How We Filmed Our Work Lives for 1 Year!

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- Yeah. - We did it. So for our eight... Well, we got a video made for... Crying Miles. Yo, what's up, people? The internet.

Welcome back to another episode of The Wayform Podcast. I'm your host, Marquez, and we have a different set today, and a different set of people, because we're doing a bonus episode.

So we'll be back with your regularly scheduled programming

on Friday like we always do,

but let's go around the table and introduce ourselves because it's not the normal sort of people. Hi, I'm Rich. Hi, I am confused for Rich, I'm Eric. I'm still Andrew.

So we're all here to talk about our year-in-the-life project, because it was so sick that it deserves a little bit more unpacking. We spent an entire year recording everything that was happening both in this studio with our teams around the studio,

traveling across the country, making videos, and then we put it all into one, I keep saying, feature length, film, whatever we want to call it. One of the biggest, most ambitious,

most challenging undertakings of any of the MCBHD channels that we've ever put together, and we're really proud of it. And Eric and Rich were the sort of masterminds who made this possible,

but also came up with it, and architected how we were, I like to say, building the bridge as we are crossing it. Which was really fun. Yeah.

We nearly fell off that bridge.

Yeah, many times. Many times, many times. Yeah.

“So I think you should, you guys should take from here.”

We want to know some things that you might not know, watching year-in-the-life that you guys know. So I guess I'll give this, I'll give some context, and then I'll pass it over to Rich, and we can talk about, like,

what, like, actually starting it looked like, but when Rich and I started on the studio, we asked everyone, "Oh, what are you like doing?" And we got a lot of pitches of, like,

I want to go to one of Marquez's Frisbee games, and, like, we do a video talking about that, or, like, you know, we should do a vlog, or, you know, like, sort of classic YouTube stuff.

And it was really hard because it's like, "Oh, would people click on a video about, like, how we make the podcast? Would people click on a video about how we made one specific intro?

Like, the more specific it gets, the more I think people give themselves excuses to be like, "Oh, it's probably not for me." But working here, you kind of sit around and you realize, like,

"This is a really unique workplace because of the vibe, and not necessarily because of any individual project." And so, we were thinking about, like, "How do you capture the vibe,

but still have a title where people would click on it?" And at the end of 2024, a very difficult year. I was like, "It would be kind of sick to do, like, a year in the life video about 2024."

And then I pitched it and everyone was like, "Let's not crash that. Let's never do that." But what if we did a year in the life of 2025? And so, at the beginning of the year,

we were like, "We're gonna do this video and we set up a camera and then it got really difficult." Really quickly. We had also already done,

“I think the first ever day in the life we did”

was one of the busiest days we've ever had. We had to do it day in the life, so you can see what a whole team does on our busiest day. Then I think you kind of talked about it, but we were talking about like,

"How the podcast is made, slowly turned into a week in the life?" Yeah. Because we realized so much of making the podcast was based around like,

"How can we make this weekly thing in the confines of everything else we're doing in a week?" Exactly. And then the next logical step was

clearly skip month, go to year. Right. Because if we didn't month, it would just be September.

But by the time we had the idea, it was like November, 2024. So I was like, "Well, let's just do the year one 'cause it's going to be hard enough to do." Yeah.

Yeah. I think one of the most fun parts of it was actually having us just start to capture everything. Because that's one of the ideas for the reason

is because we were like,

we kind of have a lot of tech-related conversations

and they don't necessarily videos, but they are interesting. And we kind of like talk about the news a lot. And we have takes on things. How do we...

Right. Just like sit down and actually formalize this and we made the podcasts out of that.

“And I think you know, as we're affectionately calling it,”

was a whole bunch more of that, where anything interesting that's ever happening or maybe even not interesting, just anything that's happening, let's just get it on camera just in case.

Yeah. And then we just kind of went from there. So I feel like the place to start is like rich. What was our tech stack coming into January? Because I want people to like leave this podcast episode

being able to make their own, and as the technical visionary for this, where did we start? Like what was the first camera we had? And then we can kind of talk about how we

add a different tech to begin with. Sure. We shoot most of it. Probably 95% on C70, which is kind of our workhorse cameras.

We have three of them in the office.

There's always one on either mine or Eric Stess,

and it's always ready to go. It's got a 416 on it. It's always got a card in it. It's ready to go. The problem is when we shooting everything,

it's a ton of space. Yeah. January was like really difficult for, I'd say like three main reasons. We shot everything,

but we didn't know what we were shooting, and we had no story. Yeah. One of the first things that we shot was like a really busy day where Andrew, like.

“I think it was Brandon was supposed to go on a shoot”

with Mark has for the new Samsung. It was actually. That's all. That's all. Plus the XR headset.

One of our shooters got sick. Now I have to meet Mark has in California tonight. So tomorrow we can shoot an exclusive shot of the Google Samsung XR headset. The only problem is we had all this pod stuff scheduled for today because we need to record a bonus pod

and we need to watch unpacked. Then we need to record an episode about unpacked. And then I need to be on a plane by 530. Might be my longest day of the year. Totally.

But let's start it. And so I was like Andrew filmed that. And I was like, I will try. And I'm still stuck in the airport. And then later like I am tired.

And it was pretty boring. It was like, and like. So like that was all of our January coverage. It was pretty much just that. Because like everything else was just us like walking around the studio.

We realized like, okay. We're shooting everything, but we don't have like a purpose. Yeah. So, and then that made the edit really hard too,

because we didn't know what we were selecting for. So we were just like. Wafting through stuff. I feel like anyone that's ever tried to like make a vlog and knows what you're talking about.

Like we've all had that experience. So if I record it everything for a week. This will be easy to turn it into a video. Yeah. And you're sitting there like, wait.

It's brutal. It's so that the two things that like helped are. I asked Mariah to take a pass on the edit. I took a pass and everyone was like. This sucks.

And so then I asked Mariah like take a pass on the edit. And what she did is she found like podcast interviews and clips from across the other channels that she could sprinkle throughout. And I was like, oh. These are like the chapter markers.

Like everything like these are payoffs. And all of the year it'll coverage is setups. And then once that clicked, we had like a little micro format. We still didn't know like where the story was going.

Or like when to choose what actually made it. And the cut versus didn't. But we had a rhythm. And so that was kind of like step one. Like we it's showing the creation.

And then like you get the payoff of like, Oh, that thing was was made. Or like if it's an external thing like a podcast interview. Like your thing with Trevor Noah. The whole point of those was to show like. This is a theme that will be setting up.

Or like a larger conversation that we could establish. And so Mariah created like that. That basis for the language. And then from there it was just like stepping up to like how do we actually like make anything that we want to use. Because yeah, like the Andrew coverage did just didn't make the.

I mean, I totally understand as I'm filming. I was like, yeah, this is like kind of a crease. Me talking about that right then sounds interesting. I get last minute called to spend 24 hours in San Francisco. But then when you're living it, you're like, I haven't done this.

“Yeah, which I think also along the look way, we have a whole year of not just you guys got better capturing it.”

We got better equipment and capturing it. But like everyone started being like rich. We need the idle cam. Yeah, come over to this side of the office. It was like a ingrained in us to be like capture this capture this capture this capture.

It was definitely like one of those things were like Harper was like film every meeting. And Harper would like at the beginning of every week be like, we have this, this, this and this. Which of this is you know coverage? Who's the Hitler as we effectively refer to them as, yeah, to like to grab each of these.

So the next deleted scene that I want to talk about is in February when rich and miles flew first class to Portugal to the cart.

Why not? I don't know. Yeah, yeah, yeah. Because we ended up making a video. Yeah, um, we did it.

So for our, well, we got a video made for. Crescent miles. So we didn't end up. We didn't make that. Not for.

Yeah, so we scrapped to that video. Right. So, and that was like, I'll, I'll put a pin in that because that was actually important to the storytelling. I was fighting to keep this scene in. Mm-hmm.

You're in the life. But yeah, our February big thing that we cut was this trip. Do you want to describe your lovely trip rich? Sure. Yeah, um, this unfortunately got deleted.

So maybe at some point in the future, we can show the audience.

“It was three days I believe of me and Maos and the beautiful south western coast of Portugal.”

Rich and I are in Portugal for a Ferrari thing. And we had a camera in action camera.

Basically, suction kept the front right side of the car.

So we keep going and then we hit a bump. So it's like, check on the GoPro. Just to make sure, you know, it's still there. Which, you know, I'm assuming it is. He looks over and he is like, yeah, let's go.

We relate to everything. Yeah. And you lost a camera, which had a lot of ventilated junk. Um, and then we get Portuguese McDonald's. Which turns out is just like American McDonald's.

So pretty, pretty bad. Was it the dode that she's salinity? It was. It was a convertible too. We have the top down.

She wrote the hand movements. There's an attack. It's an attack. It's an attack. I feel like I have to.

Sorry. It was wonderful. It was beautiful.

The problem was I think I didn't know what to capture yet.

Yeah, because this was like a month into us doing your in the live end. So I'm like, what kind of coverage do we need?

“And I think that was a big problem for me.”

And throughout the year that that really helped was like, Oh, okay. Like, this is kind of coverage. We need, we need like setups as in like, Oh, here's where we are in terms of, you know, setting or. Yeah, this is what we're shooting. This is why we're shooting it.

This is why it's challenging. Like, eventually, like, we could kind of figure out like what we wanted. Yeah. But at this point, we had two travel shoots that were both like cut. Yeah.

The, the Portugal one. I'm really disappointed because we lost all that footage, right? Well, we lost the actual footage up for the video. Yes. Like the, I guess the GoPro that you had or like the bone that you had that you used to shoot a bunch of the footage.

Just fell off the car. Unfortunately, yeah. It was. Oh, yeah.

So it was suction cup at some point during our drive.

It had fallen off. And we unfortunately only had like an hour left before we had to get back to the hotel or else the shadows would be leaving and we'd be stranded there. And so we like turned back and we, we probably searched for that camera for an hour or so because it had. All of our like, you know, kind of like bumper shots and all this like great coverage and we're like, Oh, man, this is a bomber to lose that that footage.

I was like, from a story perspective, this is so great because it shows stakes, right? I think the big issue that I had with you know, one that is already being solved by you know, two is in you know, one we just keep constantly winning all the time. Like it makes working here look really easily. But that's just because one stuff went really bad. We'd like lock in and not lost all the footage.

Yeah. Yeah. Exactly. Okay. So two months down, month three, there's another trip to South, my Southwest.

And I was just like rich. We are going on this trip. Gotta go. Both of us are going to shoot everything.

“And I think that this was the turning point for us.”

Oh, absolutely. Yeah. So like we went to South by with all the, with all the pod boys. I was a great story about this. Wait, what's the hotel story?

Bro. Oh. Oh my god. I forgot about that. There's so much good stuff.

There's so much good stuff that did not make the cut. Tell that story. So I'm want to know this. Which hotel story are we talking about? Because there's, I still like, South by is really confusing.

I'm referring to this. I'm not booking again. Yeah. But like in order to get a hotel at South by, you need a badge. And Vox handles our badges.

So Vox booked our hotels. But since you guys aren't hosts on the podcast, where it's against your hotel rooms. Yeah. Yeah.

I can tell this to Vox. Yeah. But like you had to get hotels somewhere else. Yeah. So we just found a place that Rich could book with like Hilton points or something.

That was like 30 minutes outside of Austin. But it was really cheap. It was like $100 bucks. It was like, it was like $100 bucks. Rich and I were just going to like share of a bed.

You guys get your money's worth. So we did not. No, I would argue we kind of did. So we show up and they're like, there's no clean water. And we were like, no, no hot water.

And it's like 11 o'clock in night. We're freezing. We're tired of like, I just want to shower and go to bed. And they're like, there's no hot water. Yeah.

So they were like, so we'll give you half off on the one room you have. And I like, look at Rich and I'm like, I think we're balling out.

Two rooms. So Rich and I get our own full size bed. Yes. Nice. Um, there was also like no breakfast there.

Yeah. It wasn't about to tell us breakfast anymore. Unfortunately. But um, are you sure was I remember trying to run the water.

“And I think like a brown sludge came out.”

Oh, my room just had cold water. Oh, yeah. Between the rooms. Yeah. Either way.

We go to South Vi. We film everything. Rich and I stink, but in a good way. Because that footage was stinky too. It was great.

Um, see 70s, not great and low light. But it's, you know, it's all good. That was the shoot that you guys came back and you like, "Begdmark has for Sony's." You're like, "Please."

And then literally like two, two shoots later, we were like never mind. Never mind. Yeah.

We should've always trusted you.

That's the one low light shoot. I mean, other than being like in the back of the car or like in on a plan or something. It's like it's usually pretty decently lit. Yeah. Yeah.

But see 70 color rich. Like the color job you did is just like so fantastic. It is a great camera to work with. That's why we love Canon. Do you guys want to?

On our fine cut. So no notes on story. No notes on movies. No notes on cut this. The only notes that people could leave are color grading and audio.

Do you guys want to guess how many notes we got? Yeah. Five days to upload. Five days to upload. By whatever miscommunication we had on that was really frustrating.

Because I told you, I said, "This is unmixed." No, no, no. I know. So I know. I know.

I know. We just sent it to everybody. No, but you specifically said do not leave notes on missing sounds. Only leave mix notes. Oh, that's it.

So all of the notes we got were useless. To be fair. Oh, the mix is still really good. Eric also. If you're not.

We put everything in frame IO and the amount of times this was watched by people. The studio is wild.

“I think I watched it once a month because the thing evolved.”

But yeah, the cut that I watched was not. I watched was not what even got uploaded. No, no. I've watched so many different cuts of your in the life. But there's a point where this the video gets so big that even though Eric will be like,

"Don't comment and XYZ." You'll just get that by minute four. It's not even that. That and also some of them are like. This is too important of a thing.

Yeah. I have to leave the note because just if for some reason it doesn't. It feels like it would be more detrimental later to be. I know that kind of sounds backwards. But there's things like curses.

So I don't know. Sometimes there's things where I like I have to say. This graphic is messed up or like what do I have to say. Don't just home address is showing in. Yeah.

Yeah.

I'm like on our second to last cut on our fourth watch through Rich goes,

"Oh my god, that's the company credit card." I think this is like the day you call up. Just so you guys know. Rich, thank you. Yeah, yeah.

Thank you. We were like, oh my god. We blurred so many things. We had to do like such fine details on it. And that's like.

But yeah, we had like 300 notes the week before upload. Yeah. Like the week before. So that was like not that's not including the story conversations. And like the weekly meetings and blah, blah, blah.

But the flow that we got into after South by was like when things really clicked. Because it was South by and then I took like a trip to Peru. Shout out badwannos. And then. And then And Chicago just because and then.

Well, I was in Peru Harper and Mariah and point on interviewing every single person here. And then once we had the interview coverage and actually good travel footage.

We were like, oh, we have the first 15 minutes.

Like we can figure this out. And so once and once we sent that video at the. And then the first day of April. And everyone's like, yeah, if we're fools, whatever, and they watch and they're like, wait, this is actually kind of good. That's when the momentum started to build.

And by like, may and June, everyone was like, this video is coming out. I know that I can put my time into it. I know that I can think about it. Because we had other videos. Ellis and Adam are both certified and how to use a ham radio because we spent three months on the studio channel.

Trying to get them to call the ISS. And we just scrap that video. I don't believe you forgot about it.

“Yeah, so like, so like, I thought like, so like, I think having that that come out.”

And rich and I just going shooting the coverage. I think that was the moment where everyone realized like, oh, the video is going to come out. Yeah. And then it was off to the races. If I'm not wise, it was really fun because I think you won't.

You see the title year in the life and you won't. You know what a vlog is. You kind of just picture just a chronological super super, super long day. Like a long vlog in the straight order. And I think some people might find that interesting in its own way.

But I think the way obviously we were able to structure things and like bring stories through loop things through the whole video.

I've watched it now with people who are seeing it for the first time because I've seen that cut so many times.

Noticing different things people pick up on like this new dog wine bottle and how that keeps recurring. Just like various things that sort of bring people's attention back in. All made it feel not obviously produced is one thing. But like just cohesive and it made me really proud of it. So it was really exciting to do that.

“Like a piece of advice if you want to do that.”

Like I think so many vlogs are run on sentences. So many vlogs are this happened and then this happened and then this happened and then this happened. And it gets really really really difficult for the editors because they don't know what to place focus on when everything is equally weighted. It's difficult for like Alice as he's doing like music decisions because he like you can't tell what the difference between beats are. And so everything that we were doing was thinking like what is our punctuation like where is something going to end.

And then we'd reverse engineer. So like the summer was oh the punctuation ends when Marquez comes back from China. And then the then that's that gives us clear set up of like we have to film a bunch of stuff before Marquez leaves. And like that then I also know what to cut because if we're shooting something and it doesn't intersect with Marquez is going to China soon. Then it's then it's all gone because we're just focused on that sentence right now.

And then once that done it's like oh Marquez comes back from China and literally the day he's back busy season begins. Okay, it's smartphone season now there's like a main thesis for that which leads us to iPhone which and so like the key was like. We just had to figure out where the cut was going.

“That's what made cutting like November and December really really hard because we had already been through the hardest things we could do.”

And we shot tons of videos in November December but it was just like you you've already made your iPhone videos like seeing you make a pixel of videos like that's not impressive anymore because we watched you do it right. It's not like there's any tension and like are they going to be able to pull it off and there's no mystery either. So like figuring out what we wanted to keep around was really difficult.

But ultimately like that's where the three questions idea came from.

You just like pulled everyone in for interviews right at the end of the year to ask them what are your three questions to describe 2025 and then roof is did a full score piece. And then we kind of knew like okay three questions for 2025 blah blah blah blah blah and then that'll ring with the three questions that describe 2026. Yeah that's that's the ending and all led three words three words three words three words English. Yeah I love you. I love you.

We've won five games in a row. Yeah 40 pieces. I just say something that Ellis was very proud of that people may or may not have noticed. Yeah the moment in Yiddel when Philadelphia comes on the screen he put like. What else do you want to describe it?

Yeah every location has its own signature sound except for one that ever would be. New Jersey had one New Jersey had an arcade machine a kung flu slap from an arcade machine. The Philadelphia one was an eagle screeching and the sound of a car window being shattered. Oh wow nice. That's not the thing that I'm most proud of.

I probably you know it's it's not right to talk about this for that roof is here because he was one that really like. Did a lot of this labor on it but something that roofs and I are both really proud of. And Yiddel is like no one would know how many of the sounds and Yiddel are fake. Like the entire intro sequence. There's not a other than Marquez's voice.

There's not a single sound that was recorded. Even like the montage. Of course it's not just tech reviews it's also car reviews. So it's not just songs and it's not just cars. We also do a podcast here.

Every single clip in the montage was silent and we re-recorded everyone's lines. There's movement. Every shirt, swish, every footstep. Rufus was walking around with a microphone and he'd be like hey jump. And he'd say like say congratulations or he'd say like I hope this works.

And he'd just like run up to people and tell like give people lines. And then we're going to roll that room and was like say something funny. Go. Rufus spent a lot of time going around the office and recording the sound of every room. Because it was a lot easier for us to just mute a lot of the clips you gave us and then recreate our own rooms.

And then work really this crazy. Okay.

“This gets into one of the themes of the piece that I think is very interesting.”

Because I think that there's a lot.

I think there's a great deal of humor in the fact that from within like literally the first 15 minutes to the end,

I don't want to do movies.

YouTube is great. We don't need Hollywood. And then we're like we're going to fully mix the entire thing with fully sound.

“And it's going to be 90 minutes and you should probably watch it on your TV.”

And we're going to do a little director's commentary episode. Like do you guys like how do we reconcile with this in it? I can. I think that a lot of times and I talked to I remember having this question. I think it was in the Will Smith interview of like what's it because he was doing YouTube videos.

And obviously Hollywood movies. And what's the difference between the two? Yeah. Yeah. And a lot of it comes down to when working on Hollywood movies.

You have an idea in your head and you have a goal for a thing you want to create. And you spend a whole lot of time on it. All this is the same for us. And then you finish working on it. And it doesn't come out for three more years.

Well, it's being worked on. And that gap is the frustrating part. And I think for us, we have the same thing. We have this process.

“We have a vision of what we want to create.”

We work really hard on it. We put a lot of effort into making it as good as possible. And then it's out. Yeah. We picture lock that you're in the life.

January 7th, 2026. So we essentially fully edited the entire thing over Christmas break. Took one week to do notes, pickups, finalize the last five minutes.

Shoot the first five minutes.

Because the first version of the first five minutes was me shot on iPhone reading the lines. Like just like trying to vibe it out. Yes, boy. And it wasn't actually September. Yeah.

You got the idea. Yeah. And then. Yeah. And then we essentially finish it.

And then. Rufus and Ellis had three weeks to sprint out the entire audio. Two weeks. Two weeks. It's too easy to sprint out the entire audio.

Two weeks is sprinting because in our world two weeks is. Four or five videos. But like the video works for five minutes. It was insane.

“But I think also like you're saying why did we take so much of all this.”

I would like to hear your guys thoughts because listen. I watched a bunch of cuts of these when I'm looking at you guys in the room here. I did nothing for this video. I was a person in it. The amount of work you all put in.

I can't even put it towards. I did everything pretty shut up. Yeah. But like part of this is like, this is the first time we did it. The amount of variables that happened over a year.

The amount of pieces of equipment that we recorded on. The amount of hard drives and computers and files that we were in the ether. Like at a certain point I'm assuming Ellis. You guys realized like, yeah, we have to do all of this stuff because it's just. There's so much going on.

It's like winds up becoming one of the. I don't see easier things to do. But like in order for it to work. The audio like in order to make a full. It's feature length.

It's documentary style like to get the vibe going and a million.

Like you don't you don't always get perfect audio off of the DJ.

I Osmo that David forgets to turn on right in the car or like. Yeah. My phone and stuff like that is mind blowing because yeah, like the initial cut is like. David forgot to turn on the DJ Osmo and you could hear like music in the background and the sound of the road going by and like. Like you to like perfectly fix up the audio that like you could always.

It's just insane. It's just insane credit where it's dude. The the dialogue was really a roof is championship run like that was I guess. So it gets technically it did spend three weeks in audio post because the first week was just roof is doing dialogue. For that sequence we we actually locked September first.

Yeah. We turned around September and got it locked by the top of December because we knew something would go wrong. So like we were just like let's just find 20 minutes to figure out what would go wrong. Reficent I had a lot of conversations in December about how we wanted get a little to sound like what it was actually supposed to sound like. And it became pretty clear after like two or three of those conversations the workflow we needed to do.

Which is like not that MKB HD workflow but very much the like cinema Hollywood audio post workflow. We got a getting tired like thinking about. You're still recovering. Like yeah. Yeah.

But I don't know we definitely did a bunch of really funky. So that you know Riverside this really funny conversation on mixed day the morning of mixed day where he was telling me about this video he had just watched. Of these. Remixers doing TV shows like reality TV in LA where they'll have two mixers on three computers going through the same. Set of speakers so they can hear what the other person is doing and we were like.

How on earth do they like how do you mix anything hearing someone else's work at the same time and after mixing yettle for like three hours we were like.

Made everything so much easier.

I can't. It's in. So you're just. So you're just. So we're able to like make adjustments on both our machines that we'd sync up at the end and if we got somewhere where a sound effect was missing or a piece of music was missing.

I could keep going forward in and mixing while roofest audition sounds. Then we would be in agreement like that's the right sound effect. He would blip it to me and I would drop it in on the main session. Blip is like fancy. I would drop.

Blip is like just better air drop. Oh yeah. If you're not if you're not blip in you ain't living. That's. I got to say we use air drop a lot around the studio to like pass around files whether it's a PDF for a thumbnail or an entire like.

Beerl section or footage, I don't trust air drop to work more than 60% of the time, especially as files get past half a gig. Yeah, half a gig. That's right. Blip.

“I remember being in like the basement of Newark Airport, you know that underground gate at the very back of terminal C.”

I'm getting a blip from Harper at the studio of like a 350 megabyte short and it was just like downloading done.

Wow. Okay. Amazing. I love blip. Shout out to blip.

It brings me to one of my big questions actually. Okay. How much storage do we think we can estimate we actually shot to for the entire year of all the things we captured. I have that number. You did.

On with me at this moment in my slack. How do we, I mean, I don't think it's exact, but it's the size of the plot of the final cut library. Do we want to do whatever the highest tier? It's the right rule. It's the right rule.

So like everything. All the graphics, all the exports, like all the b-rolls. Final cut. All the final cut. All everything.

Yeah. Everything that made it. No. Everything. Yeah.

All source material.

Honestly, I have no idea.

Oh. Because I know this answer. I have no idea.

“I'm proud of the only one that knows it.”

Yeah. So rich did all of the data management, which was like. Such a feat. I had to ask Mark has for a new drive flow. That does give you some contrast.

Yes. No. There were times where I would be like. Oh, rich. Do we have something from this?

And he would have to like unplug one drive. Yeah. Yeah. Yeah. The amount of just random base of storage.

Next up. Oh, yeah. Okay. Wait. I have, I have like a crazy rich poll story.

So when we're in like November or December. We're sending cuts for people for like final. Final notes. Tim leaves a really good note.

“Where he's like, we've shown like struggles with the merch.”

And then all of a sudden the merch is ready for the merch shoot in this cut. Like we need a version of the cut where we see like a triumphant moment with the merch before they go into shooting all of like the photos. The photos. Yeah.

And I was like, that's so true. And I was like, rich to we have the coverage. And so rich goes and he takes every single merch meeting that we have. Because we have them all labeled. And then we have a lot of stuff that we have to do.

And then we have a lot of stuff that we have to do. And then we have a lot of stuff that we have to do. And then we have a lot of stuff that we have to do. And then we have a lot of stuff that we have to do. And then we have a lot of stuff that we have to do.

And then we have a lot of stuff that we have to do. And then we have a lot of stuff that we have to do. And then we have a lot of stuff that we have to do. And then we have a lot of stuff that we have to do. And then we had to check the footage.

We were just filming. And there was something wrong with the XLR cable that plugged the microphone into the camera. And so for a month and a half, we had pretty much no workable audio. And we just had to figure out how to edit it around it. And then like between audio team and like just like creative editing.

Most either I haven't seen a single comment. But yeah, brutal. All right. Are you all going to make your guess? Rich is going to have photographic memory of 2020.

That's just. Why you guys guess I just want to say one more thing about audio. Because it's not that interesting. We need a fader mix on this. So we watched through with faders and just, just do it all live. It was really, really fun.

Can I say something since you make it sound like we're not talking about audio anymore. Even though I'm sure we will talk about audio later. When we were watching, there's a moment where Rich is hiding from my, oh, it's dark. And you do the like reverb. This, this.

Yeah. Claire just goes, that was awesome. And I was like, I was like, if Alice saw, if like, Alice or Rufus or Claire, who's like, just watches our stuff every once in a while, is not an audio, moving it at all.

Like, understand how triumphant a like audio clip was.

You know what's funny? Rufus did that as a joke.

“He threw it in the slack and then we watched a cut and he didn't make it into the cut.”

And I was like, bro, that has to get that in back. She loved it. She thought it was so funny. Like it added to that. It was really good. Rufus, Mariah and Harper are like definitely the three people who are not in this room.

Who deserve so many flowers. Yes. Yeah. Like those were definitely the three people that helped really accelerate it from like the rich and eric manic power hour into like this is a part of the company culture.

And we're all like really deeply into it. All right, let's do that. I'm sorry. Eric's number in mind so much. I don't know Andrew.

Oh, my gosh, this is pretty close. Okay. I figured a terabyte a week. What do you put, Mark? I have written 28 terabytes.

Okay. And Eric, you have, I have a terabyte a week. So 52 terabytes. I put 8.1. The correct answer.

The whole project is 37.57 terabytes. Dang it.

“Because I think my context for that was you've rich.”

You were like, all right. I think I asked you how much storage do we need to make sure we have to make you know to like you don't have to think about like not having enough storage. And I think that the tears were 32, 64, 96. And you were like, yeah, as long as we have over 50 were good.

And I was like, all right. Okay. All right. Okay. And it's an exponential after the price goes up.

But yeah, I was like, okay. That is, that is a lot. It's going to help show, like, you know, rich. You can talk about this more. But like, a big lesson that we had was,

we were, there came a point where we were physically moving server arrays between my desk and riches desk. We were back and forth. We could share a cable. But then the mori would be doing a cut and we'd,

“so then we'd have to pass a separate server to mori.”

So the rich and I could work on it. Well, mori, I like cuts up something. And then eventually roof is had to work on something. And so we'd have to pick up the server, take it to his desk, plug it in, plug it in to his computer.

And then he would have to go and proxy all the footage. So you'd take all the footage that made it into the cut. And then he could enter it in, like, in 720p or 1080p proxies. And then he could edit locally on his computer. And so eventually, when we don't have to do that,

days will be saved. Yeah, that is the plan. I mean, we want to have this be as now that we've done our first ever version of it. There are so many things that we've learned about the production about what we do shoot and what we might already know.

We don't have to shoot. And then how we put this together. Also, storylines and arcs are going to be different, too.

The first one's always the first one.

You're introducing characters. We're introducing, you know, the flow of the year and how things normally go. In the second one, you can correct me if I'm wrong. You can kind of assume that people are familiar with the characters now, that people are understanding the arc of this season now.

And maybe there are more interesting, different dynamics for part two. We will see. That just made it into the cut. I don't want to. We will see.

That just made it. We've already started doing our interviews for 2026 and the interview question that we've asked everyone we've pulled in so far as what is the greatest sequel of all time in your opinion. We've gotten some some some good takes there. My personal favorite take is is Shrek too. But I'm like, my, yeah, my vision for 2026 is I want to treat it like the bare season too.

Where the bare season one is about the action and the plot of running the day-to-day life in this restaurant. And the bare season two is much more about the people behind the restaurant. Where you focus a lot on individuals going through their own kind of lives and you get to live with people a little bit more. Instead of like just the ensemble as a whole.

So yeah, we're definitely thinking through like what the structure is going to look like and the answer is probably going to steal a lot from like 20 minute episodic television.

More than anything. Yeah, I'm excited. You commercials. If you were someone that you know would like to sponsor you're in the life too. Please reach out to John.

I'll probably tell you know. Thank God we didn't have an ad read. We, we had a sponsor who's interested and then like through like, you know, back and forth or whatever. It's like okay, this isn't going to work. Oh my, could you imagine halfway through just being like,

Thank you to bomb us. I didn't just probably, I do. I don't know why, but I feel like, well, I guess I do know why. There are certain videos that feel like they have to be just in a flow state. Yeah.

And some things kind of interrupt that first flow state. And yet I was one of those things where you want to stay in.

Yeah, maybe like one or two videos on MKBHD in the last year that do that. Where the graph is actually increasing in like way above the normal line. And that's really satisfying. I'm saying like every day like the average number of people who finish the video goes up. That's sick.

By like thousands. Yeah. I do remember seeing because we did this as a collab on YouTube. A lot of people, you know, we have to be very careful using these tools. But we launched it as a collab.

No regrets about that. So we can see the analytics. And it's like, if you sort comments by newest, you can kind of get a sense of the like flow of, you know, there was the day one viewers obviously.

People who are watching right away. Yeah, they're like hell yeah. We're very excited. Super, you know, jazz about it great. Then you get the day two day three viewers.

Now right like the one week later, someone who like saved it and bookmarked it. And was going to watch it and forgot about it and came back. And like much more casual viewer. And those comments are starting to flow in and I'm reading those. And it's all of them are uniquely interesting and positive.

Whether it's like, here's a timestamp of something I really enjoy. I thought it was hilarious.

Or here's six paragraphs of I never comment on the videos.

But I had to comment on this. Yeah, there's a whole bunch of stuff. A lot of a lot of really fun stuff there comments on this are fun. Because one, they just keep coming in. Like, normally 24 hours later, comments die pretty hard.

These are still flowing. But because the video is so long, it's so hard for someone to comment about a very specific spot.

“And I think also because it's so long, so many more people are watching on TV.”

And so generally, there are more comments of the vibe of the whole thing. Yeah. One, there are the most positive comments I've ever seen. Two, everyone loves those. It's just, I also want to show.

It's just like so. And all the best. But I do really love when there is fun. If there's a timestamp, and I watch them like this person liked this part. Enough to pause this like hour and 30 long minute video to specifically point to a very specific part.

And like, finding those have been really fun. Yeah. And then I feel like I go back and then read them. That's seen because it still is our life. The most.

It's pretty cool. Insane and crazy and weird thing about this is somebody decided to add you in the live to Letterbox, which is, that's like, that's where you can log the movies you watch and review them. I'm curious. Since now is like a 90 minute video and we all have our favorite parts.

What is everyone's favorite? It can be a quote or a moment. The year in the life. Mine is Eric's, where he's like talking about you playing golf. And he was like, Mark has doesn't feel like an artist he feels like an athlete.

And I remember watching that because I had seen multiple cuts. And none of my cuts had that line in it. And when I heard that line, I was like, it clicked. That's yeah. That's how it happened.

I got a couple notes that are like the golf thing just isn't working. Like the audience doesn't care about golf. And I'm like, no, no, no, no. Is it bigger story? Yeah, yeah, yeah, yeah.

We have to figure out a way to like communicate why this beat matters. We got comments too that we're like, we got to cut the Snoop Dogg bottle of wine because we only had two clips of it. Rule of threes.

“You need to set up a reminder and a payoff.”

And so we had to do a set up with the, with the, like, the slack graphic later. And so yeah, there were a couple of beats there.

I have, I have one, but I want, I want Rich go first.

I have two. And they're both Andrew related. Okay. The first one is when Google came to our offices in. I don't think I understand that part of the clip.

But yeah, can you explain it? So I remember I was right by Alex's desk. And then everyone was as an Andrew Marquez David and all the Google people were, you know, at our lunch table. Yeah.

And I'm like, Alex, go. Go ahead and pull up like the verge article on like the pixel whatever. Yeah, the leap. Yes, I'm like, and then I shoot that. And then I just pan over and Andrew just dead pan to the camera.

And he's just like, that was so funny. They're showing us the phone. So everyone online only knows the leaks. And I see you guys across the room doing exactly. And I immediately catch it.

And I just stare and you turn the camera at me. And all the Google people are talking. And right through them, I'm just pointing at you guys.

I saw that on second watch.

That was amazing. My other one is when we're doing the iPhone Air intro. And then it's you on the small. And you're doing like this because it goes because we had. We had to do kind of a.

Uh, an opacity thing so that we could see the iPhone Air. It's a very small moment.

“I think we have to be really paying attention to see that.”

But yeah, it's a fun little kind of easter egg. I think my. One of my favorite parts was our first live stream. Which is kind of this really funny thing. Unless us not expecting what's going on.

And then some technical difficulties, which it doesn't capture there, but like roof is finds the one problem that we had. And kind of saves everything. But like the two moments of that is everyone guessing how many people and guessing really far down. But when Ellis gets asked, he's just like.

I don't know. Like very like you can just tell he's cooked at that moment.

He just like it's so long already exhausted.

It hasn't even started. Yeah, I haven't even tried it. He tried it already. So he like starts to clip like very like serious. Like I'm going to give an answer.

And you can just see him break in that. I see the break up. And then so lead his body. And then right after it's just so funny to clip. And the really awesome graphics around it.

Of like we're like, we're live. No, we're not live. And we're all. We are live and we just don't know it. And then it's like, no, no, we're live.

But they can't see it. It's just Mark has on the live.

“You know, like, I think they can see us.”

I'm on the thing right now. Yeah. So I thought that was. I remember that happening. I remember that happening.

My favorite moment was not a moment, but a sequence that takes place from about 55 minutes till about one hour 12 minutes. That internally, we called club Apple. Because we haven't talked about the Apple. Yeah.

So like, I don't know if you guys noticed under watch through, but all the music between flying to Apple and finishing the iPhone Air intro is all dance music. Exactly. And we spent a lot of time trying to figure out, like, how do we make this sequence that actually takes place over the course of, like, almost two weeks in real life

feel like one continuous, like, on slot of work. And we, it started off as me putting the track in the actual Apple event thing. This sort of, like, like, UK style based garage stuff. And being like, hey, Rufus, like, how fun it is. Like, it's Apple Park, but it's, like, club music.

You know?

And he was, like, way to second.

It really works.

“And yeah, I just thought that was so much fun to put together.”

And it's so much fun to watch, like, the relentless club music. There's, like, a few cuts where, like, the music cuts out for Tim. And then we go right back to Marquez. And it's, like, the, the comp that I was using as I was cutting that sequence is the pit, the TV show, the pit.

It's about an ER. And an entire season takes place over the course of a 12 hour shift in an ER. So every episode is one hour in real time. And so you're switching from one patient to the other patients, the other

patient to the other patient. And it's one of those things where, like, you know, every time that you think it will relent, like, every time someone goes to take a break, they're just, like, nope, someone's about to die. And then they, like, run back.

And I was watching the pit. And I was like, it's like us, but we're dumb. It's like us, but we're silly. And so, and I feel like the club music, like, perfectly encapsulated that I grew up with an uncle in the music industry.

He's a composer for film and TV. The whole reason that I'm here and I do this is because I got to see Uncle Carlos doing his work every day. And as somebody who would sit and watch him score for hours and hours and hours, it was so familiar and satisfying and fun to see Ellison Rufus cook on music

and make that a part of, like, a core part of the story. In fact, you're in the life has a theme, like, a little, like, a little theme song from, like, beginning, middle and end is just, like, such a cool joy. I'm so proud of the music on this. I definitely want to do a limited release merch drop where we sell a CD.

“Oh, what's not with that music? Are we going to do the quiet one?”

I'm the only person in here that owns a CD player. It's a virus. We can-- We can-- It's got to be vinyl then. Oh, vinyl the good. Or cassette? I'm the only one on the block. Because that player. Ellison is just by the whole limited drop.

I know how much you made. But we should-- Are we going to make the cargo of room shirts? Because that was our top. That was, like, half the comments. It was a pretty spiked moment in the video. People were really curious.

Yeah, I think-- I was surprised it didn't make the cut. I'm the initial baby. Yeah, the core host. Really quick DLDR is, like, we wanted to make, like, the core shirts for each one, and that didn't feel like the core core of our music.

Yeah, that makes sense. There are-- every shirt they showed us was a banger. We could have released every single one. It just would have been too many, and a lot of work to do that. That merch was, like, an hour longer.

Yeah. And that was one of seven three minutes of selects made. Yeah. That's how we added it. Well, I would say a very good representative of selects of, like, the beets and the arc of the meeting. It was, like, very, very well done.

We figured that one out.

Can I throw-- I don't want to just do a million things

of what my favorite was. But there's one other thing at the time. I don't think anyone recognized, which is during Apple event. Mm-hmm. There is the point where Marquez and David are at the event.

So Ellis, Adam and I are in a room, watching all of it,

And it looks like we're talking about something super important.

But if you really, really listen, it's Ellis and I talking about how the opening to higher-by-creed sounds just, like, sugar we're going down by panic. Well, we're not going to-- oh, sorry, sorry, follow up. Wow, I mean, because as well as a paramour song.

I feel like that's come up with people's minds. We've talked about it. But I didn't see a single comment about that, probably because it's too specific. But there's so many little parts where if you lived it, you're, like,

people aren't going to understand that or, like, it's too short of a clip of it. Yeah. Also, then immediately after Adam going, welcome to Apple or whatever, that Tim Good Morning is fake.

And I just got lucky that he says Good Morning, the exact same way every single time. He had us with a triple Good Morning this year. Oh. Yeah.

Has anyone not said their favorite part?

I don't have you given one. My favorite part? Or any-- I can understand our lines.

“I think my favorite part, like, rewatching it back and, like,”

as a viewer, because I specifically made, I intentionally, for the last, like, two weeks of you guys editing, like, did not look at it. I was like, I'm making it a point to not even look to leave. No, I'm not--

That's even, like, the way to do it. Nothing. I'm actually going to do it. I'm actually going to do it. Yeah.

You should do that. I highly recommend it. I'm not-- I'm just going to edit it with my eyes. But the day before-- no, when you guys were uploading that day, Alex and I were doing one final watch through.

Yeah. And just making sure that, like, nothing, like, no company credit cards were out or something like that. So we were watching it at his desk. And there was a point where Rufus is explaining how he scored the iPhone intro and holy crap.

The before and after on that, like, it gave me chills. I was like, that was beautiful. The sound stuff was really cool.

“I think the sound files next to the OnePlus 13S.”

Yeah. True. Seeing that, I think people know our intro's are crazy. I think seeing that extra level and the tracks was, like, a-- I think it clicked for people.

That was only, like, two-thirds of the tracks. Do the rest of the things we did in the studio. Yeah. Yeah. I do have a favorite moment.

I've watched with people. I remember it's when Eric and Ellis were trying to get through the airport at the level. Yeah. That's our last recording was closing in, like, eight minutes. And they were just getting through security.

And the bag was getting checked. And at that moment, I was like, 99.9% of people put the camera down. And just like, we have to make this flight. But not Eric. We're not Ellis.

I did. First of all, the detail. I was probably so much fun to shoot. Yeah. Yeah.

And second out of the entire time, I was just like, yes. Yeah. I was like, I was like, the second we were off the escalator. I was already yelling, like, move, move. Like, you can see, like, me, like, picking up pays.

But I'm like, I'm yelling as much as I can because I knew I was like, This is going to be relax. Yes. I was watching it on the tiny DJI Osmo screen on the airplane. I watched it like three times.

[laughter]

In my head, there is never any shot that you guys are going to miss the flight.

But there was like, we got to get the bag on the flight. Please have room for the bag. And we got the bag. What did you say, exact? There's something Ellis has in mind.

He does David take this because he didn't know before that. It was like, we've never gotten this close to this flight. But it seems pretty possible. That was something kind of just, it's perfect.

“Can we talk a little bit about the James camera interview?”

That was something I did. That was something that in the post-production audio room, we had like 50 million conversations about. Because actually the James camera interview we talked about is like the most profound part of the movie

and also the silliest part of the movie. Yes. Mark has, I don't mean to throw you under the bus. I haven't seen it. But you don't watch a lot of movies.

I haven't seen it. Right? You can't hear the short on it. Mark has there's 13 James cameras. And so, and so there's something really funny about like,

what we were talking about in the room is that the, you know, James Cameron says this thing to you, Mark has. Where he talks about the cinematographer, the film or becoming the star. And their perspectives becoming the narrative,

which we thought was a hilarious thing for James Cameron to say to you. Because that's your whole thing. Your perspectives on tech are the narratives. You are the filmmaker. You are the star.

What do you do? It was really interesting.

Meanwhile, you're sitting there having never seen a single one of his movies.

Not knowing anything that he does. Yeah. And somehow you both arrive at this like ultra-philosophical, poetic thing about the future of media and the convergence of cinema and YouTube.

“And like, we were like, how on earth do we communicate?”

How profound and stupid this conversation is. And you're like, boss. Yeah. Sitting there in some like, obviously didn't pick himself. Yeah.

Yeah. Totally. Like, they people are going to buy it. Not a glass. It's just like that whole scene is like, that's too fun.

You couldn't even have like, yeah. I remember in the moment, thinking, so that had to like, it like visuals of that conversation. One was in the moment.

I was like, I'm asking James Cameron, like someone who's clearly super visionary about what he thinks about the future of filmmaking. And hearing his answer, I was like,

I was first expecting something like that I'd probably never heard before.

And then I'm hearing him describe something at almost like resembles new world like media, like creators being part of their creations. And I was like, oh, that's interesting. I guess he's probably saying that because it's me.

And then after I'm like thinking back about what he said, and I'm like, I actually felt like a very organic like new thought for him, which is good because it organically arrived at the thing that I would have described as a future.

And they were making things the thing that we're already doing. Yeah. So I thought that was that was actually interestingly profound. And it worked out to be like James Cameron.

It's somewhere in his submarine watching this. And he's just smiling. He's just like, oh my god. You want to come up with my submarine?

We had like 50 million different pieces of music

under that before we finally decided on this sort of Philip Glass minimalist classical music. That was a good one too. All right. I want to share my favorite beat

because I thought it was also quite profound, even though it's like not actually profound, but I found it profound. So the whole reason I'm here right now is because Miles Summerville decided to make

a lot of really good YouTube videos while we were living in Chicago. And I knew how to use a gimbal. And we were friends. So I'd hold the gimbals while he made the videos

and then Mark has recruited Miles.

“And then Miles was like, you should talk to Eric.”

And then I went into his room with Mark has and I was like, hey, you're in the light, Mike. [LAUGHTER] Now I'm in the saxophone. Anyways, so like Miles is the whole reason I'm here.

And he came up with me and a group of six other kids. I tomorrow, Flight and Mexico City, to go hang out with these six guys. We were all groomsmen and one of our weddings. We're like very, very close friends.

We all still work in the creator economy or tech. We're like, we were nerds when we were 14 making YouTube videos and we're still nerds now. And so it's really important to me to try to find a way to tell Miles's story and how many ways it intersects

with here. Because Miles only found me because I made a YouTube video when I was 13 called MKBHD Spider-Man. And then Miles for literal decades would hear MKBHD in his comments because people

would compare them. And then as he came here, we made a video. I sat down on an interviewed Miles. And I'll give you guys this clip.

I sat down on an interviewed Miles the hour before he came and he started here. And the clip opens with him being like, "Everyone wanted to compare me to Mark Caz, but I guess-"

I technically I am MKBHD." And so there's all these sort of like bizarre things. And so it's really interesting to sit down with Miles and get to have a conversation with him where so much of his brand curation and thinking about

how to position himself and thinking about where the cars come from comes from like, "I can lean into a sense of humor that is inherently not Mark Cazish." And I think that there's almost this,

there's this joy in this tragedy and how much of his internet identity has been informed by this place.

“And so I think one of the open threads that we opened”

at the end was this conversation with Miles where he talks about his relationship to journalism and how he doesn't consider himself a traditional journalist and even though YouTube has opened all these doors and gotten him at the table because of the sense of humor

that differentiates him in the digital world. It also bars him from this traditional class, this sort of elite class, whatever you might want to call it. And I think at the end of the day,

the thing that I'm most proud of with this piece is that hopefully in 10, 15 years when the creator economy just is the economy. When new media is just the standard for media,

where we were still the upstart,

but very clearly positioned to become the next elite, the next big ones. And we can see the conflicts and the back and forth and have a really crystal clear understanding for what was going through the minds of the people

who were living through that changing of the guard. We are at the biggest transition point in the history of media and it causes a lot of issues for a lot of people. And I hope that this piece

can help start to outline the templates for what being the responsible upstanding and better form of new media that can be in the next five or 10 years. I hope that what we do will be remembered

“is quite important because it's certainly important”

to people like me and miles. Yeah. I think there's been a lot of,

I almost wish we had a year in the life

of so many of the years that we've had here. Because 2017 would just be like, you and me sitting there, like, I used to-- Well, 2017, I used to not leave until you were done,

which meant the last four hours of most of my days was just watching you edit. [LAUGHTER] I'm still like, things have changed a lot. Yeah, they might have been a little more boring back then.

Yeah. But I do have memories of, like, if you all go back to 2017, like, being the only YouTuber at the tech event. Like, I have a lot of those memories.

And then being one of three YouTubers at the tech event. And then being like, oh, oh, sure. Your first tech-- oh. And then there was seven of us. And then there was 12.

And then it was half. And then suddenly, you know, they are setting up camera, like lights and stuff for it to be like suitable for videos. And suddenly they're thinking a lot more about it. And it's become really, really interesting to follow all that over the years

to get to the point where we are now. It feels like, you know, we have like electric cars. We have gas cars. We have hybrids. If you want to make the car analogy.

Yeah. So we're kind of like hybrids now. We're like getting to this next stage where EVs are everywhere. And it's clearly still in the future, but we're clearly moving in a direction.

And it's cool to be able to now have this landmark. This snapshot of time where we can see where we're at. And Yiddled 2040 is going to be crazy compared to this one. Yeah. Because we just know that a lot of changes.

Once we hire James Cameron to make it 20 or less. Cyborg, Cyborg, James Cameron is like, you know that.

“Can I throw something on top of that that I think you should be--”

Okay. That I think about-- I was thinking about this recently. It stems in prefer to hear that. I think you should be pretty proud of is.

You talk about how you slowly watch this. The YouTube media make it into like the journalist invite. So we're getting further and further in that. You've created not just a team. But a group of channels to the point where I'm seeing now.

You've mentioned this before. Like you think waveform is now a top 10 tech channel. Just on its own. Like I think everything under our, like I think studio is probably in there. I think auto focus is like I think the, this little empire that's been created here is.

It stemmed out in each channel lives on its own. So well, that we're going to events now and at an Apple event. I'm hearing a PR person being like, why? We need Ellis on the sound thing of this. Like they're picking people from this team that they need to be inviting to this thing.

That's not just you anymore. That's just like this team has-- And the stuff that we've created here is big enough in this new media world. Like, again, like miles.

“I think all of us here go to a place and don't consider ourselves journalists in the sense of journalists who went to journalism school and follow those standards.”

It's a different type. And, you know, we do it very differently. But it's still an important thing. You've built a place for us all to come here. And everyone here is like crazy important in this world right now.

And it's kind of wild to think about. That like individuals of us are getting, I got invited to fashion. I don't know why. I don't think that's at our end. But like, we have to see our level.

Obviously. Why is that surprising, Andrew? I'm surprised. I should be laughing. I shouldn't be laughing.

No, no, I mean, again, we're all funny. It's a bit too podcast. Did you-- People in this office now are getting invited to different things. It's because of the stuff we all create.

And that's kind of wild. We've seen a lot of channels come and kind of die off. And you didn't just keep going. You built us around and cast that they are all part of the ethos now. It's kind of wild.

I thought that I had right after watching it when it was live.

That I put into slack was basically damn.

I got lucky. I got a lot of talented people. And everyone who's here has kind of gotten here in a different way. Like, you've told your story in Miles. It's like a story in Andrew's history.

And Rich has his, like, everyone has a different way that whether it was, like, I saw Vin and Brandon's work.

Or I just, like, had--

It's just just random recruiters,

reach out to me with people. Like, there's so much luck that is somehow turned into this. Incredible. I feel very lucky for it. I kind of have no choice but to, like, make the most of it.

And hopefully do a lot more of the stuff.

“That's why we're going to do Yiddled with that.”

You know, too, Yiddled furious. With the greatest sequel of all time. Well, I'm excited for it. Well, that feels like a good place to cap it off.

Do you have anything else we think we,

you're excited to share that maybe we missed? Anyone here? I mean, like, I once again want to say, the amount of work that went into this. There's no words to really talk about how much it went in.

I hope everybody is, like, insanely proud of it. And I think there's lots of ways we can make Yiddled to better on all fronts. Absolutely. Everybody.

Yeah. But thank you.

It's one of the coolest things I've ever watched and being able to.

We get to, like, show our families in the future.

“And it's like, it's like, I think of it now as,”

do you know how people on TikTok are finding the, like, handy cam footage from high school 2003 that they're posting? Like, we get a 4K version of that. I mean, our kids will be like 4K. What is this garbage?

But that's, that's pretty wild. Yeah. Olivia Harper Mariah. Rich Rufus. Alice.

And Andrew showed up, too. And every is Eric Marquez signs the tracks. She signs the checks. I mean, Tim did a great thumbnail. That's different.

Tim's thumbnail is fantastic. And Brandon gave creative direction. And then, like, oh my god, everyone contributed. Every, like, we don't make things on the studio channel. We're pretty, like, every single person touches every single studio video.

“And honestly, the reason we do it is because strategically,”

when we do, the videos are better and they do better. Yeah. But this one was definitely just like, yeah. It was just so cool to see everyone rally behind it. And we make good work, proud of what we do.

Go watch your in the life. If you somehow watched this entire podcast that the sort of about. I haven't seen it. Um, there's spoilers. Clearly.

Yeah. Go watch our labor of, uh, back to our regularly scheduled programming. Of course on Friday. But we'll see you over on the studio channel. Peace.

Bye. [MUSIC PLAYING] I could keep Marquez's camera wide open. And he would still be in focus throughout the whole podcast. I think Marquez is at, like, 2.8.

And David and I, like, five, six. And we're still out of focus.