Waveform: The MKBHD Podcast - How We Filmed Our Work Lives for 1 Year!

Episode Date: February 10, 2026

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

Oh, hey. Sorry, love to chat, but I'm busy shopping all the rollback somewhere at Walmart. Grab a what? Cancel that. I got to grab these big savings on the Walmart app, online and in store like right now. See who? Nope, unavail. The only thing I want to see are the prices just lowered on tech home and all my must-haps. Wait, you want to shop Walmart with me.

All righty, I think I can fit you in. at medcan we know that life's greatest moments are built on a foundation of good health from the big milestones to the quiet winds that's why our annual health assessment offers a physician-led full-body checkup that provides a clear picture of your health today and may uncover early signs of conditions like heart disease and cancer the healthier you means more moments to cherish take control of your well-being and book an assessment today medcan live well for life visit medcan.com slash moment to get started. How much can we talk about, like who sent us? Can we talk about that? I don't know. Yeah, yeah, yeah, yeah. Because we ended up making the video. Yeah. We did. So Ferrari, well, we got a video made for cars with miles. Yeah, what's up people of the internet? Welcome back to another episode of the Wayform podcast. I'm your host, Marquez, and we have a different set today and a different set of people because we're doing a 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.

Hi, I'm Rich. 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 MKBHD 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 how we were, I like to say, building the bridge as we were crossing it, which was really fun. Yeah. So I think we nearly fell off that bridge. Yeah. Many times.

Many times. Shoddy bridge. Yeah. Yeah. So I think you should get you from here. We want to know some things that you might not know watching. Yeah. You're in the life that you guys know.

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 a video about like how we make the podcast? Would people click on a 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, it's probably not for me. But working here, you kind of sit around and you realize like this isn't really 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 that. But.

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 going to do this video, and we like set up a camera, and then it got really difficult really quickly. We had also already done, I think the first ever day in the life we did was 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. Yeah. 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? Exactly. And then the next logical step was clearly skip month, go to year. Right. Because 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 do the year one because it's going to be hard enough to do. Yeah.

Yeah. I think one of the most fun parts of it was actually having us just start to capture everything because 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 not necessarily videos, but they are interesting. We kind of talk about the news a lot and we have takes on things. How do we just like sit down and actually formalize this and we made the podcast out of that? And I think Yiddell, 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. Yeah. And then we just kind of went from there. So I feel like the place to start is, like, Rich, what was our tech stack coming into January?

Because I want people to, like, leave this podcast episode, being able to make their own, you know. 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 add a different tech to begin with. Sure.

We shoot most of you, it'll 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 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. Yeah. 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. One of the first things that we shot was like a really busy day were Andrew, like.

I think it was Brandon was supposed to go on a shoot with Marquez for the new Samsung. It was actually the Samsung launched plus the XR headset, which is why we were 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 Unpacks. Then we need to record an episode about Unpacks. And then I need to be on a plane by 530. Might be my longest day of the year total, but let's start it.

And so I was like, Andrew filmed that. And I was like, I will try. And there's just a lot of me being like, like, I'm still stuck in the airport. And then later like, I am tired. And it was It was like, and like, so, so like that was all of our January coverage was pretty much just that. Because 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. Yeah. 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.

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. So if I recorded everything for a week, this will be easy. easy to turn it into a video and you're sitting there like wait it's brutal it's so the the two things that like helped are I asked maria to take a pass on the edit I took a pass and everyone was like this sucks and so then I asked maria like take a pass on the edit and what she did is she 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 the Yiddal 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. 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 did just didn't make the cut. 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 everyone started being like, Rich, we need the Yiddle Cam, come over to the side of the office. It was like ingrained in us to be like, capture this, capture this capture. It was definitely like one of those things where like Harper was like film every meeting. And Harper would like at the beginning of every week be like, we have this, this, this and this, which of this is Yiddal coverage?

Who's the yiddler? 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. To the car. How much can we talk about like who sent us? Can we talk about that? I don't know. Yeah, yeah, yeah.

Because we ended up making the video. Yeah. We did. So Ferrari, well, we got a video made for cars with miles. So we didn't end up. We didn't make that video. Yeah. So we scrapped that video.

Right. And that was like, 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? Sure, yeah. This unfortunately got deleted. So maybe at some point in the future we can.

the audience, but it was three days, I believe, of me and Miles in the beautiful southwestern coast of Portugal. Rich and I are in Portugal for a Ferrari thing. We had a camera, an action camera, basically selection cap to the front right side of the car. So we keep going and then we hit a bump. It's just like, check on the GoPro just to make sure it's still there, which I'm assuming it is. He looks over and he's like, yeah, let's go.

We relate to everything. Yeah. And we lost the camera, which had a lot of bunch of footage on it. And then we get Portuguese McDonald's, which turns out is just like American McDonald's. So pretty, pretty bad. Was it the dodechi cylinder? It was. It was a convertible, too.

We had the top down. Show with the hand movements. There's an Italian. It's an Italian part. I feel like I have to. Sorry. It was wonderful. It was beautiful.

The problem was, I think I didn't know what to capture yet, right? Because this was like a month into us doing. year in the life. And so I'm like, what kind of coverage do we need? I think that was a big problem for me. And throughout the year, that really helped was like, oh, okay, like, this is the 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 location. Yeah, this is what we're shooting. This is why we're shooting it. This is why it's challenging. Like, eventually, like, we could kind of figure out, like, what we wanted. Yeah. But at this point, we had two travel shoots that were both, like, cut. Yeah.

The Portugal one, I'm really disappointed because we lost all that footage, right? Well, we lost the actual footage up for the video. Yes. Like, I guess the GoPro that you had or the phone that you had that you used to shoot a bunch of the footage fell off the car. Unfortunately, yeah. It was. Oh. Yeah.

So it was suction cupped 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. 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 lock in and not... You lost all the footage, so you can't show it. 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. Got to go. Both of us are going to shoot everything. And I think that this was the turning point for us. Oh, absolutely. Yeah. So, like, we went to Southby with all the, with all the pod boys. There's a great story about this.

Wait, what's the hotel story? Bro. Oh, too, so, yeah. I forgot about that. There's so much good stuff. There's so much good stuff that did not make the cut. I tell that story. Somewhat know this.

Which hotel story are we talking about? Because there's, I just know, like, Southby is really confusing. And we're figuring this out right now booking again. Yeah. But, like, in order to get a hotel at Southby, you need a bat. And Vox handles our badges. So Vox booked our hotels, but since you guys aren't hosts on the podcast, we had to get your hotel rooms.

After this episode, I can send us to Voxena. But like, you had to get hotels somewhere else. 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. But it was cheap. It was like under 100 bucks. It was like, it was like a hundred bucks.

Rich and I were just going to like share a bed. Did you guys get your money's worth? No, we did not. 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- No, no, no, hot water. 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. 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 bawling out. Keep the $100 we gave you. two rooms. So Rich and I get our own full-sized beds.

Yeah, nice. There was also like no breakfast there. Yes. It wasn't the best. No hotel has breakfast anymore, unfortunately. But are you sure it was, I remember trying to run the water, and I think like a brown sludge came out. Oh, my room just had cold water.

So, sorry. Either way. Either way. Either way, we go to South by, we film everything. Rich and I stink. in a good way because that footage was stanky too. It was great. C70 is not great in low light, but it's all good.

That was the shoot that you guys came back and you like begged the Marquez for Sony's. You were like, please. And then literally like two shoots later, we were like, never mind. Never right. We're going to shoot in low light like that. We should have always trusted you. 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. Yeah. Yeah. Yeah, but 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. 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? Five days to upload it. By the way, whatever miscommunication we had on that was really frustrating. Because I told you, I said, this is unmixed. No, no, no, I know.

So only leave notes on missing sounds. I know. We just sent it to everybody. No, but you specifically said, do not leave notes on missing sounds. Only leave mixed notes. Oh. So all of the notes we got were useless. To be fair, the mix is still really good.

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 because the thing evolved. Yeah, the cut that I watched was not what even got uploaded. 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 X, Y, Z. You'll just forget that by minute 40.

It's not even 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 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 have to say, this graphic is messed up or like what's, it's just like if we don't just home address is showing in minute 38. 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. Thank you. We were like, oh my God. We've learned so many things. We had to do such fine details on it. And that's like, but yeah, we had like 300 notes the week before upload.

Yeah, like the week before. So that was like not, that's not including the story conversations and like the weekly meetings and blah, blah, blah. but the flow that we got into after Southby was like when things really clicked because it was South by and then I took like a trip to Peru shout out Peruanos and then and then and Chicago just because 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 15 minutes. Like, we can figure this out. And so once, and once we sent that video at the, and on the first day of April, everyone's like, April Fool's, whatever. And they watched it and they're like, wait, this is actually kind of 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 because we spent three months on the studio channel trying to get them to call the, ISS. And

we just scrapped that video. I completely forgot about it. So like I told 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. Yeah. And then it was off to the races. 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 straight order. And I think some people might find that interesting in its own way, but I think the way obviously we were able to structure things and bring stories through loop things through the whole video and the recurring,

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 Dog 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, obviously produced is one thing, but like just cohesive and it made me really proud of it. So it was exciting to do that. 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 difficult. 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 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 key was like, we just had to figure out where the cut was going. That's what made cutting like 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've already made your iPhone videos. Like, seeing you make a pixel video is like, that's not impressive anymore because we watched you do it, right? It's not like there's any tension and 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. Yeah. That's the ending. And it all led there.

Three words. Three words. Three words. It's English. Yeah. I love you. Juella. Zixers are up.

Joel. Still true. We've won five games in a row, maybe. Yeah. A 40 piece. Wait, can I just say something that Ellis was very proud of that people may or may not have noticed? Yeah. The moment in Yiddle when Philadelphia comes on the screen, he put like...

Ellis, do you want to describe it? 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. Oh, wow.

Nice. That's not the thing that I'm most proud of. I probably, you know, it's not right to talk about this without Rufus here because 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. 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. Of course, it's not just tech reviews, it's also car reviews.

So it's not just phones, and it's not just cars. We also do a podcast in here. Every single clip in the montage was silent, and we re-recorded everyone's lines, everyone's movement, every shirt swish, every footstep. 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 give people lines.

He told me into a robot room and was like, say something funny. Go. We've just 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 you gave us and then recreate our own rooms. Yeah. Then work from, like, the C-70. 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.

Yeah. 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? I can. I think that a lot of times, and I talk to, I remember having this question. I think it was in the Will Smith interview.

of like, because he was doing YouTube videos and obviously Hollywood movies. And what's the difference between the two? It's my little Smith and brother. Yeah. And 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. Yeah. We picture locked a 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 life. 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. Yeah, spoiled. It wasn't actually September. Yeah. That's okay. You got the idea. Yeah. And then, 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? It's crazy to think. out the entire audience. 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 towards. I did everything. Shut up out. 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 winds up becoming one of the I don't say easier things to do but like in order for it to work the audio like in order to make a full its feature length it's documentary

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 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.

There's like you could always, it's just insane. 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. For that sequence, we actually locked September 1st. Yeah. We turned around September and got it locked by the top of December because we knew something would go wrong. So we were just like, let's just find 20 minutes to figure out what would go wrong.

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 audio post workflow. I'm getting tired, like, thinking about this project. You're still recovering. Yeah.

Yeah. But I don't know. We definitely did a bunch of really funky stuff. You know, Rivas 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 L.A., 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.

It's insane. So you're Chinese Bible and Mozart different ears. So we had two, we had two computers with identical Pro Tools sessions up that were timeline synced. with them both going through the same computer. So we were able to 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. Blip is like fancy air drop. Blip is... Blip is life. It's just better air drop.

Yeah. If you're not blippin, you ain't living. I got to 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, Broll section or footage. I don't trust Airdrop to work more than 60% of the time, especially as files get past half a gig. Yeah, half a gig. That's fair. That's fair. 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. I was like, wow. Okay. Blip is amazing. I love Blip. Shout to Blip.

It brings me to one of my big questions, actually. Okay. How much storage do we think we can estimate we actually shot to for the entire year of all the things we captured? I have that number. You do?

On with me at this moment in my Slack. how do we uh i mean i don't i don't think it's exact but it's it's the size of the pront of the final cut uh library do we want to do price is right rules tier do we want to do prices right rules so like everything all the graphics all the exports like all the final cut the final cut everything all everything yeah everything that made it no everything we shot everything all source material honestly i have no idea i should be Eric, you don't know this answer. I have no idea.

I'm probably the only one that knows the answer besides Ellis, yeah. Rich did all of the data management, which was like such a feat. I had to ask Marquez for a new drive. Oh, that does give you some contact. There's, 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. Yeah, yeah, yeah, yeah.

The amount of just random bays of storage next to Rich's desk for this. Okay, wait. 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 see like a triumphant moment with the merch before they go into shooting all of like the photos. Yeah. 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. Post them into a timeline. It's a three and a half hour long timeline. And he, 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. Oh, it was like Brandon on Zoom. Yeah. Yeah. Yeah. And the audio was messed up. At that time, we like, we, for a month and a half out of the year, right before Roof is joined, 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. 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 between audio team and just like creative

editing, I haven't seen a single comment. But yeah, brutal. Are you all going to make your guesses? I feel like Rich is going to have photographic memory of 2025. While you guys guess I just want to say one more thing about audio because it's not that interesting is we did a fader mix on this. So we watched through with faders and just did it all live. It was really, really fun. 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 this this yeah 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 moving or it at all like understand how triumphant a like audio clip was in that i was like they would be so you know it's funny rufus did that as a joke oh really 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. That's really funny. Yeah.

She loved, she thought it was so funny. Like, it added to that scene. It was really good, yeah. Rufus, Mariah, and Harper are like definitely the three people who are not in this room who deserve so many flowers. Yes. Yeah. Like those were definitely the three people that helped really accelerate it from like the rich and Eric manic power hour. into like this is a part of the company culture

and we're all like really deeply into it. All right, let's do numbers. I just saw Eric's number and mine's so, so much different. Oh, no, no, no, Andrew. Oh, Marquez is pretty close. Okay. I figure a terabyte a week. What did you put Marquez? I have written 28 terabytes.

Okay. And Eric, you have... I have a terabyte a week. So 52 terabytes. Yeah. I put 8.1. The correct answer. The whole project is 37.

57 terabytes. Damn. Because I think my context for that was, you rich, you were like, all right, I think I asked you how much storage do we need to make sure we have to make Yidl 2, like, you don't have to think about

like not having enough storage. And I think the tiers were 32, 64, 96. And you were like, yeah, as long as we have over 50, we're good. And I was like, all right. Okay. All right. Okay.

And this is how that price is exponential after 30 years. Yeah, price goes up. But yeah, I was like, okay, that is a lot. It's going to 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 in his computer, and then he would have to go and proxy all the footage. So he'd take all the footage that made it into the cut and then re-render it in, like, in 720B or 1080 proxies, and then he could edit locally on his computer. And so eventually, when we don't have to do that, days will be saved.

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 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 going to be different too. The first one is 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 understand the arc of the season now and maybe there are

more interesting, different dynamics for part two. We will see. That just made it into the cut. I don't want to. We will see. That just made it into the cut of you're in the life too. That just made it into the cut. Yeah, no, I mean, we've already started doing our interviews for 2026 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, uh, some, um, some, some, some, some, um, some, um, some, um, some, um, um, um, um, um, um, um, good takes there. My personal favorite take is Shrek too. But I'm like my, yeah, my vision for 2026 is I want to treat it like the bear season two, where the bear season one is about 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 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 just the ensemble as a whole. So, yeah, we're definitely thinking through what the structure is going to look like and the answer is probably going to steal a lot from like 20-minute episodic television more than anything. Yeah, I'm excited.

Will there be commercials? If you or someone that you know would like to sponsor, you're in the life too, please reach out to John. He'll probably tell you no. Thank God we didn't have an ad read. We had a sponsor who's interested and then through like, you know, back and forth or whatever. It's like, okay, this just isn't going to work.

Oh my, could you imagine halfway through just being like, thank you to bomb us? I think that's probably ideal. 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. Yeah. And some things can interrupt that flow state. and Yiddell is one of those things where you want to stay in it. This is the only video I've ever seen where their attention goes up over time.

Yeah, maybe like one or two videos on MKBHD in the last year that do that, where the graph is actually increasing in like way above the normal line. And that's really satisfying. I'm saying like every day, like the average number of people who finish the video goes up. That's sick. By like thousands. I do remember seeing because 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 kind of get a sense of the like flow of, you know, there was the day one viewers, obviously, people who were watching right away. Yeah, they're like, hell yeah, cool. We're very excited, super, you know, jazz about it, great. Then you get the day two, day three viewers.

Now we're at like the one week later, someone who like saved it and bookmarked it and was going to 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 enjoy. I thought it was hilarious. Or here's six paragraphs of, I never comment on the videos, but I had to comment on this one.

Yeah, yeah, yeah. There's a whole bunch of stuff. A lot of, a lot of really fun stuff there. Comments on this are fun because, 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 they're more comments of the vibe of the whole thing. One, they're the most positives and comments I've ever seen. Two, everyone loves Ellis. It's just... It's so annoying. It's just like, man, they're the best. But then I do really love when there is fine...

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 finding those have been really fun. And then I feel like I go back and then relive that scene because it still is our life. The most insane and crazy and weird thing about this is somebody decided to add year in the life to letterboxed. Which is, that's where you can log the movies you watch and review them.

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. Nintendo shit my pants. Oh, yeah. That was my favorite. Everyone's the second favorite.

Everyone's second favorite quote from or a moment from the year in the life. 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, it clicked. That's, yeah, that's how it happens. I got a couple 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, yeah, yeah, like, we have to figure out a way to, like, communicate why this beat matters. We got comments, too, that we're like, we got to cut the Snoop Dog bottle of wine because we only had two clips of it. Rule of threes, you need a set up, a reminder, and a payoff. And so we had to do a setup with, like, the Slack graphic later. And so, yeah, there were a couple of beats there. I have one, but I want Rich to go first.

I have two, and they're both Andrew related. Oh, okay. The first one is when Google came to our offices in... I don't think people understand that part of the clip. But yeah, can you explain it? 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? Yeah, the leaks. The leaks. Yes. And then I'm like, and then I shoot that. And then I just pan over it. And Andrew just deadpans the camera. and he's just like, that was so funny.

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

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 to do kind of 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. I think 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 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. Yeah, I haven't even shot yet. Already fried. What's going to happen? Ellis knew that that was like four yiddos. So he like starts the clip like very like serious like, oh, I'm going to give an answer.

And you can just see him breaking that scene. I see the break. I can see his soul leave his body. 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. That was fun. I remember that happening too. My favorite moment was not a moment, but a sequence that takes place from about 55 minutes till about one hour, 12 minutes,

that internally we called Club Apple. Oh my God. We haven't even talked about the Apple of that yet. Yeah. So, like, I don't know if you guys notice 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 sort of like, like UK style base garage stuff.

and being like, hey, Rufus, like, look how funny this is. Like, it's Apple Park, but it's like club music, you know? And he was like, wait a second. Yeah. 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... 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. 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 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. What's not do that? Are we going to do the cargo? Wait, what? I'm the only person to here that owns a CD player. It's a vinyl. It's got to be vinyl then. Oh, vinyl could cook or cassette.

I'm the only one in here that one's a cassette. Cassette player. Ellis, just buy the whole limited drop. I know how much you make. But we should, are we going to make the cargo of room shirt? Because that was like half the comments. It was a pretty spiked moment in the video. People really like the skirt.

I was surprised it didn't make the cut on the initial batch. Shout out David. I'm not a lot. Yeah, I don't... Really quick DLDR is like, we wanted to make, like, the core shirts for each one

and that didn't feel like the core, core of all of focus. There are... 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...

That marriage meeting was like an hour long, right? It was a really long merch meeting. And that was one of seven, three minutes of selects, maybe. That's how we edit! I would say very good representative selects of like the beats and the arc of the meeting.

It was like very, very well done. We figured that one out. 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 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 hire by Creed sounds just like sugar we're going. down by panic at the disco. We're not, sorry, sorry, sorry, sorry, follow up boys, fall off boy. Wow. As well as a paramour song. Yeah, yeah. It's like us arguing about, like, yeah. So if you really listen to that, because Adam's just like, hey, at the camera and

Alice and I are like almost shouting at each other about it. It's so much more like creed. I feel like that's come up before. I have not seen, 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's so many little parts where if you live. it, you're like, people aren't going to understand that or like it's too short of a clip of it. Yeah.

Also, then immediately after Adam going, 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. He hit us with a triple good morning this year. Oh. Yeah. Yeah. It was huge.

Good morning. Has anyone not said their favorite part? You do? I have a favorite. Adam, have you given one? My favorite part or any, any, any stick standpoint? 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. That's the way to do it. Nothing. I'm actually going to do that next year. So yeah, you should do that. Highly recommend it. I'm not. I'm just going to edit it with my eyes.

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 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 had like, like it gave me chills. I was like, that was beautiful. The sound stuff was really cool.

I think the sound files next to the 1 plus 13s intro, seeing that, I think people know our intros are crazy. I think seeing that extra level and the tracks was like a I think it clicked for people And that's only like two thirds of the tracks too The rest of them didn't even sit in the screener 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 morning 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

dude first of all the DJI Osmo is so much fun to shoot it and second the entire time I was just like yes content this is going to cook

in the intro I was 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 going to be selects. Yes. This is, I was, I was watching it on the tiny DGI Osmo screen on the airplane.

I watch it, like, three times. And I was like, in my head, there was never any shot that you guys are going to miss the flight, but there was, like, we got to get the bag on the flight. Please have room for the bag. And we got the bag on. What did you say exactly? There's something Ellis says in line. He goes, David, take this. Because David.

Before that. like um so we've never gotten this close to missing flight but it seems pretty possible and it's perfect can we talk a little bit about the james cameron interview because that was something yeah dude 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 bus.

I haven't seen it. But Marquez, you don't watch a lot of movies. I haven't seen it. Right? We get a short on this. Marquez, there's 13 James Cameron movies. And so there's something really funny about, like, what we were talking about in the room is that,

you know, James Cameron says this thing to you, Marquez, where he talks about the cinematographer, 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. It was really interesting. Meanwhile, you're sitting there having never seen a single one of his movies, not knowing anything that he does. 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, boss is just sitting there in some like outfit. He obviously didn't pick himself.

Yeah. Yeah, totally. Like think people are going to buy metaglasses? It's just like that whole scene is like. That's too funny. You couldn't have like, yeah. I remember in the moment thinking, so I had two 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 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 organically arrived at the thing that I would have described as a future also, which is the thing that we're already doing. Yeah. So I thought that was actually interestingly profound, and it worked out to be. James Cameron is somewhere in his submarine watching this. And he's just smiling. He's just like, ooh, Marquez, do you want to come on my submarine?

We had like 50 million different pieces of music under that before we finally decided on the sort of Philip Glass minimalist classical music. That was a good one too. All right. I want to share my favorite beat because I thought it was also quite profound, even though it's like not actually profound. But I found it profound. So 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 a Zoom with Marquez, and I was like, hey, you're in the life, mate. And then...

Now are you in this accent. Anyways. So, like, Miles is the whole reason I'm here. And he came up with me in 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 were, 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. Because Miles only found me because I made a YouTube video when I was 13 called MKBHD as 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 on I interviewed Miles, and I'll give you guys this clip. I sat down on 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 sort of like 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 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 marquezish and i think that there's almost this um there's this joy and 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 it also bars him from this traditional class, 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. 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 ten years. I hope that what we do will be remembered as quite important because it's certainly important to people like me and Miles. 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. 2017 would just be like you and me sitting there and I would just be, 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. So, like, things have changed a lot. Yeah, yeah, they might have been a little more boring back then. 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 it was half. And then suddenly, you know, they are setting up cameras, 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 we have electric cars and we have gas cars and we have hybrids.

If you want to make 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. 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 Yiddled 2040 is going to be crazy compared to this one because we just know that a lot of changes. Once we hired James Cameron to make it in 2040s, Cyborg James Cameron is like, Yiddle that. 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 imperfectly 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 auto focus is like I think the, this little empire that's been created here is it's stemmed out and each channel lives on its own so well that we're going to events now and at an Apple

event, I'm 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, and 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 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 that, like, individuals

of us are getting... I got invited to fashion. I don't know why. I don't think that's that important, but, like, we're at the... Have you seen your level? Obviously. Obviously. Why is that surprising, Andrew? I'm surprised. I shouldn't be laughing. I shouldn't be laughing. No, no, no. I mean, again, we're all funny here.

It's a podcast. 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. The thought that I had right after watching it when it was live that I was, I put into Slack was basically, damn, I got lucky.

I got a lot of talented people. And everyone who's here has kind of gotten here in a different way. Like you've told your story and Miles is his story and Andrew has his story and Rich as his story. 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. That's why we're going to do Yiddled to we die, baby. Yiddle 2, Yiddle Furious. The greatest sequel of all time. Well, I'm excited for it. Well, that feels like a good place to cap it off. 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 it all too better on all fronts for everybody. Yeah. But 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 of 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 handy cam footage from high school 2003 that they're posting like we get a 4k version of that we get that we're crazy our kids will be like 4k what is this garbage but that's

that's pretty wild yeah Olivia Harper Mariah Rich Rufus Alice and Andrew showed up to and Marquez signs the tracks she signs the checks I mean Tim did a great thumbnail that's Tim's thumbnail was fantastic and Brandon gave creative direction and Vin like oh my god. Everyone contributed. Every, like we don't make things on the studio channel where 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. Yeah.

But this one was definitely just like yeah, it was just so cool to see everyone rally behind it and we make good work. I'm proud of what we do. Go watch here in the life if you somehow. watch this entire podcast episode about it without having seen it. Spoilers. 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. Bye. 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.