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you guys might have seen probably the biggest video on youtube of the past year i mean easily of the past year but
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probably of the past few which was mr beast's recreation of the squid game show on his own channel using a ton of
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the game mechanics the video got 120 million views in four days it's all anyone on the platform was talking about
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and it was incredibly well done and really interesting coming from his channel so we got a chance to speak with
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some of the creators that worked with him on that video on the behind the scenes and on the vfx that went into
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making that such a unique and incredible video so before you listen to this conversation i highly recommend watching
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mr beast's video if you haven't already somehow and then also watching the below linked video going over the behind the
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scenes of how it was made how they kept everybody in the moment with a ton of combination of practical effects and vfx
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i still haven't seen squid games but now that i've seen all of what went into this production i have a ton more
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respect and i probably kind of do want to see squid games now but i recommend that and then we go into the chat
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and just in case you still haven't seen squid game and you don't want anything spoiled there are a couple talks about some games and stuff in this so maybe
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save it for later if you haven't spoiler alert let's get into it [Music] welcome back to another episode of the waveform podcast we're your hosts i'm
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marquez and i'm andrew and we've got another special episode today we've got guests in the waveform podcast studio
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we've got sam and micah from so crispy media that's just so crispy media okay we
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i have we have a lot in common and i don't know if people know this and i think a lot of people who have seen
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a lot of videos on youtube might have seen some of your videos but might not remember oh these are all from the same channel because that's what happened to
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me i watched some of your older videos and i realized i've seen these before but i didn't realize they're all from the same people
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um so i went back on your channel and i see that you've been making videos for 11 years on youtube
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do you have a origin story how you describe like how you got started why youtube and why the name so crispy media
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yeah so we definitely started around i feel like we're in kind of the og youtube kind of
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era i think that's fine yeah freddie yeah so freddie freddie wong uh the corridor digital guys a lot of guys that
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we're friends with now uh we loved watching their content we were kind of getting into making digital content
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and that's kind of how we started and i i got into visual effects and uh editing
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films short films and whatnot and our youtube channel kind of has always existed as more of a creating big off
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like big videos that are kind of one-offs so uh it's sometimes harder to pinpoint
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exactly us as an audience more of just oh i've seen those before so we actually hear that a lot which is kind of funny uh but yeah we started it
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back when i was in around high school and just continued it and i've been working on it ever since
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and it's not until recent that we've gotten into a lot of the visual effects services a lot of the uh higher tier videos that
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we've really been growing the audience which has been fun yeah so sam you're you're 25 right yeah yeah so to give
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some context i mean this is probably over 10 years of 10 11 years so you back that up it was like 14 years old
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probably when you got started it's been a long time and then i met micah a couple years ago we started working
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together and he became a producer on the channel uh back when we started with chalk warfare 4.0 okay so we had this
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series that we had in high school that was chalk warfare yep uh we made three of them and then took kind of a break
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for quite a while i think it was like a six year break right yeah yeah so we had about a six year break and made the 4.0
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video that ended up doing really well and kind of revamped our channel where we started doing a lot more visual effects content yeah so i think people
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watching today might know you guys from the behind the scenes video of how the mr beast squid game project came to exist one of my favorite videos ever not only
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the the actual mr beast video but the behind the scenes because i'm a sucker for watching behind the scenes videos
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and i sort of would describe your videos and your style as like vfx projects where they're they take a long time to make vfx stuff is really heavy and notoriously we make a lot of videos
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in a short amount of time in tech youtube but vfx stuff takes a while very time consuming and very elaborate
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at least to me because i'm not familiar with the software um i wanna like do you find that that's
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like a big challenge in maintaining a youtube presence and like how many things you get to do on youtube
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talk about like what it's like being a vfx creator yeah it's a really hard medium to be in
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because when you're making content you can make you know you can't make it fast and you can't make it cheap
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so it's it's hard to create the stuff online and then with the push for watch time that's a big one too so when you
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make it when you want to make it longer we end up spending a lot more time on a project so we started that really with the chalk
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warfare 4 stuff it was our first time ever really making a video over 10 minutes and it really helped with the
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kind of youtube algorithm which was exciting for us because we've always just been wanting to make content that we want to watch and we want people to
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see yeah and that's kind of always been our mindset and our mission statement so from that really one of our longest
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films that we had made was chalk warfare 4 and we kind of followed along with the trajectory of making stuff like that it
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is definitely a really tricky thing like doing vfx in particular on youtube because you know youtube does reward
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watch time you know it's like content that you can make on a weekly basis is like very well rewarded as well that consistency
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and things of vfx like the cost per frame can be really really expensive and not only the dollar cost per frame but
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just the labor cost per frame because in our world not all frames are created equal right so like there's this good
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metric 24 frames for a second can be a week's long process yeah so it does it in a way it's it's ironic because we know we love youtube and we like you know believe in the platform we like love posting on youtube but in a lot of
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ways like we would be more incentivized to do short form you know like something where we just have a 15 second window we
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have to deal with because then we could realistically turn over a lot more content with the amount of labor that's required
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yeah but you know with length you get the ability to tell story and that ultimately is what we want to then do
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with with a lot of our longer form content so if we're making a video it can be hard and it can be a big a big
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process where we go through these you know these cycles of it may take a year long to like create
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a larger form film but we're able to really dive into it and make it something that we're proud of and that's
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kind of been the trajectory of what we've been working towards one of the one of the formats that we found to be
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really cool and like work really well both for us and for youtube is this idea of like we do these big massive like
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tent pole you know films that have these all the effects and they're huge spectacles and they're kind of like a moment for our channel and then we also
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release behind the scenes of that because we find that telling the story of how we made something and how we overcame the obstacles of how did you do
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this massive you know shoot on a youtube you know size team size project um it ends up creating a lot of cool stories in itself because there's always problems to solve and there's always unique solutions and there's also a lot
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of innovative tech involved to be able to find ways to do things that you know normally cost 100 x how well we've found
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ways to do them for a lot cheaper so it's a lot of there's a lot of like story in of itself about even just telling how we made a video so we find
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that that format of doing a video with a how we made it works really well for us it is really interesting to hear and
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have all the you know the buzz about this behind the scenes because i come from a background of thinking that no one
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really cares about how we made it i'm like not to be completely honest i just when we we used to never do behind the
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scenes we would do it on a second channel and it wasn't until recently when we realized we needed to push out some more or at least try to push out
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some more content that we decided to start uploading on our main channel as well for behind the scenes and normally something like the you know
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the behind the scenes of the the squid game project wouldn't have existed if it wasn't for that mindset because i was always under the impression that people
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just wanted to watch the content because the further you kind of dive into the technicals you start to think it's not as cool when you're doing it yeah and
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it's it's i'm unaware of that i'm not aware of the fact that people might actually be interested in this yeah you might underplay you might be
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underplaying how much people are like fascinated by it and something they're unfamiliar with i think our audience would be like i was kind of describing
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your channel as like our channel audience really likes tech gadgets and they really like film and
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production and you guys are bringing that about as close together as possible i mean we we do a lot of uh a lot of
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practical effects in here like almost all the stuff we do is practical we have a motion graphics person but that's mostly titles and stuff like that you
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guys are bringing that just right on top of each other with like motion tracking and all that and it's it's fascinating to watch i think our
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audience would super super enjoy that and i was dying to see behind the stuff yeah the behind the scenes stuff of all of
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your things sam you might uh have a better way to explain this i'll take a swing but there's kind of this mantra
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that we found that like we love to be able to like kind of like i didn't explain like like
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find the marriage of technology and innovative technology and how can you apply that to storytelling like a lot of
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it boils down to like this idea that like you know we can take tech that's you know being used by massive hollywood
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studios and find ways to democratize it to be able to allow content creators to utilize it like a great example is like
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motion capture right like you know five four years ago that was very inaccessible to now for content creators
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like now we've been able to access motion control suits that are cheaper and we can use them and now we can find ways to like integrate those into our
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content so we love to be able to find those like whether it's innovative tech or these little moments where you know new software's coming out whatever to be
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able to say oh hey actually let's try to take this and let's tell a story with it and that's kind of like the thought process of how it eventually evolves in
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these short films like we have a lot of really fun short film ideas for the sake of like oh that would be a hilarious short film but more often than not
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there's even tech behind it that we can think oh now that this is possible let's make a film this is the film
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i feel like that's the robots for us like that too it's like we have the robot now we think of an intro shot that
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we want to do of it or just we're begging for a video that we can use the robot army in yeah he brings up an
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interesting point because it is kind of about like a marriage of tech where we have we for a while we
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we've always like we don't make a lot of content but when we do we try to make it something new and
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you're like refreshing with what we've recently learned so a good instance of this is around 2015 2016 we really got into vr
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and then we did a cool vr uh series with google daydream where we made like three pieces of content so we have like 25 minutes of content where it's literally in stereoscopic vr and
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like that might not sound that you might not know what that would mean but for video wise like for video sake making a
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youtube piece of content in 360 degree with stereo that's the equivalent of making like six videos per one video
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because you're literally doing a left eye and a right eye and it's and then it had stereo or it had a spatial audio so
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when you turned yeah as well it felt very immersive i think this is the year i also did my only 360 video yeah like
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when it was like a huge deal and i did a studio tour in 360 and i had to sort of like navigate around like having this
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camera in the middle and walking around it and touring things is fascinating and i remember that it was like back when
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the like the odyssey was a thing right was that what it was i think that's what we used yeah super cool stuff but yeah we we loved like getting involved with
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that and then figuring out a way to make our content with that so when you watch those videos it's like those were a
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production nightmare and i think if anyone who is like making a youtube channel where we're like yeah we need to get content out regularly we would have
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never done that yeah yeah i i also wanna i i figure you guys might not know my love for the word crispy i've described words like to describe like really sharp
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footage like when we're trying to get a shot and there's like the exact like it's really weird trying to describe
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footage but like it has the breadth and the depth to it and the texture and you just capture it just right and some of
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my friends john and austin and i have described it as like a really crisp shot and we love being able to get crispy
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videos and to the point where we've had uh i think is hashtag team crispy [Music] we feel like we're part of the same group where we're like oh yeah we know what a crispy shot is and we know how to
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get one uh and so we feel like you guys are like honorary team crispy because you've had the name way longer than we have even been talking about this okay i
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just wanted to toss that out there yeah i think that this might be the greatest compliment we've ever received yeah when
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they say christmas crispy it's definitely a great way to describe visual effects too like when it's
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something that you really like yeah okay that's perfect you know what it is when you see it yeah yes yeah hashtag team
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crispy uh merchant willing to come out here soon it's never too late never too late okay so the mr beast good games project
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i think was the maybe the perfect combination of like how you would get maximum interest in a behind the scenes because most mr beast videos and i've talked to
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jimmy about this it's like people want to know how it was done and kind of the most amazing part of the
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video is that it was real it actually happened he really did say that word a million times to a camera he really did run a marathon in the biggest shoes like that's actually what happened and that's
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the amazing part of the video and this latest one was like all right we all know what squid games is we've seen it
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there's these crazy challenges and he's gonna put real people through these challenges to find an overall winner at
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the end and watching that video to me i'm in the mode that i sort of go in when i go to
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watch a mr beast video which is all right this is going to be real let's see how i pulled it off and so slowly my mind starts to realize
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more and more oh that there's a little bit of vfx happening in this video this is really interesting
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um i'm curious multiple people here said no it's good that's what it is so i mean that should be a compliment to y'all we heyato was like no this is real it's like it's i think it's close to
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real but there's some some help involved yeah it's interesting because it's such a like
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hidden like it's interesting like in a way the better we do our jobs the less people
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realize we're doing the job always the joke like if we do our job well you're not supposed to know we did our job yeah
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which is awesome and hurts at the same time yeah so it's like it's like a great thing out of bad things it's like oh it's awesome you didn't notice there's
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vfx but also sometimes like hey like you know we did do a lot of work to make that it's kind of like a like a really well done video game you can tell when
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something runs really smoothly it's just great and immersive and when someone steps weird over a curb it's like what
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were they thinking this is terrible and just broke exactly and going going back to the the practicality of mr beast like
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i think it's the perfect marriage when we added these visual effects because everything that you saw was still done practically it was all still done and
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like we can tell you that stuff the stuff he does is real like yep it was done practically and it was it's like
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incredible and we are really just bringing in our style and being able to allow them to do stuff that is
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impossible yeah you know it's like an enhanced conversion yes yeah i i i'm trying to imagine like you guys like put yourself in our shoes for a second when we're there and we know like for vfx
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it's really important to shoot things a certain way and do things a certain way and you know think like the footage you get is like you know that's that's our
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canvas that we paint on you know and if that canvas is perfectly white and clean and ready to go and it's like you know we can we can do whatever we want that's
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fantastic if the canvas gets muddied that's a problem so it's a little bit terrifying going into a production where
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they're literally and this is completely true there is no take two like you go in and when the cameras roll and the game's
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played you get what you get so there's a little bit of that like oh crap kind of feeling of like when you're getting this
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all set up we're like oh man like you know let's let's we have one chance to knock this out and do it right and so
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we're really fortunate like the footage came out fantastic like you know the final end product we're super proud of
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so but it was definitely a little bit it's pretty scary getting up to that there was a moment i think before the first game in your video where he comes
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up to you and he's like all right everything going to go well oh yeah or at least from your side it
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you're all ready you're ready for this and there's like a pause for something that's like they're nervous that's gotta be terrifying to
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like go through all of this and it yeah i mean it's it's interesting because you know we do so much preparation to like
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you know get everything right but there's variables you can't control you know i mean like it's just like when you're out there and you're filming like
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you know the game is going to go on you know so it's a little bit of kind of like for us it's uncharted territory because we've always have the the
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privilege of being able to like control the set you know take two take three say oh that didn't work let's
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change things up but for this one it's like you know even in terms of visual effects if you're filming a scene and
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you need to put a blue screen behind somebody you know if you're filming a one camera show just put the blue screen up behind that
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actor for that shot move on to the next shot move all your supplies move your crew everything this is a holistic scene
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like we're we're catering to a game show that's happening and we're just enhancing it all right we're gonna take
00:16:36
a quick break here to talk sponsors and we'll come right back with our conversation with sam and micah from so crispy media this episode of waveform is
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00:17:56
waveform that's storyblocks.com waveform can i ask a question about the blue scene i thought it was really
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interesting or blue screen i thought i was really interested in your video how you said you basically almost didn't use
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blue screens because you they used a black backdrop to make so the audience felt more like they were in and you know real and everything when it comes to we
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do super basic green screen effects here stuff almost always stationary but now it's coming into motion and you don't
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have tracking points on all that and everything and not a real blue screen no second takes it's just black how much
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harder is that now to add visual effects to it and to go into that post-production process
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of is it a big difference or yeah so basically if you're if you're committing to blue screen
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you're committing to doing work on every shot that gets taken but when we're looking at the reference of
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what we're trying to match which is from the show squid game you know they they ended up replacing it with a lot of just black abyss
00:18:52
uh backdrops and then also there was some like a steel texture on some and our jobs then look at that and say okay how can we get the best like bang for our buck right like if we're if we're
00:19:04
trying to do visual effects on this is it better to do all visual effects for every single shot or enhance it on some
00:19:10
of the shots that can really be like massaged and we can touch those ones up yeah so we made the
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decision early on to say it'll better cater this entire product if we just go ahead and do black screen and we
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we had done this actually with a commercial i was on with my buddy um uh pat hall he shot a patrick mahomes
00:19:30
commercial and we didn't have a lot of time to shoot with you know him because he's a
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huge athlete he's got a lot to do yeah so we shot with a black curtains with duvetyne and it just created such a
00:19:42
great effect and we enhanced the story with visual effects so we took that same idea to this as well which was it's
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going to provide a very realistic experience because everyone's there playing this game and
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all the shots should have tracker points because they're shooting wider typically so all the shots you have tracker points
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we should be able to get everything pulled out of that some shots will then be final and then when we want to
00:20:05
have a shot that kind of looks down we'll do the work there and we did this process called luma keying which is a
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kind of advanced process of being able to take you convert the image to a grayscale map and then you clamp the
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the shadows and the highlights to be able to then say if it's black right put make a mat out of it so you're basically making a luma mat so if it's black you can put something behind it if it's white that'll be the matte okay yeah
00:20:29
that's awesome yeah one other thing to add to that too and i i think it's like worth emphasizing is the immersion for
00:20:35
the contestants we thought was like super important to huge because um you know these are not actors these are not
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like these are just literally contestants they're random people playing this game and so i don't even know like i wouldn't even expect that
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they knew that this was going to be the effects at the end of the day i think the contestants playing on the set you know thought this was the set yeah and
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so the concern of doing even really heavy blue screen stuff in my mind is that it also it takes the contestant out
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of the game and then they start thinking about oh the filming and it's like you know what's going to be in the blue
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screen what's going to replace and on the contrary having the black screen there just i think it helped the contestants like be able to play the
00:21:08
game and focus on the game and and just be able to actually you know do their job which is to play the game because they're not thinking about all the other
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things going on around them so i think that helped with a lot of the immersion too yeah definitely and from the behind the scenes you can see we did use blue
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for some for some sections where you know where it's decided hey blue screen is the obvious choice here right we're
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replacing we know what we're replacing this with and it's not a dark abyss so it's really just kind of that that level
00:21:32
of you know when you're working on something that has this many shots and wanting to cater to the product uh that's what we did that was ultimately a
00:21:39
really good decision too because the other thing is when you're shooting with blue screen even i saw this on the show like uh you can spend a very long time
00:21:46
on every single shot but you're still going to get that kind of fringing around the hair and you're really going to have to touch it yeah yeah yeah but
00:21:52
it looked really good because it was shot on like a black screen so it was just perfect lighting fall off and then
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like all of the all the light that was then hitting it it was just being absorbed by that so it literally was just lighting the stage and everything
00:22:04
looked really cool and cinematic just right off the bat it's really well done i want to zoom out to the to the
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beginning of the process like we we see mr beast is going to be i i want everyone first of all to watch both
00:22:16
videos watch the squid games video watch the behind the scenes video right so in the video you mentioned like okay mr
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beast says he's going to do this good games project how do you how does the process of you guys working with him on
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all right this is going to be a really big video with some vfx how do you guys start on putting this together yeah so one of the new things that we've started doing is pre-visualization and i talked
00:22:38
about this a little bit in the behind the scenes but we it kind of all starts with the building blocks of you know
00:22:45
what are what are we going after and luckily there's a show to reference the show kind of did a lot of the
00:22:52
set like that shows the sets that need to be yes that's our results right yeah there's the visual aid and then we kind
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of then go in and start building up those sets as well and then working with you know we're working with their team
00:23:03
because they're building everything practically and they build as much as they possibly can which is very impressive
00:23:09
uh from that then uh we started using unreal engine which is basically a game engine you know it's
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used to make games like fortnite we've been using it for years ever since the uh vr vr stuff we kind of got into it
00:23:20
around 2016 yeah back when we wanted to wear oculus rifts and walk around in our 3d environments
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so we've been using that tool which has been increasingly just an incredible tool and under our
00:23:33
tool belts and it's now getting to the point where we can create something in unreal engine and literally have it for final
00:23:39
product so i i normally if you're saying previz you're saying hey i'm just going to make this and then we're going to
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completely scrap it we're just using it to look at how the composition of the images are and
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the flow of the sequence of events but and then you scrap that and then you end up making it again we're actually
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using that unreal engine we're using all of our stuff in unreal engine to make the previz and then we're also using it
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for the final so it's running real time and that's the only way we're able to pull off all these shots in that amount
00:24:08
of time yeah i feel like that's like doubly important too when you only have one take so you have to do all that
00:24:15
pre-visualization both conceptually and literally just to make sure you have everything set so that when the contestants are there and they're going
00:24:21
through it you already know what you're doing you get everything on the first try yeah and there's there's two processes to do it so it's called previz
00:24:27
and there's techviz so both equally cool previs would be you know what do i want this to look like
00:24:34
we kind of already have that visual reference but for us it was helpful because we had to make the sets so we made two versions of the sets we made
00:24:40
the glass bridge and the tug of war all in unreal engine a very cool looking scenes that
00:24:46
literally you're on like a game engine you can like walk around them with a virtual camera we could put on a vr headset and walk around it yeah i thought that was awesome and then
00:24:53
from that there's also a thing called techviz which is if you were working on a show and you
00:24:59
said okay i want to you know know how many extras need to be in this or like how fast do i need to go
00:25:05
to get from point a to point b in this one take that i'm trying to do how fast do i need to be going yeah that's techviz so everything's mapped out the focal length down to literally
00:25:18
everything frame rate focal length everything so we're literally able to go in there on the scene with virtual
00:25:23
cameras and then we can say okay what what camera are we shooting with is it a full-frame dslr we can throw it on a
00:25:28
full-frame dslr put it on a 10 millimeter and then see what it's going to look like in this map yeah so then
00:25:34
you're able to provide those stills and you're able to you know use that as visual imagery to to know what the final
00:25:40
product is going to look like yeah to go to the extent of like how useful this can be and particularly for this project too um like there's examples in our bts
00:25:48
where sam gets in a motion capture suit to pretend to be a contestant on the glass bridge where he's jumping across
00:25:53
you know a glass bridge that we're just faking and setting up a little office space and then we're basically taking him putting him inside the environment
00:26:00
of the glass bridge in unreal which is to scale and it's the exact design it's going to look like the final you know set itself um and then we can actually
00:26:07
then show and kind of place cameras and kind of demonstrate hey here's what we're going for and here's where we're going to position these things that
00:26:13
helps on the production side but it helps in a way even more on the post-production side because we've already able to prepare and prep and say
00:26:18
okay these are the shots we need to do vfx on here's where here's what we're kind of preparing and we know we're the
00:26:23
work we're going to have in front of us and we can plan all that upfront which is amazing and it goes even beyond that too like to touch on even some of the
00:26:29
other like the red light green light like we can actually place the contestants in the 3d world to scale to know okay here's how the blocking is
00:26:35
going to be and there's like there's so many applications that this just applies to across like across the tech is involved with you know what what size
00:26:41
room do we need to be in to have 456 people like that's a lot of people yeah the show didn't even have 456 people
00:26:48
they used background set extension uh individuals to be able to do that or body doubles but
00:26:54
yeah it's it's very powerful technology to be able to do that and being able to place those cameras
00:27:00
anywhere get different views and then on top of that it's also helping service like our deadlines as well so we know
00:27:07
that we have a short deadline once they shoot so i'm able to work with the team to say hey this is very helpful for us
00:27:13
like for instance with glassbridge there is a shot that we kept cutting back to and i was able to show in my previz that
00:27:18
it was going to be shot on a anywhere from a 200 to a 400 millimeter lens so basically i was able to show them visually if you if you do a cowboy shot which is basically from knee up
00:27:31
we can cut out the glass bridge and we don't have to do visual effects on that sequence so we can cut back to that and
00:27:36
it can be helpful for us if we're in a pinch right so we're always we're using this previous to also help us be able to you know
00:27:44
showcase the work and show how we need it done so that everyone can be on the same page yeah uh just because it was a
00:27:50
little bit of a different work workflow yeah you know visual effects in this project was a little bit different because they're all
00:27:56
they're doing so much stuff practically there's a real bridge there there are people falling in the bridge uh and it's like it's a real game so
00:28:03
we're just servicing that by setting up a you know setting up previs to be able to show how we can execute our visual
00:28:09
effects yeah it's cool because if you're if you're like in the hollywood space or in the hollywood vfx and all that world this is this previously
00:28:14
pre-visualization stuff is stuff they yeah they do it all the time a few years and yeah it's really really cool application now bringing this into a
00:28:21
youtube space because you know as this tech becomes more accessible and becomes democratized more and more it's like
00:28:26
this there's so many applications for it you know even just beyond squid game of like previzing other shoots progressing things in the future it's like there's
00:28:32
it really excites us because i think it opens up this new tool that creators can use that can just continue to like bring
00:28:38
them value and then the big point two being that it's final at that point like the visual effects look as good as
00:28:44
they're gonna look uh because it's in the game engine you know it's not a grayscale model we're literally looking at lit models that like the glass bridge
00:28:50
look like the glass bridge in our in our game engine set in unreal five super cool tech that we're using to do that
00:28:56
i have a question about uh the like creative process yeah like when i watch a mr beast video i guess we all know at
00:29:03
this point there's a team behind everything going on but it is a pretty personal element of like all right
00:29:09
there's jimmy there's a couple friends there's a contestant and we're like watching what's going on
00:29:14
um when we're coming in and making this like huge project where now it's creatively a little bit different
00:29:20
there's going to be some vfx and some of the shots we're going to have this this prop that's going to look a little
00:29:26
different in the final video versus the real practical prop how much of this do you get input on how much of this is
00:29:32
like you and jimmy talking back and forth about it how much of it is just like the trust factor of like i'm gonna
00:29:37
hand you this footage and we'll see what happens out of it what is the level of like input that all parties have there
00:29:44
yeah at the end of the day we were really enhancing you know the creative that they were
00:29:49
putting on screen yeah and and that's their product and that's what they're known for and it's it's awesome stuff
00:29:56
and then basically what we're doing is literally like putting the you know making them feel like they're
00:30:01
up 200 feet high uh we we were able to use previz to help instruct on different ideas like if there were different variations of what what they wanted to do for safety or
00:30:13
or different uh creative ideas but at the end of the day like we were also servicing that to be able to show what different things would look like what
00:30:19
what foam would look like in the middle or underneath the glass bridge and at what heights and whatnot so there's that
00:30:25
creative element that we were able to also visually help with so it's cool that we can we can service and help with
00:30:31
a lot of the ideation process because we can like you know we can show what something might look like in your head and be like oh hey what does it look
00:30:37
like to do this and this so we actually can do a little bit of problem solving just by having you know having everyone
00:30:42
have eyes on the previous and being say oh hey this is what this looks like or hey this is how this could function
00:30:48
you know whether it's camera related things or whether it's just part of the set build you know yeah and it was it was a great process working with them as
00:30:54
well because they were very open to embracing visual effects which was very cool because again there are they you're
00:31:00
so used to doing everything practically everything and they yeah so definitely like if it could be done practically in
00:31:06
this it was and that's what's really neat and unlike this type of work we usually do
00:31:11
where if we get a commercial and they say hey uh we're gonna fix this in post like we want you to do all this work because
00:31:17
we're gonna fix and post like it's normally we normally we'll get like a short end of the stick on that but it was it's really cool working with a team
00:31:24
that's really interested in doing things practically yeah it allows us to really focus on the stuff that's going to heighten the experience and that at the
00:31:30
end of the day that's what we always want to do with visual effects yeah yeah everyone's like everyone's objective for this video is like we want
00:31:35
to make the best freaking video possible like we're all on board from that from day one of like we believe in this project we want this thing to be awesome
00:31:42
and just blow everyone's minds right um so it's cool like when everyone can kind of have that same goal to work towards
00:31:48
where like you know we're we're being being able to like kind of go hand in hand and say hey what what does each
00:31:54
what does everyone need to make this thing the best thing possible and just having that mindset i think from the beginning really helped this thing you
00:32:00
know evolve into this fantastic project you know versus a you know other pipelines like with samus referencing
00:32:05
where sometimes it's like oh we're going to shoot a video oh it didn't turn out now let's have vfx go fix it like that's
00:32:11
where that's where this this would not have been able to be possible if it was that way right um just because the
00:32:18
for this to be like it's that it needs to be kind of like a everyone's on the same page from the beginning yeah sometimes with a lack of communication a
00:32:24
film can get completely remade in the computer yeah afterwards so this is a much more collaborative overall process
00:32:30
like i feel like that's what a lot of people are raving about on twitter which is like oh this this new media landscape 100 million views in four days like just
00:32:37
on a youtube video it's crazy which is like obviously amazing but i think the the process itself is the most
00:32:43
interesting part to me which is i don't know we've been making videos for 10 years and still to this day when i get
00:32:48
on a set for like a commercial or like a small project where there's like 40 people behind the scenes and there's
00:32:53
this ladder of communication and there's all this disjointed all this stuff in the way it's like much
00:32:59
harder to make much harder to have everyone on the same page about making the best possible video yeah put it that way and there's a
00:33:05
lot of film sets where you have one person that like holds a nail another person holds a hammer basically yeah yeah yeah exactly the the cool thing
00:33:11
with this too is like you know since we obviously have such familiarity with the youtube space it was really easy to just kind of like get it you know it's like
00:33:17
we're not a big vfx house who only does hollywood things where we have these you know preset expectations of how you know how
00:33:24
like things are going to happen and that are way arcane our way just kind of more in that world so for us to be able to
00:33:29
come in with a huge grasp of like youtube and be able to say oh yeah we are youtubers we make youtube content like we we kind of can see the vision
00:33:37
you know that we think other youtubers have a lot a bit easier than maybe someone from outside that space would try to enter um so having that was also
00:33:43
like something that we felt just fit really well for a project like this um because you know we can kind of just
00:33:48
walk through and say okay hey like we get the idea here we get how this is going to go and like let's just knock it out how much footage
00:33:56
did you end up with do you have any idea how much footage was like because i know there's a ton of cameras rolling at once
00:34:02
was it in the ballpark of i'm just going to say our projects typically one to no i will say 800 gigs to 2
00:34:10
terabytes that's like the range of an mkbhd video i'm guessing it's on a different scale with a vehicle yeah i
00:34:15
can tell you we we set up networking for all of our visual facts and i think at the end of the day i had to delete a lot
00:34:21
of stuff we have 100 terabyte server i had to delete a lot of stuff that from our projects to be able to make sure everything was housed properly
00:34:28
and i think at the end of the day we walked away with maybe 20 terabytes of of just work and that includes all our
00:34:33
visual effects yes and obviously you know we're we're working to try to minimize yeah that's
00:34:40
that's the other thing is like we we're all in cahoots from day one it's like okay how are we gonna shoot this what are we gonna you know
00:34:46
all of these technical things that all lead to space on the on our server and also just bottleneck us too because we know that we're on a deadline so how much processing do we have to do uh
00:34:56
should 4k video be a thing for our final output uh you know do we need the colored uh depth
00:35:02
right to be able to pull these luma keys really well right and and valuing what is worth it and basically we were able
00:35:09
to get away with a lot and and and get what we needed footage wise and then still walk away with just working off of
00:35:15
our you know our owc server that was all good we all were kind of piped into that and then working
00:35:21
uh with all of our artists around the clock then after that there's actually a really funny story about um service
00:35:26
space because we like when we decided yeah like let's bring in our server let's set it up like we just you know we need that for the
00:35:32
space and the speed and the time um we had kind of in our minds set a idea of how big the project was going to be so
00:35:39
we're like oh yeah this is plenty of space right you know and so we go and we set it up ready to go then after we shoot then we come back and we start
00:35:45
seeing kind of the you know the um the storage starting to shrink entering a drink we're saying oh shoot okay like
00:35:51
yeah we don't have enough space so actually this is kind of funny but mid project like it was literally out on the
00:35:56
day four maybe something while we were still ingesting footage and we were already moving and you know every day we're losing space
00:36:02
we had to actually delete um one of our artists um brendan he had his student film from college on the server as his
00:36:09
like as his like that was the like master folder for a student film so we actually like that was kind of the least
00:36:14
common denominator of something we had to delete so we i remember sam went over to brendan it was basically like hey man
00:36:20
do you still care about that project i think college was years ago yes we're gonna take that thing off the
00:36:25
server i was like i'll get you a hard drive or something but it's so we're deleting it so no kidding it's like while we were running out of space we
00:36:32
were also like that the server was processing deleting that so we kind of had the perfect amount of like rollover
00:36:37
as brendan's student film was being deleted we were able to save that space um as we were transgender yeah there was a lot of archival that was going on too
00:36:44
to make sure that we were up uploading all of our stuff that we had been working on yeah just got to shout out to the
00:36:49
student project getting deleted right on time oh yeah that's incredible yeah there's a time and place there's a time and place for it everyone everyone has
00:36:54
one everyone you know needs to get deleted so for a little context you guys had it was ten days to do everything
00:37:00
from start to finish like when you got there so yeah so that includes visual effects so
00:37:05
we started once we started working on footage it was a 10-day sprint basically okay yeah uh with pre-visualization
00:37:12
uh we we were there for you we were working for a while maybe two weeks okay yeah so we were able we were we were
00:37:18
able to like work and just focus on shooting and whatnot okay the shoot happened and then sprint to edit
00:37:25
yeah so to kind of to kind of set it up i guess in another way essentially as soon as the camera stopped we have 10
00:37:31
days in the video it's on youtube so it's kind of like you know we obviously we spent some time preparing and being
00:37:36
there and kind of you know getting everything in place but there's literally like it's kind of the the clock ticks as soon
00:37:42
as they wrap up the final you know the final scene and the footage starts to come to the server where it's like you guys have 10 days like let's get this
00:37:49
thing done and basically just like that was our window of time and it's it's interesting because we don't even
00:37:54
like again to kind of frame this in a kind of a crazy way because this whole project was just awesome and insane um
00:38:00
we don't even have an understanding of how much work we're doing until like you know we start to get the edit in right because in a normal vfx pipeline you
00:38:07
know we are given basically like a final edit and it's like hey you have you know
00:38:12
60 shots you have 80 shots you have 150 shots to do and then we're like okay let's look at the footage let's absorb it let's kind of figure out um for this one just because how the pace of how
00:38:22
fast things move like we kind of go in blind like we're like we have no idea how much we're going to be doing until
00:38:30
we see it being filmed you know we see we see put together in the edit um so it's one of those things where like we
00:38:35
you know we kind of just have to like figure out once we've received footage it's like i was like on a daily basis we'd get more shots coming in and be like all right let's start getting these organized let's start i'm getting this
00:38:47
system in place and assigning if you're working on a film you know you have a script and normally people look at a
00:38:52
script and they say one page is one minute of content i have that formula for my own videos yeah so
00:38:57
with with this because it's uh real life entertainment it's like in real life entertainment you don't know
00:39:03
what's going to happen true glass bridge could be the craziest part of it and it becomes the whole video yeah or it could
00:39:09
fly and it could be a small site so yeah and again and it's that's that's not our wheelhouse we're here to do visual effects so at the end
00:39:16
of the day we're trying to estimate you know okay from our standpoint what do we need to prepare for and we're thinking
00:39:21
okay maybe 200 shots and we kind of did a ticker to see what the average cut was
00:39:27
and and how we needed to how we needed to prepare for our visual effects and we assumed 200 shots we
00:39:32
ended up doing around double that which was the fun fact was what it's more shots than the entire matrix movie yeah
00:39:40
yeah for every i think matrix had about 340 via effect actually i've been 350 350 shots so we just crossed that
00:39:46
threshold so we're like oh all right it's more than the matrix the matrix in ten days okay great we had no clue we were going to be doing
00:39:53
that many um but you know we again we were able to build out pipelines to be able to
00:39:59
account for that yeah so like those are those worlds that we built in unreal engine running real time it's like okay
00:40:04
we just have to do this process this many more times yeah so it's just being able to scale up then and being able to work with our team to be able to account
00:40:11
for all those new ones so i guess my my final question in like the vfx youtube world is like all right
00:40:17
so we just established you had 400 something shots in vfx in a youtube video in 10 days where we the matrix took longer i think it's safe to say right so when you think about
00:40:30
making more and more vfx inside youtube videos which is now what's going through
00:40:35
my head after seeing this and this pre-visualization process and how much it helps with cutting down the
00:40:41
time it takes to actually integrate the vfx into the video do you think it's likely or possible we'll see more stuff
00:40:49
like this in the future on youtube meaning more videos with vfx built in because of appropriate and helpful previs yeah i mean i think previous has
00:40:59
always been around but i think because it's being integrated with a final like a final product and you're able to
00:41:05
say okay i'm now able to walk around this i made this and now it can be my final video as well i think it's
00:41:12
definitely going to be an end-all medium because if you watch our behind the scenes you can see that we
00:41:17
literally made a video game out of that like i i honestly i'm i'm convinced that you're going to be able
00:41:23
to say hey here's this awesome short film right i also took the assets and i made the short film concept into a video game and
00:41:30
the video game is also for sale or yeah so you can in basically you have this like you can build a world of ip right out of a film and then you can
00:41:41
have different entertainment all from that one singular software that's interesting that was running everything
00:41:48
because it is running real time like imagine a movie like like imagine a movie that you're
00:41:54
watching but then you're able to change the color of the hero's car right if it were running locally on your
00:42:00
com like on your computer wow yeah or advertisements changing depending on the viewer's age or even if they're holding
00:42:06
up here or like or like you you go to the matrix or something like that you're like here's
00:42:11
the matrix it's an incredible movie now here's like a vr game that you can play in the same scene as one of the
00:42:18
scenes from the matrix yeah incredible yeah that's gonna i think like this idea of like i guess entertainment kind of merging is something i think you know in the next decade if not sooner we're
00:42:29
going to see that with film and youtube and tv um in video games and there's going to
00:42:35
like i don't know like it's i think this is maybe getting into some like metaverse conversations oh yeah but 100 yeah but
00:42:41
it's just it's this idea of like you know you now have like you're you're building a playground to make a movie which is the same playground you play in
00:42:48
to play video games which is the same playground you could play in if you want to do a you know a podcast you know there's a world where we could be
00:42:54
sitting in a squid game set right now on this podcast and it's not a world that is far away from the world we're in right now and it's not the thing is it's
00:43:01
it's not becoming that much more difficult to do when you've already built that world you know um and so it's
00:43:07
really interesting i think we'll see a lot of i think we'll see a lot of content creators like especially post squid game
00:43:13
um start to wrap their heads around the potential of this technology um and the technology itself is becoming more accessible and more easier one of the things like you know we talk
00:43:24
about how we did more shots in the matrix right the i think kind of the the hero and that story is not
00:43:30
necessarily our talent and our skill well that's a part of it there's a big part of it which is the tech has evolved
00:43:35
in so many ways and that's the kind of the cool thing about it is like we're able to now utilize this new tech to
00:43:40
make these things possible um i don't think we'd have been able to do this in 10 days without the ability to do
00:43:45
real-time graphics without the ability to like you know create this thing that we can see it in real time we can
00:43:51
iterate in real time we can put the frame and composite in the shot in real time um you know even five years ago if
00:43:58
we were doing offline rendering like this would have been so much slower so i think we're really at a precipice of
00:44:04
this kind of new tech that is now getting in the hands of content creators and i think in the next few years we'll see some really cool stuff come from it
00:44:10
for a lot of our films i still use like cpu rendering and it will take five ten minutes sometimes you took 30 minutes a
00:44:17
frame right and it's just ridiculous to sit there and let that go because i'll spend
00:44:22
i could spend a week on a shot you know or even longer if i wanted to be like a certain if it's like a hero shot for the
00:44:28
film but we knew going into this project that that was not something that could be done and we had
00:44:34
to use real-time technology but the thing is as real-time technology as video games
00:44:40
are always racing to become more realistic there will be a point where like the quality level will match film and then you're just going to be able to have films run in game engines yeah and
00:44:51
that's kind of what we're experiencing now we kind of just jumped the gun a little bit and said okay we're going to use unreal engine to do this
00:44:56
we're going to use it for our end-all solution it's going to be from the beginning we're going to build it in here and then we're going to
00:45:02
finish it in here and then create the the content yeah so it's it's super cool to see where that leads to and that was kind of why we threw in that little like glass bridge game in there because it's
00:45:12
like the possibilities are really cool i'm just starting to see where it's all going to go i i kind of
00:45:17
wish this would have been a fun experiment i wish when we were doing the project we would have like kept a stopwatch of like when
00:45:25
something is like like what amount of time is something rendering that an artist is not able to work and we
00:45:30
minimize that as much as possible with a lot of the real time because anyone who's really familiar with vfx in a traditional pipeline will know like you
00:45:36
can work for a couple hours but when you need to render the preview you need to render the final thing you need to step back and wait for a couple hours to see
00:45:42
like that would have been a nightmare to deal with yeah you can know that you can see from our behind the scenes
00:45:48
that the unreal engine part was the fastest part about the process because the guy running it literally had time to make a video game yeah like yeah
00:45:55
he was like working those 10 days but also had time to do that and you know i had spent time prepping the scenes and i
00:46:01
built the scenes and then i i'm also a compositor so i wanted to like use myself as the ability to also like work
00:46:07
on some of the shots so we brought in our buddy taos who i went to college with and he does some great stuff in
00:46:13
unreal engine so he was running unreal the entire time and then we worked together to do all that so it's really cool that he was literally able to do
00:46:20
that with that real time tech while we were in the middle of a very press for time project yeah it kind of shows like
00:46:27
that real-time rendering is really just the future of of rendering of any kind yeah i think the project as a success story showed how well the tech has worked and how far it's come and i feel
00:46:39
like i feel like now we're in uh post squid game youtube that's how i look at it that's exciting yeah it's it's i
00:46:46
think there's gonna be it's gonna be i'm so excited to see like this like what creators can take from this and what
00:46:51
they can like i think next year is gonna be awesome for content creators yeah i'm really excited to see um
00:46:57
what comes from that so i'm inspired i think it's time we do a bts of them now yeah
00:47:03
we circle it up yeah we need to start doing more vfx in our videos too that'd be sweet one more thing every guest that
00:47:09
we have on waveform we like to give him a little test and i don't know adam do you have a do you have the appropriate mechanical equipment so
00:47:20
i don't know if you're a fast typist or if you pride yourself on your typing speed but yeah i could you know the
00:47:25
speaking come on i don't know i don't know if this is like a fluke or something but i've taken so many typing tests where i get like
00:47:31
the 99th percentile yeah and i like i brag about how fast i can type okay this one will be a little interesting do you have you either if you watch top gear at all no they have something called the
00:47:43
star in the reasonably priced car where every guest they have on they basically put them in this uh a pretty standard
00:47:49
car that's the same for all of them and they have to do a lap around the track and they have a leaderboard of all their guests
00:47:54
so we have a website where it's how fast you can type the alphabet yep so all of
00:48:00
our guests now do three tries on this and now we have a leaderboard for all of our guests on them
00:48:08
but it is weird because words per minute is way different than the alphabet how often are you using
00:48:14
alphabet so yeah whichever keyboard styles i didn't say anything but i purposely
00:48:19
picked this one because i know i know i was gonna say i don't wanna you don't have to worry about that yeah yeah all
00:48:25
right i try to do you dirty right there i know man you're making me talk all the talk now i'm gonna be you know embarrassed at the slowest so we give
00:48:31
each person three tries so i do the alphabet i'm not actually typing words no just the straight alphabet i'm sorry
00:48:37
i'm nervous i didn't know there was yeah so we're gonna give you uh three tries each whatever keyboard of your choice and uh we'll see what kind of uh what kind of times you put up oh my god let's
00:48:48
see it all right you ruined the asmr on that one guess where is the i never use that one no z there's no uh copy and paste in
00:49:09
unreal engine first try 14 not bad you want to give another how does that compare to yeah what you see here i'll reveal that at the end i love not
00:49:20
telling anybody how how good they're scoring i don't know why this is so oddly nerve-wracking because it's something
00:49:26
i mean we were nervous doing it and it was just in front of each other and so it's like why do i take pride in the
00:49:31
fact that i can type it fast all right so you foreshadowed it by saying that you're
00:49:37
gonna be good at it yeah i know it's a lot of pressure that one sounded faster eleven yeah three i mean three seconds shaved off cutting three seconds
00:49:58
is pretty major imagine cutting i feel like that should be a lot faster i feel like that should be a lot faster though it is it is really not something you do
00:50:06
we have um we have it on our discord and people our audience likes to try it and there's
00:50:11
some like all over the place at the time yeah they're everywhere yeah one more try
00:50:17
i kind of want to see where he's at i'm like you want to pass it over and then you'll take your third try okay yeah i
00:50:22
like it i like that keyboard better well i'm i'm committed at this point so i'll practice yeah exactly all right
00:50:30
and this is this is a fantastic excuse if it's really bad because i have a mechanic over your head we've got plenty of those
00:50:36
all right in the center it's gonna go one of two ways here with him this is a lightning port keyboard yeah i always thought it wasn't just
00:50:42
iphone no just out yeah just apple yeah they weirdly have they're starting to change some things
00:50:48
but keep some lightning whoever knows what airpods yeah ipad so i think for everything i
00:50:54
have apple i think it's just my iphone and my airpods is the probably yeah all right
00:51:00
so i just type in yeah when you hit hey it'll go yep all right you're way faster than i was
00:51:12
dude seven point four nine eight that's uh six now i feel like okay see now i feel
00:51:18
worse you wanna keep we can do when khan and samir were here they decided to do a
00:51:24
team effort so um do you want to go team i just i feel like that's a score i think i can get i
00:51:29
think i can go i feel like you could yeah oh shoot it is one of those accurate the last few letters is super frustrating when you mess up man yeah
00:51:46
all right you want to go one more time sam and then i'll wind this out oh yeah i'll just i'll just get it tomorrow go for it go for it i get three tries right
00:51:53
yeah yeah all right i'm gonna try it on your keyboard next i don't know man it's the button push i have to i have to
00:51:58
go further on the much bigger travel time is this optical or how is this is that
00:52:04
it's mechanical oh it's mechanical yeah because it was an optical sensor it would be like very fast all right
00:52:10
i think i think i did it on no i didn't mechanical okay right yes nine what was your scores six two six two six five that's that puts you
00:52:23
right in the middle one of our one of our fastest guests six pretty good six out of like 12 i
00:52:30
think yeah right it's dead middle middle all right was i the slowest um no no response you saw the third try yeah our slowest right now is nine point four you want to go cheers you're right
00:52:42
there are you kidding me that [Music] i need to know who the the fastest is after this this is a
00:52:58
reveal hey i think every single person you would also you be you're not last 9.2
00:53:29
not last not last not last um uh right now our fastest is i don't know quinn from snazzy labs he's a tech youtuber he has 4.432
00:53:42
marquez is at marquez isn't second because apparently he's just good at everything and none of us can beat him
00:53:47
anymore um 4.539 nice adam's got third i have fourth we're both 5.2 ish um doug demurrow 5.9 you might know him con and samir is 6.677 so it's like just because yeah yeah he gives a brag to
00:54:01
them now yeah i haven't met you guys yet but i'm slightly faster that's how you can break the ice
00:54:08
i guess the my friend who created this app this has been his like his talent thing he shows off at like school for
00:54:14
the last 10 years he can do 1.3 which is why it's just muscle memory yeah at that point yeah um but yeah it's
00:54:22
crazy some of our some people on discord have gotten under two and it's really wild but it's obviously more than three
00:54:27
tries also the craziest part it logs you can take a screenshot when you're done i've seen people send me screenshots of
00:54:33
like two three seconds from the phone [Music] i wonder absurd i don't ever intend to get that good at this but congrats on your place on the leaderboard
00:54:46
if you guys ever decide you want to do a big youtube typing tournament let me know okay that's good yeah
00:54:53
i got you all right this is this has been great i i appreciate you lifting a little bit of
00:54:58
the veil behind the curtain and and showing some of the bts um again if you haven't seen the videos which at this
00:55:05
point you probably have but just in case you haven't you should watch them they're linked below shout out to you guys for for making the
00:55:10
behind the scenes and for uh making the project so incredible and uh thanks for joining us on waveform thank you so much
00:55:16
for having us thanks for having us waveform is produced by adam molina we are partnered with vox media and our intra-outro music was created by vane
00:55:24
silver [Music] you