In the world of video production, achieving high-quality visuals is paramount, and the YoloBox Extreme has revolutionized my 4K multicam recording workflow. This all-in-one live streaming device not only simplifies the setup but also ensures real 4K output, making it ideal for explainer videos, reviews, and tutorials. With its user-friendly interface, I can seamlessly switch between multiple cameras while maintaining top-notch recording quality. If you're looking to elevate your video production game, the YoloBox Extreme is a must-have tool. Check it out here:
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If you've spent time in the world of multi-input video switchers, you might know that there is a feature that is by far the most requested feature across all of these, and that is for them to be 4K capable. 4K capable. Now, I've said in other videos that if I had the option for a 4K switcher, I would definitely take that option, but there are just technical and practical limitations as to why it's not super common, at least yet. 4K video is not just a little bit more complex than 1080. It's like exponentially more complex when it comes to the amount of data being transferred, bandwidth, processing capabilities, graphics capabilities. It basically means that these things have to have a lot more power inside of them, have to be a lot more reliable so they don't overheat and and crazy stuff doesn't happen, and also then still relatively affordable. And so if you look at the world of switchers and you try to find 4K switchers, what you see a lot of right now are companies that make switchers that take 4K inputs, but then it still downscales it to a 1080 workflow. But sometimes they'll call those a 4K switcher even though you're not actually getting a 4K signal from it. So that's that's kind of a whole thing. If you find actual 4K switchers, you find that they're usually pretty expensive. I have found about $5,000 to be the point where you're getting an actual reliable multi-input 4K switcher. But the thing with those is that they tend to just be switchers. Maybe some picturein picture, maybe some basic like keying or something like that. The key to this workflow though is the Yolo Box Extreme because it makes it extremely easy to mix multiple 4K inputs. So everything you're seeing not only in this video but in a lot of my recent videos has been recorded directly into the Yolo Box Extreme from my camera's 4K signal into here being recorded in 4K and then edited and stuff. So I kind of want to cover that workflow. I don't want to go through every feature of the Yolbox Extreme because uh there are a lot of them. So, I do have a separate review on the Yolo Box Ultra, which is a 4input 1080 switcher, but the the graphics capabilities, you know, the overlays, the auto switching, all the kind of cool stuff that these can do, which are very, very powerful. They're not just switchers. They full-on production suites. Everything this can do, the Yolo Box Extreme can also do and more. So, I'll kind of point you to this review if you want to know more about what a Yolo box can do. For now, I want to focus on the 4K workflow. The Yolbox Extreme, I guess I should have probably explained this earlier, is an eight input switcher. So, instead of four, you have eight inputs and five of those are 4K capable. And the price of this, the MSRP, is $2,000. So, it is significantly more expensive than like a $300 ATM mini Mini. But the ATM Extreme, which has eight inputs, is like 1,200 bucks, maybe even a little more than that, around that. So, for $800 more, you're getting not only the 4K capabilities, five 4K input capabilities, but also then the built-in display and the graphics and everything else the Yolo Box can do, which is pretty intense. You don't need a computer or anything else. If you don't want to use one, you can just stream and record everything directly here. And when I am recording, I do a few different options. I'm recording to an external SSD right now just because that's kind of the easiest way for me to just unplug that and then plug it in my computer and edit. So, that's the fastest workflow. can also record to an internal SD card. I I just don't have an extra high-speed card, so I'm not doing that. Or you can record internally to the 200 GB of built-in internal storage. And before going too much further into this, I do want to let you know that Yolo Box did send this with no obligation. They actually sent it to my wife Heather and for her to check out, but she has worked to kind of lock her setup in and she doesn't do a ton of multicam stuff. So that was about five or six months ago. And then I kind of commandeered orandered the extreme because it fit in extremely well to my workflow. But neither of us are under any obligation to say anything, make a video, do anything. They basically just sent it for feedback and uh then it found a place in my workflow, which I am really excited about. And so for me, the reason that this is kind of a game changer is that about half the videos I make are like this. They're like explainer style videos where I'm sitting here and I'm explaining something or showing something and I kind of usually have one or two cameras to talk into and then another one or two cameras to sort of show the, you know, the thing. And typically what I'll end up doing for those videos is then recording internally on all my cameras, then take that footage, put it into Final Cut Pro, sync it all up and edit from there. That takes a lot of time. And my raw footage for videos, a typical video is usually something like I would say 40 to 60 plus minutes. And so that means each camera is outputting, you know, 40ish gigabytes at least of footage. And it's just working with all it's just kind of a hassle, especially for what ends up being a relatively simple video cuz it's it's just an explainer video. do other videos where it makes more sense to, you know, move the cameras, record internally, do different frame rates like 4K120, get all kinds of B-roll shots, and, you know, those those are a lot more production intensive. And it still to me makes sense to record internally for those cuz it's actually kind of easier that way. But for a lot of the stuff I do, being able to just have all of my cameras go into a switcher like this, and then when I'm done, I just have one one file that has everything in it, and I can just chop it up and edit it. it. I cannot tell you like how much time it saves in this workflow. And so my main camera, like always, is the Sony FX3. That's this camera here with a 24mm f1.4 lens. All the cameras are set to 4K 24. I like 24 frames per second. I've been playing around at 30 a little bit lately, which is fun. And then the Yolo box lets you choose different 30, 50, 60. You can do all kinds of different stuff. The second camera I'm using is my Sony A7S3. You can see kind of right here past the FX3. And that's this camera with a 50mm lens. And this is also the camera that's running my audio. So, the Yolo Box does let you connect 3.5 mm audio or USB audio. So, I could even connect like a full-on Roadcaster into this, but I can also bring in audio from any of my HDMI sources. I have the DJI Mic Mini right here. And then I have the Sony Hot Shoe on the camera. I guess you can't see it on there, but on top of the camera is the Sony Hot Shoe. So, that way I can run this mic without needing any cables and it adjusts the gain levels automatically. And then I can bring in the HDMI audio source into the YOLO box. And the reason I'm doing that instead of my normal boom mic, which is the Sennheiser MKH50, is because I do have different cameras. So I'm going to be turning offaxis from the mic. And that sounds a little strange sometimes with the boom mic. Whereas when the mic's connected to me, then it sounds the same no matter what direction I'm facing. And I did want to actually mix and match different cameras just to kind of show the different 4K capabilities. So, the next camera I'm using is the Yolo Cam S7, which is basically a micro four thirds webcam. So, it can output USB or HDMI. There are no physical controls on this camera, so everything has to be adjusted either with the Yolo box or with a desktop application to adjust things like color and all that, but this is this is a pretty sweet camera. It kind of deserves its own separate video. And I have a 25mm lens on there. So, this is a legit mirrorless webcam, interchangeable lens webcam, which is pretty cool. And then I do have an overhead camera, which is my Sony ZV1F. That's just a really nice compact, lightweight camera that just works great for overhead stuff. And that's to get this shot here, which is the top down shot of the Yolo Box Extreme. So you can see all of my inputs. These are my five 4K inputs. And then I have one other thing happening here, which is actually the Yolo Box's HDMI output going in to one of the 1080 inputs. And that's so I can actually show you what I'm seeing on the Yolo Box. So, when we go into the recording options, I can kind of show you exactly what I'm doing here. Like I mentioned, you can do USB, internal memory, or SD. And then you can also adjust your frame rate. So, I have 4K 24 set. And then you can also choose your sources. Right now, I'm just doing program because that's the simplest workflow for me. But if you wanted to do isolated recording, I could record all the different inputs as well. I like the program because I'm just kind of relying on it right now. I'm not even recording internally on my cameras or anything as a backup. So, I'm putting a lot of faith into the YOLO box right now. But the reason I like this is because then it just gives me that one file and that's what I chop up and edit. So, for the kind of workflow I'm doing right now, that's what helps it be really, really fast. But if you do need to record isolated tracks or you want backups or whatever, you can do that as well. And you can also set a recording limit. So, right now I have it set to 30 minutes. That's not how long it will record, but it's how long it will break the files into. So for 30 minutes, that means it's going to every 30 minutes create a new file. And that's just kind of a way to protect yourself in case something goes wrong. If you have it set to never do that or to do it, you know, in a long period of time and then something goes wrong at the very end and the file becomes corrupted, you kind of lose everything. Versus if you're breaking it down into smaller chunks, then you can just sort of put those chunks there. And so I have 30 minutes, which works pretty well. You can set it continuously if this is not something you want to deal with. I have noticed when I put those clips in the timeline, there is like one or two frames of black at the start of each clip. So, I just have to kind of trim out those one or two frames and then everything flows smoothly and the audio stays in sync and everything looks great. And then again, for my audio, you can kind of see here every source has audio options, but I only have HDMI 5 on, which is my A7S3. You can even see HDMI 4, that's the FX3, has a decent signal as well because that's a Sennheiser mic, but I'm not using that. So, I only have the audio turned on on the input that I want. And then when you start recording, there's a little record thing up here kind of above the program option. Trying to point to it. It's right here. You can sort of see there. And that is what I press to start recording and stop recording. I'm being very careful not to touch it. You can also see if you look over here with all of these inputs and all this audio, I'm using 49% of the CPU's power. So, now down to 45%. So, I'm only using about half of the CPU's power here. And that goes into the next part of the workflow, which is something it's kind of the one bit of friction that I still have, and that is matching color. So, on my FX3 and on my A7S3, these match very well. They're the exact same image sensor, different camera bodies, but it's super easy to match these cameras. I forgot to mention, the other camera I was using is the Obsessbot Tail 2, and that's how I was like doing the PTZ controls to show all the other cameras. I'm using the remote here, but you can control the OBSOT directly with the Yolo Box as well. I have a separate video on exactly how to do that. It is really cool. Sort of talked about the Tail 2. I really like this camera a lot, but the colors are a little tough to match with my Sony currently because the Obsot software doesn't give me a tint option. This looks a little more magenta to me than this does. So, if I could take this and nudge it over to the green, I think it would then match a lot better. And then the Yolo Cam S7 I also think is a little more magenta. If I could push that to green, it would match the Sony's a little bit more. I think I'm not sure what kind of sensor this has inside, but I don't believe it's a I think it might be even a Lumix or Panasonic sensor. It's not a Sony sensor. The overhead camera, since this is a Sony sensor, it does match. If you kind of look at the skin tone, it matches a little bit better. But this is a different camera and a different sensor. So, the thing that I cannot do is go in here and adjust colors independently on the inputs. And honestly, like that's just not a thing most video widgeters can do. But with all of the power, with all the capabilities in the Yolo Box Extreme, that would be something awesome if it's something that could be added in a future update. At least the ability to adjust tint and sort of like some basic brightness and, you know, saturation controls because if I can make all of these match, you know, near perfectly, then that would just streamline the editing process. I would still want to put on a preset to just, you know, bump up the colors and the saturation like stylistically for what I like, but in terms of like correctness, that would make things that would make things pretty easy. Right now, that's not something that's possible, but I can do some like different things here. So, for example, on the overhead camera, I can bring up a menu to crop and rotate it. So, by default, this is actually a very wide shot and it's flipped the other direction. So, I was able to crop in and then rotate it. So that way the overhead shot kind of looks like a nice typical overhead shot. And when it comes to that color issue, fortunately the type of stuff that I do with this workflow and the type of videos I make here, total perfect color matching accuracy is really not that important. It's more important to be able to see the stuff and to show it than to have it be exactly right. Although it is really nice when it's exactly right. So sometimes I just kind of leave it and they just don't match. Other times what I will do is when I put the clip into Final Cut, I will go through and then do a rough cut and I will then kind of have my different shots. So, for example, when I'm using the tail 2 and I know that this doesn't match perfectly as is, I can then add a preset to it that I made and then it will match a little bit better. And then so anytime that I see the tail 2 pop up in the timeline, I just drag that preset to it and then it it works. So that's kind of my workaround. It's not ideal, but it is still way, way faster than recording internally on all these different cameras and having to process all that footage and deal with, you know, project files that become 8 or 900 gigabytes by the time they're done. It's It's still a lot easier, but being able to adjust color for each individual input on here is something that would be incredibly helpful if that's possible. Not sure if it is, but I'm just sort of putting my request out there if it is. And as I'm recording here, I'm not trying to be perfect and do this all in one take, even though I am recording to the YOLO box. What I'm trying to do is sort of keep the edit in mind, but if I like, you know, flub up my line, I can just restart knowing that I cut that out. The thing that I really like doing with multiple cameras, especially for explainer videos, is avoiding jump cuts as much as possible. It's just a personal preference. So that means I might deliver a line here and explain something on this camera, and then when it's time to talk about the next thing, I can switch over to this camera. Or if I make a mistake, I'm talking on this camera and then I and stumble over my words halfway through instead of restarting here where it could potentially result in a jump cut. I can switch over to this camera and finish the line here. Now, sometimes I do still crop in during editing still to emphasize a point or if I kind of made a mistake and there would be a jump cut. Cropping in lets me avoid the jump cut. But having different cameras helps me avoid the jump cut. And even when I'm just sitting here talking, it lets things be more dynamic and more interesting because there's different camera angles, different shots that I can incorporate without having to do full-on, you know, day or two of B-roll production and stuff like that. And so my workflow when I'm finished recording is to basically just import the footage into Final Cut. I usually then do detach the audio and adjust that if I want to, you know, process it or sweeten it up a little bit. And then I go through and I just kind of rough cut the clip together. And then I polish it up and fine-tune it. And if I need to add B-roll, then I'll do that as well. But that's usually not something that I try to do much of with this workflow because the whole point of this workflow is speed and efficient efficiency and very little friction. So like right now I added in the clips of me editing in Final Cut Pro. That was like B-roll that I wanted to add in. But in other videos I will, you know, I will spend a whole day filming product B-roll and getting all these different shots and all this really detailed stuff. This workflow is when I'm making videos that don't require that and I just want things to be smooth and streamlined as possible to keep me as sane as possible. And overall, I've been really happy with the recording quality of the Yolo Box. And I've been using it on quite a few videos and nobody has said anything. So, that tells me that it's obviously looking pretty much the same as my regular cameras. I do think Let's go over here to the FX3. This is the Yolo Box recording. That's everything you've seen so far in this video. And now this is the FX3's internal recording. I did start recording on the camera so we could do a comparison here. So this is the FX3's internal recording and this is the YOLO boxes recording. So the difference maybe I could even do like maybe I could get fancy and do a side by side where one half of the screen is internal recording and the other half of the screen is the yellow boxes recording. I do think that if you want to get into pixel peeping and you're somebody who wants the absolute maximum image quality possible, no matter how incremental those improvements are, the internal recording on the cameras is still better than the Yolo Box. And that kind of makes sense. Like they are cameras. They should record internally really well. But the Yoo Box's internal recording, which is what we switched back to over here, is pretty darn hard, if not impossible to tell the difference, unless you are that, you know, magnifying glass pixel peeper person. I don't know, it's like 98% there. And again, for me, the benefit of the way improved workflow outweighs, you know, incremental improvements in image quality I might get by return recording internally. And even that, I'm not 100% sure like what the difference is. The Yolo Box's internal recording is really, really good and impressive. And you can also then output 4K as well if you wanted to use USB to run this into a computer for a live stream or to even then record into a computer for whatever reason as a backup or something. So again, there's so much more that the Yolo Box Extreme can do and the Yolo Box Ultra as well. If you just need the four input 1080 workflow, these are full-on production suites. They're very, very impressive. But for now, I wanted to focus specifically on the 4K workflow because that has been the most requested feature of switchers for several years now. It is something that has been incredibly helpful for me. And the Yolbox Extreme, even with its higher price than most switchers at $2,000, is still the most practical and in a lot of ways really the only option if you want multi-input 4K and you get five inputs, which is pretty sweet. If you do want to know more about what the Yolo Box can do, check out my Yolo Box Ultra review, which is ultra cool. It's extremely ultra
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