UPDATED! Wirecast Video Production and Live Streaming Course

Wirecast comes in two different versions. Wirecast Studio is generally suitable for most users. The Wirecast Pro version offers a few more options that are necessary for specific applications that you may find useful. The lower-priced ($599) Wirecast Studio version comes standard with unlimited inputs. This includes an unlimited number of inputs from sources such as video, audio, screen capture, USB, capture cards, NDI, iOS, IP, and web stream sources. This version can handle video up to 4096 x 3072 for production and encoding. It also comes with integrated text, titles, chroma key, built-in and custom transitions, an advanced audio mixer, social media integration, and a stock media library.

Wirecast is designed to be flexible. Know upfront that there are many different possible video production workflows. When you first load the software, it may help to experiment with the screen's layout to get a feel for the possibilities. From the Layout menu, you can choose the layout of your main window. From the very top of the menu, you can turn on or off the Final Mix audio controls, shown to the left and right of the upper part of the window.

Show Live and Preview, Show Preview Only, and Show Live Only allow you to toggle through the display modes showing one or two views in the upper window. Which option works best for you will depend on your production workflow. These options can also be controlled by the green and red selection buttons in the screen's upper right-hand corner.

The top half of the interface is the Broadcast area. This is where you can view the Preview and the Live Output.

Preview

When displayed, the Preview window shows what will go to your live broadcast when you press the transition button. Within the Preview window, you can manipulate an image using the handlebars to adjust its size, position, and rotation. These changes will not be reflected in the live view until you press the transition button.

Live

The Live window shows what is being sent to the output of your production. Whether you are recording or live streaming, this is what is being captured. The Pro version of Wirecast can also record multiple shots at once using the ISO recording feature.

Audio Levels Mix

To the left of the Preview window and the right of the Live window are the audio meters. With these, you can monitor and adjust the audio gain. By default, the audio levels in the preview screen will not play through your headphones. When the audio levels are muted you will see a gray headphone icon with a strike through it. When the audio levels are active you will see the headphone icon in green.

Below the audio levels next to the Final Mix is a speaker button and a headphone button. The speaker button is used to mute the audio of the whole broadcast and the headphone button mutes the audio generally used for monitoring the broadcast. In this way, you can turn off your headphones for monitoring the broadcast and toggle between monitoring an audio source in preview. Most users only monitor the broadcast output for simplicity.

Shot Manager Box

To the left of the Preview Window is the Shot Manager box. If it is not there, click on the two arrows on the main window's far left. The Shot Manager is hidden by default to save space. There are tabs for shot layers within this box to edit the shot’s layer properties, audio, chroma key properties, smooth transition properties, and system device properties. The content of these windows will vary depending on the shot selected in the Main Shot List.

This is the area of Wirecast where you can customize the media you are working with. For example, you can layer together multiple pieces of media together and build one awesome shot that you can transition to with a click of a button. It is here that you can chromakey out a green background and manage the layers of your production to create a virtual set or dynamic scene.

Transition Bar

Between the Live and Preview windows and the Main Shot Layers is the Transition Bar. The Transition Bar is covered in the next chapter. This area controls switching from one source to another and enables you to choose transition styles and effects.

Main Shot List

At the bottom of the interface is the Main Shot List consisting of five layers organized in rows. Each row is used to mix together media inside of the Preview window before it’s moved to the Live window. You therefore have a choice as to whether you want to build custom shots with multiple layers in the Shot Manager, or use the layering system to build dynamic layouts in real time.

In general, it’s best practice to put your cameras and live capture sources on the bottom layers and your top level graphics on the upper layers. This is because, as you mix shots together in preview, they will be mixed together in a layered system. This is a great way to think about creating dynamix productions that can be updated quickly. Producers can choose a bottom level camera or live video source and then quickly choose middle or top level graphics. A middle level graphics might be a lower third and a top level graphics could be a logo or a social media post.

Advanced transitions can also be managed in the “Smooth Transitions Properties” area of the Shot Managers Box.

Control/Status Bar

Across the top of the interface is the status bar. This shows you the current state of your Stream, Recording, and ISO recording. There are time counters for all three, and the icons change colors to represent the state of the recording or stream.

Using Wirecast for live video production often requires the connection of a couple cameras. You can connect cameras to your computer running Wirecast in a variety of ways that you will learn about in this chapter. These options include internal capture cards, external capture devices, USB, IP streams and NDI.

USB Webcams

Setting up a compatible USB webcam is easy. Simply plug your webcam into your computer. Next open Wirecast, add a new shot, select the Video Capture category, and select your device from the menu. Once it is added to the Main Shot Window, you can click on it and make any necessary adjustments on the System Device Properties tab in the Shot Manager Box.

Capture Cards

To connect a camera with an HDMI or SDI output, you will need an internal PCIe capture card or an external USB capture device. Some capture card models even have options to connect to older standards like composite (RCA) or component (YPbPr) video. Capture card devices can be installed internally in PCs computers using a PCIe card slot. If you only need to capture one or two cameras you can use available USB ports to connect USB capture cards. These USB capture cards convert an HDMI or SDI video signal into a usable USB connection with Wirecast. You can also use a Thunderbolt connection to connect additional cameras to your computer.

One of the most significant constraints to capturing cameras with a computer is the available card slots or ports on your computer. You can add additional USB ports to your computer through a USB hub but it is not recommended for use with a camera. This is because USB hubs create a bandwidth bottleneck in your capture system. When using USB connections to capture cameras, it’s never a good idea to use a USB Hub. If you are running out of USB ports on your computer, use a Hub for low-bandwidth devices like your keyboard and mouse. Use your dedicated USB 3.0 or USB C connections for cameras to ensure proper bandwidth channels.

Pro Tip: If you are having trouble with capturing a camera try moving around the USB ports that you are using. Sometimes two or more USB ports will share the same internal chipsets. For example, if you have a laptop with two USB ports on either side, each side might share a single USB chipset. Therefore it would be better to connect one camera on each side to optimize your available USB bandwidth.

Pro Tip: Once you have installed your capture device, be sure that you download the device manufacturer's latest drivers. Setting up a capture card with your camera and computer should be fairly simple. The best place to find support for issues with capture devices is at the website of the manufacturer. There are also often helpful threads available in the Wirecast User Forum as well.

Once your capture device is connected and configured, you can add it as a shot in the Main Shot List by choosing it from the Video Capture category. Once the shot has been captured you may need to make some adjustments on the System Device Properties tab in the Shot Manager Box to align the settings with your camera and capture device.

NDI Sources

NDI™ stands for Network Device Interface and it’s a simple way to connect IP video sources to Wirecast and other applications over your Local Area Network. A Local Area Network or LAN, is the network that connects your computer to the router which provides your computer internet. This book will include a more detailed description on NDI and networking in an upcoming chapter. For now, simply understand that NDI is a simple way to send and receive video over the network that your computer is connected to. If there is another computer connected to the same network for example, it can receive the video from your Wirecast system and display it up on a television. Another example, might be a computer on your network that can easily send video into your Wirecast system. A popular use case for NDI is a laptop that is set up to send video to a Wirecast system that consists of PowerPoint presentation slides. In order to do this, the laptop can use the free NDI tools available from NewTek to capture and send NDI video from one computer to another.

The example above shows a PTZOptics NDI camera connected to a network switch. This network switch is also connected to a Main Broadcast PC running Wirecast, another computer running NDI Studio Monitor and an IP joystick. The Main Broadcast PC is able to bring the PTZOptics NDI camera connection into Wirecast using the Network Source option.

NDI Sources available on your network will automatically show up under the NDI Source area of Network when you add sources to Wirecast. Additionally, there is a laptop running the free NDI Studio Monitor tool which is being used to view the output of Wirecast. This is an easy way to distribute video over your network using additional computers. NDI Studio Monitor can also be used with a USB connected XBox controller to control PTZOptics cameras. An IP Joystick connected to the network is another great way to control cameras on your network.

Pro Tip: Computers running NDI Studio Monitor can be remotely controlled using a special IP address that shows up when you launch Studio Monitor. Try using this IP address on another computer to remotely change the NDI source the computer is displaying.

One of the unique features of Wirecast is the way it organizes media sources that are part of your production. The software uses two terms, Shot and Layer, to describe the interface on how it works.

Shots

Shots are the basis of any production. A shot is made up of some type of media, be it sound or video, and any associated settings. At the most basic level, a shot can be just one piece of media such as a camera feed, video clip, or graphics. However, the real power of a shot lies when multiple elements of media are combined. Media can be combined or "layered" for more complex and visually appealing shots. This could include a camera shot with a separate sound source, overlaid title, and/or additional graphics. A shot can even be a playlist of shots rotating on a preset basis.

Layers

To create rich multimedia shots, Wirecast uses the concept of layers. When you look at the Main Shot List window, you will see a total of five layer rows. To assemble a shot, you can select one source from each layer just by clicking on it. You cannot choose multiple shots in the same layer, but you can select one shot from each layer. All of them will be displayed in the Preview Window (or the Live Window if you are using Auto Live). They are displayed in a layered manner, with layer one being on top, five on the bottom, and the rest in between. If the source in layer one is opaque and fills the whole screen, you won't see the rest of the sources in the window. However, by resizing sources and using different types of overlays and transparencies, the five layers can create a visually rich shot. Layers will be covered in more depth in another chapter.

Layer Windows

By default, the Main Shot List and the five included layers are positioned at the bottom of the main window. However, for more flexibility, each layer can also be displayed in its own separate window. This may be helpful, especially to users with multiple or large screens. Any layer can be opened in a new window using the Window menu and selecting New Layer Window. Everything works the same way. You just get the option of moving your layer windows independently.

LED Indicators

Red and Green LED indicators in the Main Shot List can help you keep track of what sources are being used at any time. A green LED on a source indicates that it is currently selected and showing in the Preview window. A red LED indicates that it is presently in use for the main output and is shown in the Live window. If a source is in both the Live and Preview windows, it will be marked with a red LED.

One of the most basic functions of any live video production software is switching from one shot to another seamlessly. Switching may be from one camera to another, a camera to a pre-recorded video, or even between still images or other video sources. With Wirecast, you have two main options for transitions, AutoLive, and the Go button.

The Go Button

The Go Button can be found on the transition bar, located between the Broadcast Area and the Main Shot List. To the left of the Go Button are the transition options. In the Preferences menu, you can choose how many transition options you wish to display (0-3). While you can only use one transition at a time, displaying multiple options makes it faster and easier to switch between transition types. Whenever more than one option is shown, you can switch back and forth by just clicking and highlighting your selected transition type.

In the dropdown menus, you can choose the style of transition. When cut is selected, the transition will be executed immediately. With smooth, the transition fades in or out. You can also choose from many other more stylistic transition styles like 3D plane, bands, circle wipe, fade to black, and swap.

On the main menu at the top of the screen, under the Switch menu, the Transition Speed can be set from its slowest to fastest setting. The preferred switching type, style and speed will be executed when the Go button is pressed.

Another critical option is based on your preference for what happens to the Preview Window when you press the Go Button. By default, what is in Preview will stay in Preview after it is sent to live. This is useful if you feel that you may need to make some changes and send it to Live again. However, under the Switch Menu, you can select Live/Preview Swap. With this turned on, when you press the Go Button, whatever is in Preview will go the Live, and whatever is in Live will be sent back to Preview. You will notice this because the Go button will turn to a double arrow.

AutoLive

The AutoLive function in Wirecast reduces the number of steps required to switch scenes. This can be especially helpful when Wirecast is used by a presenter who is also controlling the software. In AutoLive mode, there is no preview function. Selecting a shot from the shot list will automatically make that shot live. Whatever you select will immediately be sent to the output of the production. There is no need to use the Go Button or Preview window with this setting. However, when adjustments are made to the shot in the Preview window, they will be made in the Live window upon pressing the Go Button.

Best Practices

There are best practices when it comes to producing a show from the perspective of the technical director. A well produced show is essentially an orchestrated process of capturing the show's content with your audiovisual equipment. In order to do this, the technical director (Wirecast User) has to make decisions about how and when to transition between the available video and audio sources. The goal of a good technical director is to produce a cohesive storyline. As you transition between one scene to the next, it’s important to think about the viewer's experience as they follow along with your production’s storyline. Choosing the appropriate transition moments and using the correct transition type, can be essential in capturing your audience's attention and making the technology flow seamlessly.

Wirecast offers you the option to capture high-quality video content from your local computer and incorporate it into your video. These screen captures can come from a monitor, window, or active software application. This same functionality is also available from another computer on your local network using the Remote Desktop Presenter.

To add a screen capture source, click the Plus (+) button in one of the layers as though you were adding any other type of shot. Choose the Screen Capture category on the left and then New Screen Capture on the right. In the Screen Capture Properties dialogue box to the left, you can name your source. Next, from the dropdown menu, choose the type of source you wish to capture: a specific monitor, a window from an application, or a game. The game option allows you to capture video from a particular game at a higher framerate of 60fps as compared to a standard 30fps.

Next, you have the option of showing or hiding your cursor using the check box and whether or not you want to capture audio as well. You can then configure the captured shot. If you are capturing a monitor, you will see a dialogue box listing available monitors. You will also have the option to capture the entire monitor or select a specific region. If you choose to share an application, the dialogue box will show you all active applications in a dropdown box. If your application is not listed, be sure it is currently running and hit the refresh button. If your chosen application has multiple windows open, you can select the appropriate window from the dropdown menu.

Keep in mind that while you can only select one screen capture source per shot, you can create as many shots as you want. This makes it easy to switch back and forth between monitors or applications or even show multiple screens captured side by side or tiled in one window.

NDI, or Network Device Interface, is a protocol developed by NewTek that makes it easier than ever to share video over IP networks. As manufacturers and developers continue to create new NDI compatible hardware and software, producers gain more options to add video sources without running traditional HDMI or SDI cabling. As long as an NDI device or computer can be added to the local area network, it can be shared with other NDI software and equipment.

Some popular NDI sources include cameras, capture devices, switchers, graphics and screen captures.

Wirecast makes it easy to set up and use NDI sources in your productions. Adding an NDI camera, capture device, or other source is mostly the same as adding any other media source type. For best results, be sure that your NDI source is on and active before launching Wirecast. Also, be sure that your Wirecast computer and your source are on the same local area network.

Click the Plus (+) button in the main shot list and select the Network category on the left. Your NDI source should appear on the list on the right. Select the source, and then in the Source Properties box to the left, you can see your settings. In that box, you can adjust the bandwidth of the source. This is helpful if you are having latency issues with the source. Lowering the bandwidth will reduce the source's quality, but it will also improve transmission speed and delay when that is an issue.

Learn how to add graphics such as jpeg PNG and other to your Wirecast production.

Wirecast now allows users to pull in web pages as video inputs. This is a nice feature for quickly adding a web browser to your video production without needed to use a desktop capture. 

In this lecture we will full review the Audio Mixer and using Mix Minus. Mix Minus allow you to choose where the audio is going. Mix Minus is used for live broadcasters who may want to have an audio source in their mix but don't want to hear it in their monitor audio. This is used frequently when a video producer does not want to hear themselves in their audio setup. 

Chroma Keys

Using a chroma key is the process of selecting one specific color in a video, removing it, and replacing it (keying it) with a different background. This effect is most commonly known from television weather reporters who stand in front of a green screen which is replaced, on our screens, by the weather map.

When you click the Use checkbox, Wirecast will apply the effect, and you can fine-tune the setting with tools down below. The color will be set based on the image. However, you can fine-tune the color to be removed using the color's hex number or using the dropper tool.

Zoom has become an industry standard for bringing people together for online video conferencing. Zoom is a powerful tool, but there are situations where you need more power and flexibility for the video you share. Using Wirecast with Zoom gives you access to all of Wirecast's features, including layers, graphics, virtual backgrounds, screen sharing, and transitions. To connect Wirecast to Zoom, you will need to use the Virtual Camera function.

Using Wirecast in a Zoom Meeting

In Wirecast, go to Virtual Camera Out under the Output dropdown menu. Be sure that Flip Video Horizontally is checked. If you would also like the audio from Wirecast to be a part of your Zoom meeting, be sure that Virtual Microphone is also checked. Then click Start. You may see a dialog box prompting you to install the Wirecast Virtual Camera. If so, simply follow the prompts.

Now open Zoom and start your meeting if you have not already started it. Find the camera icon at the bottom of the screen, click on the up arrow next to it and select Wirecast Virtual Camera. You can also click on Video settings if you wish to make any adjustments.

To use Wirecast audio, click on the up arrow next to the microphone icon at the bottom left of the screen and select Wirecast Virtual Microphone. You can also click Audio settings if you wish to test or adjust the audio settings.

Bringing a Zoom Meeting into Wirecast

It is also possible that you want to include a remote Zoom participant into Wirecast. To do this, you will take advantage of Wirecast's Screen Capture Option. Make sure Zoom is running, and your meeting is started. Next, add a new shot to the Main Shot List. Choose the Screen Capture category on the left and choose new screen capture.

In the Shot Manager Box, choose the Screen Capture Properties tab. In the dropdown menu next to Capture Type, select window. Then, next to select Window/Monitor, click Configure. For application, choose Zoom.us and for Window, choose Zoom meeting. To capture the audio on a Windows PC, be sure that the Capture System Audio checkbox is checked.

On Mac computers, the process of capturing audio from Zoom is more complicated. While it is simple to send virtual audio to Zoom, the return audio currently requires third-party software. Options like Black Hole and VB-Cable will allow you to send audio from Zoom and capture it as an audio capture source in Wirecast. Once your third-party software is installed and ready, simply choose the software's virtual destination as a speaker output in Zoom and then add it as a shot using the Audio Capture category and selecting the system device.

You can significantly improve your Wirecast workflow by adding a physical controller such as the Elgato Stream Deck, Stream Deck Mini, or Stream Deck XL. This is easy to set up thanks to the Elgato Stream Deck Wirecast plugin. Once set up, the Stream Deck can mimic the Wirecast interface and give you physical buttons to select shots, clear layers, transition, and access other Wirecast features. The Stream Deck integration is a great way to improve your workflow and add tactile control.

Installing the Stream Deck Software

To easily integrate your Stream Deck, go to elgato.com, click on downloads, and download the current version of the software for your Elgato product and computer. Follow all of the prompts to complete the install. Next, install the Wirecast plugin. Go to the bottom right corner of the program and click on the More Actions box. Next, go to the search box in the menu bar and enter Wirecast. Once the search is complete, click Install next to the Wirecast listing.

Connecting and Setting up Your Stream Deck

Before going any further, plug your Stream Deck into your computer's USB port. If it is properly connected, the light will come on. To see how to add shots to the Stream Deck interface, it is helpful to set up some shots in Wirecast, so open Wirecast and ensure that you have at least two shots on two different layers in the Main Shot List.

Now return the Stream Deck application. Under the Wirecast tab, you can click and drag the Clear Layer for each layer and any shots you created in Wirecast. You can arrange these any way you want, but you may find it helpful to mimic the Wirecast software interface. Once you have dragged and organized your shots, you can add any additional commands you want to the Stream Deck by dragging and dropping. These may include the Stream button, the Record button, the Go button, and the AutoLive button.

When you return to Wirecast, you can see the Stream Deck buttons now replicating the software interface controls.

Wirecast includes many features that allow you to set up parts of a live broadcast beforehand and allow those segments to run automatically when called upon. Playlists are a great way to bundle multimedia elements together to run during production. You can have multiple playlists, and you can edit them after they are created. You can even make changes as they are playing.

There are two ways to create playlists in Wirecast. You can click the Plus (+) button in the Main Shot List, select the Shots category and then select New Playlist Shot. You can also simply drag an existing shot onto the top of another existing shot, and it will automatically create a new Playlist shot. You can continue to add shots to that Playlist by dragging and dropping.

You can edit any shot by double-clicking it to open the Playlist Shot Editor. Right-clicking on any shot in the Playlist will reveal different options than in the Main shot list. One important option is Modifying Duration.

Durations in Playlists

Playlists are designed to move automatically through the included shots. You can have great control of how and when transitions between shots happen. If you want the Playlist to play automatically, you will need to ensure that every shot has a duration. Pre-recorded video clips will have a duration. By default, it is set to the length of the clip.

For images and graphics, you will need to set the duration manually. Simply right-click on the clip and select Modify Duration. This will open the Shot Duration dialog box to set the time in hours, minutes, and seconds. If you have multiple clips that need durations, you can check the box to make this the default duration for the Playlist and click apply all to the current clips.

Live Shots

Live camera shots can be included in playlists. Keep in mind that live video has an infinite duration. So, if you want a transition to occur after a certain amount of time, you will need to set that clip's duration.

Editing and Manual Transitions

In the Playlist Shot editor, you can also adjust the transitions between clips using the same selection as offered in the main window. You can also manually advance to the next shot. You also have the option to set the behavior for when the Playlist is finished. You can choose to have it repeat, hold on the last slide, or transition the previous live shot, whatever is in the Preview window, or any other shot present in the same layer as your playlist.

Starting the Playlist

To get back to the Main Shot List, just click on the tab at the top of the panel. Once you are there, simply click on the Playlist to put it in Preview and then press the transition arrow to take it live. Once it is live, you will see countdown timers for both the current clip and the entire Playlist at the bottom of the program window.

Wirecast offers powerful Multi-Viewer support for your video production. This is especially helpful for complicated productions and situations where multiple operators are involved. With Wirecast Studio, Multi-Viewer output provides slots for up to four sources. With Wirecast Pro, there are available spaces for up to seventeen sources. Sources can be any view or shot. This includes Preview, Program, any shots from the Main Shot List including Playlists. The Multi-Viewer can be especially helpful to view live cameras to ensure they are ready to go live.

Setting Up Multi-Viewer

To set up the Multi-Viewer output, click on the small monitor icon at the bottom of the Live or Preview windows. This will open the Multi-Viewer Configuration Window. At the top of the window, you can select from your available monitors. After you choose the monitor, you can select the layout. Keep in mind that Wirecast Studio is limited to four slots. Next, you can choose whether or not to display labels for each shot and whether you want them below each shot or superimposed over them. Labels can be useful for identifying the shot, especially when using a layout with many sources.

For many users, the primary function of Wirecast is to produce video content for live streaming. Everything you need to stream to one or more streaming platforms is built into Wirecast. While different streaming services require slightly different settings, the overall process for streaming remains the same.

Before Wirecast can begin streaming, you must configure your Output Settings. To start the configuration process, click on the Output menu at the top of the screen and select Output Settings. From the dropdown menu, select your destination.

Wirecast is continually adding new content delivery network (CDN) partners but currently supports BoxCast, Churchstreaming.tv, DaCast Streaming Services, ESE Networks, High School Zoom, Jet-Stream, Lightcast, Livestream, Meridix Live Sports Platform, Onstream media, Pitchtime, SermonAudio, StreamingChurch.tv, StreamShark.io, StreamSpot, Streaming Media Hosting, Stretch Internet, Sunday Streams, Tulix Streaming, Ustream, WorshipStream, Azure Media Services, Sermon.net, Verizon Digital Media Services, West Studio, Brightcove, Limelight, Akamai, LinkedIn Live, LiveArena, Twitter, Twitch, Vimeo, Wowza, Zixi, Facebook Live, Microsoft Stream, and YouTube are available.

If you don't see your streaming platform, click on the More button, and you can add additional options to the dropdown menu. If your destination is still not there, you will want to select RTMP Server, where you can set up the destination manually.

When you select your destination and click OK, you will see a dialogue box customized for your streaming platform. Required settings will include authentication information for your provider, encoding settings, and any other information required by your destination. Once you have confirmed all the settings, press OK.

If you wish to record your production for local use or just want an archive backup, Wirecast makes recording to disk simple. You can record in MOV, MP4, or on a PC, as a Windows Media File (WMV). To start recording, just click on the Record button at the top of the main window. This will launch a dialogue box where you can choose your preferred recording format.

In the next dialogue box, you can name your file. Next, you will want to pay special attention to the encoding options for your recording. Keep in mind that if you will be streaming, these can be different from your streaming encoder settings. Your settings will be primarily determined by the purpose of your recording. If you are recording just as a backup and choose smaller MP4 files, you will likely want to select an H.264 option in the resolution, frame rate, and bit rate that fits your needs. If you require a higher quality recording (for instance, if you will be importing the video into video editing software), a MOV is recommended. For that, you will want to either use an appropriate MJPEG file on PC or ProRes on Mac.

Instant replay and ISO recording and advanced features that professional broadcasters use frequently. Instant replay is used commonly with sports and it allows broadcasters to replay a piece video that was live only moments ago. ISO recording is used for "Isolated Recordings" of individual inputs that are commonly used in post production. 

Using Virtual Sets are a great way to host live shows using a green screen. We will demonstrate how to apply a chroma key to your video layer and add that video into a virtual set. 

With the Pro version of Wirecast, you can remotely control PTZ (pan, tilt, zoom) cameras directly from Wirecast using the PTZ Controller window. This works with various PTZ cameras, including the latest models from PTZOptics. The controller works both the VISCA over IP protocol as well as the new NDI PTZ controls.

Setting Up PTZ Camera Control

Set up your camera per manufacturer instructions, ensuring that it is connected to the same network as your Wirecast computer. You will want to obtain the camera's current IP address in order to connect it to Wirecast. Go to the Window menu at the top of the screen and click PTZ Controller to display the controller interface.

In the interface, select the PTZ camera you wish to control and then enter the IP address. For PTZOptics cameras using VISCA over IP, the port and VISCA address will be set automatically. Once you have entered the IP address, click the Connect button to the right of the status indicator, and it will display connected when ready.

Controlling the Camera

Once the camera is ready, you can test it by clicking anywhere in the controller area, and the camera should respond. The Home button will quickly move the camera back to its home position. There are multiple PTZ controller options within Wirecast. These include the Map View, which offers a 360-degree field of the camera's visual area. The D-Pad view gives you simple up, down, left, and right buttons. And an Analog Pad view, the camera motion is controlled through a click and drag interface. In this view, you can also use your keyboard arrow keys. However, you can use multiple keys at once to move the camera simultaneously on the x and y-axis.

With all of these controller options, you also have separate controls for the zoom, focus, exposure, and white balance. Focus, exposure, and white balance all have both manual and automatic setting options.

Setting Presets

Once you have your camera position, zoom, focus, and other settings where you want them, you can assign these settings a preset at the bottom of the PTZ Controller window. Just enter the number you wish to use and click save. You can test your preset using the Home button to return the camera to its default position and then entering the preset number and pressing Recall.

Setting Up A Preset as a Shot in Wirecast

PTZ camera presets can allow you to add one camera multiple times in the main shot list, each time with different settings. This means that you can have multiple virtual cameras, all with different positions and settings. With only one camera, you can have multiple positions, zoom levels, and other settings all available at any time in your main shot list.

Simply add your PTZ camera to the Main Shot List by clicking the Plus (+) button on any layer. Once added, go to the Shot Layers Property tab in the left corner of the main window. Go to the bottom of the menu and expand the PTZ options. Click to enable PTZ preset recall. Now, select the preset number you want.

You can now add this camera again to the Main Shot list and select a different preset number in the PTZ. This way when you call this shot, it will tell the PTZ camera to move to these specific PTZ preset position you have saved.