Studio Tour – My Basement Talk Show!

(Gerald clapping) - Patrick. - [Patrick] How's it going? - This is the new shot. This is one of the kind of setups and angles. Obviously, I've got this tight shot here, and then this sort of wider shot. And the wider shot can even accommodate... There's another chair over there if we want to do that, but with one guest, this is probably the call. First impressions being in the shot, what do you think, Patrick? - It feels pro. I feel like I'm on an actual talk show. - Really? - I feel like you ne

ed, like, Hannibal Buress over here. - Or, like- - Eric Andre? - Eric Andre Show, yeah. Like, I'm a little, like, stressed that this might explode or, like, squirt me or something like that. (Gerald and Patrick laughing) - So the desk... So for people who've been following the channel for a while, this is the original table that I've been using. The same walnut table, but we just put a skirt on it to kind of, you know, tie in the old and the new. And we went back to the purple wall, which is lik

e two sets ago, but we still got some orange light. Anyway, we'll talk about it all. But the point is, you're my first guest on this new... - I'm honored. - Awesome. - I'm honored you asked me to hold the camera in front of my face the whole time. (Patrick laughing) - That camera's not doing anything right now. - [Patrick] Well, it's giving everybody, like, a look at what I see. So, now it's... If you're never on the Gerald Undone show- - I suppose, yeah. - [Patrick] this is the only chance you'

ll ever get to see what it's like. - Now as far as audio, I think it's relevant that we're wearing lavs. - We do have lavs on, yep. - But you can see there's a microphone here and there's a microphone here. This is the original Sennheiser MKH 50 that I've always talked about is a great mic. - [Patrick] Yep. - So I haven't heard all these different things in conjunction because I've often been considering... With talk shows, normally people wear lavs. - Yes. - And this is kind of a prop mic. This

one is wired. So we'll listen to everything. We'll listen to everything right now and then we'll do more of a tour. - So if a guest was to talk here, it would sound probably something like this. - Yes. - Otherwise, you're gonna get the lav from the guest. - Right. Which, the lav is probably the best call if you want to be moving around. For me, if I'm just doing a video by myself, I think I'd like to have the MKH 50, but I had to do quite a bit of sound treatment in here because of, you know, b

eing up against a wall and having a bunch of reflective surfaces. I think it sounds... It doesn't sound quite as dry as my last studio, but I think it sounds okay just to my ears. Yeah, this is me talking using the MKH 50 and then this is me talking using the lav that I probably won't wear most times. And then this is Patrick talking using his lav. - Hello, I am talking using the lav mic right now and you can hear it from this mic now as well if the guest wanted to go to a room mic. There you go

. - But I think just having this on to, like, kind of collect just sort of a general room tone. And also if I want to play guitar in one of my videos, it's a great instrument mic. This is the Sennheiser MD 441, sort of a classic mic. It's like from 1971. I think it looks amazing, which is why I wanted to have in the shot. I don't like that reflection, though. I think I'll turn it that way a little bit. I wanted to have it in the shot as just, like, just a classic looking mic. But also, it's a re

ally good instrument mic and it's a mic that never really got as much, like, attention as I think it deserved in terms of showing up in, you know, people using it all the time. But if you look back at some old stuff like David Bowie and you'll see the 441 in a couple use cases, but it's a great mic. Anyway. Okay, should we do a bit of a tour? So I'll give you a bit of a lighting demo. If I turn all the lights off like this, this is with just these sort of house lights which I left on because the

y actually do make a difference. It's gloomier with them off, and you can see there's three of them. I put some diffusion material just to kind of, like, kill the harshness. And then this one, I actually put a reflector bag so that it doesn't hit me from above because it was giving me, like, these kind of raccoon eyes. That's a 600c Pro. It's a massive the Light Dome 150 and it's kind of given light to everybody in both shots. And then over here you can see, when I turn it on, that there's sort

of a book light happening where it's coming through the diffusion material. It's a 300c, the amaran light, bouncing against the wall and then coming through over there. And then above me here is a P60c, which is acting as sort of a hair light. It's replacing the one that I put the little cover on. And it does quite a bit, if I turn it off and on again, to give me some separation, light up the wall behind me, and obviously act as a hair light. It also does something nice on the desk here. And the

n we have another P60c suspended from the ceiling there, which just sort of increases the exposure of the overall scene and provides a little bit more directionality to the light so it doesn't have that kind of... This isn't supposed to be a, you know, a moody studio. It's not supposed to be like Rembrandt lighting or whatever. So that one kind of fills in everything. Meanwhile, the book light, if I turn it off and on again, you can see high contrast ratio and then it gets rid of that. And then,

as far as more accent lighting, there's a tube light over here, which is the PT4c, which is just set to white. Lights up that tree, gives a little bit of separation for the guests over here. It doesn't do too much to me over on this side. And then we have some T4cs on the ground here that are set to the orange color to play off the purple and provide a little bit of, you know, accent lighting and different things there. And you can even see it under my arm a little bit. And that's the whole lig

hting setup. And over here, this is something that I'm kinda happy with. So this is, I don't know, video village/my computer/a stream cart/my switcher for monitoring audio recording. Everything's going on over here. I'm on the lav now, I guess. I don't know when I switched. At some point in this video I would've switched from that to the lav. - [Patrick] At some point we're at lav here, yeah. - So right here we've got the Ninja CAST, and I've got three different camera angles set up. I think we'

ve talked about, so that's obviously the tight shot. Then we've got this sort of wider shot with the guest. And then camera three, which is this one right here, this is if we want to do, like, some details of a product, or it could also swing around and be a tight shot of the guest. They're all a7 IVs. So the Ninja Cast takes the three different camera sources here. Do you want me to talk about these cables, Patrick? - [Patrick] Yeah. - And then over USB-C outputs it into the computer. And then

what we're seeing here is actually just OBS, which, you know, I could stream from here, but I'm using it to be my monitor as well. And the LUTs are all being applied on each individual camera, which comes in here and I get this final image. And I could, like I said, I could just live stream this from this computer right to the internet if I wanted to. - [Patrick] And you're still doing everything into the zoom? - Yes. And then the mics that we talked about, they're going into the Zoom F6. So I'm

getting a 32-bit float recording over here. I'm going to run a 3.5 millimeter cable if ever I do want to live stream out from here back into the CAST and sync the audio this way. I could record the 32-bit locally, but then it'll all be synced up, and if I want to stream it'll go to the internet that way. - [Patrick] So Gerald, these cables look a little longer than usual. - 15 foot HDMI cables, which are intended for this kind of purpose. In my previous studio, I had these cameras set up and I

was running them to the switcher and I needed a longer cable. And so I thought, heck, why not make it a Gerald Undone cable? So each one of these cameras has your... I'm using the 18 inch straight versions that go from an a7 IV to the Ninja, and then out of the Ninja is the new 15 foot cable, which is gonna be available on Kondor Blue as well as all of our other resellers, like I said, hopefully by the time this video goes live. And all three of them are doing that same thing. So we got three a7

IVs. These two are using 24-70 G Master IIs, which I just wanted the image to be identical. I didn't want to have to mess with it too much. This has been my first opportunity to actually... This is the first time I've built a set since these came out. So I've been able to actually put them in action, and I'm really happy with them. They look identical. The color is, like, as intended. The only issue is that over here I'm running the camera on 35-150 because I want that reach. So this one camera

has... You have to set the white balance at 3,600 instead of 3,800. I've noticed the Tamron is 200 Kelvin different. But these two are identical. The image looks great, fantastic lenses, and they're the ideal focal length for what I need in here. This one's 70 mm, but I can go wider if I need to. I don't need to go any tighter. And then this one is set to about 50 when it's on the tight shot, but then I can pan it over. And then on this new 24-70, we can go just a little bit wider like this. Le

t me get rid of the image on the screen. And then this would be kind of the two guest setup. And then that microphone that you can see up there just kind of creeping into the shot a little bit. It's on a telescopic arm from eye footage. So I can actually just raise it up vertically out of the shot to get it out of the shot a little bit for this angle. And so, that's the wider shot. And so, yeah, these 24-70s not only have excellent image quality, but they give me a lot of versatility and I like

having a matched pair of lenses. I always underrated that, having matched lenses, because I would get in post and I would tweak and every camera would have its own LUT. In this setup, it's one LUT for all three cameras. It looks exactly the same except for the Tamron requires a little bit of a white balance adjustment. - [Patrick] Tell me a little bit of how you enclose yourself in here. - Yeah, so because that area is not sound treated at all, basically this... So I've talked about my sort of r

olling sound panels before that are just curtain rods on a rolling C-stand from Neewer. This one, however, is just a fixed C-stand, and it kind of stays in place overlapping here, so that if there were to be an operator it would likely be on this camera. And so, they could kind of just, you know, sneak in here and do this sort of operation. But I don't know how well you can hear it, but me shouting into that void, there's a bunch of sound over there. So instead, this one is the wheeling part tha

t's attached to that one, and it's like the, you know, an eight foot sound blanket. And so, we just kind of wheel it between the tripods and he's gone. And you can even, you know, once you're rolling, you don't really need to be behind these cameras. - [Patrick] Totally. - You just tuck it in. And then from here, you know, it just sounds much deader than- - [Patrick] You hear a difference right away. - Yeah. So then speaking of sound treatment, you know the shot looks nice but if you point up at

the ceiling it's a bit chaotic. I don't recommend being against the wall. I had to just do it to, like, to make everything work. But you're obviously gonna get a lot more quick and early reflections when you're close against the wall here. I have this fluted paneling, which I think looks kind of nice, and it breaks up the sound a little bit, but it is not a replacement for a sound panel at all. And then, obviously, the screen and then this and everything. So I've got the old sound panels that I

used before in the ceiling. I normally like to have a nice clean pattern for the sound panels, but there's just no way to do it with all these things in the ceiling. So I just put them where I could, filled in the rest of the gaps with the foam, which doesn't generally do a lot. Panel over there. This one, though, if you can get a thick one, kinda like a base trap, this always does a significant amount. I was putting them in one at a time and doing recordings. Putting this one sort of like on t

he angle at the center of the wall between, it really makes a difference. And, in fact, I put one on the floor. I would do that, too, but I got lights down there. I made it difficult for myself, Patrick. I just stuck panels wherever I could. - [Patrick] Just a little bit, yeah. - This corner would be great to treat, too, but it ruins the shot. But yeah, so now (clapping) it's not too bad, you know. - [Patrick] It's pretty dry. - It's not too bad. - [Patrick] I like this little guy over here just

because. - That one? - [Patrick] Yeah. (Gerald and Patrick laughing) - I wanted to put a whole panel there and then I was like, it won't fit. And I had one extra so I was like, all right, well, I'll do that. It's on a YouTube video that just plays, like, some fun graphics. But I could switch inputs to HDMI 1 and it's set to duplicate. Oh, we're gonna get some crazy inception stuff going on now. - [Patrick] There we go. - But you can see there's an HDMI cable that runs down from the TV, and then

it's routed all the way back to this computer. So let's say that I didn't have a guest in person but it was remote. I could get my Zoom call going here. So Patrick, you know, tell me about that shirt. - [Patrick] So Patrick, why are you holding a Shure microphone like that? (Gerald and Patrick laughing) Haven't you heard of a boom mic? (laughing) - That's right. So, I don't know. Is this anything? This was the idea. - [Patrick] Yeah, I like it. - So that's that. We'll leave that up. - [Patrick]

You could do Gerald's weekly weather if you wanted to. The daily weather. (Gerald and Patrick laughing) - What else? This is interesting. So we're in a basement. - [Patrick] Yep. - So we've got windows, obviously. And I wanted to be able to control whether I was gonna have natural light or not, but not just, like, close it off. So I built these little doors, just a couple hinges and a handle. And then you can see that there's, you know, a window out there. But they close up real- - [Patrick] Be

autiful. - Real smooth like. - [Patrick] Full black curtain. - There's two of those. - [Patrick] Also good if you're in I Am Legend or something and you'd want to- (Gerald and Patrick laughing) Stay away from the vampires up there. - Exactly. There's one more cable, Patrick. The cable that I'm using down here to keep this phone charged is we've now got a USB-C Kondor Blue Undone four foot, which is a unique length that I like. You get a lot of three foot and a lot of six foot. Four foot's the wa

y to go, in my opinion, with these power delivery cables. Charge your phone, charge your camera, charge whatever. A hundred watts, power delivery. Nice little gray connectors there. Purple cable. These are gonna be launching alongside the 15 foot HDMI. No sponsor for this video so that's why I'm plugging my cables a lot. (Patrick laughing) I haven't been doing a lot of sponsor spots lately. I've been doing mostly plugging my own stuff. But I've been using these everywhere. (bag crinkling) - [Pat

rick] Some good ASMR there. (Gerald laughing) - New cable. I don't know. I'm not good at selling my own stuff, Patrick. (Patrick laughing) So that's the studio, is on this side, right? And then over here we've got, this is like my office/editing desk. Similar to what I had before, but now I just have it so that I can do, you know, business related stuff. I got my file cabinet, my printer, and that kind of thing. And then this is where I do editing. Two different ways to listen to... Well, three

ways. We're gonna do the third way in a minute, but I like to check my videos multiple ways when I'm doing the edit. I normally do my first edit on just the monitor speakers, which are the Yamahas here. And then I'll do a second pass for audio where I'll throw on my cans. These are the Beyerdynamic DT 700 Pros, which I like. I also had the 770s before. Big fan of these. TV is the other way I like to watch stuff. So I've kind of turned this into a viewing room/theater. I've got a nice powered, yo

u know, loveseat with, like, hide your snacks in there. You know, you got a little Miss Vickie's. - [Patrick] Is that your go-to, Miss Vickie's Original? - I like Miss Vickie's. - [Patrick] Nice. - Original is more for Lindsay. I like the Spicy Dill Pickle. - [Patrick] There you go. - But this panel, this is one of Sony's newer OLEDs. I think this is the A80L and a 77 inch version. There's a couple reasons why I chose this TV. Lens to screen workflow. You shoot on a VENICE, the expert color, pos

t-production, viewing experience TVs control the pipeline. Sony mirrorless cameras, Sony LUTs, color flow, calibration mode. Tweaked it a little bit. YouTube, match it all up, TV. My lens to screen experience. Oh, yeah, so it's gonna be excellent. And then you guys are watching on your phone on the toilet or whatever. Let's put one on, Patrick. - [Patrick] There you go. (TV murmuring) - There we go. - [Patrick] This is basically how you spend every evening, right, just watching your own videos?

- That's right. I like to watch myself. - [Patrick] Yeah. - [Gerald] What do you think? How does it look to your eye? Does it look like it should look? - [Patrick] It looks like a proper Gerald Undone. And it looks how it looks on the monitors when I'm in the studio. - Right? That's the point. Is this now looks how... I control my flow. I don't know what you guys do but, like, the Ninjas are calibrated. The screen, like, the video village screen, that's calibrated, it matches. The way I do it in

post and the ProArt looks exactly the same. And then I can watch it here and it looks exactly the same. I'm like, "Good, good." How's it sound on the TV, you know? - [Patrick] You should have, like, a README file and description with all the color settings for TVs. - That's right. How to- - [Patrick] How to optimally view your videos. - How to view it correctly. (Patrick laughing) I'll tell you something, though. It's a bit of a funny thing and a complaint about the TV. I like how they have thi

s, like, expert mode that you can go in and then you can get the image looking great, like, just by yourself by pressing a couple buttons. But you have to go in and turn off that motion crap. - [Patrick] Oh, God. - See, they let you turn it off, which is good, and it's pretty easy to find, but you'd think that they would have that turned off automatically if it's part of this whole lens to screen, like, how it's supposed to be shot. You think that people that shot on the VENICE want you to put o

n 60p motion smoothing or whatever? - [Patrick] Motion smoothing? Yeah, yeah, yeah. - They do not. I can tell you they do not. Oh yeah, and it does something cool, too, which is that... So I have the soundbar here. If you get this specific Sony soundbar, you can get this little 3.5mm cable that you run from the soundbar into the TV, and then it uses the TV, not so much as a speaker, but it kind of like flexes the TV in a way to give you the illusion that the sound is actually coming from the scr

een while still primarily using the soundbar even as a center channel. So the center channel's down here, but your brain thinks it's coming from here 'cause it's doing some weird resonance stuff, and you just need one little cable. There's too many Sony things down here now, have you noticed? It's like, 'cause I was like- - [Patrick] I think I see a PlayStation 5 right here. - A PlayStation 5. (laughing) They roped me in with, like, small traps. It's like, "You know, with a small cable, you can

make your TV flex." And I'm like, "Well, then I gotta get the Sony Soundbar, I guess." (Patrick laughing) Oh, and the funny thing, too, is that if you hook your PlayStation up to a Sony TV using the eARC HDMI thing- - [Patrick] Yeah. - It knows that you're using a PlayStation 5. - [Patrick] Of course. - And it, like, calibrates all this. It's like, yeah, they're doing it. They're getting you. - [Patrick] They're figuring something out. - They're getting it. All right, I'll give you a tour of the

rest of the space. Some of this stuff isn't exactly video production related, but behind door number one, we have a gym, which is not sound treated. (Gerald clapping) - [Patrick] Yeah, this is where white balance really, really doesn't like us. - I wanted to have a gym down here because you guys probably know if you're video editors or whatever, you get in the flow and you're really... You're getting your video, like, maybe you're doing a 10 hour editing session and you're thinking to yourself,

you're like, "Ah, I should hit the gym." But you're not gonna stop video editing, get dressed, drive to the gym, get changed, whatever, workout, come... It's gonna completely derail you. But what I found is that the benefit is that if I wanna do something, I just need a break, like a five, 10 minute break, I can always come in here and do a couple sets of something. I'm still doing something, you know? I don't know. That was the- - [Patrick] How long until we see, like, another TV in here? - Th

at's right. (Patrick laughing) And I have some reason for why it's a new Sony OLED or whatever. When you plug it into your dumbbells, it motivates you, you know? And then behind door number two, because this is also studio, so you're gonna have people come over and my guests and everything like that. I'm gonna have a bathroom. I'm not gonna be using the tub or the shower, but sink and a toilet, that's all you need for... - [Patrick] It's your green room. - Yeah, exactly. And then door number thr

ee might be a bit familiar to y'all, is the shelves. So this is the furnace room, but these are the shelves that were in the original set, and I didn't want to, obviously, have them in the shot anymore, but they're still quite useful. So people ask me all the time, these are just from, like, Home Depot. They're like, "Where'd you get those shelves in the back of the shot?" Like they're some rare item. They're just, like, some Home Depot shelves. But similar set up to before. So boxes for stuff t

hat I have, I've been using or whatever. Like, these are, you know, my products. And we've got an A1 and an A7S III, which have been sort of decommissioned from all the A7 IVs. A1's still kind of like my primary photo camera, A7S III not getting as much love these days just due to needs and stuff like that. Who knows, maybe there'll be a giveaway or something coming up soon. And then, flick on the light for you. This under the stairs is where all the- - [Patrick] Where Harry Potter lives. - That

's right. (Patrick laughing) So we've got, you know, lights, modifiers, tripods, other kind of grip gear. And if you went up on the landing a little bit and you started coming down, so this would be your first experience if you came in to the Gerald Undone studio, you'd be coming down the stairs this way. You'll recognize these trinkets, which were sort of like in the lens testing station in the previous setup. - [Patrick] Yeah. - So I've still got those things there. I thought it was a nice lit

tle tie into the old one. The electrical room, which I've kind of turned into a charging station. You know, you got all your batteries and charger stuff, V-mount charger, whatever. And then you recognize the peg board- - [Patrick] I do. - and the tool chest. The reason for the new set is I'm done with the old tool chest in the shot. I feel like- - [Patrick] It's played out. It's played out. - I'm calling you all out out there. You've all done it now, okay? I don't know who was first. I even made

fun of Dave Lee, remember? It was like, "You guys putting your Husky tool chests in the shot? Get outta here." So I had to get rid of it. People often ask, too, like why have the tools in shot? It's 'cause they're my tools and I use the tools. So now they're in here and I use them. I've used probably every single one of these like 30 times since moving into the new house. I've never been able to run hard wire because I've always either been renting a place or something. And so it's kind of limi

ted. and they put the router in some weird place. Well, in this one I have control over it. So we've got direct fiber coming to the home, comes down here. The modem. And then I'm running RJ45 cables down and then along the side. I'll show you where they come out. In the corner here behind the sub, they're under the rug, so you can't really see, but I have them taped against the baseboards and then they run all the way along here and they go into the NAS and computer. So everything is hardwired.

And I'm getting like three gigabits per second. Which I had to switch ethernet adapters. I was like the one gig isn't gonna do it, the 2.5 gig even got saturated, so now I'm running 10 gig on everything just to be able to take full advantage of the fiber. Also, I can upload my YouTube videos- - [Patrick] In seconds. - faster than I need to, probably, you know? - [Patrick] I like it, man. It looks good. - I don't want to leave it to the audience and be like, "I hope you guys like it." 'Cause, I m

ean, it is what it is now. - It's what it is, guys. (Gerald and Patrick laughing) - Whether you like it or not, (mumbling). But the main reason, too, and this would be maybe some advice if I could bake it in, is that I feel like it opens me up to be able to make more types of content as well. People know that I've been struggling with just making the same camera view over and over again and kind of being burned out with that. But I feel like if I was in that same set and surround... It just, you

kind of sink back into it all the time. - [Patrick] It's a routine. You get into a flow state, right? - Absolutely. - [Patrick] Yeah. - But I feel like here I wanted it to be enough of a change that it feels like a fresh start, where it's like I can make whatever I want now. - [Patrick] Totally. - You know? Just here, have whoever I want over. - [Patrick] Yeah. - And we can talk about cupcakes or whatever we want to talk about, you know? Thanks for being my first guest. - Of course, thanks for

having me. Always a pleasure. - How are talk shows supposed to end? - Thanks for having me everybody. You can see my new YouTube video whenever I feel like making it. (laughing) - Oh, yeah, I should do that. - Yeah. - We should do your plug, right? - Do some plug, right? Yeah, everyone gets a plug at the end. - What's the Hot Ones or whatever where he was like- - Yeah, yeah, yeah. - "We got this camera, this camera, this camera." - Tell us what what you got going on and where to find you. Yeah,

yeah. - Should I play you out? Oh, I need a band. Or you know what, it's a possibility for like a brand deal. It's like I get just, like, a computer over there that has like Artlist written on it- - Absolutely, yeah, yeah. - or something. And it's like, "Play them out." - "Artlist, play him out." (Gerald laughing) Yeah. That's actually a good idea. That's a really good idea. - Okay, so I'll start. Artlist, play him out. - Thanks everybody. Cheers, thank you. (bright playful music) - I think that

works. - [Patrick] That works, yeah. (bright playful music)