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It took a huge amount of design, engineering, and coordination to create this spectacular Rube Goldberg machine in this internet-sensation OK Go video. We’d like to introduce you to four of the designers!

Dan Busby – Bottom Floor

I was one of the guys who helped build the machine. While we had a few core people that were working hard all the time, it’s worth mentioning that our crew was large and extremely talented. Everyone deserves a healthy amount of credit, not just us four.

Brett Doar – The “Trigger Man”

Hector Alvarez – Top Floor

I’m another one of the people involved in the design and build of this craziness. I dealt mostly with the top floor build and lost 2/3rds of my sanity in the process.

Oren Schaedel – Descent

I’m another one of SyynLabs people that built the machine. I was in charge of the descent but besides me, there were many people that made this happen. Many online posts say that it was difficult to make out the details of the mechanisms, I’ll be happy to explain those.

The photo above is by Sara Ross-Samko.

We have these four talented makers on hand to answer any questions you might have about the project, so please ask in the comments below! I have a few of my own:

Becky Stern: How long did the setup for the final shot take?

Daniel Busby: The better question is how long setup took AFTER the final shot. About an hour. Most takes went bust early on upstairs, so setups were shorter, 5 minutes, 10 minutes or 20 minutes. One comical setup needed to be redone after only 3 of the initial dominoes fell. Once we got to the descent, we knew we were in for a long one.

Becky: How many takes did it require to get the final?

DB: I lost count. I think we did that first sequence about 70 times. When we got past the tire, we knew we had a chance. When the piano dropped without triggering the flags or chairs, we started getting excited. If the sledgehammer blew up the TV we were in the home stretch. It was a tense video to film!

Marc de Vinck: What kind of camera (and camera rig) was used? I saw in the comments it was 50lbs, but how did you maneuver up and down, etc, with such apparent ease?

BD: The camera belongs to the band, and I think it’s a Sony something (that’s the model, a Sony Something). It’s a prosumer HD model, I guess. Mic was wearing a steadicam rig, which is really finely balanced. I totally want a steadicam rig just to walk around in and hold my coffee. We were initially going to lower him down in just a harness through a hole in the floor but it was brought to our attention that the balancing of the rig would pretty much mean that he would just be facing the floor through the descent. So we brought in a really great welder named “Mother” (I think his real name is Paul) who built a little elevator. I never got a chance to ride in that elevator.

I should also mention that when I say “we” I don’t always mean that I had anything to do with it.

John Park: What was the process for designing the overall machine? Sketching? Scale-models? CG? Storyboards? Arm waving and interpretive dance?

DB: We sat down and tried to plan out everything ahead of time. We created a lot of module designs, work on timing, etc. Then we found that strategy was horrible. It was much better to walk the space while listening to the song (100s of times) and wave hands around. We knew that we wanted some parts small and some parts big, depending on the scale of the music. We knew we had to fill the space and get from point A to point B in the song. Once we nailed down a few key parts we were able to start working off of them and fill in the gaps and join modules up.

Then of course, the band returned from tour and changed huge sections 2 weeks before filming. It was all for the best however, and everyone understood that it resulted in a better video overall. But, it made all of the previous planning unnecessary.

BTW, there were many discarded sections. At least one of them can be seen in the background behind the bird’s nest zipline.

enGreener: There seems like there is a lot of mechanisms in this machine that could throw off the timing by a fraction of a second here and there. Was this a problem when incorporating the elements that made noises to go along with the song?

DB: Timing was critical, as you can imagine. We spent a lot of time practicing and measuring things with stop watches. Mostly with a “Hot Wheels” stop watch that came with a toy set we bought. In reality we had to be within one percent or so. The video can be sped up or slowed down by as much without any visual artifacts. Although there are a couple of times where it’s just barely noticeable.

Brett Doar: There was really only one part where the audio dropped out and the machine played part of the song, and that was the guitar/glass thing (built and designed by Brady Spindel). But the band also had to be lip synching, so yes it was important to have the machine be synched up to the song. The audio playback was broken up into sections, to make sure that when we got to a certain point in the machine, the corresponding part of the song was playing, so that stuff could match up. Even without that though, especially on the top floor, parts of the machine had to be timed internally. One member of our team, Dick Whitney, built up some laser gates for timing (naturally housed in an altoids tin), but we realized that we could just go by feel. For instance, leading up to Brady’s glasses, the little lego car was just rolling down that ramp too fast, and for some reason it was just too tricky to be messing around with slope. We used this sticky foam to make speed bumps and it was just like “I dunno play the song and see if it’s going slow enough. still too fast add another bump”. I think we were all expecting timing issues to be in the milli/micro second range, but it turned out that we didn’t really need to deal with more than 1/2 – 1/4 second kinda concerns.

Renata N.: Considering there’s things being thrown, rubber, cables and Damian flying, did anyone got hurt, or hit by stuff? Any serious injury, or just mild bruises?

DB: Miraculously, no one got seriously injured. We had a lot of safety practice throughout the build. I think someone in the production crew hurt their foot, but I don’t think it was a big problem.

Tim did get popped in the face pretty good with the paint though. Thankfully it was hard to tell if he had a bloody nose with all the red paint. But seriously, getting hit in the face with paint wasn’t pleasant.

Mic the camera man got hit by the blue 55 gallon drum in the final take. You can see the camera tip a bit in that final chaotic scene. I don’t know how he kept going.

OneCheekyHobbit: Did the group above the band throw the paper airplanes or was that part of the machine?

Oren Schaedel: We had the airplanes mounted onto pipes triggered my high air pressure, it was part of the machine.

DB: The paper airplane cannon was designed and built by Amrik Lally. When a weight on the trash cans fell, it pulled open three ball valves. It did so at just slightly different times so the whole squadron wouldn’t launch at exactly the same time. This spread them out visually a lot better.

Renata N.: After the camera is hit by the sledgehammer, what triggers the sequence? I tried to look for cables, but didn’t see any, the same happens with the ball that triggers the paint.

DB: This was a tough one to capture on film. One of the things we surely would have fixed given another week of build time. When the sledgehammer hits the TV a cable is released which dropped a wedge to spread the metal poles on what we called the “shoot the moon” device. The spreading poles allowed the first globe to start rolling forward. This landed in a colander which released another rope which allowed the broom to give globe #2 a shove.

PyroPenguin: Did you need to employ failsafes? If a component didn’t activate because the component intended to trigger it was off by just a hair, did you have a system to activate it manually?

BD: Not re ally. I think if we were more film oriented rather than machine oriented we would have built in more manual “cheats”. As it is, I think we did some things (or at least I did) that didn’t play as well to camera as it could have just because I was preoccupied by the mechanism. But we were pretty determined that the thing work. In some cases, we spent a lot of time working out a mechanism that doesn’t even show up on camera- like the pneumatic paper airplanes. it’s a really reliable mechanism that is triggered by the machine, and yet that’s happening amid such chaos that in afterthought I guess we could have just had a guy pushing a button. But I don’t think anyone even considered that. There was a little assist in the curtain pull, because the curtains had a tendency to stick together, so if that was having trouble there was someone available to pull a little string to help things out. But I think that’s it.

Renata N.: Having the band walking around the machine made it more difficult about timing? And did any of them triggered a part of the machine in the wrong moment just by moving around?

DB: The band had to run from station to station. They were extremely good at keeping false triggers to a minimum. I think it only happened once or twice. The difficulties in filming this machine were surely not those guys. They were fantastic people to work with.

Hector Alvarez: I don’t think the band ever triggered anything by accident, but the machine itself certainly did. The impact of the falling piano and shopping cart, specifically, often set off the mousetraps, the crossbow, and sometimes even the chairs right after it. We had to go back and re-engineer some of it, put cushions under the mousetraps, etc.

DB: Steady cams are heavy! Most of the weight is in the counter balances that keep the shot so smooth. The end result is a camera that is floating around, and steered by Mic’s hips and slight adjustments with his hands. He described it more like dancing than anything else.

Renata N: How much coffee was necessary?

OS: We were mainly keeping awake with beer and coffee. I was also cooking some Turkish coffee with Cardamom.

HA: Oren was THE coffee man. That turkish coffee had magic in it, everything seemed to work much better after we had a cup of it each. A tremendous amount of coffee was also drunk during the days of the shoot, which probably didn’t help calm nerves at all.

jsbusque: Is there a cut at 2:27? The light behind the curtain seems to jump.

HA:We were initially unsure of what the selected take for the final video would be, since we managed to go all the way through in only 3 takes, but they all had “something” that made it less than ideal (crew members showing up on camera, TV not exploding, music going out of sync, etc). In the end the band decided to make a splice right there when the curtain opens in order to have a better video. We weren’t involved in the post-production, so I’m unsure whether it’s a merging from two different takes, or a single take with a second or two removed in that section to allow the song to sync back up.

Becky Stern

Becky Stern is head of wearable electronics at Adafruit Industries. Her personal site: sternlab.org


Related

Comments

  1. Randy Scott says:

    Mic Waugh, a high school classmate of mine, did the camera work for the video. His site: http://www.levelimage.com/

    1. DanielBusby says:

      Mic was amazing! He carried that 50lb camera all day, up and down across the warehouse with the best attitude. He was such a nice guy to work with.

  2. enGeeneer says:

    there seems like there is a lot of mechanisms in this machine that could throw off the timing by a fraction of a second here and there. Was this a problem when incorporating the elements that made noises to go along wiht the song?

    1. volkemon says:

      Wow. I had to watch it three times to (almost) get all the details.. The chaos at the end was most amusing, but the best part was when the electric guitar plays the glasses as chimes…the timing was right on..

      Guess I have wandered around to the same question as enGeeneer… :)I will link under it.

      1. Renata N. says:

        I love the guitar part too.

    2. DanielBusby says:

      Timing was critical, as you can imagine. We spent a lot of time practicing and measuring things with stop watches. Mostly with a “Hot Wheels” stop watch that came with a toy set we bought. In reality we had to be within one percent or so. The video can be sped up or slowed down by as much without any visual artifacts. Although there are a couple of times where it’s just barely noticeable.

  3. DanielBusby says:

    Hello Make Community! My name is Dan Busby, and I was one of the guys who helped build the machine. While we had a few core people that were working hard all the time, it’s worth mentioning that our crew was large and extremely talented. Everyone deserves a healthy amount of credit, not just us four. Answers forthcoming!

  4. Renata N. says:

    Considering there’s things being thrown, rubber, cables and Damian flying, did anyone got hurt, or hit by stuff? Any serious injury, or just mild bruises?

    1. DanielBusby says:

      Miraculously, no one got seriously injured. We had a lot of safety practice throughout the build. I think someone in the production crew hurt their foot, but I don’t think it was a big problem.

      Tim did get popped in the face pretty good with the paint though. Thankfully it was hard to tell if he had a bloody nose with all the red paint. But seriously, getting hit in the face with paint wasn’t pleasant.

      Mic the camera man got hit by the blue 55 gallon drum in the final take. You can see the camera tip a bit in that final chaotic scene. I don’t know how he kept going.

      1. Renata N. says:

        I did notice, but thought it was part of it, because he made some cool movements during the whole walk.

        1. Hecface says:

          In addition to Mic getting hit by the drum at the end, we had a very close call with him on one of the takes, where he slipped on the cue ball at the very beginning and almost ate it pretty hard. After that incident we always had a PA running behind him to swat the ball away and make sure it didn’t bounce back at his feet.

          Also, we got many splinters.

  5. Renata N. says:

    Having the band walking around the machine made it more difficult about timing? And did any of them triggered a part of the machine in the wrong moment just by moving around?

    1. DanielBusby says:

      The band had to run from station to station. They were extremely good at keeping false triggers to a minimum. I think it only happened once or twice. The difficulties in filming this machine were surely not those guys. They were fantastic people to work with.

    2. Hecface says:

      I don’t think the band ever triggered anything by accident, but the machine itself certainly did. The impact of the falling piano and shopping cart, specifically, often set off the mousetraps, the crossbow, and sometimes even the chairs right after it. We had to go back and re-engineer some of it, put cushions under the mousetraps, etc.

  6. OneCheekyHobbit says:

    Did the group above the band throw the paper airplanes or was that part of the machine?

    I loved that blast of color there at the end, so whoever sent them soaring, well done!

    Also, how many ‘inside jokes’ were included by the engineers?

    1. Oren says:

      We had the airplanes mounted onto pipes triggered my high air pressure, it was part of the machine

    2. DanielBusby says:

      The paper airplane cannon was designed and built by Amrik Lally. When a weight on the trash cans fell, it pulled open three ball valves. It did so at just slightly different times so the whole squadron wouldn’t launch at exactly the same time. This spread them out visually a lot better.

  7. Oren says:

    Hello Makers. Im Oren Schaedel another one of SyynLabs people that built the machine. I was in charge of the descent but besides me, there were many people that made this happen.
    Many online posts say that it was difficult to make out the details of the mechanisms, Ill be happy to explain those, cheers

    1. Renata N. says:

      After the camera is hit by the sledgehammer, what triggers the sequence, I tried to look for cables, but didn’t see any, the same happens with the ball that triggers the paint

      1. DanielBusby says:

        This was a tough one to capture on film. One of the things we surely would have fixed given another week of build time. When the sledgehammer hits the TV a cable is released which dropped a wedge to spread the metal poles on what we called the “shoot the moon” device. The spreading poles allowed the first globe to start rolling forward. This landed in a colander which released another rope which allowed the broom to give globe #2 a shove.

  8. PyroPenguin says:

    This video was spectacular. Did you need to employ failsafes? I mean, if a component didn’t activate because the component intended to trigger it was off by just a hair, did you have a system to activate it manually?

    1. Brett Doar says:

      not really. I think if we were more film oriented rather than machine oriented we would have built in more manual “cheats”. As it is, I think we did some things (or at least I did) that didn’t play as well to camera as it could have just because I was preoccupied by the mechanism. But we were pretty determined that the thing work. In some cases, we spent a lot of time working out a mechanism that doesn’t even show up on camera- like the pneumatic paper airplanes. it’s a really reliable mechanism that is triggered by the machine, and yet that’s happening amid such chaos that in afterthought I guess we could have just had a guy pushing a button. But I don’t think anyone even considered that. There was a little assist in the curtain pull, because the curtains had a tendency to stick together, so if that was having trouble there was someone available to pull a little string to help things out. But I think that’s it.

  9. Brett Doar says:

    Brett Doar here.

    Randy, yeah, Mic did do a fine job of camera work. And he took a bit of a beating from the machine- in the footage you see of the video, I think he gets hit (or nearly gets hit) twice- Dan can speak about that a bit because he’s more intimately involved with the lower floor, but in the end that blue barrel came pretty close.

    enGeener, there was really only one part where the audio dropped out and the machine played part of the song, and that was the guitar/glass thing (built and designed by Brady Spindel). But the band also had to be lip synching, so yes it was important to have the machine be synched up to the song. The audio playback was broken up into sections, to make sure that when we got to a certain point in the machine, the corresponding part of the song was playing, so that stuff could match up. Even without that though, especially on the top floor, parts of the machine had to be timed internally. One member of our team, Dick Whitney, built up some laser gates for timing (naturally housed in an altoids tin), but we realized that we could just go by feel. For instance, leading up to Brady’s glasses, the little lego car was just rolling down that ramp too fast, and for some reason it was just too tricky to be messing around with slope. We used this sticky foam to make speed bumps and it was just like “I dunno play the song and see if it’s going slow enough. still too fast add another bump”. I think we were all expecting timing issues to be in the milli/micro second range, but it turned out that we didn’t really need to deal with more than 1/2 – 1/4 second kinda concerns.

  10. Maker Shed says:

    What kind of camera (and camera rig) was used? I saw in the comments it was 50lbs, but how did you maneuver up and down, etc, with such apparent ease? Love the video!

    1. Brett Doar says:

      The camera belongs to the band, and I think it’s a Sony something (that’s the model, a Sony Something). It’s a prosumer HD model, I guess. Mic was wearing a steadicam rig, which is really finely balanced. I totally want a steadicam rig just to walk around in and hold my coffee. We were initially going to lower him down in just a harness through a hole in the floor but it was brought to our attention that the balancing of the rig would pretty much mean that he would just be facing the floor through the descent. So we brought in a really great welder named “Mother” (I think his real name is Paul) who built a little elevator. I never got a chance to ride in that elevator.

      I should also mention that when I say “we” I don’t always mean that I had anything to do with it.

    2. DanielBusby says:

      Steady cams are heavy! I forget the camera brand (someone help me out), but most of the weight is in the counter balances that keep the shot so smooth. The end result is a camera that is floating around, and steered by Mic’s hips and slight adjustments with his hands. He described it more like dancing than anything else.

  11. DanielBusby says:

    How long did setup take to get the final shot?

    The better question is how long setup took AFTER the final shot. About an hour. Most takes went bust early on upstairs, so setups were shorter, 5 minutes, 10 minutes or 20 minutes. One comical setup needed to be redone after only 3 of the initial dominoes fell. Once we got to the descent, we knew we were in for a long one.

    How many takes did it take?

    I lost count. I think we did that first sequence about 70 times. When we got past the tire, we knew we had a chance. When the piano dropped without triggering the flags or chairs, we started getting excited. If the sledgehammer blew up the TV we were in the home stretch. It was a tense video to film!

  12. Hecface says:

    *Barges in late through the door

    Hey guys! I’m Hector Alvarez, another one of the people involved in the design and build of this craziness. I’ll echo my teammates’ statements about just how large, talented, and diverse the crew who helped build this machine was. I dealt mostly with the top floor build and lost 2/3rds of my sanity in the process.

  13. DrRuth says:

    Just got to say that was one of the most incredible things I’ve ever seen. By the end of my first viewing tears were running down my face. Not from laughing but just sheer awe and wonder at what you guys had wrought. And in talking to friends, I was not the only one. I keep rewatching it to catch more of what’s going on, and wonder whether I need to consider a career change. My 8 yr old son also thinks your machine was very cool, though he was concerned at how many TVs and pianos you must have destroyed in practice runs.

    1. Oren says:

      Im really pleased that you and your son enjoyed the video.
      If you look at the background after the TV breaks, you can see all of those sacrificed for the shoot. We went through 2 pianos

  14. jessbressler says:

    hector suggested i come on and say hi- hi! you guys explained things very well!

    1. Hecface says:

      Jess is the lovely lady seen in the picture above with the rest of us, and one of the core team members as well. In addition to making those awesome puppets of the band (which deserved to be on camera far longer than they did) she was instrumental in developing the master plan for the top floor as well. Take a bow Jess!

  15. jessbressler says:

    thanks hector.

    hi everyone. not to beat a dead horse but it really was an amazing experience with a lot of hands and heads contributing.

    1. Renata N. says:

      You should make more of these puppets and sell it at the band’s site

      1. Brett Doar says:

        I think that’s a fantastic idea!

  16. Renata N. says:

    How much coffee was necessary? :p Sorry I had to

    1. Oren says:

      We were mainly keeping awake with beer and coffee. I was also cooking some Turkish coffee with Cardamom

      1. Hecface says:

        Oren was THE coffee man. That turkish coffee had magic in it, everything seemed to work much better after we had a cup of it each.

        A tremendous amount of coffee was also drunk during the days of the shoot, which probably didn’t help calm nerves at all.

  17. jsbusque says:

    is there a cut at 2:27 ? the light behind the curtain seems to jump !!!

    1. Hecface says:

      We were initially unsure of what the selected take for the final video would be, since we managed to go all the way through in only 3 takes, but they all had “something” that made it less than ideal (crew members showing up on camera, TV not exploding, music going out of sync, etc). In the end the band decided to make a splice right there when the curtain opens in order to have a better video. We weren’t involved in the post-production, so I’m unsure whether it’s a merging from two different takes, or a single take with a second or two removed in that section to allow the song to sync back up.

    2. jessbressler says:

      “We did actually shoot it in long, single takes. We only made it all the way through three times. But the truth is, one part, where we come down a waterfall, the action got a little behind, and three times, we actually got all the way through, the camera guy only got it once,” Kulash explained. “So there is a bit of an edit in there. One edit. The machine did run all the way through each time, though, which is important.”

      [let's call the edit artistic license.]

  18. John Park says:

    I’m filled with awe and joy for what you guys accomplished. Thanks so much for pouring yourselves into this and sharing it with the world. One question I have (pardon me if it’s already been asked and answered, I haven’t been able to read all the comments or watch your making-of videos yet) is about planning. What was the process for designing the overall machine? Sketching? Scale-models? CG? Storyboards? Arm waving and interpretive dance?

    1. DanielBusby says:

      We sat down and tried to plan out everything ahead of time. We created a lot of module designs, work on timing, etc. Then we found that strategy was horrible. It was much better to walk the space while listening to the song (100s of times) and wave hands around. We knew that we wanted some parts small and some parts big, depending on the scale of the music. We knew we had to fill the space and get from point A to point B in the song. Once we nailed down a few key parts we were able to start working off of them and fill in the gaps and join modules up.

      Then of course, the band returned from tour and changed huge sections 2 weeks before filming. It was all for the best however, and everyone understood that it resulted in a better video overall. But, it made all of the previous planning unnecessary.

      BTW, there were many discarded sections. At least one of them can be seen in the background behind the bird’s nest zipline.

      1. Brett Doar says:

        One of the big sections that was discarded was what we were referring to as the “Japanese Table”, in honor of Pythagoras Switch. That thing was cool, but ultimately (I think) it was determined that everything was happening too fast- another thing where we overestimated the cameras ability to smoothly follow direction. it was going all over the place. that was replaced by the table after the ball track. Incidentally, that table was built partially by Damian and his dad- the thing where the little cage spins down the candlestick is Damian’s invention.

        1. Brett Doar says:

          I meant to point out that the first table was built by Damian, his dad (whose name is also Damian), and Jamie Ziegelbaum.

  19. Oren says:

    We had a combination of all those. Hector made some really nice digital plans (Hector help me out with the software) and Dan had a state of the art white board describing the down stairs. The descent was a combination of arm waiving and interpretive dance mainly performed on a scissor lift.

    1. DanielBusby says:

      I guess it’s worth mentioning that the whiteboard drawing was mostly descriptive. It had a timeline so we knew where we had to be song-wise for each segment. That kept the hard working downstairs crew on the same page. If adjustments had to be made, we knew which neighboring modules would be affected and by how much.

  20. Hecface says:

    Dan didn’t need such shennanigans for the bottom floor, but on the top floor it helped to draw up some simple floorplans that outlined the basics of the flow of the song across the space to ensure we made it to the elevator in time. For example, we knew the first verse would be constrained to an 8×4 table, so we followed that with a chorus that had to cover 50 feet across the warehouse to gain distance (and allowed the machine to pick up the intensity with the music). Even though things were changed a lot, the flow and allotted space for each section remained fairly consistent till the end.

    At one point there were so many different things on the top floor it was hard to keep track of where we could arrange things where, so we prepared a simple animatic with crude vector drawings and edited it to the music. This allowed us to see if a module that was allotted to a certain section was in fact the right choice, or if it happened to quick or too slow and had to be moved somewhere else.

    But as Dan says, the vast majority was still seat-of-the-pants flying, just trying things out and seeing what worked and what didn’t, then figuring out where to place them in so they could be worked into the song timing and energy level.

    1. DanielBusby says:

      I don’t know why I forgot about your awesome creation’s Hector. I was just answering with my own design methods. But, the downstairs was a lot more forgiving with timing, so I could get away with a bit more.

    2. jessbressler says:

      hector: and by “we” {made the animatic}, you mean you.

      Part of the complication in planning lie in the fact that not only was there so many people involved, but it was very rare (until the very last week) that everyone involved was actually there at the same time. For some people involved, this was a second job and they could only come after work – or before class, or any number of other situations. Consequently, we found in the beginning that you would spend hours working on something- sometimes until 2 am- and then come in the next night and someone had decided to “fix” it during the day. Of course these instances were innocent and everyone was working towards the same goal, but it became important for there to be a main point person (dan busby for the bottom floor, hector (and, for a while, before my day job got in the way, me) for the top floor, and Oren for the descent. These people knew who was working on what for the most part and thus who to check with before changes were made- or at least in what state everything was, relatively. This not only helped for planning, but also for time management and efficiency.

  21. Renata N. says:

    everybody is watching this video like a gazilion times, and knows that this took a lot of planning, and several takes, did you guys also watched hundreds of time, or you just got tired after it was done?

    1. DanielBusby says:

      After listening to the song hundreds of times during the planning, building, tweaking, shooting etc. It is still listenable.

      After filming, we didn’t see the finished product until Sunday night. We had no idea it was going to look so good. Our jaws dropped and there was much rejoicing. We watched it 20 times that night and many times after it was released and it’s not even close to getting old yet.

  22. volkemon says:

    Very watchable…I have been ‘out in the field’ since lunch, and now fill in for the secretary for the last hour…and I have read all the comments and watched it twice…so far…back at it!

    GREAT piece of art.

  23. John Park says:

    I just noticed you guys snuck in the Make: Way car from the 24 Hours of LeMons at 3:06. Based on screen size, it’s a bigger ad for MAKE than for State Farm! Thanks guys.

    more here: http://www.make-digital.com/make/vol16/?pg=46

    1. Hecface says:

      You can thank the Trigger Man, Brett Doar, for that! He was one of the members of your Make: Way team…

      You’ll also notice that the Lego car at 1:16 is a replica of it as well, all the way to the green shark fin!

      1. Brett Doar says:

        Yeah, the car was living about 1/2 mile from the build space at another team make:way member’s house, Tom Jennings. It was kinda harrowing getting it to the build since it doesn’t have headlights (not sure about tail lights, now that I think about it) or any interior lights, not to mention all the windows have been removed. Oh, and it’s really, really loud.

        And the only way to get it inside was to drive it up onto a sidewalk, between the building and a bunch of no parking signs that formed a gap approximately 1/2″ wider than that of the car. The loading bay door had been really damaged and was a beast to raise, and then you had to get it in via a ridiculous angle.

        Getting it out was a blast, however. we just shot out of the building like it was the batcave and jumped the curb onto Glendale blvd (it was kind of a high curb).

  24. Laurpud says:

    That was jaw-dropping amazing!

  25. petya says:

    are those lp’s in the beginning below the dominoes? (because i didn’t know the album was published in that form.) i also wanted to note that the guitar hitting the glasses is actually a bass guitar.

  26. John Hatch says:

    I am so happy to have seen this! Can I come to work at SYYN?

  27. John Hatch says:

    I am sooo happy to have seen this! Can I come to work with you at SYYN?

  28. Humaun Kabir says:

    Hi nice Post written by you guys. It is amazing and wonderful to visit your site. Thank a ton for such a nice post.
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