Behind the Scenes of the UnboxTherapy Studio!

yeah, that thing is broken, oh really, but I can show you the rest of the

studio

if you want a little behind the

scenes

, let's do it, what's up guys? mkbhd here, welcome to the long-awaited episode 2 of this series that began with casey neistat's study. toured over a year ago, then there was a bit of a hiatus and now it's back under a new name, so welcome to BTS and this time we're joined by none other than Louis Hilsenteger, the mind behind Unbox therapy, for a look . his iconic

studio

space he used to make his videos, the team, the team and the philosophy behind it all, so we're in the studio, uh, the unbox therapy headquarters, I guess you could say you could call it that, this is it , we're looking a little bit behind the

scenes

, I thought we'd start with the iconic desktop, tell us a little bit about what we're looking at right now, honestly this just happened over time, the main goal was always to get like a button, a energy bar. and I have a camera with lights and then I could bring in the action, you know, it's a very important part, so these are just giant, they're LED lights, you can adjust the brightness, but they're usually blaring, I mean, did you sit there before and You probably recognized that it's blinding and that it's actually not a comfortable place to be, so it took you a while to get used to the idea of ​​just ignoring the fact that you had all this light, but at first I mean you probably You could attest to the same.

When you start on YouTube you feel like you experiment a lot, you think maybe this works, maybe this way and I was always in this situation of trying to illuminate myself and an object at the same time all the time, so I found that when bouncing all this light off a light surface and with a relatively light background, you could do that with a pretty simple setup, so I sit there and there are giant televisions on either side that are going to be displayed. What's happening at angles other than where I'm sitting, other than the front shot, having a larger version was helpful for focusing and stuff because a lot of times you know Jack's going to be standing there and I'll know if he's focused. what I'm talking about or not, and since everything happens live, we rarely redo anything, uh, it's important that this way we connect so we can look on this giant TV and say, "Okay, did you catch that shot yet?" and once i see it, i move on to the next one, so the video setup to achieve that right now is a trio of canon c500 recording on atomos 4k recorders, the main angle is with the tokina 11 to 16, so super wide that It is operated from the side. by jack it rocks at a 70 to 200 sigma and the one mounted pointing down from the top has a 70 to 200 canon focus right on that table the lighting is super simple it's just this trio of LED box lights full brightness light filling any possible shadow and reflecting off the table to create light around the object in Lou and even this nice recognizable gradient in the background as you've seen it and you can't forget the audio, there's a shotgun microphone right on the middle over the central chamber. recorded separately and synchronized, so this is upstairs from the other side, like behind the set, where you're used to seeing me there and this is kind of like, I mean, now it's a weird space up here, this is where everything used to be occur. all the desks were up here, the editing was up here, there was like a little living room, I guess there's still one there, but I don't know, it's just makeshift products that accumulate here on this side, most of editing and classification. of post production are moving downstairs now along with the new set that was recently built so we can take them there and show them that, okay, now we're downstairs, this is the biggest part of the space, but surprisingly we didn't start. using it until recently everything used to be upstairs now a lot of it is down here, including that gigantic mess over there, all those packaged products.

I don't actually have a desktop right now. That's a little strange, these guys yeah, there's a little kitchen. In this region here, of course, we also have dad's photo, if anyone wants to try his skills, and what else I want to say, there are some old camera equipment monitors, a couple of karts, and there is some kind of story that It goes with both of us, but I can't tell you that story now because it might hurt Jack's feelings. This is the editing area. I would say it's the desk area. It's where everyone sits. We have Kirk's place here.

Jack and Will behind that. It's where the magic happens. It really happens, it's where all the ranting and ranting becomes something you can see, so let's talk to these guys, let's see what their setups are about, hey, I'm Kirk, this is my desk, I'm rocking a dining room table of old school, splashing it. I'm a little new to RGB lighting. I have the macbook pro that I edit from and there is always some fresh fruit on the table. Here I will be editing things for the YouTube channel or social networks. Photos. Videos. All. Hello. my name is jack and this is my workspace um I have my laptop here uh my monitor um my marshmallows and my hot sauce I edit here yeah, I don't have a keyboard or a mouse, I think I've gotten pretty good at editing properly Outside of the laptop, so I take it with me wherever I go.

These guys are great, they come straight out of my laptop if we want to rock out here and they're also plugged into this turntable here for when I listen. To reign it in, what's up guys, I'll do it and this is my setup, pretty standard, except for this crazy wide gaming monitor. I mainly do Photoshop, I do thumbnails and stuff, I'm working on the MacBook Pro and this is where Otis sleeps well, so he saw. Most of the main floor you see Will Kirk and Jack's editing spaces, you see all the stacks of gadgets in the corner, of course, the little kitchen and all that by the stairs, but the most exciting thing down here is also the newer. and it's right over here and of course it's the new set so this set is again a trio of c500s, the two side cameras with 70 to 200 and the center one with a canon 11 to 24, one of my big lenses angular favorites and the set itself.

It's kind of amazing, there are 10 4k OLED TVs sewn next to each other on the back and then also a 77 inch wallpaper TV on each side and the TVs are held up by this kind of plywood frame that's about 15 feet high to fill. The whole background complete with LEDs has a pretty unique look, quite modular too and it's all centered around this pair of seats and a table in the middle so this is a look at the whole thing you know it spins all over the place it's like almost 360, in fact, you could shoot in several different directions originally we thought about doing a full 361, but then it's like you get weird stuff with cameras looking at each other and all that, it's a completely different story, but we went a little overboard. the lighting, all these LED lights here that you see behind, the kind of cover on the front, they can have so many different gradients, they're like a thousand different gradients of rgb, so you can set up these amazing types of color schemes and then the lights really important ones that illuminate me are on top of that on a grid so everything was built or at least most of it was built off site and then brought to this unit here and then basically just assembled and installed inside .

In fact, originally there was a giant desk in this region here, a circular desk and then I sat there and I thought, I don't know, something just felt wrong, it wasn't comfortable enough, it didn't feel like a place I wanted to sit and talk. , so we removed that thing and brought in the couch situation, but like above, it's often about experimenting in this space, so even this may not be permanent, it's great for now and it's fun to film somewhere else that is not where I. I've always been at that desk and in that really confined space this is big this is this is exciting it's like I can breathe I can chat I can talk I can be comfortable while I'm doing it actually this this particular scene this lighting setup here It reminds me of those popsicles, you know, those like rocket popsicles, firecrackers, yeah, that reminds me that just came up right now, but of course we can change it, maybe we should change it right now.

Kirk can you throw in another scene real quick, you just throw in a different scene, something real quick, there you do it, okay, blue, oh, actually there was a little bit of blue, there was a fade there, it became a little bit more teal in the bottom, but you can configure everything through an application. Each light can be controlled independently of the others, so you can configure these scenes to look whatever you want, giving you a bit of flexibility so the whole thing doesn't fall apart. static or identical all the time, you can change it, so that's fine, the first thing I've learned from Loose Studio is that I definitely now want to build a set for myself where I can just walk, sit, press a button, everything turns on and I can just recording like this this is the best frictionless studio it just removes any setup barrier between having an idea and recording it and that's what Lou built here and multiple versions anyway that was it thanks for watching this episode too hope you enjoyed it and let me know what other types of setups and bts you want to see in the future until the next one catches you later peace