(hands clapping) - That's not gonna work for me, Linus. (hands clapping) So here we are, day two, because we shot a tour yesterday and Linus wasn't there.
- Oh. Oh, well you must have
missed all the good stuff. - We had this Linus.
- He does all my stunts. - So day one, we had this Linus, and then Andy gave us the
super nerdy camera tour. So we're not sure if we're
gonna intersperse that footage with this one or if this
is gonna be its own video or what's going on.
- Sure, yeah. - But yeah, thanks for, thanks. - Really?
- That was there before I did that. - That'll buff out. - But we're gonna test you and see what your camera knowledge is and if ever you don't have the answers, we'll just cut to Andy. - He knows a little bit, but like, he's definitely more of
like a computer nerd. - Okay.
- Compared to like a camera nerd. - Linus has a custom mic, we learned, tell me about this, like
you're using a Sanken mic. - Yes.
- I was gonna put just my Tentacle Track E, I used the stock mic that came
with it, but you, why this? Does it sound good with
your voice? What's the deal? How did that start? - It just sounds a little better. - Yeah?
- Yeah, well, what actually it started with was our old Lectrosonics packs, which were more reliable in our studio compared to the EW 110 G3s that we were using before that. - He's dropping numbers. - They used a mini XLR.
- Yeah. - So I had to use that particular pack, I had to use that
particular mic all the time. And then we used the old EWs for our co-hosts or
guests or whatever else. - 'Cause you didn't wanna splurge on that many Lectrosonics? - Well, they're like four grand. - Yeah, fantastic.
- Yeah, yeah, yeah, but anyway, the problem with Lectrosonics is they don't support time
code, so we stopped using those. So then when we switched over to just the 3.5mm connector mics, we had to find some other
still better quality mic, but that didn't use the
mini XLR connector, so. - How many mics did you go through to find the sweet spot? - We just picked something up from Sanken 'cause we figured it would be fine and it was fine and it was good. - Okay.
- Generally speaking, we try to use, we used to use the 416s and then we switched over
to whatever these are. This is a more- - MKH50s.
- Yeah, this is a recent edition. - I like this, this is my favorite mic. - So we use these when we
can, but a lot of the time, I move around so much and
I'm picking things up. Texting, whoa. And I never stop talking,
so we will have this on set and then we won't end up
using the audio from it because switching between
them is really jarring. But you can catch us doing it if I'm standing still for an intro and then we have a sponsor spot. - Right.
- Then we switch over to my lav.
- As a viewer, I think it's pretty smooth, I don't notice it that jarringly. - It's pretty hard to notice
'cause we have kind of rules for when we're allowed to switch mics. - Yeah, I can say though,
that compared to the 416, I'm somebody who never lavs, I only use the like overhead mic, but I also tend, I don't
move around as much as you. - Yeah.
- But I do kind of, this mic has a lot more, it's a lot more forgiving
for distance than the 416, if I were to like be here, the 416 wouldn't even
be getting me, right? - Yeah.
- But like, we're both actually gonna
sound decent on this mic, its like sort of orbit is pretty good. So I think the MKH50
is a phenomenal choice for this kind of shot.
- Which is great, but I just don't like
spending money on things that are not really necessary,
so I was very resistant. - They sent them to us.
- Oh, they sent them to us? - Yeah, 'cause it ain't
cheap, it's 1200 US. - That explains why we have it, I mean, we did buy our 416s, so we bought I think three, right? - Yeah.
- Yeah, we have three 416s, we paid for all of those. - Do you know what camera
we're using over here? - I believe it's an FX6. - So far so good, he's
dropping like body pack, you know, model numbers,
he knows the cinema camera. I think you were downplayed by your staff who said that Linus doesn't
know what he's talking about. - I pay attention, the thing is, I know exactly what I have to know. Problem with the cameras these days is the sheer volume of them. It's not that the individual cameras are that expensive, in fact. - But you have seven of them
or eight of them now, yeah? - I don't know how many FX6s we own.
- Seven. - How many FX6s do you have in operation? - We have a total of seven. - Seven FX6s, I think we have
at least one or two FX3s. - We have two FX3s, they're mainly for either
top down and, you know, sometimes we steal them for a car shoot. - For inside the car?
- So for mounting inside of the car and stuff like that. - We've still got one or two
of the REDs kicking around. - Expensive paper holders. - And they'll pull those out if they have a particularly
like high production shoot that they wanna do.
- Right. - Like for example, our fanciest lens is only compatible with our REDs. - Is that the Fujinon?
- Yeah, so, we invested in this thing because it was a big fight getting the
camera operators to do this. But basically, what I
wanted was the ability to have the full zoom capability, because I like it for comedic impact, I like it for being able to
quickly and easily do closeups. - You do have your sort
of crash zoomy lenses now, but now you're using
Sony whatever, 24-105s, that's what it was, right?
- Yeah, they're cheaper, they're lighter.
- Autofocus. - Autofocus. This is nice to see. The cameras are in use.
- Oh, sure. - You don't have like a
trophy wall of like extra kit, oh, yeah, there's a couple REDs, and I've already deducted a
couple points for those, but. - Yeah.
- But most of the, like you said, when I
heard you had seven FX6s, and then I saw that they were
all commissioned somewhere, I was like, well, that's
good except for, you know, some of the legacy stuff,
but, what are you gonna do? Sell it, like what's
the next step, you know? - They're worth more to us
than they are to someone else. - Paper holders. - And these are both the DSMC2 platform, so even though this is technically like a weapon or whatever, and then I think that one's a
DSMC2 or something like that, they both have the same capabilities, so they'll both do up to 8K60. - I'm disappointed, Linus. - Why?
- You're doing really well. - Oh. - He knows his camera stuff, I was like, I'm gonna
roast this guy so hard, he is over here dropping DSMC2, 8K, you know what you're talking about. - Well, I have to know some stuff. - Quick, what brand of lenses are these? - I don't know, Sigma probably. - Damn it, yes, they're Sigma,
this is a reverse grading, I'm like getting upset that he
is getting everything right. They are Sigma, they're Sigma Cine Lenses. - Yeah, good.
- Good job. - And the T means they're better. - Do you know about T? - I know T means they're better. - Well... - It's like a tighter grading
or something like that. - Yeah, that's fair.
- Yeah. - The requirements like versus f-stop, like T-stop means that like.
- Hello. Sorry.
- They're actually measured for light transmission rather than just like the size of a hole, you know?
- Yeah, sure. - That's all right.
- T means they're better. - That's a 600D.
- You see that, Patrick? 600 D Pro or non Pro?
- Yeah, Pro, Pro, Pro, Pro. - You got like an Octabox from that one. - Yeah.
- And then, over here, did you guys build like a
little book light or something? - Yeah, a book light. - 600C Pro, I love that light,
that's my main light as well. So we're bouncing it in
this little corner here and then diffusion material in front. How are you controlling these lights? - Just the ballast here. - You're not using like a DMX or remote or aperture stuff or whatever?
- So like if you look up, so all the things, all the
lights that's on the grid, they're controlled by DMX because we're not moving them around. - Okay.
- Everything that's on the floor, it's manual control. - Do you wanna talk about
our ingest stations? Because these are cool. These are running on an HEDT platform, So these are Threadripper Pros, and the reason for that is not because we need the CPU performance,
we really, really don't, they're just copying
footage onto the network. But because we needed all the PCIe lanes, so these are really cool
USB cards down here. These are from Sonnet and they
are quad USB-C port cards. But what's special about them
is that each of those ports is connected to a dedicated controller. So there are four controllers on the card. That means you can get the
full 10 gigabit per second to each of these ports concurrently. Meaning that if we're coming
back from a complicated shoot that has a whole bunch of media, they can basically just
go (imitates plugging in) and copy it all at once
without speed degradation. The other big piece of these is that they're using
fiber optic networking, running at 25 gigabit.
- What's here? - The forest of C stands and light stands. - What's that?
- That's a counterweight on a jib.
- On a jib, okay. I'm gonna keep testing you.
- Why the hell would I not know what a jib is?
- I don't know, yeah, I guess if you know all your
model numbers for everything. It'd be funny if you
didn't know what a jib was. - Yeah, yeah, I made them buy the jib and then we never used it.
- What's this set? - This is the old ShortCircuit set, which now gets used as an LTT set. - Why did I just trip on your rug? - Because it's from Ruggable, we don't work with them anymore. - (sighs) That's hazardous, taking points off.
- Yeah, you can see there was tape. This tape was actually put
on less than a week ago and it has already been
peeled up by the, I mean, there's, what is it? There's the strong
intramolecular force or whatever and then there's this force, this is much stronger than that.
- Linus, what the hell are you talking about?
- It's physics. - Yeah, it's a joke. - Starting to use intermolecular as a way to get out of the
fact that his rugs curled and I almost died.
- It's just, it's a very strong force. I don't know how to work the
lights, so we'll have to move. Here we go.
- How do you keep track of all your little remotes and stuff? - We just know where they are. - No, I don't know, I actually don't know, oh no, here it is.
- What's this system called? - ShortCircuit ambient, there it is. - What's this? What's
this whole system called? - It's labeled, it's called DMX.
- Goddammit. (laughs) - Also, I know that. - But now we'll never know.
- It's RGB lighting for your computer, except
it's for your whole room and it costs thrice as much. - What about this? - What are you pointing at? - The lighting rig, yeah.
- Your massive, what the hell is that now, 14 foot square?
- It's 12 by, we have four 300d up there. And because fire department
doesn't really like this setup, so we have to be able to open
it to reveal the sparkling... - [Gerald] Oh, that's sweet,
do you see this Patrick? It's opening on both
sides, the bounce and, or, wait, that's not
a, oh, it is a bounce. - It is a bounce.
- You basically made like a book light in the ceiling. - Yeah.
- What's with all the hats? - The hats? Well.
- Yeah, why do you have so many hats and wigs? - Well, because, in my line of work, you have to wear a lot of different hats. - But literally, Indiana Jones? (Linus singing Indiana Jones theme song) Or Indianapolis Jones. - You know, you never know, right? - No, I mean that doesn't make any sense, nothing you just said makes any sense. - What? It makes perfect sense. I mean, do you know how
much production value a cheap prop adds compared
to spending a bunch of money on lighting and cameras? - To what though? What do you, what? Like, reviewing a motherboard, what do you need a hat for? - Well, to make it entertaining. No, seriously, honestly, a little pirate hat and a sword or like, okay, this was one of
our best thumbnails ever when I did that video
on the golden keyboard with the golden key caps,
and that's a 10 million view- - And you think the hat is what did it? - That's a 10 million view
video, well, it's part of it. It's part of it, because this, you know, ah, look at the golden keyboard, is better than this
with a golden keyboard. It's about cohesiveness,
it ties it all in, right? - I mean, I'm not gonna argue
with you, the video did well. - Yeah.
- You guys getting all this? - This is the build corner, the idea was everything you
need to build a computer. Now it has all the keyboards
that you could ever desire. We're working on a video that is how many USB devices can you
plug into a computer at once? We traded some like buddy who works in the production industry a GPU to do the work for us,
and then we just paid for- - A single GPU?
- Yeah, it was a good one. And then we just paid for
the piping and the hardware. - [Gerald] What's this cart for, Linus? - [Linus] This is our stream cart. - Who makes this microphone? - I don't know, but it's an RE20, I can't remember who makes it.
- Should he get points for? RE20 is good enough, yeah, Electro-Voice, but RE20 is correct. So another FX6, the Technica M50, this one's rigged up
for V-Mount, Sony mic, body pack receiver, teleprompter, it's pretty like, you kind of
standardized the setup, eh? - Yeah, yeah.
- Which is smart. - So this is more like a
shoulder-like type of setup, so it's more like.
- It doesn't have a shoulder pad though. - It's comfortable enough,
it's lightweight enough. - [Gerald] 15 mm rods
right into the shoulder, it's comfortable.
- Yeah. - Okay, so this one is a lot of Octaboxes. - Yeah.
- I'm finding it, you have, Patrick, if you
were to stand behind me and look this way, it's
like, what's my key light? - This is the motherboard
wall, cute, right? - Oh you know what?
- Didn't notice that. - [Gerald] I didn't notice it at first, yeah, that's pretty dope actually. - Yeah, there's one in my old office. - You guys did like a powder
coat on 'em or something? - Spray paint.
- Like the Millennium Falcon or something. - Isn't that cool though?
- It is, it's pretty rad, yeah.
- Yeah, I saw, I was inspired by, they
have the piece of artwork when you go to Taiwan that's
like made of old motherboards. - Does this illuminate
if you guys are doing The WAN Show or anything?
- I don't know. (bell dinging) Yeah, yeah, that happens sometimes. - Dad, I'm hungry. Hey hungry, I'm dad. (bell dinging) - Yeah, that's exactly what
that's for, ugh, terrible. That's in case the power
goes out during The WAN Show. Nothing stops The WAN Show. - Is that hooked up to a power strip or like what all does that juice up? Like everything in here? - Yeah, everything here. So our router is on a battery backup, our switch is on a battery backup, all this equipment is on battery backups. The laptops are on batteries. All the cameras are on battery backups, so the idea is that if the power goes out, we at least have about, I think we can run for
like an hour and a half. - Which models do we got here?
- These are C200s. So at the time.
- Is everything the same? - [Linus] Sorry? Oh yeah,
they're all the same. - All three the same, okay.
- Yeah, we bought all of these at the same time because the idea was that we could have multiple crews
running at a trade show. and then not disrupt any productions that were still running
back at the studio. - So C200 18-35 from Sigma, over here we got a 24-105. - Probably some other random lens. This is a 24-105 as well. - You're good with cameras, Linus, but let me ask you something,
what light is that? - That?
- Yeah. - That's just like commercial grade. - Nah, nah, nah, don't get cheeky.
- Oh, this. - We're talking about
the one on the lantern. - Oh, some aperture thing,
something 200 or something, I can't remember.
- Ah, you're so close. - 300d, no, I don't know, I don't know all the different models. - And then, okay, this set was the one that I thought was pretty fascinating. - [Linus] Yeah. - So this is your ShortCircuit? - ShortCircuit.
- ShortCircuit. - Yep.
- So we got a bit of a run through last time.
- Yeah, apparently we use FX3s
here, I did not know that. - FX30s.
- Oh is that a new one? Cool. - [Gerald] Oh, it's the APS-C size version of an FX3 basically. - Neat.
- Good segue, that's what we're using today. - Oh yeah, Patrick's
got an FX30 right here. - Cool, oh I never get
to sit in this chair. - [Gerald] There you go,
you can be the operator. - Ooh.
- So we talked about it a little bit, I feel like we might have enough coverage of it, but if not. This is cool how you can
get a single operator, so talent will be over here.
- Yes. - We got three angles, we've got overhead, we've got sort of the main
shot here with autofocus and then we've got
this, the B roll camera. - Yes.
- Both the B roll and the overhead are in manual
focus, what do we got here? These are like Sigma.
- Nucleus. - 50-105 and a 18-35 up there, I think. But they're both running
zoom and focus motors. And a single operator
can see all three shots. - Yes.
- Zoom and focus, this is overhead camera I think, right? - Probably.
- And then, zoom and focus. - Over here or something.
- On this camera? - Probably. - Which is kind of wild
that you got one camera guy doing everything.
- Yeah. - [Patrick] You look good
on these monitors here. - So what are you looking at then? You're looking at the B cam? - I got a B cam here.
- And this camera? - I got A cam here.
- Oh wait, that shows that camera?
- I can see all three of them. - Where's the third monitor? Oh it's in the middle.
- Yeah. - Yeah, so I'd look at it, I would say, oh, so here it says Noctua. And you gotta pull focus on that. - Yeah, already did.
- But what happens if I drop it down here. - Done. - You audit this, okay, Patrick?
- Okay, I'm good for it.
- I'm up here. - Done.
- Yep. - Is he good? Is he pretty good at it? - [Patrick] Yeah, he's nailing it, do it one more time. - What if I'm holding over to this camera? - [Andy] Okay, then I have
to zoom on this camera, done. - Andy was talking about these go to FTP. Where is this ethernet going
and what is happening to it? You know what I mean, like?
- Oh, well, that's just going to our server rack that used to be here and isn't here anymore and is just a network
switch on the wall, there. Yeah, there's a patch panel and a network switch right there. - And does that connect
to like the same place the ingest does?
- Yeah, it goes back to the server room, so there's two 10 gig links that are running up over the top 'cause we're in a unit that was not part of our original
building acquisition now. We had to buy this one
because the original owner put it up for lease and we had no idea what was gonna move in. - Oh, yeah, I was told, so you just railed
conduit through the wall, basically, right?
- These walls are paper thin. - Yeah.
- We had to make an offer just to make sure that our studio space would be safeguarded 'cause if some stupid
automotive shop moved in here, something clang, clang, clang, all day, we wouldn't be able to shoot. So yeah, so we just have a conduit that runs all the way down and you could do a hundred
meters with a cat6a without any signal loss, so
we've just got two 10 gig links, which are probably these
two guys right here that are going back to the server room. And then we've got these two
switches daisy chained together and then this patch panel runs
everything over in this unit. - So you know how some people
sound treat their space, Linus flexes so hard that he sound treats by just buying another unit beside it and all this air in between
is his big sound panel for that room over there. - I mean. - Right?
- I don't know, I don't know if I would put it that way. I mean, the space could
be sound treated better. - I mean, we gotta take
points off for that. And I understand that
those are like pressure fit and you probably should've
never put them on the ceiling in the first place.
- Oh yeah. - But that looks like crap, Linus. - So I basically said, "Look, ShortCircuit
needs to be streamlined, there will be no batteries on the ShortCircuit set, not one, there will be no media cards
on the ShortCircuit set." And it makes so much sense. If you're not moving around, why aren't you just recording straight to a redundant,
backed up storage solution? Like, SD cards are madness to me. You're basically trusting, it's not just zeros and ones, right? You're trusting all the
work and all the preparation that you've done to get that shot, which might be a slow-mo shot, it might be really difficult to recapture, to what is the cheapest,
crappiest NAND flash in existence. - Anyway, battery died. - In the middle of my rant about SD cards. - Yeah, Linus was literally ranting about how like SD cards are not the way to go. We were talking about FTP offload. The battery died, the camera shuts off, Patrick goes and gets a
new battery, puts it in and then the file isn't
showing up in the playback. We found it on the card
but it's an RSV file. - It's a reserve file, so
it contains raw video data but it hasn't been properly terminated. - It's still got the normal
like C0048 but it's got RSV. Well, you guys missed some
great sound bites from Linus that you're never gonna see,
we'll just have to roll, we'll just have to air the Andy tour. (hands clapping) - Yeah, well, we still
have the audio, Tentacle - That's right.
- It'll be all over B roll. - Here, just get a static shot of me, I'll not even be looking into the lens.
- It's a podcast. - I'm gonna look right here, so it seems like I'm
looking at the screen. - It's a podcast tour.
- Yeah. - Okay, well, let's finish up and then I'll make this work. - We can switch back to the FX30. - Yeah, yeah.
- Fun fact, one of our videos is
shot entirely on iPhone without us talking about it. - Love that.
- I will give you guys a cookie if you can figure out which one. (hands clapping) - Goddamn you, Linus. (hands clapping) I did have a question for you about the lighting stuff though, like I'm sure you got people that do this, but I've seen a few of the sets where there's a lot going on with either like negative fill or bounce. - The one thing that I ask is that we have no colored light spilling onto the host's face. - How many stairs did we just climb? How many steps?
- I don't know, standard is 13 and 19.
- I wonder if he's just making this stuff up. If you were making it up, it's convincing. He's like, "Well, the standard is 13, you know, the rise has gotta
be eight inches per step." - Why are there always
13 steps in a staircase? To minimize the number of trips and falls and blah blah blah. - What do we got? What's
going on here, Linus? - What's really cool about this is that we're able to do
the green screen compositing in real time using hardware acceleration with our Ultimatte 12 4K. So you can actually see we are
transforming our green screen into our TechLinked set and then we can use this
for GameLinked as well, we actually just launched that channel, really exciting, we built
the set in Unreal Engine. So for TechLinked, this is just a plate, so it's just a shot of the
properly lit TechLinked set. But then, for GameLinked, it's a render of a completely new set. So it's one of the exceptions to my- - Is that that sort of spacey blue and red one or whatever?
- Yeah, yeah. So it's one of the exceptions
to my no colored lights rule. I'm willing to allow an ever
so slight amount of spill so that we can get a
convincing effect of the host actually being in that space.
- Gotcha. Getting in that virtual
production action, right? - Yeah, right, I mean, it's super cool. - Okay.
- So we've got a couple Titan tubes down here,
more Titan tubes up there. There's a, whatever the thing is called where you get the hair of the host, a key light or whatever it's called. - Hair light, rim light.
- Hair light. - Yeah, like an Amaran, maybe it's 60, it's short, it's stubby, isn't it? - It's a little guy, right?
- That's a 60. - That one may be turned
on for the green screen, but I'm not sure, it actually matters a
lot less than we thought how evenly lit the green
screen is with the Ultimatte because you can basically
just calibrate it for the inconsistencies
in your green screen, which is super cool. - So 120D over there behind that bounce. 300C, is this instructions on the side? Like 240 hue? Is that? - Probably.
- So you know what purple to dial in? ♪ Do do do ah do do do ♪ Oh sure, now I'm in GameLinked. - [Gerald] One button and you're switching
to a different channel. - What's up, y'all? It's GameLinked time.
- It's TechLinked, talk about tech.
- Whoa, I'm talking about tech.
- The computer has changed it. - Quick games, game time.
- Yeah. - Key lights are 300d Mark II, popular light around the
Linus Tech Tips buildings. Linus, what do we got? Oh, well, that's, I mean, I gotta take points off or
whatever the hell that was. - What, that's a slate, it's exactly where it was supposed to be.
- Yeah, it tried to kill me there, I don't know. We got a little paracord
with inappropriate ends, you didn't burn your
ends here or tape them. I gotta take points off for that. - Sure.
- I don't understand why you have paracord hanging
from a C stand and then- - Oh.
- Why is there a wig on the C stand?
- The wig is to test hair on the green screen because we
need to dial in the settings. - Oh, so actually these
are very reasonable things that should be exactly where they are, Now, we have my proudest possession, my Super Chexx ice hockey game. Would you like to play?
- Sure. - All right, let's play Super Chexx. This is like my favorite game, so I finally just treated
myself to a table. - [Gerald] Patrick's now a
hockey action photographer. - Flying V! - Nah, you're doing great,
you're doing awesome. - Why is my opponent
encouraging me so much? I feel like I'm being lulled
into a sense of security. - Oh, yeah, a hundred percent. - Oh no. (laughs) - Accounting department.
- Hello. - That's my wife, this used to be my office.
- Are you doing Borat jokes in 2023?
- No, no, no, never. Now it's Accounting Quarters, get it? 'Cause they're accounting quarters. - [Gerald] And quarters are
like money and money is- - You can ding the bell if you want.
- Okay. - Theoretically, like an
employee lounge/quiet workspace, if someone wanted to sit on their laptop and that was in that
room, but that's dead now, it's just more editors.
- Linus, I don't care what your rooms used to be, let me ask you some questions that matter, okay?
- Sure, yeah. - Multiple editors working
on a single project, everybody has their own video? - It depends. No one is working concurrently
on the same project, but you will have- - That was gonna make me ask
about collaborative setups, if you have anything like.
- No, not right now. And I'm seeing Premiere Pro exclusively. - Yeah, we do some
grading work in Resolve, but we are a Premiere
house for the most part. - You hated Adobe subscriptions. - Of course I do. Why would I hate something
that I don't pay for? If I didn't have to pay
for it, I wouldn't hate it. - Any standardization
in terms of the hardware or is it preference on the editor or? - In terms of monitors, it's
kind of editor preference. You know, some of them like. - ASUS, ASUS, ASUS, are these ProArts? That looks like a ProArt
display right there. - [Linus] Everyone has at
least one HDR capable ProArt. - What's your video editing prowess? Did you ever edit in the beginning? - You can actually find the
last video that I ever edited, the "Fix Your Corsair Gaming Logo - Super Legit Modding Guide". That's the last video that
I edited, eight years ago. - So who edited the
videos from the get-go? - This guy.
- Who's this guy? Oh.
- That's Ed, he's our production manager.
- Ed and I have been chatting quite a bit, but he never
mentioned he was Edzel the editor. - Yeah.
- The OG editor. - Yeah, he's Ed-itor. (bell dinging) This was our kludgy solution
to being able to move between the two units as you go down the stairs and then across and then up the stairs, because otherwise there
was no way to get up to that landing over there. - Wait a minute, wait a minute, Linus. 1, 2, 3, 5, 6, 7, 8
- Well, it's more than 13. 9, 10.
- These aren't 8ft ceilings. - 11, 12.
- These are T-bar. There's T-bar.
- 13. - There's a space.
- Linus. - Yeah, because that's the T-bar space. - I'm so confused, I went
up 13 steps, what do I do? - It's 28 foot ceilings in here. So when you have a total of 28 feet and you need to make
two eight-foot stories, you end up with some loss in the middle, so there's the ceiling joists. - 16 step staircase, eh? - And I feel like you
went really easy on me, there's so many harder
things you could've asked me. - Well, I figured I wanted to test to see how much of a camera nerd you were, not how much of like a grip nerd you were. But I have been, just so you know, inspecting all of your working C stands to see if your knuckles were in the right spot.
- We do not follow the right hand rule. It's more pirate code,
then right hand guidelines. - But the fact that you even
know that there is a rule, I'll give you a pass, okay? - Are you gonna even try to beat me? - What do you mean beat you? There's no winner here.
- Well, no, I just mean, wait a second, there isn't
even anything on here. This is a mini bar menu. - This is your score,
you can have it, okay? You did well. There you go.
- Thank you. - You did exceptionally well from a camera nerdery perspective, I'm impressed with your
overall knowledge of the gear, despite how downplayed
you were by your staff. I think you should probably
have a mass firing maybe then. - Paper holders. - You're now in a Gerald Undone video. - Oh, oh really? - Dun dun dun dun.
- See that camera? - Oh sweet.
- He's crazy. - Yeah, no, I know, I know. - 10 Gigabits per second. - What is the speed of the internet? - Light remote drawer, we have a full bag of aperture remote here. - Whatever, if you don't like it, then you can buy a new building. - It's a set. - [Andy] A label maker, and we permanently wired
it like on the shelf so nobody steals it. - You now work for. (laughs) New merch. - Let me pack my stuff and move it over. - FX6, I'm like talking into the teleprompter. - I'm sitting here.
- This is just for, not for you, this is
for Lindsey, my partner. Hey, Linds, they've got that same janky
three-legged table thing. She was in love with these as
like these like side tables and I hate them because you
can rotate these things around. - Oh my God.
- And it's always, three legs is not enough legs for a table. It's incorrect, it's an
incorrect amount of legs. You see how tippy that is? And this thing doesn't attach. I hate 'em, I hate that,
I hate that so much. - But I can't see the
thing I'm pointing at. - You know what I got at
the grocery store today? They're not doing that. Shut it down, Patrick.
- Cut. (bell dinging)
