How We Filmed Our Work Lives for 1 Year!

In this bonus episode, we get a behind the scenes look at what it took to make the "Year in the Life" video on The Studio channel! It's a behind-the-scenes of the behind-the-scenes episode as Eric and Rich talk with Marques and Andrew about some of their favorite moments that didn't make the cut (and more information on some that did). Needless to say, huge spoiler warning if you haven't seen the video yet. Go watch! Links: The Studio - Year in the Life Shop the merch: https://shop.mkbhd.com Music provided by: Epidemic Sound Social: Waveform Threads: https://www.threads.net/@waveformpodcast Waveform Instagram: https://www.instagram.com/waveformpodcast/?hl=en Waveform TikTok: https://www.tiktok.com/@waveformpodcast The Studio: https://www.youtube.com/@TheStudio Hosts: Marques: https://www.threads.net/@mkbhd Andrew: https://www.threads.net/@andrew_manganelli Eric: https://instagram/com/@eric.p.v Rich: https://www.instagram.com/richontrack Adam: https://www.threads.net/@parmesanpapi17 Ellis: https://twitter.com/EllisRovin Join the Discord: https://discord.gg/mkbhd Intro/Outro music by 20syl: https://bit.ly/2S53xlC Waveform is part of the Vox Media Podcast Network. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:00Andrew Manganelli?

  This episode is brought to you by On Investing, an original podcast from Charles Schwab. Each week, host Lizanne Saunders, Schwab's Chief Investment Strategist, and Colin Martin, Head of Fixed Income Research and Strategy for the Schwab Center for Financial Research, bring your fresh insights on what's happening in the markets and why, and what the implications might be for your portfolio. Join Colin and Lizanne as they explore questions like, how do you evaluate corporate bonds that look interesting? And what sectors are on the move right now? Download the latest episodes and subscribe at schwab.com/oninvesting or wherever you get your podcasts.

• 0:33Speaker 01

  Support for the show comes from Jira by Atlassian. AI is only as useful as the context it has to work from, but when that context is scattered across tools, threads, and DMs, that means your team and your AI agents end up flying blind. That's the problem that Jira solves. What's the goal tied to your project? What got decided last week in Slack? Atlassian's teamwork graph pulls all these pieces together, from Jira, Confluence, Slack, GitHub, and more, so nothing falls through the cracks. With Jira, you can actually share that context with the AI agents you already use, like Claude, Cursor, and GitHub Copilot, assign them work directly, or connect your agents through MCP. Spend less time digging through endless links and DMs, less time chasing down what got decided and by who, and more time actually shipping. Learn more at jira.com.

• 1:18Speaker 01

  That's J-I-R-A dot com.

• 1:20Andrew Manganelli?

  How much can we talk about? Like, who sent us? Can we talk about that?

• 1:25Speaker 01

  Why not?

• 1:26Andrew Manganelli?

  I don't know.

• 1:27Speaker 01

  Yeah. Because we ended up making the video.

• 1:29Andrew Manganelli?

  Yeah. So Ferrari, well, we got a video made for Cars with Myles.

• 1:41Speaker 01

  Yo, what's up, people of the internet? Welcome back to another episode of the Waveform Podcast. I'm your host, Marquez, and we have a different set today and a different set of people because we're doing a bonus episode. So we'll be back with your regularly scheduled programming on Friday like we always do, but let's go around the table and introduce ourselves because it's not the normal set of people.

• 2:02Andrew Manganelli?

  Hi, I'm Rich.

• 2:04Speaker 01

  Hi, I am confused for Rich. I'm Eric. I'm still Andrew. So we're all here to talk about our Year in the Life project because it was so sick that it deserves a little bit more unpacking. We spent an entire year recording everything that was happening, both in the studio and with our teams around the studio, traveling across the country, making videos. And then we put it all into one, I keep saying, feature-length film, whatever we want to call it. One of the biggest, most ambitious, most challenging undertakings of any of the MKB HD channels that we've ever put together, and we're really proud of it. And Eric and Rich were the sort of masterminds who made this possible, but also like came up with it and architected like how we were, I like to say, building

• 2:48Speaker 01

  the bridge as we were crossing it, which was really fun.

• 2:51Speaker 02

  Yeah.

• 2:52Speaker 01

  So I think-

• 2:52Speaker 02

  We nearly fell off that bridge many times.

• 2:55Speaker 01

  Many times. There's the design of the bridge.

• 2:59Speaker 01

  Yeah, so I think you guys should take it from here. We want to know some things that you might not know, watching Year in the Life, that you guys know.

• 3:08Speaker 02

  So I guess I'll give some context, and then I'll pass it over to Rich and we can talk about like, what like actually starting it looked like. But when Rich and I started on the studio, we like asked everyone like, "Oh, what do you like doing?" And we got a lot of pitches of like, "I want to go to one of Marquez's frisbee games," and like we do a video talking about that. Or like, you know, "We should do a vlog," or you know, like sort of classic YouTube stuff. And it was really hard because it's like, "Oh, would people click on our video about like, how we make the podcast? Would people click on our video about how we made one specific intro?" Like, the more specific it gets, the more I think people give themselves excuses to be like, "Ah, it's probably not for me." But working here, you kind of sit around and you realize like, this is a really

• 3:50Speaker 02

  unique workplace because of the vibe, and not necessarily because of any individual project. And so, we were thinking about like, how do you capture the vibe, but still have a title where people would click on it? And at the end of 2024, a very difficult year, I was like, "It would be kind of sick to do like a Year in the Life video about 2024." And then I pitched it, and everyone was like, "Let's not rehash that. Let's never do it."

• 4:20Speaker 01

  But.

• 4:21Speaker 02

  But what if we did a year in the life for 2025? And so at the beginning of the year, we were like, we're gonna do this video. And we like set up a camera and then and then it got really difficult. Really quickly.

• 4:34Andrew Manganelli?

  We had also already done, I think the first ever day in the life we did was a one of the busiest days we've ever had. So we're like, let's do a day in the life. So you can see what a whole team does on our busiest day. Then I think you kind of talked about it, but we were talking about like how the podcast is made. Slowly turned into a week in the life.

• 4:54Speaker 02

  Yeah.

• 4:54Andrew Manganelli?

  Because we realized so much of making the podcast was based around like, how can we make this weekly thing? In the confines of everything else we're doing in a week.

• 5:02Speaker 02

  Exactly.

• 5:03Andrew Manganelli?

  And then the next logical step was clearly skip month, go to year.

• 5:07Speaker 02

  Right. Cause if we didn't, if we did month, it would just be September. But by the time we had the idea, it was like November 2024. So I was like, well, let's just, let's just do the year one. Cause it's going to be hard enough to do.

• 5:18Speaker 01

  Yeah. Yeah. I think one of the most fun parts of it was actually having us just start to capture everything. Cause that's one of the ideas for the reason we started a podcast is because we were like, we kind of have a lot of tech related conversations. And they're not necessarily videos, but they are interesting. And we kind of like talk about the news a lot and we have takes on things. How do we, we just like sit down and actually formalize this. And we made the podcast out of that. And I think Yiddle, as we're affectionately calling it, was a whole bunch more of that. Where anything interesting that's ever happening, or maybe even not interesting, just anything that's happening. Let's just get it on camera, just in case.

• 5:54Speaker 02

  Yeah.

• 5:54Speaker 01

  And then we just kind of went from there.

• 5:56Speaker 02

  So I feel like the place to start is like, Rich, what was our tech stack coming into January? Cause I want people to like, leave this podcast episode, being able to make their own Yiddle. And as the technical visionary for this, where did we start? Like, what was the first camera we had? And then we can kind of talk about how we added different tech to begin with.

• 6:17Andrew Manganelli?

  Sure. Uh, we shoot.

• 6:19Speaker 03

  Most of you know, probably 95% on C70, which is kind of our workhorse cameras. We have three of them in the office. There's always one on either mine or Eric's desk and it's always ready to go. It's got a, it's got a 416 on it. It's always got a card in it. It's ready to go. The problem is when we're shooting everything, it's a ton of space.

• 6:41Speaker 02

  Yep. January was like really difficult for I'd say like three main reasons. We shot everything, but we didn't know what we were shooting and we had no story.

• 6:50Speaker 03

  Yeah.

• 6:51Speaker 02

  One of the first things that we shot was like a really busy day where Andrew, like.

• 6:54Andrew Manganelli?

  Mm-hmm. I think it was Brandon was supposed to go on a shoot with Marquez for the Sam, the new Samsung. It was actually Samsung launch plus the XR headset, which is why we're going. One of our shooters got sick, so now I have to meet Marquez in California tonight. So tomorrow we can shoot an exclusive shot of the Google Samsung XR headset. The only problem is we had all this pod stuff scheduled for today because we need to record a bonus pod. Then we need to watch unpacked. Then we need to record an episode about unpacked. And then I need to be on a plane by 5:30. Might be my longest day of the year total, but let's start it.

• 7:33Speaker 02

  And so I was like, Andrew, film that.

• 7:36Andrew Manganelli?

  And I was like, I will try. And it was just a lot of me being like, I'm still stuck in the airport and then later like, I am tired. And it was pretty boring.

• 7:46Speaker 02

  It was like, and like, so, so like, that was all of our January coverage was pretty much just that. Cause like everything else was just us like walking around the studio. We realized like, okay, we're shooting everything, but we don't have like a purpose.

• 8:00Speaker 03

  Yeah.

• 8:00Speaker 02

  So, and then that made the edit really hard too, because we didn't know what we were selecting for. So we were just like wafting through stuff.

• 8:08Speaker 03

  I feel like anyone that's ever tried to like make a vlog knows what you're talking about. Like we've all had that experience of I recorded everything for a week. This will be easy to turn it into a video and you're sitting there like, wait.

• 8:18Speaker 02

  It's brutal. It's so the, the two things that like helped are I asked Mariah to take a pass on the edit. I took a pass and everyone was like. This sucks. And so then I asked Mariah, like, take a pass on the edit. And what she did is she found like podcast interviews and clips from across the other channels that she could sprinkle throughout. And I was like, oh, these are like the chapter markers. Like, everything, like, these are payoffs. And all of the Yiddle coverage is setups. And then, once that clicked, we had like a little micro format. We still didn't know like where the story was going, or like, when to choose what actually made it in the cut versus didn't. But we had a rhythm. And so that was kind of like step one.

• 9:03Speaker 02

  Like, it's showing the creation, and then like, you get the payoff of like, oh, that thing was made. Or like, if it's an external thing, like a podcast interview, like your thing with Trevor Noah, the whole point of those was to show like, this is a theme that we'll be setting up, or like, a larger conversation that we could establish. And so Mariah created like that basis for the language. And then from there, it was just like stepping up to like, how do we actually like, make anything that we want to use? Because, yeah, like, the Andrew coverage just didn't make the cut.

• 9:36Andrew Manganelli?

  Yeah, unfortunately. I mean, I totally understood. As I'm filming, I was like, yeah, this is like, kind of a crazy, me talking about that right then, sounds interesting. I get last minute called to spend 24 hours in San Francisco. But then, when you're living it, you're like, I haven't done this. Which I think, also, along the way, we have a whole year of, not just, you guys got better at capturing it, and we got better equipment in capturing it, but like, everyone started being like, Rich, we need the Yiddle cam. Like, come over to the side of the office. It was like ingrained in us to be like, capture this, capture this, capture this.

• 10:07Speaker 02

  It was definitely like, one of those things where like, Harper was like, film every meeting. And then Harper would like, at the beginning of every week, be like, we have this, this, this, and this. Which of this is Yiddle coverage? Who's the Yidler? As we affectionately would refer to them as, to like, to grab each of these. So the next deleted scene that I want to talk about is in February, when Rich and Miles flew first class to Portugal.

• 10:31Speaker 03

  How much can we talk about? Like, who sent us? Can we talk about that?

• 10:36Speaker 02

  Why not?

• 10:36Speaker 03

  I don't know.

• 10:37Speaker 02

  Yeah, yeah, yeah.

• 10:38Speaker 03

  Because we ended up making the video. Yeah. So Ferrari, well, we got a video made for Cars With Miles.

• 10:48Speaker 02

  So we didn't end up.

• 10:49Andrew Manganelli?

  We didn't make that.

• 10:50Speaker 02

  Yeah, so we scrapped that video.

• 10:53Andrew Manganelli?

  Right.

• 10:53Speaker 02

  So, and that was like, I'll, I'll put a pin in that because that was actually important to the storytelling. I was fighting to keep this scene in Year in the Life. But yeah, our February big thing that we cut was this trip. Do you want to describe your lovely trip, Rich?

• 11:05Speaker 03

  Sure, yeah. This unfortunately got deleted, so maybe at some point in the future, we can show the audience. But it was three days, I believe, of me and Miles in the beautiful southwestern coast of Portugal.

• 11:18Speaker 04

  Rich and I are in Portugal for a Ferrari thing. And we had a camera, an action camera, basically suctioned up to the front right side of the car. So we keep going and then we hit a bump. It was just like, check on the GoPro just to make sure, you know, it's still there, which I'm assuming it is. He looks over and he's like, yeah, let's go. We, we relate to everything.

• 11:41Speaker 03

  Yeah.

• 11:42Speaker 04

  And we lost a camera, which had a lot, a bunch of footage on it. Um, and then we get Portuguese McDonald's, which turns out is just like American McDonald's. So pretty, pretty bad.

• 11:52Speaker 02

  Was it the Dodeci cilindri?

• 11:54Speaker 03

  It was, it was the convertible too. We had the top down.

• 11:57Andrew Manganelli?

  Chill with the hand movements. There's an Italian.

• 11:58Speaker 02

  It's an Italian car. I feel like I have to, sorry.

• 12:02Speaker 03

  It was wonderful. It was beautiful. The problem was, I think I didn't know what to capture yet.

• 12:07Speaker 02

  Yeah.

• 12:07Speaker 03

  Cause this was like a month into us doing Year in the Life. And so I'm like, what kind of coverage do we need? And I think that was a big problem for me. And throughout the year, that, that really helped was like, oh, okay. Like this is kind of coverage we need. We need like setups as in like, oh, here's where we are in terms of, you know, setting or.

• 12:24Speaker 02

  Yeah, this is what we're shooting. This is why we're shooting it. This is why it's challenging. Like eventually like we, we could kind of figure out like what we wanted.

• 12:33Speaker 03

  Yeah.

• 12:34Speaker 02

  But at this point, we had two travel shoots that were both like cut.

• 12:37Speaker 03

  Yeah.

• 12:37Speaker 02

  The, the Portugal one, I'm really disappointed because we lost all that footage, right? Well, we lost the actual footage up for the video.

• 12:46Speaker 03

  Yes.

• 12:47Speaker 02

  Like the, I guess the GoPro that you had or like the phone that you had that you used to shoot a bunch of the footage fell off the car.

• 12:53Speaker 03

  Unfortunately, yeah. It was.

• 12:55Andrew Manganelli?

  Oh.

• 12:56Speaker 03

  Yeah, so it was. At some point during our drive, it had fallen off. And we unfortunately only had like an hour left before we had to get back to the hotel or else the shuttles would be leaving and we'd be stranded there. And so we like turned back and we, we probably searched for that camera for an hour or so because it had all of our like, you know, kind of like bumper shots and all this like great coverage. And we're like, oh man, this is a bummer to lose that, that footage.

• 13:23Speaker 02

  I was like, from a story perspective, this is so great because it shows stakes, right? Like, I think the big issue that I had with Yiddle 1, that is already being solved by Yiddle 2, is in Yiddle 1, we just keep constantly winning all the time. It makes working here look really easily, but that's just because when stuff went really bad, we'd like lock in and not know how to film it.

• 13:47Speaker 03

  All the footage, so you can't show it.

• 13:48Speaker 02

  Yeah, exactly. Okay, so two months down, month three, there's another trip to South by Southwest. And I was just like, Rich, we are going on this trip.

• 13:58Speaker 03

  We gotta go.

• 13:59Speaker 02

  Both of us are going to shoot everything. And I think that this was the turning point for us.

• 14:06Speaker 03

  Oh, absolutely.

• 14:06Speaker 02

  Yeah. So like, we went to South by with all the, with all the pod boys.

• 14:11Speaker 03

  There's a great story about this.

• 14:13Speaker 02

  Wait, what's the great?

• 14:13Speaker 03

  Hotel story.

• 14:14Speaker 02

  Bro. Oh.

• 14:16Speaker 05

  Oh my God. I forgot about that.

• 14:20Speaker 03

  There's so much good stuff. There's so much good stuff that did not make the cut.

• 14:24Speaker 02

  Tell that story.

• 14:25Andrew Manganelli?

  Somewhat know this.

• 14:27Speaker 03

  Which hotel story are we talking about? Because there's.

• 14:29Andrew Manganelli?

  I just know like, South by is really confusing and we're figuring this out right now, booking again. But like, in order to get a hotel in South by, you need a badge. And Vox handles our badges. So Vox booked our hotels, but since you guys aren't hosts on the podcast, we had to get you hotel rooms. After this episode, I can send this to Vox. But like, you had to get hotels somewhere else.

• 14:51Speaker 02

  Yeah. So we just found a place that Rich could book with like Hilton points or something that was like 30 minutes outside of Austin.

• 14:58Speaker 03

  But it was cheap.

• 14:59Speaker 02

  It was really cheap.

• 15:00Speaker 03

  Under a hundred bucks.

• 15:01Speaker 02

  It was like, it was like, it was like a hundred bucks. Rich and I were just gonna like, share a bed.

• 15:07Speaker 03

  Did you guys get your money's worth?

• 15:08Speaker 02

  So.

• 15:09Speaker 03

  No, we did not.

• 15:10Speaker 02

  No, I would argue we kind of did. So we show up and they're like, there's no clean water. And we were like.

• 15:17Speaker 03

  No, no, no hot water.

• 15:18Speaker 05

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

• 15:25Speaker 02

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

• 15:40Speaker 02

  So Rich and I get our own full sized beds.

• 15:46Speaker 02

  There was also like no breakfast there.

• 15:49Andrew Manganelli?

  It wasn't the best. Hotel has breakfast anymore, unfortunately.

• 15:52Speaker 02

  But, um, are you sure it was, I remember trying to run the water and I think like a brown sludge came out.

• 15:58Speaker 05

  Oh, my room just had cold water. So.

• 16:03Speaker 02

  Either way, we go to South by, we film everything, Rich and I stink, but in a good way, because that footage was stanky too.

• 16:09Speaker 05

  It was great.

• 16:11Speaker 02

  C70 is not great in low light, but it's, you know, it's all good.

• 16:14Speaker 06

  That was the shoot that you guys came back and you like begged the Marquez for Sony's, you were like, please.

• 16:19Speaker 02

  And then literally like two, two shoots later, we were like, nevermind, bro. We're going back to the kid. We should have always trusted you.

• 16:27Speaker 01

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

• 16:35Speaker 02

  Yeah. Yeah. But.

• 16:37Speaker 05

  C70 color, Rich, like the color job you did is just like so fantastic. It is a great camera to work with. That's why we love Canon.

• 16:45Speaker 02

  Do you guys want to, on our fine cut, so no notes on story, no notes on move this, no notes on cut this. The only notes that people could leave are color grading and audio. Do you guys want to guess how many notes we got? Yeah. Five days to upload.

• 17:01Speaker 05

  By whatever miscommunication we had on that was really frustrating because I, I told you, I said, this is unmixed.

• 17:10Speaker 02

  No, no, no, I know.

• 17:11Speaker 05

  So only leave notes on missing sounds.

• 17:14Speaker 02

  We just sent it to everybody.

• 17:16Speaker 05

  No, but you specifically said, do not leave notes on missing sounds, only leave mix notes. So all of the notes we got were useless.

• 17:26Andrew Manganelli?

  To be fair.

• 17:27Speaker 06

  The mix is still really good.

• 17:29Andrew Manganelli?

  Eric, also, if you're not, we put everything in frame I O and the amount of times this was watched by people in the studio is wild. I think I watched it once a month. Cause. The thing evolved, but.

• 17:42Speaker 02

  Yeah, the cut that I watched was not what even got uploaded.

• 17:45Andrew Manganelli?

  I've watched so many different cuts of Year in the Life, but there's a point where the video gets so big that even though Eric will be like, "Don't comment on XYZ."

• 17:54Speaker 02

  You'll just forget that by minute forty.

• 17:56Andrew Manganelli?

  It's not even, well, that and also some of them are like, "This is too important of a thing. I have to leave the note because just if for some reason it doesn't, it feels like it will be more detrimental later to be." I know that kind of sounds backwards, but there's things like curses. I don't know. Sometimes there's things where I like, "I have to say, this graphic is messed up." Or like, what's, it's just like if we don't.

• 18:20Speaker 06

  Rich's home address is showing in minute thirty-eight.

• 18:23Speaker 02

  Yeah, on like, on our second to last cut, on our fourth watch through, Rich goes, "Oh, my God, that's the company credit card." I think this was like the day before upload, just so you guys know. Rich, thank you. Yeah, yeah. We were like, "Oh, my God." We blurred so many things. We had to do like such fine details on it. And that's like, but yeah, we had like three hundred notes the week before upload. Like the week before. So that was like not, that's not including the story conversations and like the, the weekly meetings and blah, blah, blah. But the flow that we got into after South by was like when things really clicked because it was South by and then I took like a trip to Peru.

• 19:08Speaker 02

  Shout out Peruanos. And then, and then, and Chicago just cuz. And then, while I was in Peru, Harper and Mariah ran point on interviewing every single person here. And then, once we had the interview coverage and actually good travel footage, we were like, "Oh, we have the first fifteen minutes. Like, we can figure this out." And so, once, and once we sent that video at the, on the first day of April, everyone's like, "April fools, whatever." And they watched and they're like, "Wait, this is actually kinda good." That's when the momentum started to build. And by like May and June, everyone was like, "This video's coming out. I know that I can put my time into it. I know that I can think about it." Because we've had other videos. Ellis and Adam are both certified in how to use a ham radio

• 19:52Speaker 02

  because we spent three months on the studio channel trying to get them to call the ISS. And. We just scrapped that video.

• 20:00Speaker 01

  I completely forgot about that.

• 20:01Speaker 02

  Yeah, so like, so like, I totally, like, so like, I think having that, that come out and Rich and I just going and shooting the coverage, I think that was the moment where everyone realized, like, oh, the video's going to come out.

• 20:13Speaker 01

  Yeah.

• 20:13Speaker 02

  And then it was off to the races.

• 20:15Speaker 01

  Format wise, it was really fun, because I think you, when you see the title, Year in the Life, and you, when you know what a vlog is, you kind of just picture just a chronological, super, super, super long day, like a long vlog in, in a straight order. And I think some people might find that interesting in its own way, but I think the, the way, obviously, we were able to structure things and like bring stories through, loop things through the whole video and the recurring, uh, I've watched it now with people who are seeing it for the first time, because I've seen the cut so many times, noticing different things people pick up on, like the Snoop Dogg wine bottle and how that keeps recurring, or just like various things that sort of bring people's attention back in, all made it feel, not, obviously produced is one thing, but like, just cohesive, and it made me really proud of it. So it was, it was exciting to do that.

• 21:00Speaker 02

  I, I, like, a piece of advice, if you want to do that, like, I think so many vlogs are run on sentences. So many vlogs are, this happened, and then this happened, and then this happened, and then this happened, and it gets really, really, really diff, it gets difficult for the editors, because they don't know what to place focus on when everything is equally weighted. It's difficult for, like, Ellis, as he's doing, like, music decisions, because he, like, you can't tell what the difference between beats are, and so everything that we were doing was thinking, like, what is our punctuation? Like, where is something going to end? And then we'd reverse engineer. So like, the summer was, oh, the punctuation ends when Marquez comes back from China. And then the, then that's, that gives us clear setup of, like, we have to film a bunch of stuff before Marquez leaves, and like,

• 21:45Speaker 02

  that, then I also know what to cut, because if we're shooting something and it doesn't intersect with Marquez is going to China soon, then it's, then it's all gone, because we're just focused on that sentence right now. And then, once that's done, it's like, oh, Marquez comes back from China, and literally, the day he's back, busy season begins. Okay, it's smartphone season. Now, there's like a main thesis for that, which leads us to iPhone, which, and so, like, the, the key was like, We just had to figure out where the cut was going. That's what made cutting like, um, November and December really, really hard. Because we had already been through the hardest things we could do. And we shot tons of videos in November, December, but it was just like, you, you've already made your iPhone videos. Like seeing you make a pixel video is like, that's not impressive anymore.

• 22:30Speaker 02

  Cause we, we watched you do it, right? It's not like there's any tension in like, are they going to be able to pull it off? And there's no mystery either. So like figuring out what we wanted to keep around was really difficult. But ultimately like, that's where the three questions idea came from. We just like pulled everyone in for interviews right at the end of the year to ask them, what are your three questions to describe 2025? And then Rufus did a full score piece. And then we kind of knew like, okay, three questions for 2025, blah, blah, blah, blah, blah. And then that'll ring with the three questions that describe 2026.

• 23:03Speaker 06

  Yeah.

• 23:04Speaker 02

  That's, that's the ending and it all led there. Three words. Oh, three words, three words, English.

• 23:09Speaker 06

  Yeah.

• 23:09Speaker 02

  I love you.

• 23:12Speaker 05

  Joel and B needs. Sixers are up. Joel and B needs. We've won five games in a row, baby.

• 23:19Speaker 06

  He had a 40 piece. Wait, can I just say something that Ellis was very proud of that people may or may not have noticed?

• 23:24Speaker 02

  Yeah.

• 23:25Speaker 06

  The moment in Yiddle when Philadelphia comes on the screen, he put like,

• 23:31Speaker 02

  Ellis, do you want to describe it?

• 23:33Speaker 05

  Every location has its own signature sound, except for one. I don't remember which one doesn't. No, New Jersey had one, New Jersey had an arcade machine, a kung fu slap from an arcade machine. The Philadelphia one was an eagle screeching and the sound of a car window being shattered.

• 23:49Speaker 06

  Oh, wow. Nice.

• 23:51Speaker 05

  That's not the thing that I'm most proud of. And I probably, you know, it's, it's not right to talk about this without Rufus here. Cause he was the one that really like, did a lot of this labor on it. But something that Rufus and I are both really proud of in Yiddle is like, no one would know how many of the sounds in Yiddle are fake.

• 24:09Speaker 05

  Like the entire intro sequence, there's not a, other than Marquez's voice, there's not a single sound that was recorded. Every single, even like the montage.

• 24:28Speaker 01

  Of course, it's not just tech reviews. It's also car reviews.

• 24:36Speaker 01

  So it's not just phones and it's not just cars. We also do a podcast in here.

• 24:41Speaker 05

  Every single clip in the montage was silent and we rerecorded everyone's lines, everyone's movement, every shirt swish, every footstep.

• 24:48Speaker 02

  Rufus was walking around with a microphone and he'd be like, hey, jump. Or he'd say like, say congratulations. Or he'd say like, I hope this works. And he'd just like run up to people and tell, like, give people lines and then just like- He pulled me into a robot room and was like, say something funny. Go.

• 25:04Speaker 05

  We've spent a lot of time like going around the office and recording the sound of every room. Because it was a lot easier for us to just mute a lot of the clips he gave us and then recreate our own rooms. Then, uh, then work from like the C7.

• 25:27Speaker 01

  Support for the show comes from Shopify. So starting a new business is so daunting that most people quit before they even start. But you don't have to be like most people and you don't have to do it alone. Shopify makes it easy to take the leap. Everything you need to start selling is included and ready from day one. Shopify powers millions of businesses worldwide, from household names to small businesses just getting started. Their templates and AI tools help you get a website up and running fast. No coding needed. If questions come up, Shopify's built-in AI assistant Sidekick is ready to help you build, troubleshoot, and keep moving. And the best part is that all of Shopify's tools are conveniently located in one easy-to-use platform. And because Shopify handles the setup and checkout, you have more time to focus on growing your business and the tools to do it.

• 26:11Speaker 01

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• 26:26Speaker 07

  Support for the show comes from Google Gemini. You know that moment when curiosity strikes? You're exploring a new city with the family and a sculpture catches your daughter's eye. What is that? Who made it? With Gemini, you can snap a picture and get a fully interactive breakdown of its history, architecture, and even hidden secrets. Gemini is built for moments like that. Whether you're learning something new, solving a problem, or looking for your next favorite thing, Google Gemini is here to help. Download Gemini, Google's AI app, or visit Gemini.google.com to learn more.

• 27:06Speaker 08

  This episode is brought to you by Google Chrome. You think you know a browser, but Gemini and Chrome? That's new. It can help you with practically anything on the web, like restoring a vintage motorcycle from a 50-page restoration block, or finally break down that long article you've had open for weeks. Gemini and Chrome is here for it. Ready to make anything online make sense? There's no place like Chrome. Check responses set up required. Compatibility and availability varies 18 plus.

• 27:31Speaker 02

  Okay, this gets into one of the themes of the piece that I think is very interesting because I think that there's a lot, I think there's a great deal of humor in the fact that from within like literally the first 15 minutes to the end, we keep being like, YouTube's the best. I don't want to do movies. YouTube is great. We don't need Hollywood. And then we're like, we're going to fully mix the entire thing with fully sound.

• 27:54Speaker 01

  Yeah.

• 27:55Speaker 02

  And it's going to be 90 minutes and you should probably watch it on your TV. And we're going to do a little director's commentary episode. Like, do you guys, like, how do we reconcile the dissonance?

• 28:05Speaker 01

  I can. I think that a lot of times, and I talked to, I remember having this question, I think it was in the Will Smith interview of like, was it, because he was doing YouTube videos and obviously Hollywood movies. And what's the biggest difference between the two? It's my Will Smith impression. Yeah. And a lot of it.

• 28:23Andrew Manganelli?

  A lot of it comes down to when working on Hollywood movies, you have an idea in your head and you have a goal for a thing you want to create. And you spend a whole lot of time on it. All of this is 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 worked on. And that gap is the frustrating part. And I think for us, we have the same thing. We have this process. We have a vision of what we want to create. We work really hard on it. We put a lot of effort into making it as good as possible. And then it's out.

• 28:56Speaker 02

  Yeah, we picture locked Year in the Life, January 7th, 2026. So we essentially fully edited the entire thing over Christmas break, took one week to do notes, pickups, finalize the last five minutes, shoot the first five minutes, because the first version of the first five minutes was me shot on iPhone, reading the lines, like, just like trying to vibe it out.

• 29:19Andrew Manganelli?

  Yeah, spoiler, it wasn't actually September.

• 29:21Speaker 02

  Yeah.

• 29:22Andrew Manganelli?

  You got the idea.

• 29:25Speaker 02

  And then, um, yeah, and then we essentially finished it. And then Rufus and Ellis had three weeks to sprint out the entire audio. You had two weeks?

• 29:36Andrew Manganelli?

  It's crazy to think.

• 29:37Speaker 02

  The entire audio.

• 29:38Andrew Manganelli?

  Two weeks is sprinting, because in our world, two weeks is four or five videos. But like, the amount of work they had to do was insane. But I think also, like, you're saying, why did we take so much of all this? I would like to hear your guys' thoughts, because, listen, I watched a bunch of cuts of these. When I'm looking at you guys in the room here, I did nothing for this video. I was a person in it. The amount of work you all put in, I can't even put it to words.

• 30:04Speaker 02

  I did everything.

• 30:05Andrew Manganelli?

  Shut up, Adam.

• 30:09Andrew Manganelli?

  But like, part of this is like, this is the first time we did it. The amount of variables that happened over a year, the amount of pieces of equipment that we recorded on, the amount of hard drives and computers and files that we were in the ether. Like, at a certain point, I'm assuming, Ellis, you guys realized like, yeah, we have to do all of this stuff, because it's just, there's so much going on. It's like winds up becoming one of the, I don't want to say easier things to do, but like, in order for it to work. The audio, like, in order to make a full, it's feature-length, it's documentary

• 30:50Andrew Manganelli?

  style, like, to get the vibe going, and a million, like, you don't always get perfect audio off of the DJI Osmo that David forgets to turn on, like, in the car, or like, my phone.

• 31:02Speaker 02

  Stuff like that is mind-blowing, because, yeah, like, the initial cut is, like, David forgot to turn on the DJI Osmo, and you could hear, like, music in the background, and the sound of the road going by, and like, like, you two, like, perfectly fixed up the audio, so, like, you could always, it's just, it's just insane.

• 31:19Speaker 05

  Credit where it's due, the dialogue was really a Rufus championship run, like, that was, I guess, so I guess technically it did spend three weeks in audio post, because the first week was just Rufus doing dialogue.

• 31:28Speaker 02

  For that sequence, we, we actually locked September 1st.

• 31:32Speaker 05

  Yeah.

• 31:33Speaker 02

  We turned around September and got it locked by the top of December, because we knew something would go wrong, so, like, we were just like, let's just find 20 minutes to figure out what would go wrong.

• 31:42Speaker 05

  Rufus and I had a lot of conversations in December about how we wanted Yiddle to sound, like, what it was actually supposed to sound like, and it became pretty clear after, like, two or three of those conversations, the workflow we needed to do, which is, like, not the MKBHD workflow, but very much the, like, cinema Hollywood, hot, audio post workflow. My God, I'm getting tired, like, thinking about this.

• 32:05Speaker 02

  You're still recovering.

• 32:07Speaker 05

  Like, yeah.

• 32:08Speaker 02

  Yeah.

• 32:09Speaker 05

  But, uh, I don't know, we definitely did a bunch of really funky, you know, Rufus and I had this really funny conversation on Mix Day, the morning of Mix Day, where he was telling me about this video he had just watched, of these remixers doing TV shows, like, reality TV in LA, where they'll have two mixers on three computers going through the same set of speakers, so they can hear what the other person is doing. And we were like, How on earth do they, like, how do you mix anything, hearing someone else's work at the same time? And after mixing Yiddle for like, three hours, we were like, we need to do this. And we immediately plugged his computer into the same set of speakers and it like, made everything so much easier. I can't even fathom.

• 32:52Speaker 01

  It's insane.

• 32:53Speaker 05

  So you are just-

• 32:54Andrew Manganelli?

  That's still Chinese Bible and Mozart, different ears.

• 32:57Speaker 05

  We had two, we had two computers with identical Pro Tools sessions up that were timeline synced with, with them both going through the same computer. So we were able to like, make adjustments on both of our machines that we'd sync up at the end. And if we got somewhere where a sound effect was missing, or a piece of music was missing, I could keep going forward and mixing while Rufus auditioned sounds. Then we would be in agreement, like, that's the right sound effect. He would blip it to me and I would drop it in on the main session.

• 33:26Speaker 01

  Blip is like fancy airdrop.

• 33:28Speaker 05

  Blip is-

• 33:29Speaker 01

  Not even, it's-

• 33:29Speaker 05

  Blip is like-

• 33:30Speaker 01

  It's just better airdrop.

• 33:31Speaker 05

  Oh, yeah. If you're not, if you're not blipping, you ain't living. That's what-

• 33:35Speaker 01

  I gotta say, we use Airdrop a lot around the studio to like, pass around files, whether it's a PDF or a thumbnail, or an entire like, B-roll section or footage. I don't trust Airdrop to work more than 60% of the time, especially as files get past half a gig.

• 33:52Speaker 05

  Yeah.

• 33:52Speaker 01

  Half a gig.

• 33:53Speaker 05

  That's fair.

• 33:53Speaker 01

  That's it. Blip, I remember being in like, the basement of Newark Airport, you know that underground gate at the very back of Terminal C? And getting a blip from Harper at the studio of like, a 350 megabyte short and it was just like, downloading, done.

• 34:07Speaker 05

  I was like, wow.

• 34:08Speaker 01

  It was amazing. Blip is amazing. I love Blip. Shout out to Blip. It brings me to one of my, my big questions, actually.

• 34:15Speaker 05

  Okay.

• 34:16Speaker 01

  How much storage do we think we can estimate we actually shot to for the entire year of all the things we captured?

• 34:25Speaker 05

  I have that number.

• 34:26Speaker 01

  You do?

• 34:27Speaker 05

  On with me at this moment in, in my Slack.

• 34:29Speaker 01

  How do we, uh-

• 34:31Speaker 05

  I mean, I don't, I don't think it's exact, but it's, it's the size of the prod, of the final cut.

• 34:35Speaker 01

  Library? Do we wanna do prices right rules?

• 34:39Speaker 05

  Whatever the highest tier.

• 34:41Speaker 01

  Do we wanna do prices right rules?

• 34:43Speaker 05

  It's just the main folder, so like, everything, all the graphics, all the exports, like, all the B-roll, all the A-roll, all the music.

• 34:49Speaker 01

  All, everything.

• 34:50Andrew Manganelli?

  Wait, everything that made it?

• 34:51Speaker 05

  No, everything we shot.

• 34:53Speaker 01

  Everything we shot. All source material.

• 34:55Speaker 02

  Honestly, I have no idea. I should be removed because I know this answer. I have no idea. I assumed you knew it.

• 35:00Speaker 03

  I'm probably the only one that knows the answer besides Ellis. Yeah, so.

• 35:03Speaker 02

  Rich did all of the data management, which was like such a feat.

• 35:08Speaker 03

  I had to ask Marquez for a new drive.

• 35:09Speaker 02

  Oh, that does give you some context.

• 35:11Andrew Manganelli?

  No, there were times where I would be like, oh, Rich, did we have something from this? And he would have to like unplug one drive to plug another one in.

• 35:19Speaker 02

  Yeah, yeah, yeah, yeah.

• 35:20Andrew Manganelli?

  The amount of just random bays of storage next to Rich's desk for this.

• 35:25Speaker 02

  Okay, wait, I have, I have like a crazy Rich pull story. So when we're in like November or December, we're sending cuts for people for like final, final notes. Tim leaves a really good note where he's like, we've shown like struggles with the merch. And then all of a sudden, the merch is ready for the merch shoot in this cut. Like, we need a version of the cut where we, we see like a triumphant moment with the merch before they go into shooting all of like the photos.

• 35:52Speaker 03

  Yeah.

• 35:53Speaker 02

  And I was like, that's so true. And I was like, Rich, do we have the coverage? And so Rich goes and he takes every single merch meeting that we have because we have them all labeled. Posts them into a timeline. It's a three and a half hour long timeline. And he, and, and this is before Final Cut had transcripts. So he just goes through and he listens to the whole timeline on 2X Speed. And he finds a 15 second clip of them saying, this looks really good.

• 36:16Andrew Manganelli?

  Oh, it was like Brandon on Zoom, right?

• 36:18Speaker 02

  Yeah, yeah. Yeah. And, oh, and the audio was messed up. At that time, we would be like, we, um, for, for a month and a half out of the year, right before Rufus joined, we, we got lucky on this, actually. We hadn't checked the footage. We were just filming. And there was something wrong with the XLR cable that plugged the microphone into the camera.

• 36:37Speaker 03

  Yeah.

• 36:37Speaker 02

  And so for a month and a half, we had pretty much no workable audio. And we just had to figure out how to edit around it. And then like between audio team and like, just like creative editing, most, I haven't seen a single comment. But yeah, brutal.

• 36:51Speaker 03

  All right. Are you all going to make your guesses?

• 36:52Andrew Manganelli?

  Rich is gonna have photographic memory of 2012.

• 36:58Speaker 05

  While you guys guess, I just want to say one more thing about audio because it's not that interesting is um we did a fader mix on this. So we watched through with faders and just uh just did it all live. It was really, really fun.

• 37:11Andrew Manganelli?

  Can I say something since you make it sound like we're not talking about audio anymore, even though I'm sure we will talk about audio later? When we were watching, there's a moment where Rich is hiding from Miles in the dark and you do the like uh reverb.

• 37:26Speaker 05

  This?

• 37:27Andrew Manganelli?

  This.

• 37:27Speaker 02

  Yeah.

• 37:28Andrew Manganelli?

  Claire just goes, "That was awesome." And I was like, I was like, if Ellis saw, if 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 all, like, understand how triumphant a like audio clip was in that, I was like, they would be so proud.

• 37:45Speaker 02

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

• 37:49Andrew Manganelli?

  Oh, really?

• 37:49Speaker 02

  He threw it in the slack and then we watched a cut and it didn't make it into the cut and I was like, "Bro, that has to get added back."

• 37:56Andrew Manganelli?

  That's really funny.

• 37:57Speaker 02

  Yeah.

• 37:57Andrew Manganelli?

  She loved, she thought it was so funny, like it added to that scene.

• 38:00Speaker 01

  It was really good, yeah.

• 38:01Speaker 02

  Rufus, Mariah and Harper are like definitely the three people who are not in this room who deserve so many flowers.

• 38:10Speaker 05

  Yes.

• 38:12Speaker 02

  Yeah, like those were definitely the three people that helped really accelerate it from like the Rich and Eric manic power hour

• 38:21Speaker 02

  into like this is a part of the company culture and we're all like really deeply into it. Alright, let's do numbers.

• 38:27Andrew Manganelli?

  I just saw Eric's number and mine's so, so much different than his.

• 38:30Speaker 05

  Oh, no, no, no, Andrew. Oh, Marquez is pretty close.

• 38:33Andrew Manganelli?

  Okay.

• 38:33Speaker 02

  I, I figure a terabyte a week.

• 38:36Speaker 05

  What did you put, Marquez?

• 38:37Speaker 01

  I have written 28 terabytes.

• 38:39Speaker 05

  Okay, and Eric, you have?

• 38:41Speaker 02

  I have a terabyte a week.

• 38:43Speaker 05

  So 52 terabytes and then?

• 38:44Andrew Manganelli?

  I put 8.1.

• 38:46Speaker 05

  Uh, the correct answer, the whole project is 37.57 terabytes.

• 38:51Speaker 01

  Damn. Cause I think my context for that was you, Rich, you were like, alright, I think I asked you how much storage do we need to make sure we have to make Yiddle to? Like you don't have to think about like not having enough storage. And I think the the tiers were thirty two, sixty four, ninety six. And you were like, yeah, as long as we have over fifty, we're good. And I was like, alright, okay.

• 39:21Speaker 01

  And this is all that price is exponential after thirty. Yeah, price goes up. But yeah, I was like, okay, that that is that is a lot.

• 39:27Speaker 02

  It's it's gonna help so like, you know, Rich, you can talk about this more, but like a big lesson that we had was. We were there came a point where we were physically moving server arrays between my desk and Rich's desk. We were back and forth, we could share a cable. But then Mariah would be doing a cut and we'd so then we'd have to pass a separate server to Mariah so that Rich and I could work on it. Well, Mariah like cuts up something and then eventually Rufus had to work on something. And so we'd have to pick up the server, take it to his desk, plug it in, plug it into his computer. And then he would have to go and proxy all the footage. So you'd take all the footage that made it into the cut and then re-render it in like a seven twenty P or ten eighty proxies. And then he could edit locally on his computer.

• 40:07Speaker 02

  And so eventually, when we don't have to do that, days will be saved.

• 40:13Speaker 01

  Yeah, that is the plan. I mean, we want to have this be as now that we've done our first ever version of it. There are so many things that we've learned about the the production, about what we do shoot and what we might already know we don't have to shoot. And then how we put this together. Also, storylines and arcs are gonna be different, too. The first one's always the first one. You're introducing characters. We're introducing, you know, the flow of the year and how things normally go. In the second one, you can correct me if I'm wrong. You can kind of assume that people are familiar with the characters now, that people are understand the arc of the season now. And maybe there are more interesting, different dynamics for part two. We will see.

• 40:51Speaker 02

  That just made it into the cut.

• 40:53Speaker 01

  I don't wanna.

• 40:56Speaker 02

  That just made it. That just made it into the cut of here in the life too. Yeah, that just made it into the cut. Yeah, no, I mean, we've already started doing our interviews for twenty twenty six. And the interview question that we've asked everyone we've pulled in so far is what is the greatest sequel of all time? In your opinion, we've gotten some some some good takes there. My personal favorite take is is Shrek two. But I'm like, my, yeah, my vision for twenty twenty six is I want to treat it like the bear season two. Where the bear season one is about the action and the plot of running the day to day life in this restaurant. And the bear season two is much more about the people behind the restaurant where you

• 41:40Speaker 02

  focus a lot on individuals going through their own kind of lives and you get to live with people a little bit more instead of like just the ensemble as a whole. So, yeah, we're definitely thinking through like what the structure is gonna look like. And the answer is probably gonna steal a lot from like 20 minute episodic television more than, more than anything. Yeah, I'm excited.

• 42:06Speaker 01

  Will there be commercials?

• 42:07Speaker 02

  Um, every seven minutes.

• 42:08Speaker 03

  If you or someone that you know would like to sponsor your in the life too, please reach out to Jono, he'll probably tell you no.

• 42:16Speaker 02

  Thank God we didn't have an ad read. We, we, we had a sponsor who's interested and then like through like, you know, back and forth or whatever, it's like, okay, this just isn't gonna work. Oh my, could you imagine halfway through just being like, thank you to Bombas?

• 42:30Speaker 01

  I think that's probably a deal. I don't know why, but I feel like, well, I guess I do know why. There are certain videos that feel like they have to be just in a flow state.

• 42:39Speaker 02

  Yeah.

• 42:40Speaker 01

  And some things can interrupt that flow state and Yiddle is one of those things where you wanna stay in it.

• 42:45Speaker 02

  This is the only video I've ever seen where the retention goes up over time.

• 42:47Speaker 01

  I have, yeah, maybe like one or two videos on MKBHD in the last year that do that, where the graph is actually increasing and like way above the normal line. And that's really satisfying.

• 42:57Speaker 02

  I'm seeing like every day, like the average number of people who finish the video goes up.

• 43:02Speaker 01

  That's sick.

• 43:03Speaker 02

  By like thousands.

• 43:04Speaker 01

  Yeah. I do remember seeing, cause we, we did this as a collab on YouTube, a lot of people, you know, we have to be very careful about using these tools, but we launched it as a collab, no regrets about that. So we can see the analytics and it's like, if you sort comments by newest, you can kinda get a sense of the like flow of, you know, there was the day one viewers, obviously people who were watching right away.

• 43:24Speaker 02

  Yeah, they're like, hell yeah, cool.

• 43:25Speaker 01

  Were very excited, super, you know, jazzed about it, great. Then you get the day two, day three viewers. Now we're at like the one week later, it's someone who like saved it and bookmarked it and was gonna watch it and forgot about it and came back and like much more casual viewer. And those comments are starting to flow in and I'm reading those. And it's all, all of them are uniquely interesting and positive, whether it's like, here's a timestamp of something I really enjoyed, I thought was hilarious, or here's six paragraphs of, I never comment on the videos, but I had to comment on this one.

• 43:50Speaker 02

  Yeah, yeah, yeah.

• 43:51Speaker 01

  Here's a whole bunch of stuff. A lot of, lot of really fun stuff there.

• 43:54Speaker 03

  Comments on this are fun because.

• 43:57Andrew Manganelli?

  One, they just keep coming in. Like normally 24 hours later, comments die pretty hard. These are still flowing, but because the video is so long, it's so hard for someone to comment about a very specific spot. And I think also because it's so long, so many more people are watching it on TV. So generally, there are more comments of the vibe of the whole thing.

• 44:15Speaker 02

  Yeah.

• 44:15Andrew Manganelli?

  One, they're the most positive comments I've ever seen. Two, everyone loves Ellis. It's just Ellis and I a show. It's just like, man, they're the best. But then I do really love when there is finding, if there's a timestamp and I watch them like, this person liked this part enough to pause this like hour and 30 long minutes video to specifically point to a very specific part and like finding those have been really fun.

• 44:42Speaker 02

  Yeah.

• 44:42Andrew Manganelli?

  And then I feel like I go back and then relive that scene because it still is our life.

• 44:46Speaker 02

  The most insane and crazy and weird thing about this is somebody decided to add Year in the Life to Letterboxd, which is, that's like, that's where you can log the movies you watch and review them.

• 44:59Speaker 01

  I'm curious, since it now is like a 90 minute video and we all have our favorite parts, what is everyone's favorite? It can be a quote or a moment.

• 45:05Andrew Manganelli?

  Nintendo [BLEEP] my pants.

• 45:06Speaker 01

  Okay, that was my favorite too.

• 45:07Andrew Manganelli?

  I mean, that's the answer.

• 45:09Speaker 01

  Everyone's second favorite quote from, or moment from the Year in the Life.

• 45:14Speaker 06

  Mine is Eric's, where he's like talking about you playing golf. And he was like, Marquez doesn't feel it like an artist, he feels it like an athlete. And I remember watching that because I had seen multiple cuts and none of my cuts had that line in it. And when I heard that line, I was like,

• 45:30Speaker 02

  It clicked.

• 45:31Speaker 06

  That's, yeah, that's how it happened.

• 45:33Speaker 02

  I got a couple of notes that are like, ah, the golf thing just isn't working. Like the audience doesn't care about golf. And I'm like, no, no, no, like,

• 45:39Speaker 06

  It's a bigger story.

• 45:40Speaker 02

  Like, yeah, yeah, yeah. Like, we have to figure out a way to like, communicate why this beat matters. We got comments too that were like, we gotta cut the Snoop Dogg bottle of wine because we only had two clips of it. Rule of threes, you need to set up a reminder and a payoff. And so we had to do a setup with the, with like the Slack graphic later. And so, yeah, there were a couple beats there. I have, I have one, but I want, I want Rich to go first.

• 46:02Speaker 03

  I have two, and they're both Andrew related.

• 46:04Speaker 02

  Oh, okay.

• 46:05Speaker 03

  The first one is when Google came to our offices in,

• 46:09Andrew Manganelli?

  I don't think people understand that part of the clip, but yeah, can you explain it?

• 46:14Speaker 03

  So I remember I was right by Alex's desk and then everyone was, as in Andrew, Marquez, David, and all the Google people were, you know, at our, Lunch table and I'm like Alex, go, go ahead and pull up like the verge article on like the pixel or whatever, right?

• 46:29Speaker 06

  Yeah, the leaks.

• 46:30Speaker 03

  Yes, I'm like, and then I shoot that and then I just pan over and Andrew's just dead pans the camera and he's just like, that was so funny.

• 46:37Andrew Manganelli?

  They're showing us the phone, so everyone online only knows the leaks and I see you guys across the room doing exactly, and I immediately catch it and I just stare and you turn the camera at me and all the Google people are talking and right through them, I'm just pointing at you guys like, I see what you're doing.

• 46:53Speaker 06

  I only, yeah, I saw that on second watch, I thought that was amazing.

• 46:56Speaker 03

  My other one is when we were doing the iPhone air intro and then it's you on the small HD and you're doing like this because you're a ghost because we had, we had to do kind of a, an opacity thing so that we could see the iPhone air. It's a very small moment, I think you have to be really paying attention to see that, but it's a fun little kind of Easter egg.

• 47:15Andrew Manganelli?

  I think my, one of my favorite parts was our first live stream, which is kind of this really funny thing of us not expecting what's going on and then some technical difficulties, which it doesn't capture in there, but like Rufus finds the one problem that we had and kind of saves everything, but like the two moments of that is everyone guessing how many people and guessing really far down, but when Ellis gets asked, he's just like, I don't know. Like you can just tell he's cooked at that moment. We've already just like, we're already exhausted, it hasn't even started and we're just so stressed about what's gonna happen.

• 47:55Speaker 06

  Ellis knew that that was like for yittos, so he like starts the clip like very like serious, like, oh, I'm gonna give an answer and you could just see him break in that scene.

• 48:02Speaker 03

  I see the break.

• 48:03Speaker 06

  His soul leave his body.

• 48:06Andrew Manganelli?

  And then right after, it's just so funny, the clip and the really awesome graphics around it of like, we're like, we're live, no, we're not live and we're all, we are live and we just don't know it. And then it's like, no, no, we're live, but they can't see us. And it's just Marquez on the live stream and I'm like, I think they can see us, I'm on the thing right now. So I thought that was.

• 48:25Speaker 06

  That was fun. I remember that happening too.

• 48:36Speaker 01

  Support for the show comes from Jira by Atlassian. So AI is only as useful as the context it has to work from. But when that context is scattered across tools like threads and DMs, that means your team and your AI agents end up flying kind of blind. That's the problem Jira solves. What's the goal tied to your project? What got decided last week in Slack? Atlassian's teamwork graph pulls all of these pieces together from Jira, Confluence, Slack, GitHub, and more, so nothing falls through the cracks. With Jira, you can actually share that context with the AI agents you already use, like Claude, Cursor, and GitHub Copilot, assign them work directly, or connect your agents through MCP. Spend less time digging through endless links and DMs, less time chasing down what got decided and by who, and more time actually shipping. Learn more at jira.com.

• 49:21Speaker 01

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• 49:24Speaker 08

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• 49:51Speaker 09

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• 50:19Speaker 05

  My favorite moment was not a moment, but a sequence that takes place from about 55 minutes till about 1 hour 12 minutes that internally we called Club Apple.

• 50:31Speaker 01

  Oh my God, like we haven't even talked about the Apple event yet.

• 50:34Speaker 05

  Yeah, so like, I don't know if you guys noticed on your watch through, but all the music between. Flying to Apple and finishing the iPhone Air intro is all dance music. Exactly. And we spent a lot of time trying to figure out like, how do we make this sequence that's actually takes place over the course of like, almost two weeks in real life feel like one continuous like onslaught of work? And we, it started off as me putting the track in the actual Apple event thing, the

• 51:16Speaker 05

  sort of like, like UK style bass garage stuff. And being like, hey, Rufus, like, look how funny this is. Like, it's, it's Apple Park, but it's like, club music, you know? And he was like, wait a second.

• 51:28Speaker 02

  Yeah.

• 51:29Speaker 05

  This really works. And yeah, I just thought that was so much fun to put together. And it's so much fun to watch, like, the relentless club music. There's like, a few cuts where like, the music cuts out for Tim, and then we go right back to Marquez. And it's like.

• 51:39Speaker 02

  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 an ER and an entire season takes place over the course of a 12 hour shift in an ER. So every episode is one hour in real time. And so you're switching from one patient to the other patient, to the other patient, to the other patient. And it's one of those things where like, you know, every time that you think it will relent, like, every time someone goes to take a break, they're just like, nope, someone's about to die. And then they like, run back. And I was watching The Pit and I was like, it's like us, but we're dumb. It's like us, but we're silly.

• 52:21Speaker 02

  And so, and I feel like the club music like perfectly encapsulated that. I grew up with an uncle in the music industry. He's a composer for film and TV. The whole reason that I'm here and I do this is because I got to see Uncle Carlos doing his work every day. And as somebody who would sit and watch him score for hours and hours and hours, it was so familiar and satisfying and fun to see Alison Rufus cook on music.

• 52:50Speaker 02

  And 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 little theme song from like beginning, middle and end is just like such a cool joy. I'm so proud of the music on this. I definitely want to do a limited release merch drop where we sell a CD. Oh.

• 53:11Speaker 05

  Let's not do that, but are we gonna do the?

• 53:13Speaker 02

  Wait, what?

• 53:14Andrew Manganelli?

  Cargo.

• 53:14Speaker 05

  Cargo room. I'm the only person in here that owns a CD player.

• 53:18Speaker 02

  It's a.

• 53:19Speaker 01

  Vinyl, it's vinyl, it's gotta be vinyl then.

• 53:21Speaker 02

  Oh, vinyl could cook.

• 53:22Speaker 01

  It's gotta go all the way.

• 53:23Speaker 02

  Or cassette.

• 53:24Speaker 05

  I'm the only one in here that owns a cassette, cassette player.

• 53:27Speaker 02

  Ellis, just buy the whole limited drop. I know how much you make.

• 53:30Speaker 05

  Yeah. But we should, are we gonna make the Cargo Room shirt? Because that was like half, that was like half the comments.

• 53:36Speaker 01

  It was a pretty spiked moment in the video.

• 53:39Andrew Manganelli?

  It was.

• 53:40Speaker 01

  People really liked the shirt.

• 53:41Andrew Manganelli?

  David cooked with that one.

• 53:42Speaker 01

  Yeah.

• 53:43Speaker 02

  I think. I was surprised it didn't make the cut on the initial batch, I'm not gonna lie.

• 53:46Speaker 01

  Yeah.

• 53:47Andrew Manganelli?

  If anyone, really quick TLDR is like, we wanted to make like the core shirts for each one and that didn't feel like the core, core of Auto Focus. There's, every shirt they showed us was a banger. We could have released every single one, it just would have been too many and a lot of work to do that, but um.

• 54:01Speaker 05

  That merch meeting was like an hour long, right?

• 54:03Andrew Manganelli?

  It was a really long merch meeting. And that was one of seven.

• 54:06Speaker 02

  Three minutes of selects, baby. That's how we edit.

• 54:09Speaker 01

  I would say very good representative selects of like the beats and the arc of the meeting. It was like very. Yeah. Very well done. We figured that one out.

• 54:16Andrew Manganelli?

  Can I throw, I don't want to just do a million things of what my favorite was, but there's one other thing that I, I don't think anyone recognized, which was during Apple event. There is the point where Marquez and David are at the event. So Ellis, Adam and I are in a room watching all of it and Eric comes in with the camera and it looks like we're talking about something super important. But if you really, really listen, it's Ellis and I talking about how the opening to Higher by Creed sounds just like Sugar Were Going Down by Panic at the Disco. Um, or not, no, no, sorry, sorry, sorry, Fall Out Boy. Wow. I'm gonna get cooked on that.

• 54:52Speaker 05

  As well as a Paramore song.

• 54:53Andrew Manganelli?

  Yeah, yeah. It's like us arguing about, yeah. So if you really listen to that, because Adam's just like, hey, at the camera and Ellis and I are like almost shouting at each other.

• 55:03Speaker 05

  It sounds so much more like Creed.

• 55:07Speaker 01

  I feel like that's come up before multiple times.

• 55:09Andrew Manganelli?

  We've talked about it at work, but I didn't see a single comment about that, probably because it's too specific. But there are so many little parts where if you lived it, you're like, people aren't gonna understand that. Or like, it's too short of a clip of it. Yeah.

• 55:21Speaker 05

  Also, then immediately after Adam going, welcome, welcome to Apple or whatever, that Tim good morning is fake. And I just got lucky that he says good morning the exact same way, every single time.

• 55:33Speaker 01

  He hit us with a triple good morning this year.

• 55:34Speaker 05

  Oh.

• 55:35Speaker 01

  Yeah.

• 55:38Speaker 02

  Has anyone not said their favorite part? You did?

• 55:40Speaker 01

  I have a favorite. Adam, have you given one?

• 55:42Speaker 06

  My favorite part?

• 55:43Speaker 01

  Or any, any, any stand out moments?

• 55:46Speaker 06

  I think my favorite part, like rewatching it back and like as a viewer, because I specifically made, I intentionally for the last like two weeks of you guys editing, like did not look at it. I was like, I'm making it a point to not even look to leave notes, even like.

• 56:00Speaker 02

  The way to do it.

• 56:01Speaker 06

  Nothing. I just want to comment as a viewer at the end. So yeah, you should do that. Highly recommend it.

• 56:06Speaker 02

  I'm not, I'm just gonna edit it with my eyes closed.

• 56:08Speaker 06

  But the day before, no, when you guys were uploading that day, Alex and I were doing one final watch through. And just making sure that like nothing, like no, like no company credit cards were out or something like that. So we were watching it at his desk and there was a point where Rufus is explaining how he scored the iPhone intro. And holy crap, the before and after on that, like it gave me chills. I was like, that was beautiful.

• 56:35Andrew Manganelli?

  The sound stuff was really cool. I think the sound files next to the OnePlus 13S intro. Seeing that, I think people know our intros are crazy. I think seeing that extra level in the tracks was like a, I think it clicked for people.

• 56:50Speaker 05

  And that was only like two thirds of the tracks too. The rest of it didn't even fit in the screener.

• 56:53Speaker 01

  Yeah. Yeah. I do have a favorite moment. I've watched it with people. I remember it's when Eric and Ellis were trying to get through the airport at the last. At the last second, boarding was closing in like eight minutes and they were just getting through security. And the bag was getting checked. And at that moment, I was like, 99.9% of people put the camera down. And just like, we have to make this flight, but not Eric and not Ellis.

• 57:22Speaker 02

  Dude, first of all, the DJ at Osmo is so much fun to shoot with.

• 57:26Speaker 01

  Yeah.

• 57:27Speaker 02

  And second, the entire time I was just like, yes. Content is going.

• 57:34Speaker 02

  To cook in the intro. I was like, I like the second we were off the escalator, I was already yelling like, move, move, move. Like you can see like me like picking up pace, but I'm like, I'm yelling as much as I can because I knew I was like, this is gonna be so lax. Yes, this is, I was, I was watching it on the tiny DJI Osmo screen on the airplane. I watched it like three times.

• 58:00Speaker 01

  In my head, there is never any shot that you guys are gonna miss the flight, but there was the like, we gotta get the bag on the flight. Please have room for the bag. And we got the bag.

• 58:08Andrew Manganelli?

  What did you say exactly? There's something Ellis says in line.

• 58:11Speaker 02

  He goes, David, take this back.

• 58:12Andrew Manganelli?

  Cause no, no, before that, it was like, um.

• 58:14Speaker 05

  So we've never gotten this close to missing a flight.

• 58:17Andrew Manganelli?

  But it seems pretty possible.

• 58:20Andrew Manganelli?

  It's perfect.

• 58:22Speaker 05

  Can we talk a little bit about the James Cameron interview? Because

• 58:26Speaker 02

  Yeah, dude.

• 58:26Speaker 05

  That was something that in the, the post-production audio room, we had like 50 million conversations about because actually the James Cameron interview, we talked about it is like the most profound part of the movie and also the silliest part of the movie. And Marquez, I don't mean to throw you under the, the bus.

• 58:50Speaker 01

  I haven't seen it.

• 58:51Speaker 05

  But Marquez, you don't, you don't watch a lot of movies.

• 58:54Speaker 01

  I haven't seen it.

• 58:54Speaker 05

  Right?

• 58:56Andrew Manganelli?

  Short on this.

• 58:57Speaker 02

  Marquez, there's 13 James Cameron movies.

• 59:00Speaker 05

  And so, and so, and so there's something really funny about like, what we were talking about in the room is that the, you know, James Cameron says this thing to you, Marquez, where he talks about the cinematographer, the, the filmer becoming the star and their perspectives becoming the narrative, which we thought was a hilarious thing for James Cameron to say to you because that's your whole thing. Your perspectives on tech are the narratives. You are the filmmaker. You are the star. He clearly had. No idea who you are or what you do.

• 59:36Speaker 01

  It was really interesting.

• 59:36Speaker 05

  Meanwhile, you're sitting there having never seen a single one of his movies, not knowing anything that he does.

• 59:43Speaker 01

  Yeah.

• 59:44Speaker 05

  And somehow you both arrive at this like ultra philosophical poetic thing about the future of media and the convergence of cinema and YouTube. And like, we were like, how, how on earth do we communicate how profound and stupid this conversation is? And meanwhile, Boz is just sitting there in some like outfit he obviously didn't pick himself. He's just like, yeah, yeah, totally. Like, think people are gonna buy Metaglass? It's just like, that whole scene is like. That's too funny. You couldn't have like, yeah.

• 1:00:16Speaker 01

  I remember in the moment thinking, so I had two like, like visuals of that conversation. One was in the moment, I was like, I'm asking James Cameron, like, someone who's clearly super visionary about what he thinks about the future of filmmaking. And hearing his answer, I was like, I was first expecting something like that I'd probably never heard before. And then I'm hearing him describe something that almost like resembles new world, like media, like creators being part of their creations. And I was like, oh, that's interesting. I guess he's probably saying that because it's me. And then after, I'm like thinking back about what he said, and I'm like, that actually felt like a very organic, like new thought for him, which is good, because it, it organically

• 1:00:59Speaker 01

  arrived at the thing that I would have described as the future also, which is the thing that we're already doing.

• 1:01:03Speaker 05

  Yeah.

• 1:01:04Speaker 01

  So I thought that was, that was actually interestingly profound, and it, it worked out to be.

• 1:01:08Speaker 02

  James Cameron is somewhere in his submarine watching this. And he's just smiling. He's just like, ooh, Marquez, do you wanna come on my submarine?

• 1:01:16Speaker 05

  We had like 50 million different pieces of music under that before we finally decided on the sort of fill up glass minimalist classical music.

• 1:01:24Speaker 01

  That was a good one, too.

• 1:01:25Speaker 02

  All right, I wanna share my favorite beat, cuz I thought it was also quite profound, even though it's like, not actually profound, but I found it profound.

• 1:01:37Speaker 01

  Mm-hmm.

• 1:01:40Speaker 02

  So the, the whole reason I'm here right now is because Miles Somerville decided to make a lot of really good YouTube videos while we were living in Chicago. And I knew how to use a gimbal, and we were friends. So I'd hold the gimbals while he made the videos, and then Marquez recruited Miles, and then Miles was like, you should talk to Eric. And then I went into Zoom with Marquez, and I was like, hey, you're in the life, mate!

• 1:02:03Speaker 02

  Anyways, so like Miles is the whole reason I'm here and he came up with me and a group of six other kids. I tomorrow fly to Mexico City to go hang out with these six guys. We were all groomsmen in one of our weddings. We're like very, very close friends. We all still work in the creator economy or tech. We're like, we were nerds when we were 14 making YouTube videos and we're still nerds now. And so it was really important to me to try to find a way to tell Miles's story and how many ways it intersects with here.

• 1:02:45Speaker 02

  Because Miles only found me because I made a YouTube video when I was 13 called MKBHD is Spider-Man. And then Miles, for literal decades, would hear MKBHD in his comments because people would compare them. And then as he came here, we made a video. I sat down and I interviewed Miles. And I'll give you guys this clip. I sat down and interviewed Miles the hour before he came and he started here. And the clip opens with him being like, "Everyone wanted to compare me to Marquez, but I guess..." "By technicality, I am MKBHD." And so there's all these bizarre things. And so it's really interesting to sit down with Miles and get to have a conversation with him where so much of his brand curation

• 1:03:29Speaker 02

  and thinking about how to position himself and thinking about where the cars comes from, comes from like, "I can lean into a sense of humor that is inherently not Marquez-ish." And I think that there's almost this, there's this joy in this tragedy and how much of his internet identity has been informed by this place. And so I think one of the open threads that we opened at the end... Was this conversation with Miles where he talks about his relationship to journalism? And how he doesn't consider himself a traditional journalist? And even though YouTube has opened all these doors and gotten him at the table, because of the sense of humor that differentiates him in the digital world,

• 1:04:12Speaker 02

  it also bars him from this traditional class, this, this sort of elite class, whatever you might want to call it. And I think at the end of the day, the thing that I'm most proud of with this piece is that, hopefully in 10, 15 years, when the creator economy just is the economy, when new media is just the standard for media, we can look back at this time where we were still the upstarts, but very clearly positioned to become the next elite, the next big ones. And we can see the conflicts and the back and forth, and have a really crystal clear understanding for what was going through the minds of the people who were living through that changing of the guard.

• 1:04:56Speaker 02

  We are at the biggest transition point in the history of media, and it causes a lot of issues for a lot of people. And I hope that this piece can help start to outline the templates for what being the responsible, upstanding, and better form of new media can be in the next five or 10 years. I, I hope that what we do will be remembered as, as quite important, because it's certainly important to people like me and Miles.

• 1:05:29Speaker 01

  Yeah, I think there's been a lot of, I almost wish we had a year in the life of so many of the years that we've had here.

• 1:05:37Andrew Manganelli?

  2017 would just be like you and me sitting there. And I would just, like, I used to, 2017, I used to not leave until you were done, which meant the last four hours of most of my days was just watching you edit.

• 1:05:50Andrew Manganelli?

  So like things have changed a lot, but yeah, they might have been a little more boring back then.

• 1:05:54Speaker 01

  Yeah, but I do, I do have memories of like, if you all the way back to 2017, like being the only YouTuber at the tech event. Like I have a lot of those memories and then being one of three YouTubers at the tech event and then being like, oh, your first tech, oh. And then there's seven of us and then there was 12 and then, then it was half. And then suddenly that, you know, they are setting up camera, like lights and like stuff for it to be like suitable for videos. And suddenly they're thinking a lot more about it and it's become really, really interesting to follow all of that over the years to get to the point where we are now, where it feels like, you know, we have, we have like electric cars and we have gas cars and we have hybrids. If you want to make the, the car analogy, it's like, we're kind of like hybrids now and we're like getting to this next stage where EVs are everywhere.

• 1:06:37Speaker 01

  And it's clearly still in the future, but we're clearly moving in a direction. And it's cool to be able to now have this landmark, this snapshot of time where we can see where we're at. And yiddle 2040 is going to be crazy compared to this one. Cause we, we, we just know that a lot of change is coming.

• 1:06:54Speaker 02

  Once we hired James Cameron to make it in 2040, Cyborg, Cyborg, James Cameron is like, yiddle that.

• 1:07:02Andrew Manganelli?

  Can I throw something on top of that, that I think you should be, that I think about, I was thinking about this recently and it stems in perfectly here. That I think you should be pretty proud of is you talk about how you slowly watch this, the YouTube media make it into like the journalist invites. And we're getting further and further in that. You've created not just a team, but a group of channels to the point where I'm seeing now, you've mentioned this before, like you think waveform is now a top 10 tech channel, just on its own. Like I think everything under our, like I think studio is probably in there. I think autofocus is like, I think the, the, this little empire that's been created here is, it stemmed out and each channel lives on its own so well that we're going to events now.

• 1:07:46Andrew Manganelli?

  And at an Apple event, I'm hearing a PR person being like, Why, we need Ellis on the sound thing of this. Like, they're picking people from this team that they need to be inviting to this thing. That's not just you anymore. That's just like, this team has-

• 1:07:59Speaker 01

  We're building companies.

• 1:08:00Andrew Manganelli?

  The stuff that we've created here is big enough in this new media world. Like, again, like Miles, I think all of us here go to a place and don't consider ourselves journalists in the sense of journalists who went to journalism school and follow those standards. It's a different type and, you know, we do it very differently, but it's still an important thing. You've built a place for us all to come here and everyone here is like crazy important in this world right now. And it's kind of wild to think about.

• 1:08:31Speaker 01

  I agree.

• 1:08:32Andrew Manganelli?

  That like, individuals of us are getting invited. I got invited to Fashion Week. I don't know why.

• 1:08:37Speaker 02

  Bro.

• 1:08:37Andrew Manganelli?

  I don't think that's that important, but like-

• 1:08:38Speaker 01

  What do you mean? Have you seen yourself?

• 1:08:42Andrew Manganelli?

  Obviously.

• 1:08:44Speaker 02

  Why is that surprising, Andrew?

• 1:08:47Speaker 01

  I'm surprised he's the first one.

• 1:08:48Andrew Manganelli?

  I shouldn't be laughing. I shouldn't be laughing. No, no, no. I mean, again, we're all funny here, but like-

• 1:08:52Speaker 01

  It's okay, it's a podcast.

• 1:08:53Andrew Manganelli?

  Dude, you've, people in this office now are getting invited to different things because of the stuff we all create and that's kind of wild. We've seen a lot of channels come and kind of die off and you didn't just keep going. You built a surrounding cast that they are all part of the ethos now. It's kind of wild.

• 1:09:10Speaker 01

  The thought that I had right after watching it, when it was live, that I put into Slack was basically, damn, I got lucky. I got a lot of talented people that, and everyone who's here has, we've kind of gotten here in a different way. Like, you've told your story and Miles has his story and Andrew has his story and Rich has his, like, everyone has a different way that, whether it was like, I saw Vin and Brandon's work, or I put out a Google form and people submitted, or I just like had, just just random recruiters reach out to me with people, like, there's so much luck that has somehow turned into this incredible group of people. I feel very lucky for it. I kind of have no choice but to like, make the most of it and hopefully do a lot more of this stuff.

• 1:09:52Speaker 02

  That's why we're gonna do Yiddle Till We Die, baby.

• 1:09:54Speaker 01

  Exactly.

• 1:09:55Andrew Manganelli?

  Yiddle 2, Yiddle Furious.

• 1:09:58Speaker 01

  The greatest sequel of all time. Well, I'm excited for it. Well, that feels like a good place to cap it off.

• 1:10:03Andrew Manganelli?

  Do you have anything else you think we, you're excited to share that maybe we missed? Anyone here? I mean, like, I once again want to say, the amount of work that went into this. There's no words to really talk about how much it went in. I hope everybody is like insanely proud of it. And I think there's lots of ways we can make Yittle Two better on all fronts.

• 1:10:25Speaker 02

  And easier.

• 1:10:26Andrew Manganelli?

  For everybody. Yeah.

• 1:10:29Andrew Manganelli?

  But thank, thank you. It's one of the coolest things I've ever watched and being able to, we get to like, show our families in the future this. And it's like, it's like, I'm thinking of it now, as do you know how people on TikTok are finding the like, Handycam footage from high school 2003 that they're posting? Like, we get a 4K version of that that we get to, I mean, our kids will be like, 4K, what is this garbage? But that's, that's pretty wild.

• 1:10:54Speaker 02

  Yeah. Olivia, Harper, Mariah, Rich, Rufus, Alice, and Andrew showed up too. I mean, everyone did work. Marquez signs the tracks. He signs the checks.

• 1:11:07Andrew Manganelli?

  I mean, Tim did a great thumbnail. That's different than what we did.

• 1:11:10Speaker 02

  Tim's thumbnail was fantastic. And Brandon gave creative direction. And Vin, like, oh my God.

• 1:11:16Andrew Manganelli?

  Everyone contributed.

• 1:11:16Speaker 02

  Every, like, we don't make things on the studio channel. We're pretty much, like, every single person touches every single studio video. And honestly, the reason we do it is because strategically, when we do, the videos are better and they do better.

• 1:11:28Andrew Manganelli?

  Yeah.

• 1:11:29Speaker 02

  But this one was definitely just like, yeah, it was just so cool to see everyone rally behind it. And we make good work. Proud of what we do. Go watch Here in the Life if you somehow watched this entire podcast episode about it without having seen it. There's spoilers. Clearly. Yeah. Go watch our labor of love. Back to our regularly scheduled programming, of course, on Friday, but we'll see you over on the studio channel. Peace.

• 1:11:54Andrew Manganelli?

  Bye.

• 1:12:03Andrew Manganelli?

  I could keep Marquez's camera wide open and he would still be in focus throughout the whole podcast. I think Marquez is at like, 2.8 and David and I are at like, 5.6. And we're still out of focus.

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