1, 2, 3, 4, etcetera.”
You then want to make sure you go in and rename those every time, and keep that folder clear every time you do a live stream like this.
I’m just recording this and I will immediately name this the exact video name I want. I will immediately drag this over into the appropriate folder. This will go into my live-streaming folder because this is for my “Complete Live Streaming Course.”
I will immediately take the video out of there. I used to have it cluttered up. It had my stream 50, 60, 70. If you recorded something and you don’t like it, just immediately process it and delete it.
Immediately just go into that folder and delete it.
I put mine in the Movies output because you can see then I’ve got /users/Jerrybanfield/Movies/MyStream.
It just puts it into the default “Movies” folder on my Mac that way when I’ve got the “Movies” folder booked in finder, all I do is I just bring this folder over from my finder, and then I’ve got all the movies in there, and I keep the movies clear.
You can verify your recording too. You can see that my stream is currently recording right now in the “Movies” folder, and then you see I keep this thing clear. The “Camtasia” folder comes back in every time I open Camtasia. So, what are you going to do about that?
What I do, I immediately move it every time. I’ve got a live streaming course, and this will drop straight into the “Live Streaming Course” folder. The “Mac” folder pulls it out of the “Movies” folder, and then I know it needs two additional processing.
If I record something and I need to edit it, I throw it in the “Mac” folder, then I have a different computer I can edit that on and render it, and not tie this one up. That way, I know I can throw all the videos straight into the “Mac” folder.
I don’t need to have my folder for Wirecast get all cluttered because having all that clutter makes it more difficult to just see what’s going on. It makes it easy to make a mistake, to name the wrong file, drop it in the folder, then you go in there and say, “Hey, this isn’t what it’s supposed to be at all.”
When you do the output, it sets up by default to auto increment the names, out it exactly in the folder you want to use, take control of that from the beginning, then all your recordings show up in the right folder.
Once you know how to record something successfully, it’s just a matter of looking at how the live-streaming service specifically wants it encoded and putting the specific settings in the encoder into that exact format.
In my “Complete Live Streaming Course,” the next thing I’ve planned then is I will show specific encoders and how to put the settings in the format that they uniquely want.
Now, that changes from time to time, so it’s important to just keep up to date with what each platform wants, like if you are streaming to Facebook, what Facebook specifically wants, what YouTube specifically wants, etcetera.
I appreciate you getting all the way to the end of this and I hope it was useful.
Thank you for reading this tutorial, which was originally filmed as the video below.
Wirecast encoder settings for live streaming to Facebook with RTMP and No 1 Stream Limit
What exact settings do I use in Wirecast to go live to my Facebook page?
Will you join me in taking a look at this because I don’t know where you even see or learn this, and it will allow you to get the very best experience out of live streaming on Facebook?
Here are the exact settings I use in my encoder today and I have to show you screenshots of this because when you put the stream key in, that’s a secret key. If I give you my stream key, you can live stream to my Facebook page.
I use the persistent live streaming key that Facebook gives me and I put it on Wirecast.
I named it “Facebook Page” because I can stream separately to my Facebook page, group and profile, and each has different benefits and downsides.
If you want to just use the “RTMP Server,” then you can live stream to several different destinations at once.
Now, according to the Facebook’s Terms & Conditions, developers are not allowed to make applications with built-in live streaming that can do Facebook, YouTube and anything else at the same time.
Therefore, when using Wirecast if you simply add Facebook and try to stream to Facebook you will discover it won’t let you live stream to anything else at the same time. If you want to live stream to Facebook and YouTube at the same time, all you need to do is set it up as an RTMP server and live stream that way, and in which case you can live stream to Facebook, Twitch, YouTube, whatever, all at the same time.
I do it this way because I want to live stream to different destinations at once and this allows me to do it.
Here are the encoder settings. I just use “RTMP Server,” and then this is inside the custom 1080p encoding I use for Facebook.
I created this myself and you can probably use slightly different settings and it will work. I will show you the reference page from Facebook where they talk about the standards.
I put it in 1920 by 1080, which I believe I can do because I’m a verified page. I think the documentation says a maximum of 1280 by 720, and up until last week, I was live streaming and I didn’t even realize it was at that lower resolution.
I put 30 frames per second.
I put 3,500 for the average bit rate to make room for the audio bit rate because Facebook says the maximum bit rate should be 4,000 kilobits per second, and I think you combine the average bit rate of both the audio and the video encoding for the total.
Therefore, you want to include that audio encoding because if the maximum is 4,000 and you put the average bit rate to 4,000 into video, and then you throw another little bit over, it will go over what the maximum recommended is.
I use “Main” profile on here.
Facebook wants a key frame every two seconds, and I’m doing 30 frames per second, so I do a key frame every 60 frames.
I hit “Strict Constant Bitrate.”
Facebook asks for mono, but I’m putting the stereo on because I play music sometimes. I want it to be able to go in stereo. It’s been doing that fine so far. I don’t know if it’s actually been stereo, but I’ve sent stereo and it works with it.
This is the setting I’m using now to my Facebook page:
– Encoder: MainConcept H.264
– Width: 1920
– Height: 1080
– Frames per second: 30
– Average bit rate: 3,500 kbits/sec
– Profile: Main
– Key frame every: 60 frames
– Strict Constant Bitrate
– Channels: stereo
– Target bit rate: 128 kbits/sec
– Sample rate: 44.100 kHz
What I was using before:
I was using the 720 encoding. I was just basically doing the same encoding, except I was using 1280 by 720, and then I wasn’t using “Strict Constant Bitrate” and I was using a lower average bit rate, and that still worked just fine.
If you google “Facebook live stream,” go to the live.fb.com.
On the website, click on the “Stream” menu at the top, then go down to “Publishers” and click “Learn more.”
This takes you to this page www.facebook.com/facebookmedia/get-started/live, and then this has a detailed explanation of all of these specific settings.
It shows you exactly where to get the stream key and it shows all of the exact ways inside Facebook to make this happen.
It shows you the “Prerequisites,” the different programs you can use.
It shows you the “Setup and Preview.”
I do it the same way to stream to my Facebook page.
I log in, I select “Publishing Tools,” then I hit “Create,” click on “Live Video,” and hit “Connect.”
Facebook has a new option for a persistent streaming key.
I use the persistent streaming key because that allows me to literally just go into Wirecast and all I need to do in Wirecast with the persistent key, is click “Output,” select “Start” and I go over to “Facebook Page” and this will start my stream automatically every time.
You want to use the persistent key if you can because otherwise, you have to manually change the output every single time to the exact stream key. The benefit of doing that is if you accidentally share that one it’s not a big deal. Whereas if you share your persistent stream key, you need to get a new one in order to stop people from streaming.
If you didn’t realize you had shared it, people could just stream to your page all of a sudden.
What I do to set this up in Wirecast, I put the same address starting with rtmp://live-api and I paste that unique stream key into my stream encoder, which is covered in the screenshot. This will add the stream key at the end of the URL in the “Location” field.
Then, that comes out allowing the stream key to look something like this and that will generate a live preview.
Once I’ve started going live, it will show a live preview on here, then I’ve got the chance to fill in the post title and tags.
As soon as I add all that, what I’m able to do is just click “Go Live” or you can click “Schedule” if you want to have it running, and then schedule it to start going live in an exact time.
When I’m ready to end it, I just click “End” on Facebook and that will terminate the live stream, then it will appear in the video record.
Now, Facebook has got a list of the exact things I showed you.
It says maximum 720p although it appears 1920 by 1080 is supported for verified pages.
A key frame every two seconds.
Recommended maximum bit rate as I mentioned, four thousand.
Titles must be less than 255 characters.
It only accepts H264 video and AAC audio.
Now, the video length with Facebook is four hours (240 minutes), so after you go 4 hours, then it will stop and end your live stream. If you started doing it ahead of time and previewed it, it may cut it off earlier sometimes.
Then Facebook for the “Advanced Settings” has these in here, you can see it’s got the bitrate encoding.
It does have “stereo,” I don’t know where I got “mono.”
It’s got stereo that you can do an audio sample rate in here.
Then you can have some “Troubleshooting” things if it’s not working. Check your firewall, disable ad blockers, etcetera.
These are the exact settings I used to do my encoding on Facebook.
Once you just get used to this, if you need to change anything it’s not a big deal. Some other live streaming services and programs have some diagnostic tools.
On Facebook, you can just watch the stream yourself to see how it looks and see how it performs. You can watch the replay of it to see how it came out.
If you just want to test your equipment, you can do it in a group. You can create a group where no one else is in the group or you can just stream it on your profile page.
If you have got a Facebook page and there are not that many people that like it, you can just stream it on there. If it’s not perfect that’s not a big deal.
The easiest way for Facebook, just test the stream out, make sure it works, and then if you just change something, look at the documentation. If you are doing anything different like for example changing the “Width” and “Height,” like I did and it doesn’t work, then all you have to do is go into the encoder setting and change this down.
Now, make sure if you change something, or if you want to make a new encoder setting to hit “Save As,” and then watch which encoding you select.
If you create a different setting for Facebook, but you forget to put the encoding in there, then you may get some kind of error.
You need to put the encoding and the destination correctly in there each time.
I appreciate you reading how I do the encoding on Facebook and I hope this is helpful for you with doing the same thing.
Thank you for reading this tutorial, which was originally filmed as the video below.