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0:00
Hello, I'm Gavin.
0:00
I'm Dan, we're the Slow Mo Guys and today we're doing slow-mo support.
0:10
Ryan Texas Red One Poor One asks, "What's your favorite video that you recorded for Slow Mo Guys?"
0:10
I certainly like the ones where you do something ridiculous like erupting from a six-foot balloon of water or jumping into a thousand mouse traps.
0:10
There's one where we did like a competition.
0:10
We basically tried to get into these giant balloons and do like a competition to have the best pose.
0:33
Honestly, that's one of the funniest videos I think we've done.
0:40
Dan got into the balloon and all the air leaked out so it's actual it's just trapped in a balloon, just completely trapped.
0:41
You could have just left me.
0:44
That's one of the few times I literally rolled on the floor laughing over there, almost suffocating.
0:51
Like, I just had this little hole to breathe through.
0:51
I was like, "Give me more!"
0:51
Yeah, you were yelling at me because I wasn't putting the leaf blower in.
0:51
I was just too busy laughing.
0:51
Yeah, you're just on the floor not helping.
0:51
And that had nothing to do with the slow-mo, it was just us getting ready.
0:51
I mean, the slow-mo is alright.
0:51
Yeah, I think for the super slow show, my favorite was probably the det cord because I always wanted to film that in slow-mo.
1:09
Always massive shockwave, not easy to get hold of detonating cord.
1:17
I would say outside of the super slow show, I like the one where we put powder paint on all the airbags.
1:17
It was really in the video, I said it was as if the Muppets caught in an airstrike.
1:17
Yes, it was that colorful.
1:34
Yeah.
1:39
Rad It asks, "What are the best slow-motion scenes of all time?"
1:36
I like the entirety of Inception.
1:49
No, no.
1:49
Oh, okay, you're going to say the movie that you filmed.
1:49
Oh, oh yeah, that was the best close to because I worked on it.
1:49
Yeah, should have said that.
1:49
I was like, "No, ignore him."
1:49
There's some cool ones in Dredd.
1:49
I like the Dredd that was in it.
1:47
This or a whole, whole point of it was around slow-motion so some awesome scenes there.
1:56
I worked on that one, didn't did you really?
1:56
I actually hated Dredd, it was terrible.
1:51
I know.
2:01
Elizabeth Zeena asks, "Why is everyone so obsessed with filming things in slow motion lately or starting in regular speed then slow motion then regular?"
2:09
"That's cool, annoying hashtag annoying."
2:11
Because it looks wicked.
2:18
What's wrong with you, Lisbeth?
2:15
Everything looks cooler in slow-mo.
2:15
Yeah, a paint dry hashtag annoys.
2:23
I think we're done with that question.
2:23
Tony Turnside asks, "What about sound?
2:23
Do you always just use the sound slowed down or do you mix slash sound design?"
2:31
I would say the sound design is by far the most time-consuming part of making these videos.
2:31
What I'll do is I'll sometimes slow the sound down as much as I can, say if there was something landing on the ground and you need that sound off, I'll just retime that so that it fits and then I'll just add in other sound effects and I put in that sort of background hum to hide empty spaces where there's no sound.
2:52
At one time, a very early video, we had a lighter on a BBQ in your garden in England, we sort of just set it on fire and it blew up and it like it spun hundreds of times and I remember you telling me that all you did was go...
3:36
I think I went and I just slowed it down, it was like mooo.
3:36
So sometimes it's just my mouth.
3:36
So it's like completely made up, essentially.
3:36
The thing is now, you, unless people watch this, they will think that that's the noise that things make.
3:36
They don't know it's actually your mouth.
3:36
Tails @hayimtails asks, "Where do you guys get the tons of food for the super-slow show?
3:36
Is it donated or old food?
3:36
Asking for a friend, the friend is me."
3:36
I like, we just used to go over to the craft services table and all the stuff that was about to be tucked away, we just take it and sometimes none of the crew had any food left to eat when we come to lunchtime and there'd be no water.
3:36
Nerds.
3:36
Yeah, but a lot of the time we tried to catch the food after it exploded or something.
3:36
I know I'm eating food post-explosion as well.
3:36
I would say you've eaten more exploded food than most humans.
3:36
I actually think that might be true.
3:36
I think I must have eaten more blown-up food than anyone else.
4:27
So refreshing.
4:31
Clueless Will asks, "What is the worst experience of filming for a video?"
4:31
Well, I think that's a me question because Gavin, who only, all he does is still stand behind the camera and watch me do the bad stuff.
4:31
According to Dan, all I do is press the button.
4:31
He just does this and then that and then I have to like do all the work.
4:31
But I'd say, you know, I've done so many things like jumping into a thousand mouse traps on a trampoline on the super slow show.
4:31
I tried to impress Tony Hawk and I broke my wrist and I did a belly flop from about 12 foot high.
4:41
I've been burnt, I've had my ears torn, quite a lot of painful things that have to be unpleasant like puke and milk up.
4:41
I stubbed my toe once.
4:41
As bad as that stuff is, it's great content.
4:41
I would say the worst experience is when we go through this massive long setup or you go through something like that and the footage doesn't look any good because then we get crabby.
4:41
Sundeep Suresh says, "What's your process like when you're trying to create a new idea for a video?"
4:41
Because we live in separate countries, we only shoot like three times a year, so when we're not shooting, we're slowly building this list.
4:41
Maybe it's stuff that viewers have sent to us, maybe it's something we've seen on Reddit or I'll just be in the shower and I'll have an idea or something and then when we finally get together, we'll have this massive list and we'll then decide which ones we want to do in that filming session and then we'll go shopping for props.
4:41
You know, I'll go and buy some what balloons, paint and melon, melons as rills.
5:29
Yeah, one of the big selling points for us with the super slow show was that we were able to do stuff we've never been able to do before and we're also able to revisit stuff and scale it up massively.
5:39
The episode was actually called Double It where we were doubling up on our previous experiments and one of my favorite ones was the paint drill.
5:44
I mean, we first used a normal drill and then I thought, well, what we're actually after is just spinning paint.
5:50
We don't necessarily need to store paint on a drill bit because you can't really hold that much so I came up with the idea to have a PVC pipe separate into four different chambers with slits cut into it and we were just fill it with paint and then use a drill to power that to spin and it looks insane and there's some things we just physically couldn't fit in the garden.
6:08
There's a video with Andy Bell coming up where he rides a motorbike across a pool.
6:17
First of all, we don't pull a bike or anything, no skills so that's kind of impossible, but we would love to us in and we did so it's really sweet.
6:21
Another thing I wanted to do with the super slow show was different camera techniques, stuff that we've never been taught to do before and that involved mounting the camera on moving objects like Andy Bell's head or spinning it on a spinning rig looking inwards to create a sort of bullet-time effect.
6:37
There's a special robotic arm that we've had the chance to use before where it essentially holds the camera and swings around really quickly, but we had an entirely new gym, we could put much bigger subjects like ex-player trap with a soda bottle in the middle of it because a lot of the time when you've got one camera or two cameras, you're locked into those angles and there might be interesting stuff happening on the back or the other side.
7:29
I honestly, I wish we could have spun it faster, but it got to the point where because the camera's so heavy, if we cranked it up all the way, the arm bent and all the cables snapped.
7:29
Yeah, we were on the brink.
7:29
Will Push Nothing Right.
7:29
The Word Bald Guy says Andy Williams, "Is this the best slow-motion explosion ever?"
7:29
He asked, "Oh, first of all, one of my favorite.
7:29
It is brilliant because we had these bangers in the UK and they're way more powerful than the bangers you get here.
7:29
It's like an MAA times 10.
7:29
Yeah, but we put it in the water and it was just sort of expecting it to sort of go put her and it exploded perfectly so they looked like a planet that was just perfectly just being annihilated.
7:29
We rarely test stuff not on camera and at that point we might as well just go for it anyway, might as well just film it and present it as an episode.
7:29
We should have tested that because any less and it would have just split the melon, any more powerful would have missed it the moment, but it perfectly fragments it.
7:29
Unfortunately, a lot of it went into your face.
7:29
Kristen Koppel asks, "Weekends at our house sometimes involved building small-scale models and filming their destruction in slow motion.
7:29
Future engineers or filmmakers or both?"
7:29
I used to love doing stuff like that.
7:29
I like that people spend their weekend doing this.
8:59
It's good.
9:03
That's such a cool project.
9:03
I wish I had that kind of technology when I was a kid.
9:03
Mark Hillary asks, "Filming an electrical storm with my iPhone in slow motion mode and I can see lightning in front of me and where I'm pointing the phone on a tripod.
9:03
Yeah, the recording has nothing.
9:03
Is it too fast for the phone to record something about the lightning is very very fast, the speed of light or is the fastest thing in it, but yeah, you can absolutely miss a lightning strike or because of rolling shutter, you might get sort of one half of the image very bright and blown out and the other half it hasn't happened yet sort of thing.
9:03
You can record it with much higher frame rates though, maybe, you know, towards 50,000.
9:03
The actual strike comes up from the earth.
9:03
So from the cloud, you get a bunch of tiny thin lining tendrils.
9:03
Yeah, the first one that hits the ground then sends the big lightning strike back up.
9:03
Yeah, it's insane to watch as long as, I mean, one day maybe they'll have phones that do 50,000 frames a second.
9:04
Yeah, that's maybe when we're in future.
9:12
Yeah, CLH or Chris LH 1987, I was born a year after that.
9:12
Fun facts.
9:16
Gavin, can a slow motion video be live-streamed in a situation where the camera will knowingly be destroyed by whatever it's filming?
9:20
All the cameras we use record internally to RAM so if we use any of our cameras, you're probably going to hit your footage and destroy all.
9:29
It doesn't need.
9:28
Cameras are expensive.
9:31
You want to turn a traction.
9:31
One of the front NV series cameras, there's like a central head and then cameras come out of it, just the heads of the cameras come out of it.
9:28
You can ruin the camera part and keep the data.
9:38
I mean, you can live stream the feed from the camera that you would then have to switch it to playback to playback the slow-mo, current live stream every frame.
9:45
Daz Dillinger asks, "Why do lights flicker when video is in slow motion?"
9:50
That's due to the frequency of electricity.
9:52
So in the US, it's 60 Hertz, so normal lights like the ones in here are actually turning on and off 60 times every second which you can't see with your eye because the interval when they're off is so brief.
10:08
You, when you're filming at thousands of frames a second, they'll be pulsing.
10:08
Oh yeah, that's one of the biggest issues when when shooting slow-mo indoors is that you need big lights.
10:13
You're talking about 5,000 watts probably because at that size, when the lights are turning off, that they're so big and the filament is so big that there's not actually enough time for them to cool enough to dim, so you just need big fat really hot lights.
10:27
Looking very cool Ken Gibson with your beard and your cigarette out the mouth looking badass.
10:39
I'm sure you have tons of ideas for Slow Mo Guys, but have you ever considered doing a somewhat gross out series with things like a popping pimple?
10:43
We did me poking up some milk.
10:43
We go, we don't vomit.
10:46
That was gross.
10:46
We tried filming a pimple but it didn't really explode, it just sort of like didn't really do anything.
10:52
I have a pretty sensitive gag reflex too.
10:57
Yeah, and you don't want, you know, when you film and be like, "That's what you do is what it is."
10:57
Andy You Ferguson asks, "You ever thought of forming a grenade going off underwater in slow motion?"
10:57
Oh, sure.
10:57
Ballistics gel with different things, a grenade.
11:09
We didn't like, do I have any grenades?
11:18
I don't have one.
11:18
You don't, I'm fresh out, unfortunately.
11:21
It's very hard to get a hold of a fragmented like a military grenade.
11:26
Yeah, it's also unnecessary, all it is is just needing an explosion underwater which we have filmed with bangers on a much smaller scale although because it's slow motion, it kind of looks bigger than it actually is.
11:26
We've never done ballistics gel.
11:26
We're trying to do too much stuff with live ammo.
11:26
This is Curtis, it's scary.
11:26
He's good.
11:26
TD TV asks, "What kind of lenses do you guys use?"
11:46
The lenses that we use depend on the camera.
11:51
The different cameras we use have different mounts so whenever we borrow the V2511, that has a Canon mount, so I whip my Canon lenses, I try and use primes because they're a lot faster lenses, clicking a more wide open and I sometimes need the light.
12:00
For our Phantom Flex 4K, we use PA lenses which are unfortunately much more expensive and much bigger and we use primes again just because you can open them up more.
12:10
Yeah, we've also used macro lenses.
12:10
I used that to film the pixels in my TV and the hair follicles in Dan's leg.
12:16
My legs have recovered actually.
12:18
Nice.
12:22
They've got lots of hair back.
12:20
I was paying for on it.
12:22
Yeah, and he kept messing it up so we kept having to do it.
12:24
Well, the thing is on a macro lens, your depth is nothing so I'd be framing up on some hair follicles and I'd whip the thing off but it would pull up the skin, skin move the skin towards the camera which would pull it completely out of focus.
12:37
Can you just do it except not so like much.
12:39
Yeah, humans are a bit too fleshy to use macro lenses.
12:44
I've progressed.
12:49
Pennywise Loca asks, "If money was no object, what's the one video you would want to make?"
12:51
Something in space, maybe an Aston Martin doing a corkscrew into a helicopter or something.
12:56
Well, that's just to make a dial.
13:02
It doesn't necessarily.
12:57
Money's no object could just be any other car into anything else.
13:02
Yeah, we had the money to buy a new planet and sell like a huge new.
13:10
Okay, right, okay.
13:10
Well, I don't know, I'm trying to come up with money no object then fine, so they're gonna say impossible.
13:10
What is the money no object?
13:10
Is there a place where you can buy a new planet and blow it up?
13:10
A long-nosed Royale.
13:10
Really?
13:10
Okay.
13:10
Oliver_Crush asks, "What is the best way to make good slow-motion videos with a low budget?"
13:10
Well, conversely, actually, I would say that our slow-mo videos have an incredibly low budget.
13:10
The most important thing with slow-mo is you need a lot of light.
13:34
So go outside.
13:36
Probably.
13:36
Well, that was fun.
13:36
Thank you so much for your questions.
13:39
We had a lovely time answering them.
13:40
Be sure to check out the super slow show.
13:42
You can find it on YouTube on our channel.
13:44
Subscribe to the Slow Mo Guys because that's where it is.
13:49
Dan gets hurt.
13:49
Yeah.