EP#59 | Peter is BACK! His 4-year Journey from Intern to Employee

i think i think you guys know how this is gonna start so ready for this all right ready and [Music] guys let's welcome back it's a dark and stormy day here in texas i don't know what it's like over there in california but hopefully the sun is shining it's a little bit smoky out a little bit but more than that oh my god you guys you asked for it you called down the thunder and now you've got it we brought peter france in for the corridor cast i've gotten so many comments about people wanting to talk about peter to talk about what he's doing and you know this isn't just any just hey come on our podcast and be a guest this is a this is a a new chapter because guys our boys come home what do you mean by that jake uh what do i what do you think i mean nick like like he's back in l.a not only is he back in l.a but peter has come back to quarter digital and uh he's going to be with us working on videos hopefully you know from here to whenever until you get sick of me cradling this means that peter is no longer an intern yes so i think i'll pretty much be an intern forever i mean maybe in the hearts of the audience but officially not in our hearts yeah you've officially graduated from intern to creator to be a part of the team and it's even more of an honor to be on the corridor podcast right now uh thank you man i mean so i think we should we should just start for those of you who don't know it was a it was a hot and sh and and sunny summer of what year was it 2015 2016. we put out our first ever uh like hey submission for interns and uh you know we got what we thought was a lot of people at the time which was like a couple hundred now it's a lot for them it was a lot for them and we put out we put out a call and of that you know peter submitted a video that he was working on called uh what was it called peter driving force driving force yeah and um so we saw that and we thought man this is this is pretty good now came in we interviewed you and then you immediately just showed up at the studio and started making videos with us and we were like where'd this kid come from yeah that was that was really weird that was super intimidating coming in for the first time because i've been watching you guys for like five years at that point yeah no i can imagine um so that's how old were you then peter i was like 18 i think you were 18 okay so were you coming out of high school or were you about to start your senior year yeah i was coming out it was my last year and then every year after that like every summer like the ticking of the seasons like the turning of the seasons the ticking of the clock peter would show up he'd just come knocking and and we'd all be we'd all be waiting no invitations in our minds no and every every sort of june or so you just got the feeling and then all of a sudden there'd be that knock on the door yeah it was like clone season there's this little clone smell in there yeah and it was like formaldehyde it smells a lot like formaldehyde and shampoo yeah shampoo i'm i guess i use shampoo a decent amount what's the first thing i noticed about you i'm like this guy shampoos this guy and he's good at vfx i've actually been shampooing less recently apparently it's better for your hair that's what i like over two or three days nice yeah secrets the shampoo industry doesn't want you to know exactly no sulfates you don't want soul face peter what um i mean i guess what what have you seen over these years you know it's you did four years as an intern and now you're with us full-time i mean what have you seen from your own eyes uh as as you've sort of grown and as as you've watched us grow as well okay before i answer that question i my audio is so [ __ ] i'm hearing my own voice oh okay yeah fix it no it's okay the uh quarter cast we embrace jank over here we do um it's time for a little jank music interlude yeah get that mandolin do it okay there we go i'm gonna give a second clap what are you in e yeah yeah yeah there you go [Music] did you think that you don't know what chords you're playing but yeah okay cool sorry about that no that's all right um we were talking about like coming back every year did you notice was it weird coming back every summer yeah slightly different studio i mean it was super strange for a couple of reasons because for one reason it's like i would go away and then i would watch you guys on youtube for that whole year so i felt like i was still hanging out with you and then i came back and everyone's like hey i mean you guys were all super nice but it wasn't like we had been hanging out for a year so it was like this weird like disconnect um yeah yeah it's pretty strange i don't know if anything's happened like that ever before youtube and and digital media like has like a one-way relationship that turns two ways in certain times it's very strange um well you know i was looking back at some of the old uh vlogs when you first started with us and i mean we were working out of studio five mm-hmm first oh yeah yeah i think was that your first summer yeah it was sweat city we didn't have air conditioning in we decided hey you know what it's super hot in here let's insulate the ceiling that was our big oh big deal man that was our big deal we moved into that place it didn't have any insulation it didn't have any circuitry on the internet yeah it was 90 degrees every summer albeit there were only like five people five six people at once so mm-hmm so we all sweated collectively less and it only raised the average temperature like an extra two degrees would you find that when there were more people the temperature would get higher just based on the amount of people oh yeah oh yeah damn it that's i mean we found that out i think right before you finally broke down and bought the ac machines i couldn't do that anymore we were like 12 people 11 people that was like were we two years ago that many people before i got we got ac i think it was like that like two summers ago right and it was like gabe and jarrett was in the studio and carmichael we were all in there so it got pretty hot maybe it wasn't that much but so when so when we were in studio five we were just doing the installation in four and then i remember the day they put an air conditioning into that unit you got do you were you there when that happened oh yeah they put in three and and and boom they turn them all on at the same time and it was like a dream it was it was amazing and then we go over to studio four and it was like all dusty under construction was like haunted in there to go through the blue tarp we have like a vlog where we're like we have to go in and it's all hazy and like yeah it's like so weird oh my god yeah that was strange so there was nobody in the studio hardly at that time i mean the three of us were there but man just every and then i started to notice like as he'd come back every year thinking thinking to myself man every time peter comes back there's just more stuff in this studio i wonder what he thinks is going on here yeah i mean it just seemed more like official each time and more like like i mean you guys have always known what you were doing but it seems like you got it down to a formula now it's really impressive like each time coming back you know well that's good to hear because this doesn't always feel like that it definitely looks like a problem sometimes yeah sometimes it feels like we're just flying by the seat of our pants and sometimes we are but uh other times not so much that's the fun way to do it yeah um so you've been working on a few different videos since you since you started with us i mean obviously there was the summer of spider-man oh god that was like two summers of spider-man right oh that was a long project no yeah we like shot it over that school year when i was in school just completely disregarded academics and shot that and then over that summer um yeah just like every day in the studio i remember you jake you would like come in at like 11 p.m to like get something out and be like oh what's up dude yeah it's like multiple times chugging away okay walk us through what that process walk the viewers like the audience through what that process was like for you how did it start how did you come up with the idea like what was you know yeah i mean i've always loved spider-man i was like raised on the sam raimi spider-man movies oh yeah um those were like my favorite growing up i still really i think spider-man 2 is probably like my favorite movie it's just so good but um yeah so i'd always wanted to make one and then i think nick and carmichael and i were driving back from the desert when we shot the peter 42 clone thing where i was like running on the one wheel yes and then the hurrah yeah yeah dude that was weird but um i forget how it came up but carmichael and i were talking about like a spider-man video and he was like talking about he wanted to do one or something i was like hmm maybe i'll do one so i was just i had that i'll make a fully cg spider-man film instead exactly um so yeah i had that in my head and then over those next few months i was like writing it and i don't have the most elegant writing process it's pretty much just like get the bare bones of a story and then get really excited about the spectacle and just get caught up with that and not pay as much attention to the story which i kind of pay for later but um so yeah i wrote the script and i was originally gonna do a kickstarter which i'm so glad i didn't have to do because i think yeah i called you jake and i asked what the legality of that was and you were like it's probably fine but send over your um your script and i'd done a teaser too and you said to send that over and i did you guys offered to pay me the money to make it um which was amazing and like super generous to you guys the the promise was in the i think was in the the trailer that you did and then the thing was it was like it was about the cost of making a youtube video anyway oh wow so the way that i saw it was was just you know it was an opportunity to say okay well this is what it would cost to make pretty much any youtube video to begin with and then also it's an opportunity for you to continue to hone your skills and then if we can post it you know then it's just one it's one more video for us it's a learning experience for you everyone wins yeah um so that was i feel like it was a good good thing for everybody um no totally and i remember um i forget which video it was but i remember one time nico was talking about how some dude in a warehouse across from you guys was like super generous and just let you guys use the warehouse and he was like i hope you get to pass on that favor one day and so i feel like that was kind of the next incarnation of that and it was it was just really sweet of you guys and i really appreciate it she's using the warehouse man just you know um good yeah and then so then you you shot it and then during production didn't you lose a day of footage yeah didn't okay but then it turns out sam was like oh there's an easy fix for that like six months later and i was like god damn it yeah and you were shooting on the red camera right yeah you guys for some reason you lent me your red camera i don't know how you trusted me with that i guess it was the the lesser expensive one but uh yeah it was and i figured that it was like part of the you know it was part of the shoot and if you were gonna go up out and shoot a video then you know we'd use a camera that's a good point yeah so i was shooting on the red and i shot this whole day footage i like had to like this whole kitchen scene and put up a green screen and everything shot and it was pretty happy with it and then i just like put the card in the sd the like red sd card reader and it just like fried it or something i don't know what happened but yeah lost the whole day oh i had to shoot that one again which is you still don't know what happened no i have no idea i think sam said it was something with like just a format error and there's like a really easy fix but i didn't know that at the time so sucks for me i guess murphy's law does he reshoot it so wait it's like oh there's a fix so you re-shot that entire day yeah yeah i mean thankfully it was like a half day it was just like a small like interior scene so it wasn't too bad but it's definitely like really frustrating were you more were you more or less frustrated when you found out that there was a fix for it or when you found out that you had to reshoot the day when there was a fix for it because honestly like any chance to reshoot something i love because you just get another try making it much better like the short film i'm working on right now we did like a lot of reshoots and the cast and crew weren't too happy about it but um it's so much better now and so yeah i really don't mind reshooting things like because it just gives you another chance you know definitely so so when you uh when you got it all in the can about when was that because i think you started the process you started the shooting process when you got into school that year so that would have been yeah i think we started around february and then it ended like like a week before the video came out or something i had to get like that last shot of the cake falling on the ground or something like that so it lasted pretty much the whole time but when when did you finish the majority of principal photography principal photography yeah it was like the last week of school i finished it okay so you shot from february to may effectively substantial it wasn't like we were shooting every day it would be like weekends here and there you know yeah and then uh and then and then post started yeah yeah [Laughter] and so yeah with post i was like taking my sweet old time in the beginning there like making that spider-man 3d model and doing lots of tests and things yeah and then july rolled around i was like [ __ ] i've got like three shots done and so i decided i'm gonna get ahead of it and i'm gonna start coming in every day and on weekends and staying late and that way i won't be going right up to the edge of the deadline and then i went up to the deadline and i passed the deadline and then i passed the next deadline that's what deadlines are for rescheduling that's a good way to put it that's a good way of thinking so um so then you you didn't even have it done when you went to school right when you went back to school oh yeah god it was so long ago i just want to clarify though this was all you working on this though right like you were the post team as far as yeah i think or helps me with some roto okay but yeah besides that i did all the effects so you had uh is nice for the ego but in practice isn't that fun yeah did you have kind of like the expectation of like oh i'm just gonna like bang this out like oh yeah no no breaks and it seems like that wasn't possible because we're not no definitely not i mean yeah i was probably like overly ambitious with it and had there even like 50 no not 50 like 20 more effect shots that were going to be in it that i think sam and ren were like just cut those you don't need them that's stupid um but yeah i always make the mistake of thinking things are going to take like way less time than they actually are so it ended up biting me in the ass but i'm happy with how it turned out so honestly dude yeah i mean it shows man it it really shows thanks yeah over ambition is a blessing i think because you can always reign it back you know that's a good point you can you i feel like there is that there's that moment though in any project where uh and i'm i'm feeling this now on something i'm working on but you start to add the layers of quality and then you you know you do one quality thing over on this side and then you look back on the other side yeah and you go wait a minute this is completely off balance in terms of its quality so now i need to do i need to do that shot and then and then it's like oh well now that i set that level i need to make sure that all of all of it is like that um and there's there's an art i think in no in and of two in and of itself just understanding where a visual and and overall quality of a piece should live you know just just in the just even in the approach of something um because there's always the tendency to like well i want it to be perfect and so i'm gonna try to set out to do it that way and then you know you realize in july you've only done three shots and you're like okay well i need to adjust this yeah um yeah that's interesting something i found to be really helpful with that kind of thing is like in the short film i'm working on now instead of like going through chronologically and doing all the effects to the level of quality that i would want them to be at i'm doing like bare bones versions of each shot you know so it's more of an iterative process and that way like if there's any i mean i don't have a deadline but if there was a deadline if i needed to i could turn something in you know and then just keep working on it and perfecting it but yeah yeah yeah yeah that's a smart way to do it are you starting with like mock-ups is it just like really like roughed out vfx or is it just kind of like you did like a quick pass on it make it passable and then if you want to spend more time on it you can do that later yeah i mean i always tell myself i'm gonna do like the shade mock-ups with just the grayscale thing but then i'm in the project and i just like get too invested in it and i'm like oh but it would look good if i did this and so i end up rendering like a decent quality one when i should just be doing like the pure animation and then moving on so i still get stuffed up a little bit but it definitely helps man well you're a one-man vfx army man i mean spider-man cake day was chef's kiss thank you thank you i appreciate that final shot of the dropping the cake [Music] i think my dad suggested that so props to my dad nice today's episode is brought to you by storyblocks they've sponsored this podcast in the past and we use story blocks all the time around here at corridor digital we use them for b-roll we use them for motion graphics we use them for sound bites and after effects templates and more they're our one-stop shop for all of our stock asset needs with an all-access unlimited plan you can download as much from storyblocks as you need and it's all royalty-free so whether we're working on a commercial or something for youtube or just something for us here around the studio whatever you download from storybox you can use across all platforms royalty free the best part most of it comes in beautiful 4k and they're constantly updating their site so every time we go on there there's something new for us even if you're just a video creator that's starting out storyblocks is something that you're going to want to consider moving forward the more and more videos that you make the more and more your need for b-roll is going to increase because there's just there's just little moments you know little connective tissue between things that you're gonna need to make moments work on camera and in video and that's exactly what storybox can help you do so just head on over to storyblocks.com corridor cast or click the link in the description below and you'll be able to see everything they have to offer that's storyblocks.com corridorcast once again huge thanks to them for making this podcast continue to be possible and now back to the episodes and the adventures with peter franz uh so tell us what you're working on now i mean you've got this little i saw i saw it months ago don't even think about that erase that from your brain okay well just tell me this is there's still a man rollerblading oh yeah this isn't at the beginning okay that's all i needed to know okay so far that was my favorite part that's awesome because there's a lot more of that in the in the movie now a lot of roller blading man that okay so yeah basically you know i went to school in san francisco and i really love that city and they're having this epidemic right now not coronavirus level epidemic but um kind of surface level epidemic with scooters with elec electric scooters getting like littered all over the place it's honestly not that bad people are just freaking out about it but um yeah i guess you guys have been like the problem i've yeah i gotta say it's just kind of like a 20 20 thing if there was like a couple things that like like in 20 years or 30 years when they're doing like films set in in the 20s yeah it's gonna be like oh totally art department's gonna be searching for piles of [ __ ] discarded bird scooters on the corners yeah just like rolling up in the beach and stuff yeah that's my favorite instagram account is bird graveyard it's just like people beating the [ __ ] out of scooters you gotta wonder how that is profitable with all those if you're a hoarder start saving the bird scooters now because a movie production is going to come along in about 20 years and they're going to want to they're going to want to rent those down from yeah i got a few filming so i better hang on to those okay yeah make sure you do yeah those will be valuable one day so yeah um they're these scooters and my friend and i rollerblade a lot we would always uh go rollerblading downtown like in between cars and stuff we would like to do that on saturdays it was really fun and we've always wanted to make a video out of it this is um the guy who's the bad guy in spider-man okay uh the guy in the green suit i don't know if you remember yeah anyways his name is matt he's a buddy of mine and um we decided to make a movie about a rollerblader who hates those scooters and uh wants to get rid of them but then happens to meet like a fully cgi robot made out of the scooters and they like slowly become friends and uh they just like try to take down the scooter corporation and it's a like an action comedy film based around that it's sentient the the skull robot and it's fully sentient there it gets struck by lightning there's no explanation for it gotcha but it's like this amalgamation of like scooter parts that exactly turns into a human it's just like a bunch of little scooter scraps and i'm using the motion capture suit and doing like full body mocap for the character or is it a solid blender no yeah it's in blender it's um it's this company called rococo they lent me a suit and i'm sure gonna do some uh promotions and stuff for them but yeah it's amazing it's it's like the same thing as the xn suit you guys got oh i know yeah they're sworn enemies actually really rococo and xs yeah okay they're are they because they're gonna have to fight tonight they're gonna have to fight to the death because sam is supposed to come over and do some sort of live capture with them yeah really yeah coco is okay they want to work with sam so that's awesome you just i show up in the doorway in my real cocoa suit you bring it over they're like yeah well yeah we'll we'll set up a live stream for friday and then no one shows up and then peter eerily shows up sometimes he's sam he's in one of those yeah hey sam um nice sounds like motion capturing and his model just like switches to another mocap like wait a second whose motion is that i'm doing the mocap now yeah yeah it's packed into my mo steals your motion oh that would be funny like in a pacific rim type movie you know where they use the mocaps to control the robots it's like someone else's funny to like make a film about like motion capture that controls someone else like oh yeah start coming oh my god sam's actual body well they have those exoskeletons for the military have you seen it that's it right there dude and so somebody gets in a mocap suit and somebody reminds me of the skeleton of like wallace and grommet uh the wrong trousers did any of you either see what did you guys see that yeah so yeah yeah so same studio it's like an animated series by i think nick park is his name but dude there's a scene like basically he gets stuck in these pants that control them and uh he's just like a puppet yeah yeah i've seen that be like that but with the full exoskeleton i love that animation style so we should do that that's a good idea we should do that it's like run away i'm not getting that capture i thought you were going to say i'm not going to do the effects for it i'll do the effects i just don't want to get in that suit i don't want to break my back and i'll do them in a day i can do it man i swear so so oh go on yeah yeah so so back to the video you you built a a sentient cgi that gets struck by lightning out of parts of a scooter yep now uh you captured all of this entirely on set live with a mocap suit i wish i did for the first half of shooting we didn't have the motion capture suit i didn't even think of that as feasible but then i saw the rococo people who were making that kind of thing and um only then did i reach out to them to get one but they sent me one and so for the second half of filming we had it but then for some days we didn't like the data got lost so for the majority of it i'm going to be doing it myself and just syncing it up with the dialogue but um for when it did work it was amazing such a great tool to have on set what's with you losing motion capture data beard what do you mean was that definitively me did i screw that up there's a rumor from last summer that peter lost a bunch of mocap down i'm so sorry i got that call from clinton my heart just sank i felt so bad you guys had to reshoot it right yeah we did and it was it was like you said i mean every shoot it turned out for the better but for boston too yeah i i don't actually know what happened with that footage because you know we dumped it and then it had all the file numbers and then all of a sudden the file numbers just skipped like it just just it just decided that it wasn't going to capture those from from like 11 a.m to like whatever it was just i seem to remember like they had run into that problem before with capture so really you were you know whether it was you or someone else it wasn't the first time it's not definitive it's not definitive yeah so so you just filmed somebody on set and then you tracked them manually and replaced them pretty much i mean we got the person acting on set we did it like andy circus style or i guess irishman style because they didn't have any tech on set um we just like recorded them got the clean plate and then what i was doing for vfx was like manually animating it to match up the movement but now i'm just like looking at what he did on set with my motion capture suit on and like trying to roughly do it and it's a bit janky but it works well enough so what about did you have did you have moving camera shots and things like that yeah so for that um for anything where the camera wasn't moving we would just have the main actor and the guy who's gonna be the scooter in the same shot um because you know you can just track in the background plate and slap it over them but for any of the moving camera stuff we would do the first one with both actors and just have them run through it to get the choreography and then for the second take we would take scooter guy out and just have him behind the camera saying lines and then my buddy matt just acting with nothing okay and did you find that you're you're mostly using that second take then in the animation pretty sorry in the actual edit yeah i mean interesting yeah that's really cool man it's it's really interesting to hear everyone's like motion capture work flows for onset like what works what doesn't work yeah yeah i mean i learned a lot from you guys shooting the boss down video that was really helpful yeah that was a whole whole thing in itself if if there was one thing that you picked up that you would like want to pass on to anyone trying to shoot mocap on set what would it be from this project just take your time getting it set up because sometimes you know with the shoot it's like time's running out and you gotta get something you gotta get a shot and a lot of the time on set i would be like we'll just use motion capture later yeah get flustered and just decide to do it later or something but it's just never as good doing it later because if you have two actors in the same scene they can play off of each other and it just feels a lot more like the scenes where we actually got the motion capture on set it feels much more natural than when i'm doing it later so definitely everything you can do to get it done on set is super helpful now um what kind of post nightmare did you set yourself up for here i mean how long is the piece it's 22 minutes 22 minutes yeah it's 22 minutes yeah oh my god why didn't you just go and make it an hour and a half at this point i mean if someone will buy it and give me the money to make an hour and a half i i would love to if a quarter wants to do a corridor website original i wouldn't say no but um so and and throughout what 10 10 or more minutes you have this robot in every shot probably like 20 minutes he's in the shop 20 out of 22 minutes you have a robot you're crazy yeah i mean honestly like it's i mean i'm gonna i hate myself for saying this later but it's not too bad because you know the workflow is um basically just like i edit it i have the footage of the dude in the edit with the clean plate underneath and so when i go to the vfx for a scene i just bring the whole clean plate into the shot bring in the mocap data and bring in the audio and then i just record the mocap data track the shot light it and render it there's really no like extra tweaking i have to do which is nice yeah what about the model itself that's already done and rigged and does all the work once you got it okay yeah i was using this really cool software called substance painter i don't know if anybody in the studio uses it but it's really cool you basically just like bring in your 3d model and it calculates like the edges of things and where there are crevices and things like that so it can put like like uh the edge of like something that's metal that was painted it can have like the paint shift chipped off on the edges so it just adds like a lot of little uh nice details okay yeah did you use that on uh willy wonka are rated is that where i've heard of that before or did i i don't think i did okay maybe it was wren who told me about it but probably i think sounds like a really cool program so if you're working with us now um when are you gonna finish this thing is this something that do we need to do another thing here where you distribute this on corridor or what what do we how do we work this in here yeah i mean i don't know man the the current plan is to just work nights and weekends on it because i wouldn't want it to cut into to corridor time but uh i definitely think about that you know it would be awesome having that kind of audience for it yeah i guess we'll have to see how good it is huh i guess so it's definitely better than what you saw so so don't worry about that okay well that's encouraging because what i saw wasn't bad um i was i was you know i was able to put on my cg goggles and you know see through it but yeah you have a little bit of credibility built up you know yeah yeah you've done a couple vfx related things in the past not much timeline credibility but some results credibility i mean results are all that matters so now that um you know now that we've got sort of uh an unlimited time frame here um i'd love to hear well actually from both you and nick like nick you've sort of been the auteur of these rated r pieces you know you you've been the guy that's sort of been like directing the group and and sort of coming up with the overall cuts for him i mean the stuff you did with willy wonka the stuff you did with home alone all that stuff was very very much additive from the original property i mean is there something now with peter with wren with clinton uh sam nico obviously matt i mean we have a whole stable now of of artists and pretty much when it comes to like re-adapting stuff sure there's almost a limit limitless universe in which we can yeah i mean certainly there's some more rated r ideas and i look forward to you know getting together with you peter and the rest of the vfx boys and hammer and some out we have a couple ideas for some upcoming ones we have star trek which we're super excited about yeah um i think there's it's like just waiting to be made rated r because you know it was and this is the original one made back in the day so it was i mean a just the standards of violence and like action were just so much different back then so like everything is and you know the cameras are locked off in wide shots for almost all the action it's like i wonder what we could bring to this uh that could make it a little bit more of our age so didn't they used to do the beam me up scotty effect with like putting sparkles and water [Music] where we do effects like that yes there's special effects visual effects yeah exactly yeah coming out this weekend actually i'm not sure when this episode's dropping but the next vfx artist react number 33 we covered uh 2001 a space odyssey it was like the end scene when he's going through the wormhole uh there's like this really cool it's called slit scan uh technique i think and we want to do something where we recreate that so i think like i mean i'm just stoked to have you on board you know because obviously you're a vfx talent but all the i feel like we can really expand on some of these ideas of like hands-on v-effects like recreating old ideas um we don't have to limit ourselves to our rated so those are fun though i mean yeah yeah watching those star wars documentaries about how they did those effects in camera it's crazy i think that would be a really fun series to pursue you know like go and see if we can recreate and maybe add to any of these old old techniques so yeah yeah man i i'm we're only gonna be the stronger for having you on it's it's about time gosh dang come on gosh dang time boys well i appreciate that it's uh it's an honor honor honor to be back yeah we can't shoot you with arrows anymore though there is an idea that we had to do uh to do to do a vfx with um like first version yeah yes um and to see if it can actually oh you mean like cs like css1 bro after effects version one yeah you get it set up on a system that'll that'll run it and then you you see what you can do with it you just have to look at yeah so it would be fun to just see like who can make like the craziest vfx shot you know we should we should be called andrew kramer actually just in general that episode how you doing man yeah hey man how are you doing how's the kids good good okay all right well i just wanted to say hi later oh also do you want to help us with this video okay i would love to get andrew kramer like involved in our next star rated or you know oh that would be awesome just like maybe one of those old school vfx videos as well that could be really fun totally um yeah it would be good he'd be particularly though he'd be good for that using old software to do modern vfx because obviously interesting probably knows more about those than the developers oh yeah those first few tutorials he did were in like after effects cs negative of 500 bc so negative 500 what version is that oh it's uh bc version honestly that's the whole adobe suite this is uh bc versions oh yeah um interesting interesting tidbit on visual effects and special effects we've been talking a lot about them a lot of people don't know uh visual effects and special effects are different uh yeah um visual effects is often often used uh with the same in the same sentence as cgi um but what that means specifically visual effects and special effects special effects are are effects that are captured in camera meaning that you point the camera at something and something happens in the real world something special happens yes so whether that's smoke or a an actual squib or an actual explosion or what have you um and then you take that footage and you put it into your final shot whether or not you you meddle with it or do anything else with it after is is a separate thing but this special that's what the special effects are and then visual effects are when you take footage and then you add things on top of the footage in post once you're once you've already captured it so we get a lot of questions about that out of the way yeah get that out of the way yeah and yeah which is also sfx so it's all it's all confusing yeah and then there's super confusing nomenclature when you talk about sound effects being sfx and then sfx also means makeup like special effects right that's also in that category yes that's true yeah yeah yeah yeah yeah so now that we're all uh working and working together and we're working from home do you guys foresee you guys foresee any issues with that or dude i got a wi-fi from negative 500 bc you're not um are you on that mcdonald's wifi because nick's been on that mcdonald's wi-fi i was for a while i was for a while and then i upgraded i got that wendy's wi-fi now it's better but yeah a little bit better but i don't know i'm personally man i'm looking forward to when we can all work in the studio again yeah i've been working from home for the last like year doing uh freelance vfx and so it's sweet i finally get to like go and have a have co-workers in a work environment go work at corridor and then nope it's so weird i think i mean you can speak to that but i'm sure we've hired a lot of new people in the last couple months since this thing's been going on and it must be crazy odd for them as well i mean it's like i mean like for daniel like who came on to do the vlogs i know he watched the vlogs for a long time and he was kind of in your shoes as well where it was like you have someone who has a perspective of like being a fan coming in and then they come in and it's like no one's in the studio ever it's like yeah we're filming out of there all the time yeah so people are wondering like like then you see all of our videos and we're in the studio it's because we go there to film things together um but then when we do posts we usually do posts from home yeah and i think it's been a it's been a good compromise for this you know how can we keep making stuff and still be safe and aware of the coronavirus you know right um it is i think you know kind of confusing and maybe triggering to some people though seeing us in the studio filming and i get it i totally get it no it's triggering me yeah yeah cause like you know because we are we basically made a agreement with each other which was like let's try our best to keep our personal bubbles to our work like us at work and you know significant others and you know like me and christian and clint went out of town last week and we had to get tested before coming back into the studio with everyone so like we're trying to be conscious of it but yeah i mean that seems like the smartest way to do it because corridor is a small company and it seems like uh as long as everybody's keeping their bubbles small it's perfectly safe yeah yeah yeah so yep and then anytime you go and do something extra like people have been going and getting tested and then you know we have green scratch yeah and people have um we're gonna have extra people come on set in october here when we when we do a few of these productions so we'll have to make sure like i'm just thinking you know we just have people a few days beforehand get tested then we do temperatures and everything yeah on set and then you know um but other than that it's been working pretty well um yeah knock on wood it has our safety precautions have kept us safe so far knock on wood adobe get out of here yeah adobe's cousin the the god of uh oh god endemic corona corona [Laughter] we are finishing studio three though so one so excited so hopefully towards the end of the year next year what have you once once you know things start to level back out uh people will be able to use that more and more um we will be moving the stuff into there this is another announcement for the croutons uh we'll be moving stuff up into studio three in october so soon yes it's right around the corner um and uh steve went in there the other day and we have was wait was steve what was his reaction was it angry or was it like happy what was it well i mean like was it like holy [ __ ] i like what you've done with the place i think i think he overall he likes what we've done with the place because it's you know it's it's gonna ultimately it helps him too you know yeah because if we're not in there ideally we're in there for you know the indefinite future but if any day we're not in there he's then he has this really nice studio that he can lease out um so i don't think he's too upset about it but i was talking to guillermo and guillermo didn't say like yeah steve came by uh he had some things to say but that's how he phrased it he has some things to say it's going to be like night and day from the old janky like loft that it was i can't wait i went in there like two weeks ago and i saw it yeah you guys had all the dividers like the uh little cubicle dividers [Laughter] lights and every cubicle has a manager yep um little kitten posters with in fact mr incredible and you're gonna you're gonna you're gonna make phone calls out of there all day and uh you're gonna be excited to cut out at 4 30. oh god i'm going to like hear footsteps behind me and then i'm just gonna like feel jake's presence looking over my shoulder i feel like we need a tps report i pop up over a cubicle yeah yeah no uh i think it's like a cubicle in the best sense of the term because it's like a it's a bull pen yeah it's basically just wire management in a wall lots of ac power cords for our computers and stuff so that's really good because we i just wanted to like kind of put channels together you know in general and so like different ways yeah that way like nick's not yelling across the floor to dean you know like there's a certain level of logic there i'm gonna miss that honestly the chaos it's gonna be different but there's still gonna be chaos don't worry i mean look we're still all gonna be in a room working together it's just we're gonna be in a different room there's just gonna be more rooms really when you wanna film if you you have you have on this on the new post-production floor you have the right to tell somebody to shut the [ __ ] up and go to the yeah go to the shooting floor like it just gives us a place to banish people yeah it's like yeah you guys filming go go into the other studio it's legit is a a problem like currently and it has been for the last year and more than that just like when you're shooting there's so many things going on that you often have to be like guys quiet like right and now we have another room that you can do and it's never easy because it always like throws off the people you're telling they're always in some passionate creative discussion or something and it can be a little bit hindering so at least we'll have spaces to do that now and then people's feelings get hurt and then we have to have a conference about it and we have to bring in a mockery one time jake there was one time where he told me to be quiet and i was really i was really engaged with a conversation with sam and you told me to quiet on set and i i never recognized i lost it there you go i trashed the studio yeah dude show up at night when everyone's gone and just trash oh my goodness yeah so hopefully that won't happen no promises do you think one day like the corridor office is going to be like some big futuristic building and it'll be like all chrome like on top of everything's floating yeah dude it's going to be you know i mean you know about the brickest nick oh do i know about the brickest do you know about the brickest feeder the brickest yes so we can't even a common theme even if even if the building is in a spaceship in another galaxy we still have to keep the brick because of course because that's the whole vibe yeah yeah it's like the white such brick yeah now steve's cool hanging out when steve went to go and get everything like re re-registered or whatever he the guy that uh was signing off on building build vector yeah yeah the building inspector was a was a was a grade a brick certified institutionalized brickish he hates him he can't stand them he thinks they're they kill people i mean they do they're dangerous especially in california which is like we have a lot of seismic activities to his credit we got a ton of seismic activity and the brick buildings have been falling down for decades killing people but dude you can't quite get that like relaxed like drake and josh's room like hanging out vibe from like a plaster wall you can't do it you know like it's just what you're getting you got some steel some steel and some plastic yeah i mean get out of here get out of here you want the brick um so so we had to deal with that but you know as long as we keep the brick i think steve's steve's gonna be happy you know it'll keep the brickists away too yeah some people are just ignorant i hope steve lives as long as as he possibly can but i hope also that when he dies part of his spirit comes and haunts the building i think it's already haunting the building dude steve's been dead for 20 years back at the videos there's a shot of just nothing okay so i do have one one final topic here oh now getting serious peter i don't know if you've thought about this okay so so answer carefully jesus bringing springing a question on you that you did not know i was gonna ask when we bring in the next intern okay now do you have words of advice for them are you going to treat them you're bringing them in and then you're not interning i haven't even this is my first day and you're already the ink hasn't even dried and you're bringing in another intern i mean we can keep you as intern officially if you want but you're gonna have to get used to moving into employee status peter i know it's gonna be weird oh god all right i guess so he's been with us for like 20 years can i get you guys a coffee or anything peter drop the intern gag man [Laughter] damn advice for a future intern yeah um i don't know i guess relax i i mean i'm an anxious person so like coming into the studio for the first time i was like constantly like anxiety level at a 10 because i like looked up to you guys so much i had watched you for five years and so it was like really scary all of that over the course of the last five years totally totally jaded yeah um but no i mean to a future intern you'll get used to it relax it's gonna be scary but you'll be fine um are you gonna treat them harder than we needed you i'm gonna be borderline emotionally abusive okay yeah okay and you've all been warned yeah and based on how y'all treated me that's saying something because yeah we killed all the listeners yeah it was brutal we're taking a step forward yeah from physical death to only emotionally abusive i feel like that's a step in the right direction yeah yeah was it weird when you came like when you had to sign the contract initially and jake was like can you just sign over your dna to us was that odd in it like yeah well i thought it was a dnr which i uh exceeded a rookie mistake i told you you'd fall for it dude yeah because the r and the a they look so similar gotcha so well and dnr means do not resuscitate yeah and that i'm fine with yeah yeah yeah well we didn't but so you thought nothing was suspicious when i had you go to that clinic that one day to get your dna i just figured it was like some kind of um it was a vfx test like vaccination type thing you know didn't know if anybody in the studio had like an autoimmune disorder or anything um yeah they like took like like this much blood it was yeah it's necessary man dr pepper bottle with my blood it was a really weird clinic they stuffed it in a in one of those mini fridge freezers i don't this is weird yeah yeah well i mean this version of you you know is the best version we've had so far so i think it was all for the best and yeah yeah dude i think that's a great way to put it nick this version of you is the best and just you know on a more serious note it's been awesome to see you grow uh as an individual as a creator um and uh you know if you guys have um videos that you'd like to see now that now that we've got peter france officially in the crew um let us know in the comments uh and uh yeah peter man um this is gonna be great this is you know hopefully the start of many many other projects many other mems any other experiences so yeah i mean it's an honor you guys are super genuine funny dudes and it's always a pleasure hanging out so god i get to do that for the indefinite future hell yeah heck yeah man i'm excited for what we're gonna make lots of cool stuff coming out all righty and uh don't forget to head over to corridordigital.com and uh check out one of those subscriptions you know dude just think about it just it's just a suggestion about it not not not required not required we're just considering heavy listening but consider it you know for all the benefits that you get the producer points you know the 50 off merch um this is christian's just gonna slowly fade out and i'm just gonna keep hitting talking points all right um cool all right well guys um on to the next one sweet it's been an honor dude thanks for joining us everyone slowly fade

Channel: Corridor Cast

Views: 30,792

Rating: 4.9674134 out of 5

Keywords: peter, france, intern, clone, 42, employee

Id: vipHc527OZw

Length: 55min 1sec (3301 seconds)

Published: Fri Sep 11 2020