can't touch the Duke welcome to still
entitled me out of savage project I'm
well I'm Adam and I norm
I try to deliberate opener this time and
you know it was it was new and different
while norm and I were in Vegas one of
the things we did is went out in the
desert and flew multirotors uh yes and
we flew what we flute-like DJI stuff
which yeah at this point I feel like
we're pretty comfortable with we fund
the Phantom a lot Norman I had a race
but we put on the fpv goggles how is
that is it like a podrace oh my god it's
the best
it is those glasses and skew ology for
that you can see beavers that online how
amazing that's gonna be the cameras are
better the cameras right now they're
using are basically security cameras
because that's why you get low latency
5.8 gigahertz or the new 2.4 but the
exposure is not perfect on those well
and so the people who do the races right
now they fly both indoor and outdoor
some of them will go in warehouses and
then out windows do and if you can't get
the exposure to correct fast enough it's
gonna look blown out you won't know
you're flying into a tree so when we
were flying one of the trickiest things
was the Sun was setting and passed like
a third turn we'd see the Sun and we'd
both be blinded and we try to navigate
ok turn are you flying around flash so
we have we they had flags place you go
high low you didn't like it was it was
there infinite posts right so you could
go as high as you want as long as you
run around the flag there's nothing like
flying someone else's $1300 fast as you
can
wild reckless abandon you tell where the
other person is you could see the
shadows like the Sun was so far behind
us that you can see the shadow of the
odd not if they're behind you but not
they might be the shadows yeah it was it
was basically just the thing is in the
moment you're going so fast and your
focus so hard on a not crashing somebody
else's 13-under dollar quad but be
winning yeah that all I you know it's
just like what's the angle on the turn
and that's three-dimensional and mo I'm
grazing everybody starts yelling because
you suddenly your grazing six inches
above the ground and they're like good
get up
oh my god it was super fun are you
flying like this are you flying like oh
we're flying the the normal normal
controller and I like I normally not a
couple weeks ago with Eric Chang and
some some other folks to do some that's
a great FBI racing and I understand why
he came back so stoked about it because
like I'm I am I finished the race and I
went right back I was like I want to I
want to do this some more but my inspire
arrives soon that that things that's
like a gunboat we I want I want the
little tiny super fast one both I
psyched about the inspire one I want to
take it somewhere and go look at some
stuff from take take your battleship all
I'll take my little bitty boat or
whatever
so speaking of quads speaking of quads
new season of nice thing I guess that
you guys flocked oh is there when you
when you fly we do our cameraman Duncan
Clark has an octocopter that he built he
just built a new one right upgrading so
he's currently building a new one over
the holiday before we come back to
shooting and it has it started out he
had a plane but we lost the plane during
duct-tape Canyon had the first one yeah
no that's duct-tape Island was the
photos okay
duct tape Canyon was we shot in Utah
okay and he was flying it down a river
and then he wasn't Wow mine yeah that's
even riskier and it was cool I mean we
got some grow yeah that's and in fact
actually you can see some fantastic
shots from that plane we used them in
dangerous toys the pilot that Jamie and
I did last year and Duncan has so
eventually he took he took the the
impetus he had for the plane and he put
it into an octocopter which he's been
slowly upgrading and making bigger and
bigger and bigger and now he's got it
really I'd say it's like almost 20
pounds he was he was working on it when
we were there to shoot the Ebola PSA I
think and it was I mean it is it is a
big monster that you can put a real
camera on yeah you said he has good good
at linger time and all that stuff yeah
and
is he's he's gotten really good at it
you know cuz it's you're not just flying
something that has a camera on it you're
also a cameraman which means yes every
frame has to tell a story yes and so you
can't just you know while it might be
interesting to pan across the city if
it's in an episode there has to be a
reason it's panning across the city
which means you have to keep in mind
what you've got that's actually one of
the things I'm super excited excited
about the inspire one is that it comes
with dual controllers so you can have a
cameraman controlling the camera shot
while a guy is actually well it doesn't
nobody hasn't come with em you know yeah
you notice that if you watch a lot of
these quadcopter montages and there are
plenty of um really beautiful ones
around San Francisco or on the world
where places where some of the
regulation may be a little laxer yeah
the shots they choose or you can tell
they're restricted by like a battery
time like these did you know they they
did as many shots above this as they
could and then they got maybe three
seconds it can use and then it gets cut
off right at the end and so they're not
fulfilling the potential of this cuz
everyone's still learning yeah they're
learning how to use these well looks
like any other tool of film right like
it took it took ten years before we
learned how to use the crash zoom and
you know stuff like that and it's just
one of the things Duncan and I were
talking about he said he wanted to make
one that was that was that had a payload
large enough to be able to handle a red
camera and I thought about that
overnight I thought well first I thought
that's really cool cuz you know red is a
cinema cinema quality ready camera then
I realized you don't need to put a red
on that you you don't need to make it
any heavier in any more of a payload
than can hold a Blackmagic with a nice
prime lens on it first of all because
you're almost 99% of what you're gonna
do is in daylight second of all if
you're if it's a flying shot it's a
master shot which means you're not gonna
use more than four or five seconds of it
at the most so with the Blackmagic at
daylight that's where it shines and you
shoot right through a red light but it's
great with the huh what's that
you shouldn't ProRes so yeah as long as
the camera shoots soon some type of raw
video format exactly post-processing
does a lot of the work yeah totally so
yeah but but the the flying machine with
the smaller and smaller higher quality
cameras is both a really exciting pair
of developments commensurate with each
other and they've given us a tremendous
this amount of extra production value on
the bus well so this episode so we're
recording this the Monday after the
Simpsons episode yes our season premiere
The Simpsons IPPs and I think this is
probably go up not tomorrow but Tuesday
following okay because the conversation
we had earlier I think probably needs to
be more timely than this one it's up to
you kind of okay let's put this one okay
so then we're not gonna so this is -
you're hearing us talk about this 24
hours yeah yeah I have the Mythbusters
episode err um we were I'm really proud
of that yeah proud of this whole season
it was it was a dramatic change in like
as Gina said Gina hasn't watched a ton
of Mythbusters because it's kind of out
of her wheelhouse but we were watching
on Saturday night she's like this seems
this seems a little bit more kind of
mature not not not in terms of tone and
and dialogue and stuff but in terms of
like how its shot and how its produced
and post processing and post effects and
stuff like that like it was it looked
like a different show it did to us it
feels like we're making a different show
and you know we looked at a lot of the
things that we've been doing you get
into patterns just like any relationship
you get a run run yeah and we had our
way of making the show and at the
beginning of last year we really looked
at every assumption we made about the
show and looked at ways we could change
it make it better make it more
informative but not just informative but
tell the story deeper hold on that's
cute gesundheit excuse me but so so
that's that's it that's interesting is
one of the things that you did that I
don't think you would have done before
is when you you built a scale model of
the toy of the three toilets so yeah it
was Simpsons myths spoilers by the way
spoilers yes if you haven't seen it a
spoilers but come on I'm just going to
talk about it you tested the cherry
bombs exploding more throws a cherry
bomb in the toilet and it makes all of
the toilets in the school gush like
geysers and we test them yes you did
Homer blocking the bowling ball of the
Box a wrecking ball protects his house
from a wrecking ball by putting his body
between this house and directly was that
it was there one more don't know just
those two and so in the process of doing
the toilet cherry bomb myth you built
scale models of toilets and then you
took them
and you explained how toilets work yes
which is something that I don't think
you would have done before maybe not or
maybe not quite as explicitly have more
time to do it yeah that it's really
simply that that that difference but
that's something that I guarantee you a
significant portion of the audience was
like oh that's how the toilet works it's
just a crook yes and personally for me
when I found that out I was like really
people are like how could a rat crawl up
a toilet it can because there's no water
except for at the toilet yeah right so
it's these things you didn't realize you
just think past water equals mystery
it's in kids books it's like you the
poop goes down the pipes into the sewer
and then it's gone right but not so much
no and that's been really really
entertaining because we have the time to
go in and talk about that stuff and do
that and then also as we've said in
every interview we've done about this
season because Jamie and I are providing
a hundred percent of all the content
there's space again for the process for
building stuff and that was very
apparent in the early episodes of
Mythbusters and as we've gotten the only
reason that's disappeared from the
episodes we've made since then is
because we tell more complicated stories
there's more narrative beats to hit and
there's not enough time to show how
Jamie built a cool table-saw rig to make
this thing or how Adam problem solved
the pneumatics three different times and
kept screwing in you showed Jamie
Jamie's giant ridiculous drill hole we
have a certain famous Avira called hole
driller yeah I mean that was super good
and I think like that's another one of
those things that wouldn't have been
shown or maybe would have just been in
the background well we were also
thinking about we went back and forth we
had the ability to buy something and
just fill it with concrete there there
are things we could buy and Jamie again
thinking through the model from this new
perspective of like oh we could actually
cover a complicated build enough to tell
the very interesting story and Jamie's
like all right let me think of a really
weird and cool way to make a concrete
ball
do it this way and you know once Jamie
gets excited oh yeah it gets real it's
not he's ensemble no and I thought that
was a fantastic and an awesome and
beautiful build and the final result was
great well in the amount of time I mean
just the amount of times I'm sure it was
a full day out there to dig the hole
pour the concrete and then another full
day to come back out and and you know
break it out and probably somebody drove
out a couple of times in between to make
sure it didn't ride yep you're a
temporary there's all the problem
solving of the metal structure inside
and how those are gonna join together
and then how you're gonna fill it with
concrete did a veteran and then James
gotta polish his balls yeah and and you
had to put some tape on the outside you
get staples ball remembers balls a lot
of people don't realize that from
production standpoint you allow your
camera team and the production team to
experiment when you're not shooting the
show and that happens constantly we talk
about the quadcopter I would say we
allowed them there's you can't stop our
camera - yeah no and that's something
that shows yeah like you know with time
lapses and then dolly movements and
stuff like that we get we we have been
blessed on Mythbusters over the years
and I know if we've talked about the
camera but you know you're on when
you're a television personality you have
a relationship to the camera which means
you have a relationship to the cameraman
and I've been doing this long enough I
could work with a cameraman who's not a
nice person
I've luckily only had to ever do that a
couple of times but in the beginning
it's really important you have a good
relationship with your cameraman you
know you guys work with Joey this is
like that that dialogue even the silent
dialogue is super critical we've been
really blessed and we've had a series of
awesome producers and then we've also
worked with people who are like outside
contractors or sometimes get in in a
pinch when they don't eat the same
language and it's usually the biggest
it's shorthand right it is literally
that oh we do want to do the this shot
and I don't even have to tell Joey
because he knows oh he's working over
his shoulder and it's it's this is the
way to do that and and our camera crew
it's comprised of Scott Sorenson who's
our a camera he started with us as a
runner he was on October cast 2013 I
came Willy nail who also started with us
as a runner he's our second camera and
Duncan Clarke who also started as an
intern we have a real farm team on
Mythbusters
but it's good that's better yeah right
because they've gotten to really get the
whole thing from the ground up and
they've become such great storytellers
with camera and more than that they're
super inspired so on any given weekend
you can go in and find Scott like you
know all those little Mythbusters
interstitials before the commercials
where the cars are on the fake Highway
like Scott just goes and does that on
the weekends and you know Duncan is like
he brings that octocopter no matter
where we go and as frequently we don't
bring it out during the day has he flown
it inside that big that big building
that you did the Star Wars episode in
the Star Wars episode he's flown it
inside a few buildings okay we flew it
inside there are definitely some shots
of it when we did the a-team special
which will air in a couple of weeks okay
and that was shot inside a wood shop in
an ex woodshop in an abandoned military
base here in the Bay Area Wow
and that was that was ly haunted that
was that was a thing to fly it indoors
it's totally it's totally it's very loud
very scary oh yeah those things they're
not toys they are not toys not at all so
normal looted to you you guys you've
changed the way you're shooting the show
you're showing oh oh right sorry
so that's when we talked about the
camera crew one of the things that we
went to them and said you know what what
kind of things could we do to get a
different look and understand if camera
is your passion your reading and
inculcating yourself with your favorite
cameraman your favorite movies so they
wanted and we wanted to give the show a
different look and that look was much
more cinematic and by that I mean
specifically more bouquet more depth of
field and that means where the
foreground elements are in focus and the
background isn't now that's anathema to
standard reality television where those
Sony cameras those guys we're over there
hold on their shoulders the lens is more
expensive than the camera it's like a
$50,000 lens and it's that expensive
because it's incredibly good in low
light fast focus fast
iris change and you want that you
want something to happen in the
background and then you've got a zoom in
focus and iris to get it right it
automates stuff like that view but on
Mythbusters where we're setting up shots
of the car driving by we don't have to
use infinite focus GoPros and those a
cameras we can use black magics with
primes we can use much more fs700 or for
even more high speeds you can shoot of
different shutters you can show particle
particles flying everywhere different
frame rates that slowed down a certain
part exactly so one of the things that
we'll do that we that we've been doing
is like for the toilets we shot those
toilets in additive scale toilets in a
day in the shop and then Jamie and I
went out and started building the
large-scale toilet but we didn't bring
the whole camera crew we left I can't
remember who it was we left one camera
and one of our shop guys back in the
shop to keep doing toilet explosions to
get a whole bunch more really juicy high
speeds of the water moving that's how
those come out because each one of those
takes a lot of time to set up you know
colored water and you got to get the
lights ready then but now you gotta
clean up afterwards right and so that's
the kind of stuff we've been doing label
having a three-member camera crew gives
us the luxury of being able to go back
over that stuff and pull out just some
of the most awesome shot how involved
are you in the post-production the the
signposting the signposting not
incredibly I will talk to the camera
very specifically before we're doing
anything and explain carefully to the
editors and to Katie back in Sydney who
does the who does the animations does
that that that beautiful tracking
beautiful tracking shots of the of the
measurements appearing this next week
which is the Indiana Jones special shows
this in like some of my favorite detail
this is where you braid the whip this is
where I make all nice I've seen footage
yeah Comic Con so if they have questions
they call us up and they ask us but
again that's also the post-production
team getting excited about the science
and the engineering and the
the mechanics and layering in even more
because they're interested in it so I
watch them I go oh that's totally cool
and so it's it's not like you know
there's a single person just layering
all of this in it is it is each member
of the crew taking that response out all
that stuff that you write down when
you're fucking around gets put on screen
yeah exactly exactly so I mean there's a
lot of every time we finish an episode
all that footage goes to Australia and
some poor kid has to sit there and sift
through ours and outright assume what
like 10 or 12 hours 20 hours probably
well it depends of main camera footage
and second camera coverage it's probably
not a ton but when you talk about ten
GoPros and black magics placed all over
the Alameda runway each is rolling for
its full battery or SD card of footage
sometimes will we we hone that before
sending it but sometimes we run out of
time and someone's just got to sift
through it Wow so there's definitely
times though where we bring the a camera
and we wave so that they know this is
important we're like editors editors pay
attention what we're about to do is this
and this and this now you can realize
you could cut it in one of two ways you
might want to cut this bit before that
bit but you might want to cut it after
so I'm going to give you two pieces of
two camera so you can cut it either way
oh my goodness that's communication well
we have to do that on the fly oh and
then I'll so I I'll make fun of them for
being Australian and then you may get
some good class yes so the thing that's
interesting to me about that is you you
guys are doing the same thing that we do
on a much larger scale because like when
we the reason we can produce as much
video as we do is that when we're
walking around shooting stuff Joey is
editing it in his head as he's shooting
it so he's he is shooting it in a way
that it is easy to edit and fast and and
you guys are doing that to a different
end to tell stories across continents
and and well and let's talk that that
editing is interesting because you're
neighbors doing some oh right table song
it sounds like your ears are definitely
getting better yes the wait where were
we oh editing is right so look the world
is full of camera people and
some of them their job for something
like the Kardashians look I don't know
maybe if your camera for camera meant
for the Kardashians I might be wrong but
for a lot of these reality shows it's
button on mm-hmm button off when you're
at a tape zoom like Top Chef or
something like that where they're in a
confined environment there's like 20
people in there and that's that's being
edited by a director in the truck that's
being you know it's basically that all
the footage is being grabbed on
Mythbusters we don't have that luxury we
have one main camera we have two cameras
for discussions between Jamie and I so
we don't have to redo them and that
keeps it more natural but for the most
part our cameramen have to think like
editors and that means something has to
be moving in the shot all the time
you'll notice my favorite shots are the
ones where it's like you know let's say
it's raining during a lawnmower episode
last year or was it this year I don't
think lawn mowers aired yeah I that's it
done I haven't we have a lot more
episode airing later on this year and
like it was raining it was we are out
there and it was raining it was raining
so hard we actually had to talk about it
narrative Lee because it was affecting
the experiment and that means that Scott
now has to go out and get shots that say
it's ray guys it's really what I mean
yeah that usually means you want to go
find a puddle with everyone working in
the reflection of the puddle you want to
find the water dripping and so Scott
just like every time we're not actually
shooting he's out there getting
establishing shots of rain for the
editors to keep on being able to keep
your mind understanding it's raining
that's awesome that's all part of the
you guys know it's all the vision
language of what you're what you're
talking about and the the cameramen that
work well on Mythbusters are the ones
that the editor gets stuff and it's like
wow it's almost a cut sequence like um I
mean you can put him on it that's not to
say that there's not a ton of work to be
done in the editing god no no no no
because that's all about the timing and
stuff right you guys are just setting
them up to then succeed and make the
price yeah
you mean I just remember our first
cameraman Paul Henry who's an amazing
amazing camera and one of the sweetest
humans alive
and was so great as like a trainer and
cameraman for us because we'd finished
it take the camera and he just looked
over and go I thought that was great
that's and when you're starting out and
you haven't done because Norma I did
this too like we started out with no
video experience basically yeah and
there are three months of videos on that
YouTube channel that are pretty bad well
it's like the best it's like in the
beginning you hold stuff up you're like
now this is a mechanic and the you'd be
like this this is a mechanical thing and
the cameraman has to teach you in in
television you have to go like this this
yeah and you have to hold it close to
your face turn no one wants it over here
you have to hold it close to your face
and you have to turn it so that you can
see a beam it's all of these things that
you learn or sometimes they want it
really close to your face really far
away from your face so it's all by
itself right right right yeah I mean
it's two different yeah
so with Paul Henry we would put a
monitor sometimes on top of his camera
so the producer could see what he's
shooting and say yeah you know cut that
till it's a little to the left because I
want to see more of that most part but
someone like Paul or specifically Scott
Sorenson you look at a monitor of what
he's filming and every shot looks like
it belongs on television yeah there's no
like every shots every shot tells a
story that's the key when you're filming
stuff it's not just oh there's our 2d
cheese head it's our duty just head
within the cave I'm just looking at the
shot that I'm seeing here and the
cameraman has to choose a point of view
and that point of view will make the
shot interesting or not so the other
thing that changed in the 10-12 years
since you guys started Mythbusters is
everybody went for having standard def
TVs - high def TVs yes and I know you
guys went to high def what probably six
seven years ago it seems like now I
can't quite remember now but yes um no
everything's on high def but I mean the
thing that's happened that I've noticed
happening in the last couple of years on
sports and news and stuff like that is
that the TV come the the the TV
companies in general the the production
companies I guess manufacturers no no
like ESPN the network's the network's
have changed the way that they're doing
like on sports stuff they're now using
the full width of the screen right
whereas for a long time on ESPN if you
watched a football game the overlays
would be 4/3 and then there'd just be
some extra stuff extra video inside yeah
have you guys changed how you're
shooting the show to take advantage
ratio did that happen
a long time ago I think that happened a
long time ago we did well obviously we
have a crap-ton of GoPro cameras and
GoPro by the way we have never had easy
relationships with the phones and the
cameras and it doesn't work well it just
it's very difficult if you leave the the
phone room or on morning yeah I think
that's the thing we found is if you
leave the phone connected 30 minutes is
that hard limit yeah before the thing
implodes but we use tons of GoPros this
season we got many more Blackmagic
cameras and with prime lenses on them
and we use them much more as our GoPros
so there's some driving myths coming up
this year
I think this current season ends with an
episode about drifting which is amazing
and Jamie got trained had a drift by
Formula One Drift champion Conrad
Grunewald who became a good friend and
he's an amazing guy now we have stuff
from inside with black magics close-up
from inside the cars it's just like one
so beaut no distortion own it snap yeah
that and again that cinematic feel to it
are you guys using those Blackmagic
cameras like like I mean cuz I know you
kind of used the GoPros like they're
they're not exactly disposable but
they're kind of just we're not using the
black magics in place where we expect
bad things to happen but again we also
have camera housings that we've built
for stuff padded camera housings and
black magics there's a there's an
aluminum over case you can buy for them
all of ours have are heavily armored for
this but yeah we so let's see let's see
process the camera work the camera
look the extra time to put in the more
facts more supporting material that
helps the audience understand I mean for
us it's it's not like it's it's not at
all like we've been chopping at the bit
to make the show this way it's more like
you get used to making something in a
certain way and that's not always good
you can get vanilla you can get
comfortable
well you I mean you said something a
couple years ago when you first started
talking about this I think privately
yeah that you said you know you realize
that you've gotten too good at
myth-busting when you knew the answer to
the to the
before you had to test it and that kind
of colored the way you were setting up
the tests yeah he was kind of taking
shortcuts
maybe not shortcuts but definitely
sawing off the rounded rounding the
corners and so and actually that
approach led to two completely new ways
of testing myths this season in a couple
of weeks we have an a-team special now
in the a-team
they were always finding themselves like
how are in the lumberyard the bad guys
are coming we've only got 45 minutes
what are we gonna do let's build a
weapon out of what's here so they've
gone lethal weapon of course non-lethal
yes right so we built that weapon and
then we realized okay it's it's 780
television like this very little basis
in reality for almost everything that
they make
but what if Jamie and I were stranded in
a lumberyard with the exact same
materials what would we do so that's
what we did and we steadfastly did not
engage with the material of what we had
at our disposal or really talking to
each other about what design of machine
we'd built until the cameras are rolling
oh that's all then we get this
completely genuine machine second
episode happens later on this season
called
the Transformers there's a story about a
Frenchman stranded in the desert with a
dish of a little Citroen car it looks a
little like a beetle but it predates it
by the one with the COFF top right yeah
yeah this one not but yes it's that one
you're thinking of from from the
professional or something like that
there's a there's a famous car chase
with those no or it maybe it's Italian
Job those are momentous but with two
wheels shattered he turned he takes the
car apart and puts it back together in
the form of a motorcycle okay
and when we were talking about this we
wanted we wanted we wanted to try
something different and so what we did
was we didn't look at the pictures of
what he built mm-hmm we did not engage
with his machine at all we found that
correct make it model the car we
stranded ourselves in the middle of
nowhere which was a landfill nearby and
using the same complement of hand tools
and processes we tried the same thing
and only then did we look at his design
and that was cool I can't wait to see
that that was really awesome because we
presented ourselves with the same
challenge it's a totally different way
of philosophic and looking at the story
and when we were talking about it
realized there's no downside to this if
we nail it well that's awesome but if we
don't and we look we've got this second
beat we can go and try his version and
see how that way and it leans on the
expertise you've built over the last 12
years yes which is the thing that was
missing before and makes it I don't
think that was missing before but I
think that I think that there are ways
in which this extra time is the extra
time we have to tell these stories and
again that's the other thing we're not
telling three stories or four stories
per episode we're telling two and it's
always two ish it's always two ish it
might be two point three you know a
smaller a small small story but for the
most part we have trouble making small
stories we tend to get interested in
things get fat really quickly but that
extra time to tell the story has has
felt a little like a luxury because
again that story can get deeper and
deeper I I was really surprised by the
Simpsons episode like that by the by the
outcome of yeah I was surprised by both
out III never imagined that you'd get
the toilets to flush in geyser form and
I was shocked that I mean I don't think
Homer would have survived I don't think
he would have survived but I was shocked
at the lack of damage on that second hit
yeah that was pretty I was really
shocked and associate producer Eric
Haven who is the genius at finding stuff
we really tasked him when the worst
thing ever which was find us two houses
to destroy that's all we had to build
those because we looked we looked
everywhere within a thousand-mile radius
of Mythbusters Wow find two houses to
destroy that we're in the yeah Network
you know in the recycled let's
accelerate the process well you know
it's it's a matter of time he said we
asked for some questions from the
audience arted well let's see people are
asking about episodes on Hulu the new
episode the old episodes are on Hulu now
they're on Netflix yeah are is this new
season gonna be on Hulu as well or I
don't I love my paygrade
okay I do not know I hope so
any plans for stem and or G EMS I don't
know G EMS is I'm I assume stem is
science science technology engineering
and
however it's steam it's pronounced steam
because you have to put in there yeah
you have some some stem episodes people
who look forward I mean they're all kind
of stem episodes right Mythbusters is
stem steam the steam I mean we are we
are we are in of by and for and all
about stem so yes do you do you do you
know what hardware you're using to do
because it seems like you were doing
some time lapses and motorized ion labs
and stuff like that yes we have a couple
of really cool that's from now we do
have some belt driven movers with with
programmable heads so that you can get
these long tracking shots that are also
time lapse and that's Willy nails
particular bailiwick and he's been
having lots of fun that is not something
that is something that's tough to get
right you get one shot at it it is and
the one that he got that got the gasp at
comic-con was I was braiding a whip for
the India episode this this clip is on
line so it's not really a spoiler I'm
braiding a whip and he has the camera
underneath pointed up tracking with my
hands and this is also me working with
him he's like where whenever I'm
building it's like where are you gonna
be I'm gonna be within this frame and
then he shows me to frame I okay make it
up a little bit because I'm probably
gonna all right now okay how long is
this gonna take there are times when I
totally get it wrong and will has to
come in and redo it I mean and so all
day long when I'm building that's just
one of the things that was constantly
happening and sometimes it doesn't make
it into the episode it seemed like you
guys spent a lot of time building this
in this episode that's about how much
time we spend building every episode
just we're showing there is no we're not
doing any more physical work to make
Mythbusters than we've ever done before
we are it's just that there hasn't been
shots of us building so people
automatically thought there's a whole
team of people building stuff for Adam
and Jamie there's not what else do you
got um let's see Fred Smith wants to
know what's the hardest thing about the
new format is it just the the extra onus
on you guys to be the connective tissue
for me yeah for me personally you know
the the I work hand in glove with my
executive producer Dan tapster about how
these stories fit together and I love
working with Dan on the ground Dan's not
in San Francisco he's across the world
and it's not like we can be in constant
communication so every sequence has to
follow every other sequence you have to
tell a cohesive story when you're not
sure how the editors are gonna cut it
and you're not sure what the results of
your experiments gonna be which is
usually so that means the mental
calisthenics that I have to do in
working with my director Steve
Christensen and Jamie is significantly
greater because you have to you have to
keep all avenues open all avenues open
you can't you can't shoot something that
the editor can't cut with so you've got
to be thinking how might they cut with
this where will this go where will that
go there might be a great thing you want
to do but there's no point to it or
there doesn't fit within the story it's
too tangential and you know that when
they get into the editing room and
stuffs got to get cut out and that's
gonna be the one that's going to go you
don't ever want to spend a day building
something filming it and not have it
make it into the episode I mean at the
end of the day I know we've talked about
this on this show before and Norman I
feel the same way when we're shooting
stuff it's it's really like the worst
thing I feel like I can do is waste
everybody that's working with me is time
yeah right and you don't know either I
mean you you know you sometimes the
footage comes back and the experiment
was so much fun and screwed up so many
times in so many hilarious ways that the
first rough-cut comes in at like 60
minutes but I got to cut it down to 42
and a half and you're like oh man well
it means a lot of new media for the web
and stuff like that but still it's that
again those mental calisthenics of how
does the sequence fit where do we start
it where do we end it where do we how do
we talk about the stuff in the middle we
have lists of things that we want to get
to to touch upon this is important this
is important this is important that's
the mental work is has doubled to make
the show for me I think that's about it
who's this good person I need to wrap up
I'm really excited about these episodes
I'm glad we're talking about it with
the run of the season and we should talk
about Indy next week because the Indiana
Jones episode is a real stunner in I
know it's close to you yeah very close
to my heart I gotta I wore I wore an
Indy costume every day for two and a
half for work yeah we'll see you guys
next week thanks for watching YouTube
like us on YouTube review us on iTunes
is the best thing you can do to help the
show right now review us on iTunes that
would be awesome
and we'll see you guys next week bye bye
