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Speaker 1: Get in touch with technology with text Stuff from com.

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Speaker 1: Hey there, and welcome to Text Stuff. I'm Jonathan Strickland

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Speaker 1: and joining me in the studio is Mr Matt Frederick,

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Speaker 1: co host of Stuff. They don't want you to know.

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Speaker 1: You've probably heard his voice full horror. Hey Matt, Hey, Jonathan,

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Speaker 1: it's wonderful to be in this room with you, sir.

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Speaker 1: It's it's wonderful to have you on that microphone. We

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Speaker 1: have done a couple of episodes of tech Stuff together

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Speaker 1: where you mostly asked me questions, and that was purposefully done.

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Speaker 1: I think it was a C E S episode or

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Speaker 1: forty three something like that. It was what, yeah, what

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Speaker 1: you did? And I just got to sit there and

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Speaker 1: listen to the stories. Yeah. And this time it's gonna

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Speaker 1: the shoe is on the other flip, my friend. I'm

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Speaker 1: going to be asking you questions. You're going to be

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Speaker 1: telling stories. So for those who do not know, Mr

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Speaker 1: Frederick has done many things here and how stuff works. Uh.

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Speaker 1: In fact, you have produced episodes of tech Stuff in

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Speaker 1: the past. I have you have sometimes been the one

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Speaker 1: saying they're listening as Chris Polette and I would chat

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Speaker 1: on and on about something. Yes, prior to super producer

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Speaker 1: Noel being here. I was generally the person behind what

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Speaker 1: he does. It was sometimes sometimes Matt, sometimes it was Tyler.

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Speaker 1: Once in a while it was somebody else. Uh. And

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Speaker 1: you guys were great, but then you've got more and

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Speaker 1: more work to do in your in the other job

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Speaker 1: you had. Yes, the actual reason that we were hired,

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Speaker 1: so Matt, for people who do not know, you were not, Like,

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Speaker 1: I was not hired to be a podcaster or a

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Speaker 1: video guy. I was hired to be a writer. You

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Speaker 1: were not hired to be a podcaster. What were you

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Speaker 1: hired to do? I was hired to be an intern. Okay,

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Speaker 1: that's not really hired. Were paid? Yes, we were paid

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Speaker 1: interns and our videographer had to leave. So I came

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Speaker 1: on a originally um as an employee of How Stuff Works,

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Speaker 1: officially getting paid through I guess the standard payment from

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Speaker 1: How Stuff Works Inc. Back in the day or whatever

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Speaker 1: it was, as a videographer. So you are a videographer? Uh?

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Speaker 1: And be your role has evolved over time? Yes? So

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Speaker 1: what tell people what it is you do today? Like,

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Speaker 1: what is your your main responsibility here at How Stuff Works?

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Speaker 1: My main responsibility here is to produce stuff they don't

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Speaker 1: want you to know, and that I think that is

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Speaker 1: my primary goal now when you're when we're talking about

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Speaker 1: stuff they don't want you to know. We're not just

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Speaker 1: talking about the audio podcast, but also the video series, right, Yes,

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Speaker 1: the video series in fact, and I would say probably

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Speaker 1: primarily because originally it was a video series. Uh, just

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Speaker 1: it was just a video series. So this responsibility involves

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Speaker 1: working very close Slee with your co host Ben Bolan. Oh,

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Speaker 1: very closely. Yeah, to the point where the two of

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Speaker 1: you can be inseparable for the portions where you're getting

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Speaker 1: ready to shoot. Uh. You are very often the guy

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Speaker 1: behind the camera during the actual shooting. Yes, mostly, I

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Speaker 1: would say. Yeah. So sometimes if you ever watched stuff

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Speaker 1: they don't want you to know, and you see that

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Speaker 1: they're in some sort of creepy location, usually it's Matt

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Speaker 1: who's doing a double duty at that time, actually triple duty.

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Speaker 1: You're shooting, you're monitoring audio, and you're keeping an eye

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Speaker 1: out in case you need to make a run for

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Speaker 1: it because you're gorilla movie making at the time. Yes,

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Speaker 1: usually I'm monitoring audio, making sure the shot is correct,

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Speaker 1: and then kind of keeping watch. Yeah, that's a good assessment. Yeah, No,

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Speaker 1: I've been. I've been the subject of gerrilla filmmaking where

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Speaker 1: the director made it known to me that there was

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Speaker 1: not necessarily clearance to shoot where we were shooting at

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Speaker 1: that time. Wait what We do our best to keep

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Speaker 1: it above board. Yeah, yeah, I mean occasionally it's just

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Speaker 1: one of those things where you're like, well, let's go

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Speaker 1: ahead and shoot here. I think it'll be fine, and

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Speaker 1: then ultimately we might be told hey, you guys shouldn't

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Speaker 1: be in here, and then we're like, okay, we won't

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Speaker 1: be in here. Yeah, you're doing you are. I know

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Speaker 1: this looks like just a big empty basement, but technically

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Speaker 1: there's a lot of stuff going on that we can't

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Speaker 1: have you here while we're doing it, like like wiring

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Speaker 1: part of the building. Because keep in mind, the building

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Speaker 1: we are in right now, Pont City Market that's where

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Speaker 1: our office is is UH is still largely unoccupied on

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Speaker 1: certain floors. So um, that leads the potential for awesome

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Speaker 1: location shoots, but obviously we have to clear everything with

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Speaker 1: the building first to make sure that everyone is safe

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Speaker 1: and we're not going to get in the way of

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Speaker 1: any construction crews. Yes, insurance in a building like this

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Speaker 1: is a big deal. Yeah. Yeah, and uh and obviously

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Speaker 1: the safety of other people also very important. So it's

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Speaker 1: not just our safety but the safety of other folks.

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Speaker 1: So we take it very seriously as much as I'm

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Speaker 1: being flippant earlier. Uh. Now, when you're talking about produce

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Speaker 1: a show like stuff they don't want you to know,

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Speaker 1: some of our shows here at how Stuff works are

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Speaker 1: fairly straightforward, right, Okay, I'll go with you there, But

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Speaker 1: I would say that the ones that even look pretty

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Speaker 1: straightforward to have a lot of stuff going on in

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Speaker 1: the back end. Sure, you have to do lots of

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Speaker 1: things like you have to. You have to make very

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Speaker 1: careful edits to make sure that the everything flows properly.

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Speaker 1: You want to make sure that the sound is just

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Speaker 1: perfect because sometimes levels are different at different points. And

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Speaker 1: also we often will include things like supplemental video to

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Speaker 1: help illustrate a point. Stuff they want you to know

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Speaker 1: is one of the I think more heavily produced videos

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Speaker 1: compared to some not not all, I mean, we do

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Speaker 1: have some that are are equivalent. So I want you, Matt,

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Speaker 1: to walk me through what it's like to produce a

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Speaker 1: typical stuff They don't want you to know. So from

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Speaker 1: the point where you've identified what the subject is going

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Speaker 1: to be to the point where it's published online, can

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Speaker 1: you walk me through? Well, first thing I would say

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Speaker 1: is identifying what we're going to uh do use as

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Speaker 1: a subject is a big part of the story. Because

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Speaker 1: we generally get our audience too. They will interact a

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Speaker 1: lot of times and kind of lead us on a

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Speaker 1: thread that will take us to a bigger story. And

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Speaker 1: once we once we've established what the story that we

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Speaker 1: want to tell, and I would say Ben does of

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Speaker 1: that end because I'm usually over in this cave editing um.

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Speaker 1: So once we've established that, we will go and then

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Speaker 1: I will go to these various places on the internet

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Speaker 1: like archive dot org. We have several places that we

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Speaker 1: go like video blocks or I stock photo and try

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Speaker 1: and gather as many images and assets that I can

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Speaker 1: that will pertain to that story. Then then there's this

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Speaker 1: other back end after we record the audio, which is

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Speaker 1: a process in itself where we'll sit in this room

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Speaker 1: and have been do his creepy voice right, which still

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Speaker 1: to the stay cracks me up because you know people

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Speaker 1: have listened to Ben on my show where Ben has

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Speaker 1: just been and when Ben has just been or if

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Speaker 1: you've watched you know, brain stuff or what the stuff

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Speaker 1: one of the episodes that has been on it, you

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Speaker 1: hear Been just being himself. Uh. And then you compare

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Speaker 1: that to the character the persona version. That's some stuff

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Speaker 1: they don't want you to know, and it just seems

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Speaker 1: so not Ben. He is that character for me now,

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Speaker 1: and when he's playing regular Ben, I feel like that's

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Speaker 1: a and for a lot of people who are fans

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Speaker 1: of stuff they don't want you to know. That's a

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Speaker 1: lot of the response or like he's not doing his

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Speaker 1: voice where pitching it down a little bit. I can't

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Speaker 1: even do it. Here's where it gets crazy. I can't

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Speaker 1: do it either. It's impressive. We only have one person

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Speaker 1: in the office who can really mimic Ben, and that's Annie.

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Speaker 1: She's really well. She dressed up as Halloween that one

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Speaker 1: year she did a smashup of and the visuals here Yeah, yeah,

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Speaker 1: she she mimicked him from an imagery perspective anyway. Alright,

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Speaker 1: So so Ben is writing you are you? You get

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Speaker 1: to the part where you record the audio. Alright, move on,

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Speaker 1: now we get the audio, and what I have to do,

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Speaker 1: particularly with his audio is chop up every single sentence

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Speaker 1: and or even sometimes word, because what I like to

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Speaker 1: try and do is make it match up with the

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Speaker 1: sound the theme music that I've written for the show,

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Speaker 1: so that it feels you wrote the music for the show.

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Speaker 1: I did. I recorded and wrote the music just with

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Speaker 1: a little MIDI controller. Still, that's incredible. Well it it's okay.

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Speaker 1: I think I think any discerning creator of music would

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Speaker 1: laugh at it. Come on, I'm well from someone that

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Speaker 1: can plank out a tune on a ukulele, it's really impressive. Okay,

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Speaker 1: I didn't forget thank you, I love you, made a

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Speaker 1: couple of videos you awesome stuff. Um. Okay. So I

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Speaker 1: matched that up so that it has almost a lyrical

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Speaker 1: feel to it um spoken word almost um. And it

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Speaker 1: has a very driving beat in the song. So when

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Speaker 1: it matches up, it just works so well. See that

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Speaker 1: that's incredible to me, Like you have to have a

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Speaker 1: real ear for that. I I can appreciate it when

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Speaker 1: it's done, I can't imagine actually constructing it. So what

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Speaker 1: what tool? Well, what's the the editing suite that you're

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Speaker 1: actually using when you're doing this? It has evolved over time.

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Speaker 1: Originally it was the old Apple soundtrack application that we

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Speaker 1: used to use, and then using that in tandem with

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Speaker 1: Final Cut Final Cut seven in particular, and now we're

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Speaker 1: using all Adobe products, so Premiere Audition, those are the

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Speaker 1: two primary ones and after effects. So you're using this

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Speaker 1: software to to get this effect where you're matching up

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Speaker 1: the cadence of the the delivery to the score of

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Speaker 1: the episode. So that lays down sort of your guideline

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Speaker 1: for audio. Yes, what's what about the visual side? Okay,

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Speaker 1: so I've got there are a couple of assets that

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Speaker 1: remain the same throughout each episode, so you've got kind

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Speaker 1: of the standard intro of the house that says on

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Speaker 1: it and things that we shot gosh eight years ago

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Speaker 1: maybe um, and then the c t A. You don't

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Speaker 1: have to change very much, just plug in a couple

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Speaker 1: of things. But when you're starting to c t A

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Speaker 1: by the way, I apologize, yes, that's the place where

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Speaker 1: you go, hey, subscribe or click on this video. So

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Speaker 1: if you've ever wondered, uh, you know, you see that

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Speaker 1: it's almost ubiquitous now in YouTube videos. But Call to

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Speaker 1: Action and the reason why you see it everywhere is

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Speaker 1: because it works. It works, and we want to hear

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Speaker 1: from you. Yes, absolutely, the this may be a little

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Speaker 1: too behind the curtain, but the click through rate generally

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Speaker 1: in those c t a s, even on the biggest YouTubers,

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Speaker 1: ranges between two you to like five, which means someone

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Speaker 1: actually watching the video then clicking on the next video,

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Speaker 1: so it's actually really low. But the subscribe function there

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Speaker 1: is usually the best thing, and stuff they don't want

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Speaker 1: you to know has a lot of subscribers, so it's

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Speaker 1: it's one of those things again you want to you know,

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Speaker 1: we're we're producing things so that people listen and watch them,

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Speaker 1: but we're doing so out of a genuine desire to

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Speaker 1: to impart cool information and to create a dialogue. You know,

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Speaker 1: there's there's, there's the there's the business side of it that, yes,

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Speaker 1: you want more views because that's good business, but there's

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Speaker 1: from us as content creators. And by the way, we

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Speaker 1: don't all like the word content, but we use it

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Speaker 1: because what else are we gonna say storytellers? As storytellers,

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Speaker 1: we want an audience to hear the story, and we

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Speaker 1: want to hear more stories in return. Yes, while we

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Speaker 1: all enjoy talking to ourselves and you know, learning about

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Speaker 1: these wonderful things ourselves it's much more fulfilling to know

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Speaker 1: that someone else now has this information. Yeah, and and

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Speaker 1: I remember, I can't I'll never forget the first time

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Speaker 1: I got a listener email and flipped out because for

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Speaker 1: a while it just felt like Chris and I were

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Speaker 1: talking into a microphone and then it would just go away. Oh,

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Speaker 1: I know exactly, I know exactly that feeling, right, So

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Speaker 1: all right, so I'm sorry I got you off track.

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Speaker 1: So certain assets like the opening and the closing remain

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Speaker 1: remain the same from episode episode. You don't have to

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Speaker 1: change those, But then everything else has to be in

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Speaker 1: a way. It has to be just filled in, so

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Speaker 1: you make sure you've got coverage. So a lot of

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Speaker 1: the time, the first pass that I'll do is, let's say,

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Speaker 1: and that when I gathered footage earlier, if there's anything

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Speaker 1: that I know matches up directly with the subject matter

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Speaker 1: or will fit perfectly to um either contrast with what

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Speaker 1: Ben is saying, two create a you know, a third

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Speaker 1: idea position. Yes, a lot of times like I'll just

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Speaker 1: lay that in and I won't mess with it. I

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Speaker 1: won't do any of the zooming or any that kind

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Speaker 1: of stuff or effects on it. I'll just leave it

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Speaker 1: in there. Now I know I've got this um, then

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Speaker 1: I will start filling in the hard stuff, which a

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Speaker 1: lot of times is if I have to go and

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Speaker 1: pull let's say, a quote from an article or something

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Speaker 1: and actually type it in through premier or something. I'll

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Speaker 1: do that kind of stuff. Then the next pass, once

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Speaker 1: I've got the whole thing filled in, I have to

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Speaker 1: color everything, which is a whole separate thing that normally

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Speaker 1: it would be another person's job. Yeah, that's okay, that's fine.

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Speaker 1: I I love I knew nothing about it when I

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Speaker 1: first started here. So you've you've actually developed brand new

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Speaker 1: skill sets by necessity, which is true for everyone in

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Speaker 1: the video and audio departments. Oh, I think so, and

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Speaker 1: even I mean especially the podcasters and writers and editors. Yeah,

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Speaker 1: it's It's also true for writers and editors who started

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Speaker 1: off as editors and writers and then and then graduated

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Speaker 1: to a type of performer. Yeah. For some of us,

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Speaker 1: we had had a performance background. Ben Bolan as an

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Speaker 1: improvisational comedy background has a ham taking up the spotlight background.

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Speaker 1: So it was not a big transition for me. But

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Speaker 1: some of us, like Josh and Chuck, well, Chuck had

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Speaker 1: done music. You know, but they had not necessarily sat

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Speaker 1: down to be a performer in the classical sense. And

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Speaker 1: now you know there are That's our flagship show. So anyway, um,

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Speaker 1: you you have developed this new skill as a colorist

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Speaker 1: as well. Sure so so can you can you explain

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Speaker 1: a little bit about what that entails, Like, you know,

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Speaker 1: I've heard things like color correction or whatever, but what

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Speaker 1: does that actually mean. Really, it's just using plugins from

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Speaker 1: a program like like after Effects or Premiere, where you

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Speaker 1: are manipulating the color values on any given shot or image.

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Speaker 1: And what would be the purpose for that? Really? You

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Speaker 1: want to match. Either you're either going to match the

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Speaker 1: entire video right to try and make things feel like

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Speaker 1: they fit together, or you're going to try for some

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Speaker 1: kind of emotional or effect. You're trying to affect the

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Speaker 1: viewers perception of this image, so you're trying to emphasize

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Speaker 1: it in something and and it's a weird thing, like

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Speaker 1: trying to influence the way someone looks at this image,

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Speaker 1: maybe sees it a little differently than the way it

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Speaker 1: was originally there. Yeah, because you only have so much,

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Speaker 1: I mean, you can just alter the thing that is

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Speaker 1: already existing. It's not like you can go out and

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Speaker 1: it's not like you have like, oh, let's turn this

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Speaker 1: this angle seventy degrees so that we can look at

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Speaker 1: it from a different way. We can't do that, yes, not,

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Speaker 1: not unless we're in specifically going out and shooting b

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Speaker 1: rollers or that we have some computer graphics thing that

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Speaker 1: we have developed in house and thus can manipulate it

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Speaker 1: that way. But most of the time we're talking about

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Speaker 1: gathering assets from other sources. Yes, that is kind of

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Speaker 1: what the show was built upon. Well, and it makes

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Speaker 1: sense for stuff they don't want you to know. It

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Speaker 1: has almost it feels almost like it has elements of

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Speaker 1: found footage in it. It has this very patchwork kind

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Speaker 1: of approach, not not in quality but the feel of

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Speaker 1: like it's all these different sources of information that are

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Speaker 1: combining to tell this one story, which is important especially

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Speaker 1: with the tone and and uh and the aim of

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Speaker 1: that show. So I think, I think you guys do

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Speaker 1: a really great job. All right, So you do your

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Speaker 1: color pass. Yes, what happens next? Okay, now comes the

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Speaker 1: overall effects pass. So this would be adding things like

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Speaker 1: noise to footage and or images to give it the

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Speaker 1: stuff they don't want you to know. Feel so sort

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Speaker 1: of that grainy look. Yeah, it makes it like, let's

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Speaker 1: say I got an image that is just pristine from

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Speaker 1: my stock of maybe a person's hands on a keyboard. Okay,

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Speaker 1: so after I've color corrected it so it's not so saturated,

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Speaker 1: the colors aren't so bright, and it still looks like

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Speaker 1: a picture that someone took on purpose to look really nice.

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Speaker 1: What I'll do is kind of break the image a

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Speaker 1: little bit by adding some noise or again doing some

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Speaker 1: other things with color shifting, which would is a little

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Speaker 1: it's a little complex, but basically will make the thing

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Speaker 1: look like someone screwed up when they were using their

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Speaker 1: old eight millimeter cameras, right, And that's a specific effect

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Speaker 1: that you're going for. It. It helps again kind of

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Speaker 1: create the tone and the feel of the show. So

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Speaker 1: it is fun to have all of these competing things

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Speaker 1: of what what do I want the overall story to tell?

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Speaker 1: Like what story do I want this video to tell?

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Speaker 1: Then what what story to want this one image combined

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Speaker 1: with this sentence to tell and then trying to do

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Speaker 1: that on a video basis. So that's yeah, I mean

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Speaker 1: that there's a huge amount of artistry and and uh,

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Speaker 1: technical ability that has to go into making this work.

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Speaker 1: I mean, I'm sure it was one of those things

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Speaker 1: that has been a learning process, and I'm sure you're

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Speaker 1: still learning. Oh yeah. There isn't a day that goes

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Speaker 1: by where I don't go, oh, I can do this now,

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Speaker 1: way easier I could have. I could have taken ten minutes.

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Speaker 1: When Okay, So so we said that I started here

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Speaker 1: as a videographer, and uh, well, not too long into

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Speaker 1: that journey of learning how to be a videographer because

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Speaker 1: I was fresh out of college. I got a degree

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Speaker 1: at Georgia State in film and video production, and I

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Speaker 1: really only knew what I had learned in a couple

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Speaker 1: of classes where I actually got to hold a camera.

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Speaker 1: I would say, my strengths are not there, that is

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Speaker 1: not where they lie. They lie in this storytelling. I

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Speaker 1: don't know we'd call it, I guess as an editor.

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Speaker 1: And very quickly after that, we began hiring people and expanding,

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Speaker 1: and we decided we wanted to make these things called podcasts,

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Speaker 1: and we weren't really sure what they were. We had

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Speaker 1: some ideas for what they would be, and I found

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Speaker 1: that if I was behind a computer and taking things

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Speaker 1: that Tyler actually Tyler Klang, who became our videographer at

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Speaker 1: the time, shot if I took those things, I felt

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Speaker 1: like I had a lot more. I don't know, there's

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Speaker 1: more finesse for me back there. Um, I'm not really

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Speaker 1: sure where I'm going with this, Jonathan, But all I'm

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Speaker 1: all I'm saying is that the shooting shooting video and

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Speaker 1: doing it really well, especially with the new cameras that

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Speaker 1: around these uh these SLR camera cameras that have just

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Speaker 1: some complex lenses that we were able to shoot at

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Speaker 1: resolutions that a few years ago would have been unheard of. Yes,

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Speaker 1: and and knowing how to make the best image from

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Speaker 1: that device is just something that you have to really

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Speaker 1: focus a lot of your time on. No pun intended,

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Speaker 1: No one intended with focus. But but that is not

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Speaker 1: my I don't think it is. I mean, hence, hence, Wow,

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Speaker 1: am I really going to say that? That's why I

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Speaker 1: continue to shoot on this Sony e X one, which

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Speaker 1: is an older camera. Um, but it it does one

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Speaker 1: thing that's really awesome for our show, in particular, it

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Speaker 1: can it has built in x l R, which is

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Speaker 1: just the way you connect up like this, Mike that

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Speaker 1: I'm talking to you on a John this talking to

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Speaker 1: you on UM. You can connect that directly to the camera.

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Speaker 1: So when you're recording audio with Ben for our show,

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Speaker 1: I don't have to have a separate piece of equipment

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Speaker 1: hooked up, you know, with a mike that's hooked up

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Speaker 1: to Ben and then also man the camera, so you

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Speaker 1: don't You also don't have to then worry about marrying

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Speaker 1: the audio track with the video track, which is a

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Speaker 1: whole separate thing. And if you have something like pluralize,

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Speaker 1: that's a really great program that you can match up

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Speaker 1: audio video. You can way easier than it used to be. Yes,

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Speaker 1: like it used to be. You know the slates that

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Speaker 1: you've ever seen in any behind the scenes video of

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Speaker 1: any television or movie production. They have a slate that's

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Speaker 1: the clapboard where they have the name of the scene,

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Speaker 1: the number of the take, all that kind of stuff.

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Speaker 1: They clap it. The reason they clap it is that

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Speaker 1: snapping sound is the que to match the video or

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Speaker 1: the the image if you're shooting on film I don't

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Speaker 1: know who is these days, assuming you are with the

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Speaker 1: audio track so that the two match up, and if

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Speaker 1: you get that off even a little bit, that's where

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Speaker 1: you get that that Kung Fu movie effect of it

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Speaker 1: looks like it's everything's been dubbed. Yes, And there can

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Speaker 1: be problems with sinking where it will go out of

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Speaker 1: phase or out of sinking. There is a list of

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Speaker 1: problems that can come with that. So I don't appind

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Speaker 1: it being the old dinosaur. Yeah, I still use that

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Speaker 1: old camera, but it's great. It's still shoots to an

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Speaker 1: ADP and it looks fantastic, and I would say it

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Speaker 1: kind of lends itself to our show even. So let

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Speaker 1: me ask you this. From from the moment when uh

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Speaker 1: you are actually recording the audio and you or even

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Speaker 1: from the moment when you start gathering the assets to

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Speaker 1: the moment that it gets published, how much time has passed? Well,

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Speaker 1: it varies quite widely depending on the subject matter and

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Speaker 1: what footage is available. Um. Sometimes it will take two

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Speaker 1: full days, so sixteen twenty hours. Um. Sometimes it will

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Speaker 1: take a week, a full week of sitting there and

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Speaker 1: trying to make it work. And how frequently do you publish?

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Speaker 1: We currently only published twice a week. But if it

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Speaker 1: takes a week to do one episode and you published

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Speaker 1: twice a week, that's why I am currently just now

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Speaker 1: editing the audio and starting to sync up some video

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Speaker 1: for the one that comes out this Friday. Well, it

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Speaker 1: won't be this Friday when this publishes, right, but but

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Speaker 1: in other words, we are recording this on a Thursday afternoon, yes,

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Speaker 1: almost into Thursday evening at this point, and you have

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Speaker 1: a show that publishes tomorrow that you are currently working on. Wow.

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Speaker 1: That's amazing. And that's where we've been, Jonathan since uh

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Speaker 1: since the first batch of five. So how long have

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Speaker 1: you been doing this show? Oh? Gosh, I think two

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Speaker 1: thousand late two thousand eight is when I began production

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Speaker 1: on Wow. Okay, so that's the same year the tech

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Speaker 1: stuff started, so you you guys were not far behind us.

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Speaker 1: And um, I think I was the one who actually

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Speaker 1: came up with the title of your show. You did.

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Speaker 1: We were in the kitchen of our previous office and

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Speaker 1: you and I were talking and you said stuff they

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Speaker 1: don't want you to know, and I think you said

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Speaker 1: it jokingly. Yeah. It just shows that even my jokes

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Speaker 1: are amazing ideas and people need to pay me more. Uh, well,

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Speaker 1: that this has been fascinating, So so tell me, like,

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Speaker 1: what are some of the you know, you've learned a

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Speaker 1: lot honestly and clearly, not all of the lessons that

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Speaker 1: you've learned for today are applicable to when you first

429
00:24:01,800 --> 00:24:04,119
Speaker 1: started out because of different software suites all that kind

430
00:24:04,160 --> 00:24:06,600
Speaker 1: of stuff. But what are some tips that you would

431
00:24:06,640 --> 00:24:10,639
Speaker 1: have given, uh Matt from two thousand eight, things that like,

432
00:24:10,840 --> 00:24:13,639
Speaker 1: here's some general things I have found that are really

433
00:24:13,680 --> 00:24:17,600
Speaker 1: effective in my job that would have saved you some

434
00:24:17,600 --> 00:24:20,320
Speaker 1: some heartache back in the earlier days. Well, the first

435
00:24:20,359 --> 00:24:23,480
Speaker 1: thing that Jerry and I have had many a meeting about.

436
00:24:24,320 --> 00:24:27,640
Speaker 1: Jerry is the head of production here. Yeah, she's also

437
00:24:27,680 --> 00:24:30,640
Speaker 1: the mysterious producer of stuff. You should know. She really

438
00:24:30,680 --> 00:24:34,480
Speaker 1: does exist. Yes, she's a real human she is. She's awesome,

439
00:24:34,920 --> 00:24:38,959
Speaker 1: she is. Well. One of the big things is you

440
00:24:39,080 --> 00:24:43,800
Speaker 1: have to learn when enough is enough and it's good

441
00:24:43,920 --> 00:24:49,760
Speaker 1: enough to publish. Right. I sometimes have a problem of

442
00:24:49,840 --> 00:24:54,160
Speaker 1: over complicating things, and especially when I was early making

443
00:24:54,160 --> 00:24:58,600
Speaker 1: the show, so I would I would be here here

444
00:24:58,960 --> 00:25:01,119
Speaker 1: being just the office wherever the office of house that

445
00:25:01,240 --> 00:25:03,320
Speaker 1: works is. I would be here way too long working

446
00:25:03,359 --> 00:25:08,480
Speaker 1: on things like well after hours, yeah, way beyond anytime

447
00:25:08,520 --> 00:25:12,440
Speaker 1: someone should be working. And that was a problem because

448
00:25:13,560 --> 00:25:17,400
Speaker 1: I just couldn't live with not feeling like it was perfect.

449
00:25:18,400 --> 00:25:21,080
Speaker 1: I can understand that. Like the idea that I mean,

450
00:25:21,240 --> 00:25:23,600
Speaker 1: it's hard to let go when you when you are

451
00:25:23,880 --> 00:25:27,560
Speaker 1: when you're crafting something and it matters to you and

452
00:25:27,600 --> 00:25:30,159
Speaker 1: you know other people are going to see it, then

453
00:25:30,240 --> 00:25:32,840
Speaker 1: you know it's it's very hard to let go. Sometimes

454
00:25:32,840 --> 00:25:35,480
Speaker 1: I've gotten a lot more blase about it because I've

455
00:25:35,520 --> 00:25:37,600
Speaker 1: done it for so long now. I mean, I still

456
00:25:37,600 --> 00:25:40,159
Speaker 1: have high standards that I want to meet, but I

457
00:25:40,200 --> 00:25:43,960
Speaker 1: also can walk away a lot, a lot more readily

458
00:25:44,040 --> 00:25:45,720
Speaker 1: than I could back in the day when we first

459
00:25:45,760 --> 00:25:48,280
Speaker 1: started doing this kind of stuff. And I mean it's

460
00:25:48,320 --> 00:25:51,480
Speaker 1: no joke. Guys, the video crew in general here at

461
00:25:51,480 --> 00:25:55,199
Speaker 1: how stuff works. Some of the hardest working people in

462
00:25:55,240 --> 00:25:58,640
Speaker 1: our office. No seriously, you guys have got I mean,

463
00:25:58,920 --> 00:26:02,680
Speaker 1: considering the amount of video that we are producing here

464
00:26:02,720 --> 00:26:05,600
Speaker 1: at the office, um, and we always are trying to

465
00:26:05,640 --> 00:26:09,080
Speaker 1: do more. You guys are working really hard to make

466
00:26:09,119 --> 00:26:12,200
Speaker 1: sure that that stuff stays. Uh. You know that's publishing

467
00:26:12,200 --> 00:26:16,360
Speaker 1: on time. Noel's the same way. He produces a lot

468
00:26:16,400 --> 00:26:19,679
Speaker 1: of audio podcasts is right now and I guarantee you

469
00:26:19,720 --> 00:26:22,880
Speaker 1: this is true. He is working on something else, like

470
00:26:22,960 --> 00:26:25,439
Speaker 1: the next audio podcast or the one that you just

471
00:26:25,520 --> 00:26:28,800
Speaker 1: recorded and Ben he is editing that right now while

472
00:26:28,840 --> 00:26:33,440
Speaker 1: he's monitoring. Yeah, he's he's nodding at us right now, implacably.

473
00:26:35,760 --> 00:26:39,240
Speaker 1: He's also making beats. Okay, well that's fair. So Knowle's

474
00:26:40,119 --> 00:26:43,640
Speaker 1: master multitasker. I am not. I'm a unitasker if there

475
00:26:43,680 --> 00:26:46,000
Speaker 1: ever was one, But I mean we could tell other

476
00:26:46,320 --> 00:26:49,080
Speaker 1: Let's tell a couple of interesting stories about the video department,

477
00:26:49,160 --> 00:26:53,400
Speaker 1: just so folks can know some stuff. Like we joke

478
00:26:53,440 --> 00:26:56,800
Speaker 1: about you guys occasionally, like we'll make a little reference whatever.

479
00:26:56,840 --> 00:26:58,480
Speaker 1: And I'm sure people who have listened to the show

480
00:26:58,480 --> 00:27:01,360
Speaker 1: for a long time have ped up little things here

481
00:27:01,400 --> 00:27:04,480
Speaker 1: and there about the video crew. So some of the

482
00:27:04,560 --> 00:27:07,440
Speaker 1: interesting things that you may or may not know. UH

483
00:27:07,560 --> 00:27:10,919
Speaker 1: for a while in our office that was in Buckhead,

484
00:27:11,000 --> 00:27:15,399
Speaker 1: which is uh a neighborhood in Atlanta, affluent neighbor in

485
00:27:15,440 --> 00:27:18,880
Speaker 1: the neighborhood in Atlanta. I personally was not a big

486
00:27:18,920 --> 00:27:21,080
Speaker 1: fan of that office space, even when we were on

487
00:27:21,119 --> 00:27:24,480
Speaker 1: the fifteenth floor. You know, it's just you know, I

488
00:27:24,520 --> 00:27:28,439
Speaker 1: mean the break areas had a lot of character, but

489
00:27:28,520 --> 00:27:31,320
Speaker 1: no one ever went to them, Like if you ever

490
00:27:31,359 --> 00:27:33,560
Speaker 1: went into the big we had this enormous break room

491
00:27:33,720 --> 00:27:39,200
Speaker 1: had had previously been an executive office. Yeah, we and

492
00:27:39,200 --> 00:27:42,200
Speaker 1: and then we converted that into a giant break room,

493
00:27:42,480 --> 00:27:45,080
Speaker 1: which was cool to look at and cool to shoot

494
00:27:45,200 --> 00:27:48,080
Speaker 1: video in, but almost no one went into except for

495
00:27:48,119 --> 00:27:50,119
Speaker 1: some of the sales or developer people. They would go

496
00:27:50,160 --> 00:27:51,840
Speaker 1: in there and play foosball, but the rest of us

497
00:27:51,880 --> 00:27:55,919
Speaker 1: never bothered to touch it. Um so uh. I was

498
00:27:55,960 --> 00:27:58,280
Speaker 1: never a huge fan of our space there, But there

499
00:27:58,359 --> 00:28:03,239
Speaker 1: was a while are our old podcast studio was a

500
00:28:03,280 --> 00:28:07,520
Speaker 1: little alcove in an oddly shaped room, and that oddly

501
00:28:07,520 --> 00:28:10,879
Speaker 1: shaped room served as both the audio podcast studio and

502
00:28:10,920 --> 00:28:13,919
Speaker 1: our video studio. So we could not shoot video in

503
00:28:13,960 --> 00:28:16,040
Speaker 1: the studio and do a podcast at the same time

504
00:28:16,080 --> 00:28:19,000
Speaker 1: because it was all the same space. Uh. The podcast

505
00:28:19,040 --> 00:28:21,320
Speaker 1: part was curtained off because it was it was almost

506
00:28:21,320 --> 00:28:26,199
Speaker 1: it's just this little alcove. Ye. The reason why I

507
00:28:26,200 --> 00:28:28,880
Speaker 1: bring this up and how I I'm bringing it back

508
00:28:28,920 --> 00:28:31,919
Speaker 1: to video is that for a while there was so

509
00:28:32,000 --> 00:28:34,400
Speaker 1: much work going into video and there we was so

510
00:28:35,080 --> 00:28:39,200
Speaker 1: like you guys, your resources were stretched so thin. That

511
00:28:39,320 --> 00:28:42,360
Speaker 1: ad meant that some of you guys were working crazy hours,

512
00:28:42,360 --> 00:28:44,760
Speaker 1: like so far into the night that once in a

513
00:28:44,840 --> 00:28:49,240
Speaker 1: blue moon, someone would stay over and that was why

514
00:28:49,280 --> 00:28:52,640
Speaker 1: When I walked into the audio podcast room, I was like,

515
00:28:52,800 --> 00:28:55,360
Speaker 1: why the hell is there this huge pile of green

516
00:28:55,480 --> 00:28:57,840
Speaker 1: fabric laying on the ground. It was one of our

517
00:28:57,880 --> 00:29:00,640
Speaker 1: extra green screens that Tyler had folded up into a

518
00:29:01,040 --> 00:29:07,360
Speaker 1: sleeping cot. Yeah. Yeah, yeah. To be fair, Matt, I

519
00:29:07,400 --> 00:29:10,840
Speaker 1: mean I also slept in the office more than once

520
00:29:11,440 --> 00:29:16,600
Speaker 1: because I had to shoot television spots at five in

521
00:29:16,640 --> 00:29:21,960
Speaker 1: the morning occasionally, and uh, I'd be done by I

522
00:29:21,960 --> 00:29:25,200
Speaker 1: would get to the office and I would go into

523
00:29:25,520 --> 00:29:27,719
Speaker 1: there was a room called the cool room, which was

524
00:29:27,760 --> 00:29:30,960
Speaker 1: not cool. It was very warm, but it had a

525
00:29:31,040 --> 00:29:33,720
Speaker 1: couch and I would sleep on that. I slept on

526
00:29:33,720 --> 00:29:36,800
Speaker 1: that couch more than once. So, I mean, it's happened

527
00:29:36,800 --> 00:29:38,920
Speaker 1: to all of us. We've all worked like crazy hours

528
00:29:38,960 --> 00:29:41,400
Speaker 1: to get the stuff we love done. And you know,

529
00:29:42,080 --> 00:29:44,360
Speaker 1: you don't hear people complain about it. They really want

530
00:29:44,400 --> 00:29:49,720
Speaker 1: to get the stuff done. So, uh, tell me give

531
00:29:49,760 --> 00:29:53,720
Speaker 1: me an example of of, like one of your favorite

532
00:29:53,760 --> 00:29:57,080
Speaker 1: memories so far of working in the video department of

533
00:29:57,120 --> 00:29:59,640
Speaker 1: how stuff works. Okay, I'll tell you one, very very

534
00:29:59,640 --> 00:30:04,720
Speaker 1: early one. I got to travel with Jerry and Tyler

535
00:30:04,760 --> 00:30:09,560
Speaker 1: and Rock Sand with Marshall Brain to New York I

536
00:30:09,560 --> 00:30:12,440
Speaker 1: think in two thousand seven. I believe it was in

537
00:30:12,480 --> 00:30:14,239
Speaker 1: two thousand seven. It was around the time that How

538
00:30:14,320 --> 00:30:18,880
Speaker 1: Stuff Works went public, okay, and we got to go

539
00:30:19,160 --> 00:30:22,680
Speaker 1: in behind the NASDACK sign. I don't know if you're

540
00:30:22,720 --> 00:30:26,360
Speaker 1: familiar with the giant NASDAC sign in New York. And

541
00:30:26,400 --> 00:30:29,760
Speaker 1: we got to go behind it and basically we were

542
00:30:29,800 --> 00:30:32,040
Speaker 1: told how it worked. We got to take video of

543
00:30:32,120 --> 00:30:36,200
Speaker 1: all the moving pieces and all the LEDs. It was incredible,

544
00:30:36,560 --> 00:30:39,560
Speaker 1: and you know, I was just trying to imagine when

545
00:30:39,680 --> 00:30:42,000
Speaker 1: something like when an opportunity like that would come along

546
00:30:42,040 --> 00:30:44,760
Speaker 1: in my life if I didn't work here. Yeah, I've

547
00:30:44,840 --> 00:30:48,880
Speaker 1: had similar they've been they've been kind of a little

548
00:30:49,040 --> 00:30:52,040
Speaker 1: punctuation marks in my long career at How Stuff Works

549
00:30:52,080 --> 00:30:55,520
Speaker 1: because Matt and I were we've been here a long time.

550
00:30:56,240 --> 00:30:57,680
Speaker 1: Like there there are a lot of people we think

551
00:30:57,720 --> 00:30:59,960
Speaker 1: of us whipper snappers because they've been here, like, oh

552
00:30:59,560 --> 00:31:04,600
Speaker 1: I joined in two thousand eleven, right whatever, um, But yeah,

553
00:31:04,640 --> 00:31:06,720
Speaker 1: there have been moments that are kind of like punctuation

554
00:31:06,760 --> 00:31:09,960
Speaker 1: points where we've done some incredible stuff. Not not to

555
00:31:10,000 --> 00:31:11,840
Speaker 1: say like my day to day job I think of

556
00:31:11,840 --> 00:31:15,160
Speaker 1: as incredible, but there's certain things that go well beyond

557
00:31:15,240 --> 00:31:17,120
Speaker 1: that where I'm like, Wow, I can't believe I had

558
00:31:17,120 --> 00:31:19,960
Speaker 1: the opportunity to do this amazing thing. Have you talked

559
00:31:20,000 --> 00:31:22,600
Speaker 1: on the show about your ww E recent thing? I

560
00:31:22,640 --> 00:31:25,480
Speaker 1: did not. I have not talked about it. Yeah. I

561
00:31:25,480 --> 00:31:28,440
Speaker 1: I got the opportunity to go shoot some behind the

562
00:31:28,480 --> 00:31:33,040
Speaker 1: scenes material at w w E SmackDown taping here in Atlanta,

563
00:31:33,280 --> 00:31:36,840
Speaker 1: and uh w w E gave me incredible amounts of access.

564
00:31:36,880 --> 00:31:38,560
Speaker 1: I got to talk to people of the crew. I

565
00:31:38,600 --> 00:31:40,560
Speaker 1: got to talk to referees who are the leaders of

566
00:31:40,600 --> 00:31:43,640
Speaker 1: the ring crew. We got to shoot shoot video of

567
00:31:44,160 --> 00:31:47,040
Speaker 1: the light rig being put together, the stage being put together,

568
00:31:47,280 --> 00:31:51,760
Speaker 1: they Titan tron lifted into place, the ring constructed. We

569
00:31:51,840 --> 00:31:53,840
Speaker 1: got to go under the ring. We were the first

570
00:31:53,960 --> 00:31:56,520
Speaker 1: video crew ever allowed to go under the w w

571
00:31:56,680 --> 00:31:59,520
Speaker 1: E ring. That was my favorite part now where I'm

572
00:31:59,560 --> 00:32:03,080
Speaker 1: there with referee Charles Robinson, who's the He was overseeing

573
00:32:03,120 --> 00:32:06,280
Speaker 1: the ring crew the ring construction, and he was telling

574
00:32:06,280 --> 00:32:08,880
Speaker 1: me all about like how the ring, how the ring

575
00:32:08,920 --> 00:32:10,920
Speaker 1: construction is different from the way it was back in

576
00:32:10,960 --> 00:32:13,880
Speaker 1: the old days. I got to put the ropes on

577
00:32:13,920 --> 00:32:16,200
Speaker 1: the ring so and they held up so I didn't

578
00:32:16,200 --> 00:32:20,200
Speaker 1: do anything. That's very important very tight. They are extremely tight. Yeah.

579
00:32:20,200 --> 00:32:21,600
Speaker 1: They said that if it if it doesn't leave a

580
00:32:21,640 --> 00:32:24,880
Speaker 1: well it's not tight enough. Um. Yeah. And then I

581
00:32:24,920 --> 00:32:27,400
Speaker 1: got to talk to some of the superstars like right

582
00:32:27,440 --> 00:32:30,600
Speaker 1: Back and uh and seth Rawlins, and I got to

583
00:32:30,640 --> 00:32:35,280
Speaker 1: talk to Natalia who was amazing, Like everyone was phenomenal.

584
00:32:35,640 --> 00:32:38,760
Speaker 1: So that's the kind of opportunity that that I never

585
00:32:38,760 --> 00:32:40,800
Speaker 1: would have had if it wasn't for How Stuff Works

586
00:32:40,920 --> 00:32:42,800
Speaker 1: and the thing that I got hired to be a writer,

587
00:32:43,600 --> 00:32:45,600
Speaker 1: you know, and now I'm doing this kind of stuff.

588
00:32:45,880 --> 00:32:48,440
Speaker 1: So uh, it's really cool that you were able to

589
00:32:48,480 --> 00:32:50,400
Speaker 1: join me talk about your show. I'm glad we got

590
00:32:50,440 --> 00:32:52,000
Speaker 1: to do this behind the scenes. I hope I get

591
00:32:52,000 --> 00:32:53,440
Speaker 1: to do more of these with some of the other

592
00:32:53,560 --> 00:32:55,440
Speaker 1: shows here at How Stuff Works. I think this is

593
00:32:55,440 --> 00:32:58,200
Speaker 1: a great forum for it. And it's also nice to

594
00:32:58,280 --> 00:33:01,000
Speaker 1: hear about, you know, what it as you do and

595
00:33:01,000 --> 00:33:03,239
Speaker 1: and the steps that are involved in just making a

596
00:33:03,280 --> 00:33:05,440
Speaker 1: single episode of stuff they don't want you to know

597
00:33:05,640 --> 00:33:08,960
Speaker 1: come to life. I am very glad that we got

598
00:33:09,000 --> 00:33:11,160
Speaker 1: to do this. Thank you, Jonathan. I didn't even go

599
00:33:11,240 --> 00:33:14,360
Speaker 1: into the encoding process and uploading and publishing it all

600
00:33:14,360 --> 00:33:18,400
Speaker 1: that past. Maybe I'll have you on again, and we'll

601
00:33:18,440 --> 00:33:21,680
Speaker 1: talk about that because because we are doing so much

602
00:33:21,680 --> 00:33:24,160
Speaker 1: more video here at Hell Stuff works, that it might

603
00:33:24,160 --> 00:33:26,880
Speaker 1: be fun to sort of talk about, uh, the second

604
00:33:27,000 --> 00:33:30,640
Speaker 1: half of that process, the actual Okay, you've got the

605
00:33:30,760 --> 00:33:33,640
Speaker 1: video to where you want it to be, Now how

606
00:33:33,680 --> 00:33:35,640
Speaker 1: do you get it to the point where it is

607
00:33:35,720 --> 00:33:37,920
Speaker 1: going to go up so that people can watch it?

608
00:33:38,280 --> 00:33:40,920
Speaker 1: So stay tuned because I'll probably do an episode about

609
00:33:40,920 --> 00:33:43,040
Speaker 1: that in the future, and and Matt, maybe I'll have

610
00:33:43,120 --> 00:33:45,719
Speaker 1: you on or uh, Yeah, it'd be great to have

611
00:33:45,800 --> 00:33:48,640
Speaker 1: this kind of conversation and really go into the details

612
00:33:48,640 --> 00:33:50,840
Speaker 1: about it. This has been an incredible episode of tech

613
00:33:50,880 --> 00:33:53,760
Speaker 1: stuff for me. I didn't have my computer open, you didn't.

614
00:33:53,880 --> 00:33:55,560
Speaker 1: I just closed it because I was like, we're just

615
00:33:55,560 --> 00:33:58,400
Speaker 1: gonna have a conversation and see how it happens. So

616
00:33:58,480 --> 00:34:01,120
Speaker 1: if you enjoyed this episode, guy, let me know if

617
00:34:01,120 --> 00:34:03,240
Speaker 1: you want to hear more stuff like this, like learn

618
00:34:03,320 --> 00:34:06,160
Speaker 1: more about the behind the scenes technical aspects of how

619
00:34:06,200 --> 00:34:08,640
Speaker 1: stuff works. I can talk to lots of people. I

620
00:34:08,640 --> 00:34:10,680
Speaker 1: can talk to the people who published the stuff on

621
00:34:10,719 --> 00:34:13,840
Speaker 1: the websites. We can talk to editors about how the

622
00:34:14,200 --> 00:34:17,600
Speaker 1: articles are shaped so that they're ready to go up live.

623
00:34:17,719 --> 00:34:20,480
Speaker 1: On the sites. We can talk to other folks on

624
00:34:20,520 --> 00:34:24,600
Speaker 1: the video crew, everything from how we set up video shots,

625
00:34:24,600 --> 00:34:27,960
Speaker 1: to the equipment that we use, to the ways we

626
00:34:27,960 --> 00:34:32,279
Speaker 1: work around limitations. Because sometimes limitations are the best things. Yeah,

627
00:34:32,360 --> 00:34:35,799
Speaker 1: they make you be resourceful and creative. Yeah, which is

628
00:34:36,160 --> 00:34:38,920
Speaker 1: why I argue the original trilogy of Star Wars is

629
00:34:38,960 --> 00:34:42,240
Speaker 1: superior to the prequels because it didn't have the money.

630
00:34:42,400 --> 00:34:45,120
Speaker 1: Lucas had limitations and he had to figure out ways

631
00:34:45,120 --> 00:34:47,239
Speaker 1: around them. And then by the time the prequels came around,

632
00:34:47,280 --> 00:34:49,480
Speaker 1: he had no limitations. And now we see what happens.

633
00:34:49,840 --> 00:34:53,600
Speaker 1: Oh man, when does this published? This will probably publish

634
00:34:53,640 --> 00:34:56,640
Speaker 1: towards the end of April. End of April. Well, by

635
00:34:56,640 --> 00:34:59,000
Speaker 1: the time that you've heard this, I will be just

636
00:34:59,120 --> 00:35:02,640
Speaker 1: returning from the convention. Star Wars Convention in Anaheim. Oh

637
00:35:02,719 --> 00:35:05,000
Speaker 1: you're gonna go to that, Yes, Tyler and I and

638
00:35:05,040 --> 00:35:08,719
Speaker 1: Holly are going out. Well, to be fair, Holly did

639
00:35:08,840 --> 00:35:12,040
Speaker 1: used to work for the fourth dot net, right, some

640
00:35:14,239 --> 00:35:15,960
Speaker 1: Star Wars dot com. It might have been the one

641
00:35:16,000 --> 00:35:20,080
Speaker 1: I was actually thinking of. So I am jealous, but

642
00:35:20,200 --> 00:35:23,239
Speaker 1: I can't. She's got the credentials and I don't. I'm

643
00:35:23,280 --> 00:35:26,440
Speaker 1: just a fan. She's actually worked for stuff that's related

644
00:35:26,440 --> 00:35:30,239
Speaker 1: to it, So I will I will definitely hit you

645
00:35:30,360 --> 00:35:32,880
Speaker 1: up to ask what the heck happened at that you

646
00:35:33,160 --> 00:35:35,480
Speaker 1: have holly On soon? Yeah, maybe I'll have holly On

647
00:35:35,600 --> 00:35:38,840
Speaker 1: to talk about, um, the Star Wars fandom and the

648
00:35:38,880 --> 00:35:41,160
Speaker 1: technical side of that, as long as I make it

649
00:35:41,239 --> 00:35:45,840
Speaker 1: semi technical fits right, Yeah, pops pop stuff. So I

650
00:35:45,840 --> 00:35:49,520
Speaker 1: can't talk about stuff necessarily. Yeah, she's going to experience

651
00:35:49,520 --> 00:35:51,600
Speaker 1: it all Tyler, and I will just be standing in

652
00:35:51,640 --> 00:35:53,640
Speaker 1: front of her, behind her somewhere with a camera. It's

653
00:35:53,680 --> 00:35:57,240
Speaker 1: kind of like your experience of Dragon Con. Yeah, Like, yeah,

654
00:35:57,400 --> 00:35:59,720
Speaker 1: I wish I could really like enjoy this, but instead

655
00:35:59,719 --> 00:36:02,080
Speaker 1: I got to point this camera this bald guy talking

656
00:36:02,080 --> 00:36:05,640
Speaker 1: about things. We'll probably do it again this year too.

657
00:36:05,760 --> 00:36:08,279
Speaker 1: All right, well, Matt, thank you again. Remember stuff they

658
00:36:08,280 --> 00:36:10,680
Speaker 1: don't want you to know. Amazing show. If you've not

659
00:36:10,760 --> 00:36:13,640
Speaker 1: checked it out, go look up some episodes. There are

660
00:36:13,800 --> 00:36:17,120
Speaker 1: tons of different topics. Uh, there are some that will

661
00:36:17,200 --> 00:36:21,439
Speaker 1: really open up your eyes as to the crazy clandestine

662
00:36:21,520 --> 00:36:24,799
Speaker 1: stuff that has happened over the past also as well

663
00:36:24,800 --> 00:36:29,520
Speaker 1: as just an examination of how, you know, how intrusive

664
00:36:29,600 --> 00:36:32,480
Speaker 1: certain ideas can become even when there's not a shred

665
00:36:32,480 --> 00:36:35,600
Speaker 1: of evidence to support them. Yeah. So it's really fascinating.

666
00:36:35,680 --> 00:36:38,160
Speaker 1: Check it out, and if you have any suggestions for me,

667
00:36:38,400 --> 00:36:39,880
Speaker 1: right to me. You know. If you want to hear

668
00:36:39,920 --> 00:36:42,440
Speaker 1: more episodes like this, send me an email that addresses

669
00:36:42,480 --> 00:36:45,200
Speaker 1: tech stuff at how stuffworks dot com, or drop me

670
00:36:45,239 --> 00:36:49,160
Speaker 1: a line on Facebook or Twitter or tumbler at all three.

671
00:36:49,320 --> 00:36:53,000
Speaker 1: I am text stuff hs W. We'll talk to you again.

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00:36:53,600 --> 00:36:59,160
Speaker 1: Really so. For more on that and thousands of other topics,

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Speaker 1: how stuff work dot com