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How much can we talk about? Like who sent us? Can we talk about that? >> Why not? I don't know. Just I don't
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know. Yeah, >> cuz we ended up making the video. >> Yeah. Um we did.
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>> So Ferrari Well, we got a video made for Cars with Miles. >> Yo, what's up people of the internet?
00:00:22
Welcome back to another episode of the Waveform Podcast. I'm your host, Marquez, and we have a different set
00:00:29
today and a different set of people because we're doing a bonus episode. So,
00:00:33
we'll be back with your regularly scheduled programming on Friday like we always do. But, let's go around the
00:00:38
table and introduce ourselves because it's not the normal set of people. >> Hi, I'm Rich.
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>> Hi, I am confused for Rich. I'm Eric. >> I'm still Andrew.
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>> So, we're all here to talk about our year in the life project because it was
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so sick that it deserves a little bit more unpacking. We spent an entire year recording everything that was happening
00:00:58
both in the studio and with our teams around the studio traveling across the country making videos and then we put it
00:01:04
all into one I keep saying featurelength film whatever we want to call it uh one
00:01:10
of the biggest most ambitious most uh challenging undertakings of any of the MKBHD channels that we've ever put
00:01:16
together and we're really proud of it. uh and Eric and Rich were the sort of
00:01:19
masterminds who made this possible but also like came up with it and architected like how we were I I like to
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say building the bridge as we were crossing it which was really fun. >> Yeah.
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>> So I think >> we nearly fell off that bridge >> many times. Many times the design
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bridge. >> Yeah. >> Yeah. So uh I think you should you guys should take it from here. We want to
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know some things that you might not know watching Year in the Life that you guys
00:01:46
know. So, I guess I'll give I'll give some context and then I'll pass it over
00:01:50
to Rich and we can talk about like what like actually starting it looked like. But when Rich and I started on the
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studio, we like asked everyone like, "Oh, what do you like doing?" And we got
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a lot of pitches of like, "I want to go to one of Marquez's frisbee games and
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like we do a video talking about that or like um you know, we should do a vlog or
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you know, like sort of classic YouTube stuff." And it was really hard because
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it's like, oh, would people click on a video about like how we make the podcast? Would people click on a video
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about how we made one specific intro? Like the more specific it gets, the more I think people give themselves excuses
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to be like, "Ah, it's probably not for me." But, but working here, you kind of
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sit around and you realize like this is a really unique workplace because of the
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vibe and not necessarily because of any individual project. And so we were thinking about like how do you capture
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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
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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
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was like, let's not rehash that. Let's never do that. But >> but what if we did a year in the life
00:03:02
for 2025? And so at the beginning of the year, we were like, we're gonna do this
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video and we like set up a camera and then and then it got really difficult >> really quickly.
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>> We had also already done I think the first ever day in the life we did was a
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one of the busiest days we've ever had. So we're like, let's do a day in the
00:03:22
life so you can see what a whole team does on our busiest day. Then I think you kind of uh talked about it, but we
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were talking about like how the podcast is made slowly turned into a week in the
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life. Yeah. >> Because we realized so much of making the podcast was based around like how
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can we make this weekly thing in the confines of everything else we're doing
00:03:41
in a week. >> Exactly. >> And then the next logical step was clearly skip month, go to year.
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>> Right. Cuz if we didn't if we did month, it would just be September. But by the
00:03:49
time we had the idea, it was like November 2024. So, I was like, "Well, let's just let's just do the year one
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cuz it's going to be hard enough to do." >> Yeah. Yeah. I think one of the most fun
00:03:59
parts of it was actually having us just start to capture everything cuz that's
00:04:03
one of the ideas for the reason we started a podcast is because we were like, we kind of have a lot of
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techreated conversations and they're not necessarily videos, but they are interesting and we kind of like talk
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about the news a lot and we have takes on things. How do we >> maybe we just like sit down and actually
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formalize this? And we made the podcast out of that. And I think Yel, as we're
00:04:22
affectionately calling it, was a whole bunch more of that where anything interesting that's ever happening or
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maybe even not interesting, just anything that's happening, let's just get it on camera just in case. Yeah.
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>> And then we just kind of went from there. >> So I feel like the place to start is
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like, Rich, what was our tech stack coming into January? cuz I want people to like leave this podcast episode being
00:04:43
able to make their own yol and as the technical visionary for this. Where did we start? Like what was the first camera
00:04:52
we had? And then we can kind of talk about how we >> added different tech to begin with.
00:04:56
>> Sure. Uh we shoot most of you probably 95% on C70 which is kind of our workhorse cameras. We have three of them
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in the office. There's always one on either mine or Eric's desk and it's
00:05:08
always ready to go. It's got a It's got a 416 on it. It's always got a card in
00:05:12
it. It's ready to go. The problem is when we're shooting everything. >> Yeah.
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>> It's a ton of space. >> Yeah. >> January was like really difficult for
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I'd say like three main reasons. We shot everything, but we didn't know what we
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were shooting and we had no story. >> Yeah. >> One of the first things that we shot was
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like a really busy day where Andrew like >> I think it was Brandon was supposed to
00:05:35
go on a shoot with Marquez for the Sam the new Samsung. It was actually Samsung launch plus the XR headset which is why
00:05:42
we're going here. >> One of our shooters got sick. So now I have to meet Marquez in California
00:05:48
tonight so tomorrow we can shoot an exclusive shot of the Google Samsung XR headset. The only problem is we had all
00:05:56
this pod stuff scheduled for today because we need to record a bonus pod. Then we need to watch Unpacked. Then we
00:06:03
need to record an episode about Unpacked. And then I need to be on a plane by 5:30. might be my longest day
00:06:08
of the year total, but let's start it. >> And so I was like, Andrew, film that.
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>> And I was like, I will try and a lot of me being like, I'm still stuck in the
00:06:21
airport. And then later like, I am tired. And it was pretty boring. >> It was like and like so so like that was
00:06:29
all of our January coverage was pretty much just that cuz like everything else was just us like walking around the
00:06:34
studio. We realized like, okay, >> we're shooting everything, but we don't
00:06:38
have like a purpose. >> Yeah. >> So, and then that made the edit really
00:06:41
hard, too, because we didn't know what we were selecting for. So, we were just
00:06:44
like wafting through stuff. >> I feel like anyone that's ever tried to
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like make a vlog knows what you're talking about. Like, we've all had that
00:06:52
experience of I recorded everything for a week. This will be easy to turn it into a video. And you're sitting there
00:06:56
like, wait, >> it's brutal. It's So, the the two things that like helped are I asked Mariah to
00:07:02
take a pass on the edit. I took a pass and everyone was like, "This sucks." And
00:07:07
so then I I asked Maria like take a pass on the edit. And what she did is she she
00:07:11
found like podcast interviews and clips from across the other channels that she could sprinkle throughout. And I was
00:07:19
like, "Oh, these are like the chapter markers. Like everything like these are
00:07:23
payoffs and all of the coverage is setups." And then once that clicked, we had like a little micro format. We still
00:07:30
didn't know like where the story was going or like what like when to choose what actually made it in the cut versus
00:07:35
didn't. But we had a rhythm and so that was kind of like step one. um like we
00:07:43
it's it's showing the creation and then like you get the payoff of like oh that
00:07:47
thing was was made or like if it's a external thing like a podcast interview
00:07:51
like your thing with Trevor Noah the whole point of those was to show like um this is a theme that we'll be setting up
00:07:58
or like like a larger conversation that we could establish. And so Mariah created like that basis for the language
00:08:05
and then from there it was just like stepping up to like how do we actually like make anything that we want to use.
00:08:11
>> Mhm. >> Cuz yeah like the Andrew coverage did just didn't make the cut.
00:08:15
>> Unfortunately I mean I totally understood as I'm filming I was like
00:08:18
yeah this is like kind of a crazy me talking about that right then sounds interesting. I get last minute called to
00:08:24
spend 24 hours in San Francisco. But then when you're living it, you're like,
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I've haven't done this. Which I think also along the way, >> we have a whole year of not just you
00:08:34
guys got better at capturing it and we got better equipment in capturing it, but like everyone started being like,
00:08:40
>> Rich, we need the cam like come over to this side of the office. It was like a
00:08:44
ingrained in us to be like capture this, capture this, capture. >> It was definitely like one of those
00:08:47
things where like Harper was like film every meeting and Harper would like at the beginning of every week be like we
00:08:54
have this, this, this, and this. Which of this is yiddle coverage? Who's the
00:08:57
who's the yiddler as we effective affectionately would refer to them as? Yeah. To like to grab each of these. I
00:09:03
So the next deleted scene that I want to talk about is in February when Rich and
00:09:07
Miles flew first class >> Oh. >> to Portugal >> to the car. >> How much can we talk about like who sent
00:09:13
us? Can we talk about that? >> I not just I don't know. Yeah, >> cuz we ended up making the video.
00:09:19
>> Yeah. Um we did. So Ferrari, well we got a video made for Cars with Miles.
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>> So we didn't end up >> we didn't make that video. So we we
00:09:31
scrapped that video, >> right? >> So and that was like >> I'll I'll put a pin in that because that
00:09:36
was actually important to the storytelling. I was fighting to keep this scene in
00:09:39
>> Year in the Life. But yeah, our February big thing that we cut was this trip. Do
00:09:42
you want to describe your lovely trip? >> Sure. Yeah. Um this unfortunately got
00:09:46
deleted. So maybe at some point in the future we can show the audience. But it was 3 days I believe of me and Miles in
00:09:53
the beautiful southwestern coast of Portugal. >> Rich and I are in Portugal for
00:10:01
a Ferrari thing. >> We had a camera, an action camera basically suction cup to the front right
00:10:07
side of the car. We keep going and then we hit a bump which is like check on the
00:10:11
GoPro just to make sure you know it's still there, which you know I'm assuming
00:10:15
it is. He looks over and he's like, "Yeah, let's go." We we relate to
00:10:20
everything. >> Yeah. >> And we lost a camera which had a lot bunch of footage on it. Um and then we
00:10:25
get Portuguese McDonald's, which turns out it's just like American McDonald's.
00:10:30
So pretty pretty bad. >> Was it the Dodi Celindri? >> It was It was a convertible, too. We had
00:10:35
the top down. >> Show the hand movements. There's an Italian. >> It's an Italian car.
00:10:39
>> I feel like I have to. Sorry. It was wonderful. It was beautiful. The problem
00:10:44
was I think I didn't know what to capture yet, right? Because this is like a month into us doing year in the life
00:10:49
and so I'm like what kind of coverage do we need? And I think that was a big
00:10:52
problem for me and throughout the year that >> that really helped was like oh okay like
00:10:57
this is the kind of coverage we need. We need like setups as in like oh here's
00:11:01
where we are in terms of you know setting or >> this is what we're shooting this is why
00:11:05
we're shooting it. This is why it's challenging. Like eventually like we we
00:11:10
could kind of figure out like >> what we wanted. Yeah, >> but at this point
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>> the Portugal I'm really disappointed because we lost all that footage, right?
00:11:23
>> Well, we lost the actual footage up for the video. >> Like the I guess the GoPro that you had
00:11:28
or like the phone that you had that you used to shoot a bunch of the footage fell off the car
00:11:32
>> unfortunately. Yeah, it was >> Yeah. So, it was suction cuped at some
00:11:37
point during our drive. it had fallen off and we unfortunately only had like an hour left before we had to get back
00:11:44
to the hotel or else the shuttles would be leaving and we'd be stranded there.
00:11:48
And so we like turned back and we we probably searched for that camera for an hour or so cuz it had all of our like
00:11:55
you know kind of like bumper shots and all this like great coverage and we're
00:11:59
like oh man this is a bummer to lose that that footage. I was like, from a story perspective, this is so great
00:12:04
because it shows stakes, right? Like I think the big issue that I had with util one that is already being solved by 2 is
00:12:14
in one, we just keep constantly winning all the time. Like it makes working here
00:12:20
look really easy, but that's just because when stuff went really bad, we'd
00:12:23
like lock in and not know. >> We lost all the footage, so we can't show.
00:12:28
>> Yeah. Exactly. Okay. So, two months down, month three, there's another trip
00:12:32
to South by Southwest. And I was just like, Rich, we are going on this trip. >> We got to go.
00:12:38
>> Both of us are going to shoot everything. >> Mhm. >> And I think that this was the turning
00:12:44
point for us. >> Oh, absolutely. >> Yeah. So, like we went to Southby with
00:12:47
all the with all the pod boys. Um, >> there's a great story about this.
00:12:52
>> Wait, what's >> the hotel story, >> bro? Oh, two. My god,
00:12:57
>> I forgot about that. >> There's so much good stuff. There's so
00:13:02
much good stuff that did not make the cut. >> Tell that story. >> Somewhat know this. Which hotel store
00:13:07
are we talking about? Cuz there's >> I just know like Southby is really
00:13:10
confusing and we're figuring this out right now. Booking again. But like in order to get a hotel at Southby, you
00:13:15
need a badge. And Vox handles our badges. So Vox booked our hotels, but since you guys aren't hosts on the
00:13:22
podcast, we had to get you hotel rooms. And after this episode, I could send this to Vox. Yeah. But like you had to
00:13:29
get hotels somewhere else. >> Yeah. So we just found a place that Rich could book with like Hilton points or
00:13:35
something that was like 30 minutes outside of Austin. >> But it was cheap.
00:13:38
>> It was really cheap. >> Under 100 bucks. >> It was like It was like It was like a
00:13:42
hundred bucks. Rich and I were just going to like share a a bed. Did you guys get your money's worth? So,
00:13:48
>> no, we did not. >> No, I would argue we kind of did. >> So, we show up and they're like,
00:13:54
"There's no clean water." And we were like, "No, no, no hot water."
00:13:57
>> And it's like 11:00 at night. We're freezing. We're tired. We're like, "I
00:14:01
just want to shower and go to bed." And they're like, "There's no hot water."
00:14:04
>> Yeah. So, they were like, "So, we'll give you half off on the one room you
00:14:08
have." And I like look at Rich and I'm like, "I think we're balling out.
00:14:14
Keep the $100 we gave you. Two rooms. >> So, Rich and I get our own fullsized
00:14:22
bed. >> Nice. >> Um, there was also like no breakfast there >> and it wasn't the hotel has breakfast
00:14:29
anymore, unfortunately. >> But, um, are you sure it was I remember trying to run the water and I think like
00:14:35
a brown sludge came out. >> Oh, my room just had cold water. So, between two rooms, it was
00:14:42
>> either way, we go to Southby, we film everything. Rich and I stink, but in a
00:14:46
good way because that footage was stanky, too. >> It was great. >> Um, C70 is not great in low light, but
00:14:52
it, you know, it's all good. >> That was the shoot that you guys came back and you like begged Marquez for
00:14:57
Sony's. You were like, "Please." >> And then literally like two two shoots
00:15:01
later, we were like, "Never mind. Never mind. We're going back. >> We should have always trusted you." It's
00:15:06
mostly that that's the one low light shoot. I mean, other than being like in
00:15:10
the back of a car or like on a plane or something, it's like it's usually pretty
00:15:13
decently lit and stuff. >> Yeah. But >> that C70 color, Rich, like the color job
00:15:18
you did is just like so fantastic. >> Beautiful. >> It is a great camera to work with.
00:15:22
That's why we love Canon. >> Do you guys want to >> on our fine cut? So, no notes on story,
00:15:29
no notes on move this, no notes on cut this. The only notes that people could leave are color grading and audio. Do
00:15:36
you guys want to guess how many notes we got? >> Yeah. >> Five days to upload.
00:15:40
>> By the way, by whatever miscommunication we had on that was really frustrating
00:15:45
because I I told you I said this is unmixed. >> No, no, no. I know. >> So, only leave notes on missing sounds.
00:15:53
>> We just we just sent it to everybody. >> No, but you specifically said, "Do not
00:15:57
leave notes on missing sounds. Only leave mix notes." >> Oh. Oh, that's
00:16:02
>> so all of the notes we got were useless >> to be fair. >> The mix is still really good.
00:16:08
>> Eric, also if you're not, we put everything in Frame.io and the amount of
00:16:13
times this was watched by people in the studio is >> wild. I think I watched it once a month
00:16:18
cuz we cuz >> the thing evolved, >> but >> yeah, the cut that I watched was not
00:16:23
what even got uploaded. >> I've watched so many different cuts of Year in the Life. But there's a point
00:16:28
where this the video gets so big that even though Eric will be like don't comment on XYZ
00:16:33
>> you'll just forget that by minute 40 >> it's not even well that and also some of
00:16:37
them are like >> this is too important of a thing I have to leave the note because just if for
00:16:43
some reason it doesn't it feels >> like it will be more detrimental later
00:16:48
>> to be I know that kind of sounds backwards but there's things like >> curses some I don't know sometimes
00:16:53
there's things where like I have to say this graphic is messed up. We're like,
00:16:58
what's just like if we don't his home address is showing in minute 38 on on
00:17:03
like on our second to last cut on our fourth watch through, Rich goes, "Oh my
00:17:08
god, that's the company credit card." >> I think this was like the day before
00:17:12
upload, just just so you guys know, >> Rich, thank you. >> Yeah. Yeah.
00:17:16
>> Thank you. >> Like, oh my god, we've learned so many things. We had to do like such fine
00:17:24
details on it. And that's like but yeah, we had like 300 notes the week before
00:17:29
upload. >> Yeah. >> Like the week before. So that was like not that's not including the story
00:17:33
conversations and like the the weekly meetings and blah blah blah. But >> um the flow that we got into after
00:17:39
Southby was like when things really clicked because it was Southby and then um I took like a a trip to Peru. Shout
00:17:47
out Berwanos. And then and then and Chicago just cuz. And then um while I was in Peru, Harper and Mariah ran point
00:17:56
on interviewing every single person here. >> Mhm. >> And then once we had the interview
00:18:00
coverage and actually good travel footage, we were like, "Oh, we have the first 15 minutes." Like, "We can figure
00:18:08
this out." And so once and once we sent that video at the on the first day of
00:18:12
April, everyone's like, "April fools, whatever." And they watched and they're
00:18:15
like, "Wait, this is actually kind of good." That's when the momentum started
00:18:19
to build. And by like May and June, everyone was like, "This video is coming
00:18:22
out. I know that I can put my time into it. I know that I can think about it."
00:18:26
Cuz we've had other videos. Ellis and Adam are both certified and how to use a
00:18:30
ham radio because we spent three months on the studio channel >> trying to get them to call the ISS.
00:18:36
>> Mhm. >> And we just scrapped that video. I completely forgot about that.
00:18:41
>> Yeah. So like, so like I to like So like I think having that that come out and
00:18:46
Rich and I just going and shooting the coverage, I think that was the moment where everyone realized like, oh, the
00:18:50
video is going to come out. >> Yeah. >> And then it was off to the races.
00:18:54
>> Format wise, it was really fun cuz I think you when you see the title year in
00:18:58
the life and you when you know what a vlog is, you kind of just picture just a chronological super super super long
00:19:03
day, like a long vlog in in straight order. And I think some people might find that interesting in its own way,
00:19:10
but I think the the way obviously we were able to structure things and like bring stories through, loop things
00:19:15
through the whole video and the recurring uh I've watched it now with people who are seeing it for the first
00:19:20
time because I've seen the cut so many times. noticing different things people
00:19:23
pick up on like the Snoop Dog wine bottle and how that keeps recurring or just like various things that sort of
00:19:29
bring people's attention back in all made it feel not obviously produced is one thing but like just cohesive and it
00:19:37
made me really proud of it. So it was it was exciting to do that. >> I like a piece of advice if you want to
00:19:42
do that like I think so many vlogs are runon sentences. So many vlogs are this happened and then this happened and then
00:19:50
this happened and then this happened and it gets really really really diff it gets difficult for the editors because
00:19:56
they don't know what to place focus on when everything is equally weighted. It's difficult for like Ellis as he's
00:20:01
doing like music decisions because he like you can't tell what the difference
00:20:05
between beats are. And so everything that we were doing was thinking like what is our punctuation like where is
00:20:11
something going to end? And then we'd reverse engineer. So like the summer was
00:20:15
oh the punctuation ends when Marquez comes back from China and then the then that's that gives us clear setup of like
00:20:22
we have to film a bunch of stuff before Marquez leaves and like that then I also
00:20:26
know what to cut because if we're shooting something and it doesn't intersect with Marquez is going to China
00:20:30
soon then it's then it's all gone because we're just focused on that
00:20:34
sentence right now. And then once that's done it's like oh Marquez comes back
00:20:38
from China and literally the day he's back busy season begins. Okay it's
00:20:42
smartphone season now. Now there's like a main thesis for that which leads us to
00:20:45
iPhone which and so like the the key was like we just had to figure out where the
00:20:51
cut was going. That's what made cutting like um November and December really
00:20:56
really hard because we had already been through the hardest things we could do and we shot tons of videos in November
00:21:02
December but it was just like you you've already made your iPhone videos. Like
00:21:06
seeing you make a a Pixel video is like that's not impressive anymore cuz we we
00:21:10
watched you do it right. It's not like there's any tension in like are they
00:21:13
going to be able to pull it off and there's no mystery either. >> So like figuring out what we wanted to
00:21:22
ultimately like that's where the three questions idea came from. We just like
00:21:25
pulled everyone in for interviews right at the end of the year to ask them, "What are your three questions to
00:21:30
describe 2025?" And then Rufus did a full score piece. And then we kind of knew like, "Okay, three questions for
00:21:37
2025, blah blah blah blah blah." And then that'll ring with the three questions that describe 2026.
00:21:42
>> Yeah, >> that's that's the ending. And it all led >> three words. Three words.
00:21:46
>> Oh, three words. Three words. English. >> I love you. >> Joel Sixers are up. Joel still dreams.
00:21:55
>> Dude, we've won five games in a row. Maybe like >> a 40 piece. It's
00:21:59
>> Wait, can I just say something that Ellis was very proud of that people may
00:22:02
or may not have noticed. >> Yeah. >> The moment in Yidd when Philadelphia
00:22:07
comes on the screen he put like >> Ellis, do you want to describe it? >> Every location has its own signature
00:22:14
sound except for one. I don't remember which one. >> No, New Jersey had one. New Jersey had
00:22:19
an arcade machine. a kung fu slap from an arcade machine. >> The Philadelphia one was an eagle
00:22:25
screeching and the sound of a car window being shattered. >> Oh wow, nice.
00:22:30
>> That's not the thing that I'm most proud of. >> And I probably, you know, it's it's not
00:22:33
right to talk about this without Rufus here because he was the one that really like
00:22:37
>> did a lot of this labor on it, but something that Rufus and I are both really proud of in Yidd is like no one
00:22:43
would know how many of the sounds in Yidd are fake. Um, like the entire intro sequence, there's not a other than
00:22:52
Marquez's voice, there's not a single sound that was recorded. Every sing even
00:22:56
like the montage. Of course, it's not just tech reviews, it's also car reviews.
00:23:15
So, it's not just phones and it's not just cars. We also do a podcast in here.
00:23:20
>> Every single clip in the montage was silent and we re-recorded everyone's
00:23:24
lines, everyone's movement, every shirt swish, every footstep was walking around
00:23:29
with a microphone and he'd be like, "Hey, jump." >> Or he'd say like, "Say congratulations."
00:23:34
Or he'd say like, "I hope this works." And he'd just like run up to people and
00:23:37
tell like give people lines and then >> pulled me into a robot room and was
00:23:40
like, "Say something funny. Go." Like we just spent a lot of time like
00:23:44
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
00:23:50
the clips he gave us and then recreate our own rooms >> than uh than work like the C7 footage.
00:24:06
>> Okay, this gets into one of the themes of the piece that I think is very
00:24:10
interesting. Because I think that there's a lot I think there's a great deal of humor in the fact that from
00:24:15
within like literally the first 15 minutes to the end, we keep being like, "YouTube's the best. I don't want to do
00:24:21
movies. YouTube is great. We don't need Hollywood." And then we're like, "We're
00:24:25
going to fully mix the entire thing with Foley Sound." >> Yeah. >> And it's going to be 90 minutes and you
00:24:32
should probably watch it on your TV and we're going to do a little director's
00:24:35
commentary episode. Like, do you guys like how do we reconcile the dissonance? I can I think that a lot of times and
00:24:42
I've talked to I remember having this question I think it was in the Will Smith interview of like what's it
00:24:47
because he was doing YouTube videos and obviously Hollywood movies and what's
00:24:51
the biggest difference between the two? >> My Will Smith impression. >> Yeah. And a lot of it
00:24:59
>> knife and >> a lot of it comes down to when working on Hollywood movies, you have an idea in
00:25:05
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 of this is
00:25:10
the same for us. And then you finish working on it and it doesn't come out for three more years while it's being
00:25:17
worked on. And that gap is the frustrating part. And I think for us, we have the same thing. We have this
00:25:24
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
00:25:28
it as good as possible. And then it's out. Yeah. We picture locked year in the
00:25:34
life January 7th, 2026. So we essentially fully edited the entire thing over Christmas break. took one
00:25:43
week to do notes, pickups, finalize the last five minutes, shoot the first five minutes because the first version of the
00:25:49
first five minutes was me shot on iPhone reading the lines like just like trying
00:25:54
to vibe it out. >> Yeah. Spoiler, wasn't actually September. >> Yeah, you got the idea.
00:26:00
>> Yeah. >> And then um Yeah. And then we essentially finished it and then Rufus
00:26:06
and Ellis had three weeks to sprint out the entire audio. You had two weeks. It's crazy out the entire audio.
00:26:13
>> Two weeks is sprinting because in our world two weeks is four or five videos.
00:26:17
But like the amount was four or five videos was insane. But I think also like you're saying why did we take so much of
00:26:24
all this? I would like to hear your guys' thoughts because listen, >> I watched a bunch of cuts of these. When
00:26:31
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
00:26:37
you all put in, I can't even put into words. I did everything. >> Shut up, Adam.
00:26:44
>> But like part of this is like this is the first time we did it. >> The amount of variables that happened
00:26:51
over a year, the amount of >> pieces of equipment that we recorded on, the amount of hard drives and computers
00:26:59
and files that we were in the ether. Like at a certain point, I'm assuming LSU you guys realized like, yeah, we
00:27:08
have to do all of this stuff because it's just there's so much going on. it
00:27:13
like winds up becoming one of the I don't want to say easier things to do but like in order for it to work
00:27:20
the audio like in order to make a full it's feature length it's documentary
00:27:25
style like to get the vibe going and a million like you you always get perfect audio off of the DJI Osmo that David
00:27:32
forgets to turn on like in the car or like my phone >> stuff like that is mind-blowing because
00:27:38
yeah like the initial cut is like David forgot to turn on the DJI Osmo and you hear like music in the background and
00:27:44
the sound of the road going by and like >> like you you two like perfectly fixed up
00:27:50
the audio so like you could always it's just ins it's just insane. >> Credit words where words dude the the
00:27:56
dialogue was really a Roffus championship run like that was I guess so I guess technically it did spend
00:28:00
three weeks in audio post because the first week was just Rufus doing dialogue >> for that sequence we we actually locked
00:28:06
September 1st. Yeah, >> we turned around September and got it locked by the top of December cuz we
00:28:12
knew something would go wrong. So, like we were just like, let's just find 20
00:28:15
minutes to figure out what would go wrong. >> Rufus and I had a lot of conversations
00:28:19
in December about how we wanted Yidd. And it became pretty clear after like two or three of those conversations the
00:28:29
workflow we needed to do, which is like not the MKBHD workflow, but very much the like cinema Hollywood audio post
00:28:37
workflow. My god, I'm getting tired like thinking about this project. You're
00:28:42
still recovering like Yeah. Um >> but uh I don't know. We definitely did a
00:28:47
bunch of really funky stuff. You know, Riv and I had this really funny conversation on Mix Day, the morning of
00:28:53
Mix Day, where he was telling me about this video he had just watched of these remixers doing TV shows like reality TV
00:29:01
in LA where they'll have two mixers on three computers going through the same
00:29:07
set of speakers so they can hear what the other person is doing. And we were like,
00:29:11
>> how on earth do they like how do you mix anything hearing someone else's work at
00:29:16
the same time? And after mixing Y for like 3 hours, we were like, we need to do this. And we immediately plugged his
00:29:22
computer into the same set of speakers and it like made everything so much easier.
00:29:27
>> I can't Chinese Bible and Mozart in different. >> So we had two we had two computers with
00:29:33
identical ProTools sessions up that were timeline synced with uh with them both going through the same computer. So we
00:29:42
were able to like make adjustments on both of our machines that we'd sync up
00:29:45
at the end. And if we got somewhere where a sound effect was missing or a piece of music was missing, I could keep
00:29:51
going forward in and mixing while Rufus auditioned sounds, then we would be in agreement like that's the right sound
00:29:58
effect. He would blip it to me and I would drop it in on the main session. >> Blip is like fancy airrop. Blip is
00:30:04
>> not even. It's >> blip is like >> it's just better airdrop.
00:30:07
>> Yeah. If you're not if you're not blipping, you ain't living. That's what
00:30:10
>> I got to say. We use Airdrop a lot around the studio to like pass around
00:30:13
files, whether it's a PDF or a thumbnail or a entire like B-roll section or footage.
00:30:19
>> I don't trust Airdrop to work more than 60% of the time, especially as files get
00:30:26
past half a gig. >> Yeah, half a gig. That's it. Blip. I I remember being in like the basement of
00:30:33
Newark airport, you know, that underground gate at the very back of terminal C and getting a blip from
00:30:38
Harper at the studio of like a 350 megabyte short and it was just like downloading done.
00:30:43
>> I was like, wow. >> Okay, >> Blip is amazing. I love Blip. >> Shout out to Blip.
00:30:48
>> It brings me to one of my my big questions actually. Okay. >> How much storage do we think we can
00:30:54
estimate we actually shot to for the entire year of all the things we captured? >> I have that number.
00:31:02
>> You do? >> With me at this moment in in my Slack. >> How do we uh
00:31:06
>> I mean I I don't think it's exact, but it's it's the size of the pro of the
00:31:10
Final Cut uh >> library. Do we want to do prices >> whatever the highest
00:31:16
>> tier? Do we want to do prices right folder? So, like everything. All the
00:31:20
graphics, all the exports, like all the B-roll, all the all everything. Yeah. >> Wait, everything that made it?
00:31:27
>> No. Everything we shot all source material. >> Honestly, I have no idea.
00:31:32
>> I should be this answer. >> I have no idea. I assume you I'm probably the only one that knows the
00:31:36
answer besides Ellis. Yeah. So, >> Rich did all of the data management, which was like such a feat.
00:31:43
>> I had to ask Marquez for a new drive. Like, >> oh, that does give you some cont. No,
00:31:47
there there were times where I would be like, "Oh, Rich, did we have something
00:31:50
from this?" And he would have to like unplug one drive to plug another one in.
00:31:55
Like the the amount of just random bays of storage next to Rich's desk for this.
00:32:00
>> Okay, wait. I have I have like a crazy rich pull story. So, when we're in like
00:32:05
November or December, we're sending cuts for people for like final final notes.
00:32:10
Tim leaves a really good note where he's like, "We've shown like struggles with
00:32:14
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
00:32:20
cut where we we see like a triumphant moment with the merch before they go into shooting all of like the the
00:32:27
photos." >> Yeah. >> And I was like, "That's so true." And I
00:32:30
was like, "Rich, do we have the coverage?" And so Rich goes and he takes
00:32:33
every single merch meeting that we have because we have them all labeled. >> PS them into a timeline. It's a three
00:32:38
and a half hour long timeline. And he and and this is before Final Cut had transcripts. So he just goes through and
00:32:44
he listens to the whole timeline on 2x speed and he finds a 15-second clip of them saying, "This looks really good."
00:32:52
>> Oh, it was like Brandon on Zoom, right? >> Yeah. >> Oh my. >> And oh, and the audio was messed up at
00:32:57
that time. We we like we um for for a month and a half out of the year, right before Rufus joined, we we got lucky on
00:33:04
this actually. Um we hadn't checked the footage. We were just filming and there
00:33:08
was something wrong with the XLR cable that plugged the microphone into the camera. And so for a month and a half,
00:33:14
we had pretty much no workable audio and we just had to figure out how to edit around it. And then like between audio
00:33:19
team and like just like creative editing most I I haven't seen a single comment.
00:33:24
>> But yeah, brutal. >> All right, are you all going to make your guesses?
00:33:28
>> Rich is going to have photographic memory of 2025 just >> um >> while you guys guess, I just want to say
00:33:34
one more thing about audio because It's not not that interesting. Is um we did a
00:33:38
fader mix on this. So, we watched through with faders and just uh just did it all live. It was really really fun.
00:33:46
>> Can I say something since you make it sound like we're not talking about audio
00:33:49
anymore, even though I'm sure we will talk about audio later. >> When we were watching, there's a moment
00:33:55
where Rich is hiding from Miles in the dark and you do the like uh reverb this. >> Yeah.
00:34:03
>> Claire just goes, "That was awesome. And I was like I was like if Ellis saw if
00:34:09
like Ellis or Rufus saw Claire who's like just watches our stuff every once in a while is not an audio movie nerd at
00:34:15
all like understand how triumphant a like audio clip was in that. I was like they would be so proud.
00:34:21
>> You know what's funny? Rufus did that as a joke. >> Oh really?
00:34:25
>> He threw it in the slack and then we watched a cut and and it didn't make it
00:34:28
into the cut and I was like bro that has to get added back. >> That's really funny. She loved she
00:34:33
thought it was so funny. like it added to that scene. >> It was really good. Yeah.
00:34:36
>> Rufus, Mariah, and Harper are like definitely the three people who are not
00:34:41
in this room who deserve so many flowers. >> Yes. >> Um Yeah. Like those were definitely the
00:34:49
three people that helped really accelerate it from like the Rich and Eric manic power hour
00:34:56
into like this is a part of the company culture and we're all like really deeply
00:35:01
into it. All right, let's do numbers. I just saw Eric's number and mine's so so
00:35:05
much different. >> No, no, no. Andrew. Oh, Marquez is pretty close. >> Okay.
00:35:09
>> I I figure a terabyte a week. >> What did you put, Marquez? >> I have written 28 terabytes.
00:35:14
>> Okay. And uh Eric, you have >> I I have a terabyte a week. >> So 52 terabytes. And then
00:35:20
>> I put 8.1. >> Uh the correct answer the whole project is 37.57 terabytes.
00:35:26
>> Damn. Because I think my context for that was you rich you were like all
00:35:30
right I think I asked you how much storage do we need to make sure we have to make Yel 2 like you don't have to
00:35:39
think about like not having enough storage and I think the the tiers were 3264 96 and you were like yeah as long as we
00:35:50
have over 50 we're good and I was like all right okay okay all the price is exponential after 30 days.
00:35:59
>> Yeah, the price goes up. But yeah, I was like, okay, that that is a lot.
00:36:03
>> It's going to help. So, like, you know, Rich, you can talk about this more, but
00:36:06
like a big lesson that we had was um we were there came a point where we were physically moving server arrays between
00:36:14
my desk and Rich's desk. We were back and forth. We could share a cable, but
00:36:17
then Mariah would be doing a cut and we'd So, then we'd have to pass a a
00:36:20
separate server to Mariah so Rich and I could work on it while Mariah like cuts up something. And then eventually Rufus
00:36:26
had to work on something and so he'd have to pick up the server, take it to his desk, plug it in, plug it into his
00:36:32
computer, and then he would have to go and proxy all the footage. So he'd take
00:36:35
all the footage that made it into the cut and then rerender it in like a 720p or 1080 proxies and then he could edit
00:36:41
locally on his computer. And so eventually when we don't have to do that, days will
00:36:48
be saved. >> Yeah, that is the plan. I mean, we want to have this be as now that we've done
00:36:52
our first ever version of it. There are so many things that we've learned about
00:36:56
the the production, about what we do shoot and what we might already know we don't have to shoot and then how we put
00:37:02
this together. Also, story lines and arcs are going to be different, too. The first one's always the first one. You're
00:37:07
introducing characters. We're introducing, you know, the flow of the year and how things normally go. In the
00:37:12
second one, you can correct me if I'm wrong. You can kind of assume that people are familiar with the characters
00:37:17
now, that people are understand the arc of the season now, and maybe there are more interesting different dynamics for
00:37:24
part two. >> We will see. >> That just made it into the cut. >> I don't want to.
00:37:31
>> That just made it that just made it into the cut of the microphone. >> That just made it into the cut. Yeah.
00:37:36
No, I mean we've already started doing our interviews for 2026 and the interview question that um we've asked
00:37:42
everyone we've pulled in so far is what is the greatest sequel of all time in
00:37:47
your opinion? We've gotten some uh some some good takes there. My personal favorite take is is Shrek 2. Um, but I'm
00:37:56
like my Yeah. My vision for 2026 is I want to treat it like The Bear season two, where The Bear season one is about
00:38:04
the action and the plot of running the day-to-day life in this restaurant, and The Bear season 2 is much more about the
00:38:14
people behind the restaurant where you focus uh a lot on individuals >> going through their own kind of lives
00:38:20
and you get to live with people a little bit more. um instead of like just the ensemble as a whole. So yeah, we're
00:38:27
definitely thinking through like what the structure is gonna look like and the answer is probably gonna steal a lot
00:38:34
from like 20 minute episodic television more than more than anything. Yeah, I'm
00:38:40
excited. >> Be commercials >> um if you or someone that you know would
00:38:45
like to sponsor your in the life too, please reach out to Jonno. He'll probably tell you no.
00:38:51
>> Thank god we didn't have an ad read. We we we had a sponsor who was interested
00:38:56
and then like through like you know back and forth or whatever it's like okay
00:38:59
this just isn't going to work. >> Oh my could you imagine halfway through
00:39:03
just being like >> thank you to Bombas. >> I think that's probably ideal. I don't
00:39:08
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
00:39:14
flow state. >> Yeah. >> And some things kind of interrupt that flow state and Yodel is one of those
00:39:19
things where you want to stay in it. This is the only video I've ever seen where the attention goes up over time.
00:39:23
>> I have >> Yeah, maybe like one or two videos on MKBHD in the last year that do that
00:39:27
where the graph is actually increasing and like way above the normal line >> and that's really satisfying.
00:39:32
>> I'm seeing like every day like the average number of people who finish the
00:39:36
video goes up. >> That's sick. >> By like thousands. >> Yeah, I do remember seeing cuz we we did
00:39:41
this as a a collab on YouTube. A lot of people, you know, we have to be very careful about using these tools, but we
00:39:46
launched it as a collab. No regrets about that. So we can see the analytics and it's like if you sort comments by
00:39:52
newest you can kind of get a sense of the like flow of you know there was the day one viewers obviously people who
00:39:58
were watching right away like hell yeah >> were very excited super you know jazzed
00:40:02
about it great then you get the day two day three viewers now we're at like the
00:40:05
one week later someone who like saved it and bookmarked it and was going to watch
00:40:08
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
00:40:13
reading those and it's all all of them are uniquely interesting and positive.
00:40:18
Whether it's like here's a timestamp of something I really enjoyed I thought was
00:40:21
hilarious or here's six paragraphs of I never comment on the videos but I had to
00:40:25
comment on this one. Here's a whole bunch of stuff. A lot of lot of really fun stuff there.
00:40:29
>> Comments on this are fun because >> one they just keep coming in. Like
00:40:34
normally 24 hours later comments die pretty hard. These are still flowing >> but because the video is so long it's so
00:40:41
hard for someone to comment about a very specific spot. And I think also because
00:40:44
it's so long so many more people are watching it on TV. So, generally they're
00:40:48
more comments of the vibe of the whole thing. One, they're the most positive
00:40:52
comments I've ever seen. >> Two, everyone loves Ellis. It's just Ellis show. It's just like they are the
00:40:59
best. >> Um, but then I do really love when there is find if there's a time stamp
00:41:05
>> and I watch I'm like, this person >> liked this part enough to pause this
00:41:10
like hour and 30 long minutes video to specifically point to a very specific part. and like finding those have been
00:41:16
really fun. And then I feel like I go back and then relive that scene because it still is our life.
00:41:21
>> The most insane and >> crazy and weird thing about this is somebody decided to add year in the life
00:41:28
to letter boxed which is that's like that's where you can log the movies you
00:41:32
watch and review them. >> I'm curious since it now is like a 90-minute video and we all have our
00:41:37
favorite parts. What is everyone's favorite? It can be a quote or a moment. >> Nintendo my pants.
00:41:42
>> That was my favorite too. Everyone's second favorite everyone's second
00:41:45
favorite quote from >> uh or moment from uh the year in the life. >> Mine is Eric's where he's like talking
00:41:52
about you playing golf and he was like Marquez doesn't feel it like an artist.
00:41:57
He feels it like an athlete. >> Mhm. >> And I remember watching that cuz I had
00:42:00
seen multiple cuts and none of my cuts had that line in it. And when I heard that line I was like
00:42:06
>> it clicked. >> That's Yeah, that's how it happens. >> I I got a couple notes that are like ah
00:42:10
the golf thing just isn't working. like the audience doesn't care about golf and
00:42:13
I'm like no no no no like >> there's a bigger story >> like yeah yeah yeah like we have to
00:42:16
figure out a way to like communicate why this beat matters. We got comments too that were like we got to cut the Snoop
00:42:22
Dog bottle of wine because we only had two clips of it. >> Rule of threes, you need a setup, a
00:42:27
reminder, and a payoff. >> Um and so we had to do a setup with the with like the Slack graphic later. And
00:42:33
so yeah, there were a couple beats there. I have I have one, but I want I want Rich to go first.
00:42:37
>> I have two and they're both Andrew related. >> Oh, okay. Um, the first one is when
00:42:42
Google came to our offices in >> I don't think people understand that part of the clip, but yeah. Can you
00:42:48
explain it? >> So, I remember I was right by Alex's desk and then everyone was as in Andrew
00:42:54
Marquez, David, and all the Google people were, you know, at our lunch table and I'm like, "Alex, go ahead and
00:43:01
pull up like the Verge article on like the Pixel whatever, right?" The leaks.
00:43:05
Yes. And I'm like, and then I shoot that and I just pan over it and Andrew just
00:43:09
dead pans the camera and he's just like, >> what? That was so funny. >> They're showing us the phone so everyone
00:43:14
online only knows the leaks and I see you guys across the room doing exactly and I immediately catch it and I just
00:43:21
stare and you turn the camera at me and all the Google people are talking and right through them I'm just pointing at
00:43:26
you guys like I see what you're doing. >> I only Yeah, I saw that on second watch.
00:43:30
I thought that was amazing. My other one is when we were doing the iPhone air um
00:43:34
intro and then it's you on the small HD and you're doing like this because
00:43:37
you're a ghost because we had we had to do um kind of a uh an opacity thing so
00:43:43
that we could see the iPhone air. It's a very small moment. I think you have to
00:43:46
be really paying attention to see that. But >> it's a fun little kind of Easter egg.
00:43:50
I think my one of my favorite parts was our first live stream, which is kind of this really funny thing of like us not
00:43:58
expecting what's going on and then some technical difficulties, which it doesn't
00:44:02
capture in there, but like Rufus finds the one problem that we had and kind of saves everything. But like the two
00:44:08
moments of that is everyone guessing how many people and guessing really far down. But when Ellis gets asked, he's
00:44:13
just like, I don't know. just like very like you can just tell he's cooked at that
00:44:21
moment. We've already just like >> we're already exhausted. It's it hasn't
00:44:27
even started. What's going to happen? >> Ellis knew that that was like for Yiddo.
00:44:32
So he like starts the clip like very like serious like oh I'm going to give an answer and you could just see him
00:44:36
break in that scene. >> I see the break see his soul leave his body and then right after it's just so
00:44:42
funny the clip and the really awesome graphics around it of like we're like we're live. No, we're not live. And
00:44:48
we're all We are live and we just don't know it. And then it's like, no, no,
00:44:51
we're live, but they can't see us. And it's just Marquez on the live stream.
00:44:54
And I'm like, I I think they can see us. I'm on the thing right now. >> So, I thought that was
00:45:00
>> that was fun. I remember that happening, too. My favorite moment was not a moment but
00:45:13
a sequence that takes place from about 55 minutes till about 1 hour 12 minutes that internally we called club Apple.
00:45:22
>> Um because >> oh my god like we haven't even talked about the Apple event yet.
00:45:26
>> Yeah. So, like I don't know if you guys notice on your watch through, but all
00:45:29
the music between flying to Apple and finishing the iPhone air intro is all dance music. Um,
00:45:43
exactly. And we spent a lot of time trying to figure out like how do we make this sequence that's actually takes
00:45:50
place over the course of like almost two weeks in real life feel like one continuous
00:45:58
like onslaught of work. Um and we it started off as me putting the track in the actual Apple event thing, the sort
00:46:08
of like uh like UK style base garage stuff. um and being like, "Hey, Rufus,
00:46:14
like, look how funny this is. Like, it's it's Apple Park, but it's like club
00:46:17
music, you know?" >> And he was like, "Wait a second." >> Yeah.
00:46:20
>> This really works. Cook. >> Yeah. I just thought that was so much
00:46:23
fun to put together. And it's so much fun to watch like the relentless club music. There's like a few cuts where
00:46:27
like the music cuts out for Tim and then we go right back to Marquez and it's
00:46:30
like the the um the comp that I was using as I was cutting that sequence is The Pit, the TV show The Pit. It's about
00:46:40
um an ER and an entire season takes place over the course of a 12-h hour shift in an ER. So every episode is one
00:46:47
hour in real time. >> Wow. >> And so you're switching from one patient
00:46:50
to the other patient to the other patient to the other patient. And it's one of those things where like you know
00:46:55
every time that you think it will relent like every time someone goes to take a break they're just like nope someone's
00:47:01
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.
00:47:08
IT'S LIKE US, BUT WE'RE SILLY. >> And so, and I feel like the club music
00:47:14
like perfectly encapsulated that. I grew up with an uncle in the music industry.
00:47:20
He's a composer for film and TV. The whole reason that I'm here and I do this
00:47:24
is because I got to see Uncle Carlos doing his work every day. And as somebody who would sit and watch him
00:47:32
score for hours and hours and hours, it was so familiar and satisfying and fun to see Allison Rufus cook on music and
00:47:42
make that a part of like a core part of the story. The fact that Year in the Life has a theme, like a little like a
00:47:48
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.
00:47:57
I definitely want to do a limited release merch drop where we sell a CD. >> Yo,
00:48:02
>> let's not do that. >> But are we gonna do the car? >> I'm the only person in here that owns a
00:48:09
CD player. >> It's a vinyl. >> It's vinyl. It's got to be vinyl then.
00:48:13
>> Oh, vinyl. >> Or cassette. >> I'm the only one in here that owns a
00:48:17
cassette cassette player. >> Ellis, just buy the whole limited drop. I know how much you make.
00:48:22
>> Yeah, >> but we should. Are we going to make the cargo room shirt? because that was that
00:48:27
was like half the comments. >> It It was a pretty spiked moment in the video.
00:48:31
>> It was people really like >> David with that one. >> Yeah, I think
00:48:35
>> I was surprised it didn't make the cut on the initial. I'm not going to lie.
00:48:39
>> If anyone really quick TLDDR is like we wanted to make like the core shirts for
00:48:43
each one and that didn't feel like the core core of our every shirt they showed us was a banger.
00:48:48
We could have released every single one. It just would have been too many and a lot of work to do that. But um
00:48:53
>> that marriage meeting was like an hour long, right? That was a really long
00:48:55
merch meeting and that was one of >> seven three minutes of selects. Baby,
00:48:59
that's how we edit. >> I would say very good representative selects of like the beats and the arc of
00:49:04
the meeting. It was like very >> Yeah. Very well done. >> We figured that one out.
00:49:08
>> Can I throw I don't want to just do a million things of what my favorite was.
00:49:11
But there's one other thing that I don't think anyone recognized which was during
00:49:14
Apple event. >> Mhm. >> There is the point where Marquez and David are at the event. So Ellis, Adam,
00:49:21
and I are in a room watching all of it. And Eric comes in with the camera, and it looks like we're talking about
00:49:27
something super important, but if you really, really listen, it's Ellis and I
00:49:31
talking about how the opening to Higher by Creed sounds just like Sugar Were Going Down by Panic at the Disco. Um,
00:49:40
not sorry, sorry, sorry. Fallout Boys. Fall. Wow. I'm going to get >> as well as a Paramore song. Yeah, it's
00:49:46
like us arguing about like >> so if you really listen to that because Adam's just like hey at the camera and
00:49:52
Ellis and I are like almost shouting at each other about >> it sounds so much more like creed.
00:49:58
>> I feel like that's come up before >> I have not seen we've talked about it at
00:50:02
work but I didn't see a single comment about that probably because it's too
00:50:05
specific but there are so many little parts where if you lived it you're like
00:50:08
people aren't going to understand that or like it's too short of a a clip of
00:50:12
it. Yeah. >> Also then immediately after Adam going welcome, welcome to Apple or whatever
00:50:17
that Tim Good morning is fake. And I just got lucky that he says good morning the exact same way. Every single time
00:50:24
>> he hit us with a triple good morning this year. >> Oh >> yeah. It was huge.
00:50:30
>> Has anyone not said their favorite part? You >> I have a favorite. Adam, have you given
00:50:33
one? >> My favorite part >> or any any any stick lines? I think my favorite part like re-watching it back
00:50:40
and like as a viewer because I specifically made I intentionally for the last like two weeks of you guys
00:50:46
editing like did not look at it. I was like I'm making it a point to not even
00:50:50
look to leave notes. I'm not even like >> the way to do it. >> Nothing. I just want I'm actually going
00:50:54
to do at the end. So yeah, you should do that. Highly recommend it. >> I'm not I'm just going to edit it with
00:50:58
my eyes closed. But the day before, no, when you guys were uploading that day, Alex and I were
00:51:05
doing one final watch through and just making sure that like nothing like no like no company credit cards were out or
00:51:11
something like that. So we were watching it at his desk and there was a point where Rufus is explaining how he scored
00:51:19
the iPhone intro and holy crap the before and after on that had like it gave me chills. I was like that was
00:51:26
beautiful. >> The sound stuff was really cool. I think the sound files next to the OnePlus 13S
00:51:32
intro. Seeing that I think >> people know our intros are crazy. >> I think seeing that extra level in the
00:51:39
tracks was like a >> I think it clicked for people. >> That was only like twothirds of the
00:51:43
tracks, too. The rest of them didn't even fit in the screen >> Yeah. I do have a favorite moment. I've
00:51:48
watched it with people. I remember uh it's when Eric and Ellis were trying to
00:51:54
get through the airport at the last Yeah. Yeah. Yeah. At the last second, boarding was closing in like eight
00:52:00
minutes and they were just getting through security and the bag was getting checked and at that moment I was like
00:52:06
>> 99.9% of people put the camera down and just like we have to make this flight
00:52:11
but not Eric and not Ellis. >> I dude first of all the DJI Osmo is so much fun to shoot with.
00:52:18
>> Yeah. And second, I the entire time I was just like, "Yes, Content is going to cook in the intro."
00:52:30
I was like, like the second we were off the escalator, I was already yelling like, "Move, move, move." Like, you can
00:52:36
see like me like picking up pace, but I'm like I'm yelling as much as I can
00:52:40
because I knew I was like, "This is going to be select." Yes, this is I was
00:52:44
I was watching it on the tiny DJI Osmo screen on the airplane. And I watched it like three times and I was just like
00:52:51
>> in my head there was never any shot that you guys were going to miss the flight.
00:52:54
But there was the like >> we got to get the bag on the flight. Please have room for the bag. And we got
00:52:59
the bag. >> What did you say exactly? There's something Ella says in line.
00:53:02
>> He goes, "David, take this back." Because >> no, no, before that it was like um
00:53:06
>> said, "We've never gotten this close to missing a flight, but >> but it seems pretty possible."
00:53:11
>> And it's just it's perfect. Can we talk a little bit about the James Cameron
00:53:15
interview because that was something dude >> that was something that in the the
00:53:20
post-production audio room we had like 50 million conversations about because actually the James Cameron interview we
00:53:30
talked about it is like the most profound part of the movie >> and also the silliest part of the movie.
00:53:38
And Marquez I don't mean to throw you under the the bus. >> I haven't seen it under the But Marquez,
00:53:44
you don't you don't watch a lot of movies. >> I haven't seen it.
00:53:46
>> Right. >> Short on this. Marquez, there's 13 James Cameron movies. And so and so and so
00:53:53
there's something really funny about like what we were talking about in the room is that the you know James Cameron
00:54:00
says this thing to you Marquez where he talks about the the cinematographer the the the filmer becoming the star and
00:54:09
their perspectives becoming the narrative which we thought was a hilarious thing for James Cameron to say
00:54:16
to you because that's your whole thing. Your perspectives on tech are the narratives. You are the filmmaker. You
00:54:23
are the star. He clearly had >> no idea who you are, what you do. >> It was really interesting.
00:54:28
>> Meanwhile, you're sitting there having never seen a single one of his movies,
00:54:32
not knowing anything that that he does. >> And somehow you both arrive at this like
00:54:38
ultra philosophical poetic thing about the future of media and the convergence of cinema and YouTube. And like we were
00:54:46
like, how how on earth do we communicate how profound and stupid this conversation is?
00:54:53
>> Meanwhile, Bos is just sitting there in some like outfit. He obviously didn't
00:54:58
pick himself. He's just like, >> "Yeah, yeah, totally." Like think people
00:55:01
are going to buy meta glasses. It's just like that whole scene is like >> that's too funny.
00:55:06
>> You couldn't have like Yeah. >> I remember in the moment thinking so I
00:55:10
had two like like visuals of that conversation. one was in the moment I was like I'm asking James Cameron like
00:55:17
someone who's clearly super visionary about what he thinks about the future of
00:55:20
film making and hearing his answer I was I was first expecting something like that I'd probably never heard before and
00:55:26
then I'm hearing him describe something that almost like resembles new world
00:55:30
like media like creators being part of their creations and I was like oh that's
00:55:35
interesting I guess he's probably saying that because it's me and then after I'm
00:55:41
like thinking back about what he head and I'm like that actually felt like a
00:55:45
very organic like new thought for him which is good because it it organically arrived at the thing that I would have
00:55:52
described as a future also which is the thing that we're already doing. >> So I thought that was that was actually
00:55:57
interestingly profound and it it worked out to be >> Cameron is somewhere in his submarine
00:56:02
watching this and he's just he's just smiling. He's just like do you want to
00:56:07
come on my submarine? We had like 50 million different pieces of music under that before we finally decided on the
00:56:13
sort of Philip Glass minimalist classical music. >> That was a good one, too.
00:56:17
>> All right, I want to share my favorite beat cuz I thought it was also quite profound, even though it's like
00:56:27
not actually profound, but I found it profound. Mhm. >> Um, so the the whole reason I'm here
00:56:34
right now is because Miles Somerville decided to make a lot of really good YouTube videos while we were living in
00:56:39
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
00:56:46
then Marquez recruited Miles and then Miles was like, "You should talk to Eric." And then I went into a Zoom with
00:56:50
Marquez and I was like, "Hey, you're in the live, mate." And then >> this accent.
00:56:58
Anyways, um so like Miles is the whole reason I'm here and he came up with me
00:57:03
and a group of six other kids. Um I tomorrow fly to Mexico City to go hang out with these six guys. We were all
00:57:12
groomsmen in one of uh one of our weddings. Um we're like very very close friends. We all still work in the
00:57:18
creator economy or tech. We're like we were nerds when we were 14 making YouTube videos and we're still nerds
00:57:22
now. And so it was really important to me to try to find a way to tell Miles's
00:57:31
story and how many ways it intersects with here. Because Miles only found me because I made a YouTube video when I
00:57:39
was 13 called MKBHD is Spider-Man. And then Miles for literal decades would hear MKBHD in his comments because
00:57:48
people would compare them. And then as he came here, we made a video. I I I sat down and I interviewed Miles. And I'll
00:57:57
I'll give you guys this this clip. I sat down and interviewed Miles the hour
00:58:01
before he came and he started here. >> And the the clip opens with him being
00:58:06
like, "Everyone wanted to compare me to Marquez, but I guess >> by technicality, I am MKPhD."
00:58:12
>> And so like and so there's there's all these like sort of like bizarre things.
00:58:14
And so it was really interesting to sit down with Miles and get to have a conversation with him where so much of
00:58:19
his brand curation and thinking about how to position himself and thinking about where the cars comes from comes
00:58:25
from like I can lean into a sense of humor that is inherently not Marquezish. And I think that there's almost this um
00:58:33
there's this joy and this tragedy and how much of his internet identity has been informed
00:58:39
by this place. And so I think one of the open threads that we opened at the end was this conversation
00:58:50
with Miles where he talks about his relationship to journalism and how he doesn't consider himself a traditional
00:58:54
journalist and even though YouTube has opened all these doors and gotten him at the table because of the sense of humor
00:59:01
that differentiates him in the digital world, it also bars him from this traditional class, this this sort of
00:59:08
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
00:59:14
with this piece is that hopefully in 1015 years, when the creator economy just is the economy, when new media is
00:59:21
just the standard for media, we can look back at this time where we were still the upstarts, but very clearly
00:59:28
positioned to become the next elite, the next big ones, and we can see the conflicts and the back and forth and
00:59:38
have a a a really crystal clear understanding for what was going through the minds of the people who were living
00:59:46
through that changing of the guard. We are at the biggest transition point in the history of media and it causes a lot
00:59:53
of issues for a lot of people. >> Mhm. And I hope that this piece can help
01:00:00
start to outline the templates for what being the responsible, upstanding, and better form of of of new media can be in
01:00:10
the next 5 or 10 years. I I hope that what we do will be remembered as as quite important because it's certainly
01:00:18
important to people like me and Miles. Yeah, I think there's been a a lot of I
01:00:24
almost wish we had a year in the life of so many of the years that we've had
01:00:27
here. Uh >> 2017 would just be like you and me sitting there and I like I used to 2017
01:00:35
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.
01:00:42
So like things have changed a lot but uh yeah they might have been a little more
01:00:45
boring back then. Yeah, but I do I I do have memories of like if you all the way
01:00:49
back to 2017 like being the only YouTuber at the tech event. Like I have a lot of those memories and then being
01:00:56
one of three YouTubers at the tech event and then being like, "Oh, oh, your first
01:01:00
tech." Oh. And then then there's seven of us and then there was tw and then
01:01:04
then it was half >> and then suddenly that you know they are setting up camera like lights and like
01:01:09
stuff for it to be like suitable for videos and suddenly they're thinking a lot more about it and it's become really
01:01:14
really interesting to follow all of that over the years to get to the point where
01:01:17
we are now where it feels like you know we have we have like electric cars and we have gas cars we have hybrids if you
01:01:22
want to make the the car analogy it's like we're kind of like hybrids now
01:01:25
we're like getting to this next stage where EVs are everywhere and it's clearly still in the future but we're
01:01:30
clearly moving moving in a direction and it's cool to be able to now have this
01:01:35
landmark this snapshot of time where we can see where we're at >> and uh Yidd is going to be crazy
01:01:42
compared to this one >> cuz we we we just know that a lot of changes >> once we hire James Cameron to make it
01:01:48
2040 Cyborg Cyborg James Cameron is like that. Can I uh throw something on top of
01:01:55
that that I think you should be that I think about I was thinking about this recently and it it stems in perfectly
01:02:01
here that I think you should be pretty proud of is you talk about how you slowly watch this the YouTube media make
01:02:08
it into like the journalist invites and we're getting further and further in
01:02:10
that. you've created not just a team but a group of channels to the point where
01:02:16
I'm seeing now you've mentioned this before like you think waveform is now a top 10 tech
01:02:21
channel just on its own like I think everything under our like I think studio is probably in there I think autofocus
01:02:28
is like I think the the this little empire that's been created here is it's
01:02:33
stemmed out and each channel lives on its own so well that we're going to events now and at an Apple event I'm
01:02:39
hearing a PR person being like Why? We need Ellis on the sound thing of this. Like they're picking people from
01:02:45
this team that they need to be inviting to this thing that's not just you anymore. That's just like this team has
01:02:51
the stuff that we've created here is big enough in >> this new media world. Like again like
01:02:57
Miles, I think all of us here go to a place and don't consider ourselves journalists in the sense of journalists
01:03:03
who went to journalism school and follow those standards. It's a different type
01:03:07
and you know we do it very differently but it's still an important thing. Um
01:03:12
you've built a a place for us all to come here and everyone here is like crazy important in this world right now
01:03:20
>> and it's kind of wild to think about that like individuals of us are getting
01:03:25
I got invited to fashion week. >> Oh yeah. >> I don't know why I don't think that's
01:03:29
that important but like weird weird level. Obviously. Obviously. >> Why is that surprising, Andrew? I'm
01:03:38
surprised. >> I should be I shouldn't be laughing. I shouldn't be laughing.
01:03:41
>> No, no, no. I mean, again, we're all funny. >> It's a podcast.
01:03:44
>> Dude, you you've people in this office now are getting invited to different
01:03:48
things because of the stuff we all create. And that's kind of wild. We've
01:03:52
seen a lot of channels >> come and kind of die off. And you didn't just keep going. You built a surrounding
01:03:59
cast that they are all part of the ethos now. That's kind of wild. >> The the thought that I had right after
01:04:04
watching it when it was live that I put into Slack was basically, damn, I got lucky. I got a lot of
01:04:11
talented people that and everyone who's here has we kind of gotten here in a
01:04:16
different way. like you've told your story and Miles has his story and Andrew
01:04:19
has his story and Rich has his like everyone has a different way that whether it was like I saw Vin and
01:04:24
Brandon's work or I put out a Google form and people submitted or I just like
01:04:29
had just just random recruiters reach out to me with people like there's so much luck that has somehow turned into
01:04:36
this incredible group of people. I feel very lucky for it. Uh I I kind of have no choice but to like make the most of
01:04:41
it and hopefully uh do a lot more of this stuff. >> That's why we're going to do Y till we
01:04:45
die, baby. Exactly. >> 2 ghetto furious. >> The greatest sequel of all time. Well,
01:04:51
I'm excited for it. Well, that feels like a good place to cap it off. >> Do you have anything else you think we
01:04:58
you're excited to share that maybe we missed? Anyone here? I mean, like I once
01:05:02
again want to say the amount of work that went into this. There's no words to really talk about
01:05:09
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 two
01:05:15
better on all fronts for everybody. Yeah. Um >> but thank thank you. It's one of the
01:05:22
coolest things I've ever watched and >> being able to >> we get to like show our families in the
01:05:28
future this and it's like it's like I'm thinking of it now as do you know how
01:05:32
people on TikTok are finding the like handy cam footage from high school 2003 that they're posting? Like
01:05:39
>> we get a 4K version of that that we get to I mean our kids will be like 4K what
01:05:43
is this garbage but that's that's pretty wild >> Olivia Harper Mariah
01:05:50
Rich Rufus Ellis and Andrew showed up too >> Marquez signs the tracks signs the
01:05:58
checks. I mean, Tim did a great thumbnail that's different than Tim's thumbnail was fantastic and Brandon gave
01:06:03
creative direction and Vin G like oh my god everyone contributed >> every like we don't make things on the
01:06:10
studio channel where pretty like every single person touches every single studio video and honestly the reason we
01:06:15
do it is because strategically when we do the videos are better and they do better.
01:06:20
>> Yeah. >> But this one was definitely just like >> Yeah. It was just so cool to see
01:06:25
everyone rally behind it and we make good work. proud of what we do. Go watch Year in the Life if you somehow watched
01:06:31
this entire podcast episode about it without having seen it. >> Spoilers. There's spoilers clearly.
01:06:38
>> Yeah. Go watch our labor of love. Back to our regularly scheduled programming
01:06:42
of course on Friday, but we'll see you over on the studio channel. Peace. >> Bye.
01:06:54
I could keep Marquez's camera wide open and he would still be in focus throughout the whole podcast.
01:06:59
>> I think Marquez is at like 2.8 eight and David and I are at like 56 and we're
01:07:04
still out of focus on what we're talking