Adam Savage Learns About Real-Time Projection Mapping!

0:07 Hey everybody, Adam Savage and I'm on stage

0:09 at Circus show Echo in San Francisco with Todd.

0:12 How are you?

0:13 Really good.

0:13 Yourself?

0:14 Very good.

0:15 Um, behind us is one of your Well, this is the big piece of kit for this show.

0:20 It is the cube.

0:22 Yes.

0:22 And it not only dances and rotates and reconstructs itself,

0:26 but it also has projection mapping on it.

0:29 It does.

0:30 That is your purview for Yeah.

0:31 So, I'm the head of lighting and video on the show.

0:34 Okay.

0:34 Uh, and of all the cir shows, we've definitely got the most projection.

0:37 Oh, really?

0:38 Um, so quite a few of the shows have projection,

0:41 but uh almost all of the show we

0:43 are projecting some form of element onto the cube.

0:46 uh and with it moving, that's kind of our our biggest thing is uh allowing

0:50 it to be able to be a feature of the show,

0:52 but also stick to that surface as it moves around the stage and changes.

0:56 Now, when you say stick to that surface, is it a is it a is it dead reckoning?

1:01 Do the projectors know what marks this is going to hit

1:03 or is it dynamic and it's actively watching where the cube

1:07 it is dynamic.

1:08 So, uh we have a bunch of uh infrared dots throughout the cube.

1:11 Um and it's the same system that we use for following formers on stage.

1:15 So we have 28

1:16 following performers on stage.

1:18 So we have 28 cameras around the rooms

1:20 and uh they all have infrared trackers in their costumes.

1:23 Uh so the system at the top of a city

1:26 we calibrate and so based on uh we have four

1:30 in the stage and once the system knows where the stage

1:32 is it can start to build the environment around that.

1:35 Oh my goodness.

1:36 So all of the cameras work out where they are and then based off that they

1:39 can follow the infrared buds around the room

1:41 and know where they are at any one point.

1:43 So you can have a digital representation of everything that's

1:46 happening on stage live during the show and know where every Absolutely.

1:50 human and set piece is.

1:51 Yep.

1:52 So it's only a few of the performers, our main characters that attract,

1:55 but in theory we could scale that to everyone.

1:58 Uh and we can show you after this a bit

1:59 of a live view of what we see in the 3D space.

2:02 Um but amongst that you see the cube as an element.

2:06 So So I noticed, you know, it took me a while to find your follow

2:08 spot operators because they're well hidden in your trees.

2:11 But there are there also automated lights that follow performers from those.

2:16 Wow.

2:15 So all of the shows uh in the past have

2:17 had uh follow spot operators and we always like that.

2:20 It it provides a really nice live element.

2:22 Yeah.

2:22 But now we are starting to do a lot more with uh

2:25 tracking the performers with moving lights

2:27 as well and that's all done digitally.

2:29 Um so we have we can tweak a few elements

2:32 depending on how fast someone's moving and that sort of thing.

2:35 Uh but you would have seen like we've got a a bungee straps uh act.

2:39 So that's our hardest one to work with because as much

2:41 as we can build a bit of prediction into the system.

2:44 So if someone's moving fast, the light will keep up with them,

2:47 you've got a performer that's going to accelerate

2:49 but then very quickly decelerate and head straight

2:52 back in the other direction and the software

2:53 can't quite predict for that sort of motion.

2:56 Now when you say this is the most projection happening among the companies

2:59 of cir disle um I would assume that when a technology like that comes

3:04 in you guys experiment with it in every way that you possibly can

3:08 and you're learning things on this show that will go into future shows.

3:11 Is that really how the pipeline works?

3:12 Yeah.

3:12 So a couple of the other shows in the past

3:14 uh like Corteo had the same tracking system that we do.

3:17 Uh so they utilize that for video uh sorry for performer tracking.

3:22 Um, and actually a lot of what they experienced

3:25 was fed back to the developers of the software.

3:27 So by the time it got to us,

3:29 we actually had a lot more capability than they than they did.

3:32 They were having to build a lot of things on the fly.

3:34 Oh, amazing.

3:35 And we're doing more and more with that here.

3:36 So, uh, different acts come in, so we produce new content and, uh, yeah.

3:41 So, it's always developing, man.

3:42 I mean, my theater days were so they were over three decades ago,

3:46 but it was so analog back then, even with the digital stuff we were doing.

3:50 I can't imagine being able to have

3:52 real- time mapping of everything that's going on.

3:54 And it's funny because we we've all come from that background and we

3:56 like to do as much as we can personally and like follow spotting.

4:00 It's it's great fun, but we're we're trying to do as much of a blend.

4:03 So, as many of the cues that we can, we still want to take ourselves,

4:07 but there are some things that are are just

4:09 done better with the technology we have access to now.

4:12 Okay.

4:12 So, this cube, it moves, it rotates, it constructs, deconstructs.

4:16 What is what are some of the harder things

4:18 for you to deal with while the cube performances happen?

4:21 I mean, for us, uh, and given that we're in San Francisco right now,

4:25 we we have to do a calibration once a week.

4:27 Um, but we've already seen uh, we've experienced here, we get earthquakes.

4:32 So, we have 10 projectors around the room

4:34 and they are all very precisely focused.

4:37 The little tiny earthquakes that happen all the time here,

4:39 they throw your stuff off.

4:40 We see it.

4:41 So, because it's not just one projector at the surface,

4:43 it's multiple that are blended together.

4:46 And just a small tremor or someone grabbing onto one

4:48 of the posts is enough to give us that little shift.

4:51 Um, so there's little bits that we can do on the fly,

4:53 but sometimes we need to to do a full recalibration of everything.

4:57 So, I can imagine a situation in which a show happens and nothing went wrong,

5:01 but you can tell, you know what,

5:02 we're going to need to check the calibration on these things.

5:05 Absolutely.

5:06 So, and I mean at the same time, even if some of our tracking buds drop out,

5:10 we will start to see the projection shift slightly

5:13 um because it starts to lose that uh position.

5:16 Well, I mean, and that's like one of the reasons we

5:18 all stayed analog 30 years ago is because failure modes could be,

5:22 you know, lead to black on stage, right?

5:24 Absolutely.

5:25 So, you guys, do you build in technological like canaries

5:27 in a coal mine to help you know that things are going smoothly?

5:30 sort of like and a lot of it is

5:32 you don't know the problems there until you've hit it

5:34 and then it's and then it's looking back and going

5:36 hey what can we do to fix this next time.

5:38 Um but a lot of that is done in in our pre-show

5:40 checks and we we have a lot of contingencies built into our system.

5:45 Um as much as anything though that's for if the show ch the show version

5:49 changes on the fly uh then we need to adapt and move with something else.

5:53 Um and that is one thing that we love still having the follow spots is

5:56 actually a lot of the time they are our get out of jail free card.

5:59 uh if something is failing on stage,

6:01 you've got a person up there that can pick it up for us.

6:03 You always need that analog element.

6:05 Yeah, absolutely.

6:06 Can we watch it do something?

6:07 Absolutely.

6:07 Yeah.

6:07 So, we can do a rotation of the cube and you'll see

6:10 the the all of the faces and the projection move around with it.

6:14 Um and then we can show a couple of bits of the content where

6:17 we managed to provide a lot more depth to just this two-dimensional surface or

6:21 Absolutely.

6:21 Um yeah, let's see.

6:25 Yeah.

6:25 So you'll see as it moves, we have four of the infrared buds uh on every face.

6:30 Um and you can see where the lines line up to those.

6:34 So I'm watching I'm not just watching one projector create that image.

6:37 It's multiple projectors stitching this together.

6:40 Absolutely.

6:40 So if you actually looked at some of the projectors around the room,

6:43 you would see the color change as it moves through.

6:45 Oh, fascinating.

6:46 Because it's not delineated by lines.

6:48 It's not like two projectors are doing one phase.

6:50 No, absolutely.

6:51 So, we've got them positioned so that we can hit it essentially from every side.

6:55 Um, but I also don't see any of the projections on the gray.

6:59 No.

6:59 So, because we've got the two faces out right now,

7:02 we've basically put a mat in and blocked that.

7:04 You have?

7:04 Wow.

7:05 Okay.

7:05 So, so normally there would be something in that uh

7:08 space as soon as we put the face back in.

7:11 Yeah.

7:11 Um, but because the the cube changes throughout the show,

7:13 so sometimes that's done with content and we know

7:16 that at a at a point something is going to be missing.

7:22 That's really cool.

7:29 Absolutely.

7:29 There's there's definitely a couple of bits

7:31 of the content that do that more than others

7:33 when you're like, is that a real box or a projection of a box?

7:35 Yeah.

7:36 And I think that's an element that the audience really enjoys as well,

7:39 like see seeing what just appears to be a flat cube.

7:42 Yeah.

7:43 And it's also coupled with what the performances going on at the same time.

7:46 So, at the same time that we have performers removing physical elements from it,

7:51 right?

7:51 We've got the projection layered over top.

7:52 So, they never know quite what's real and what's not with it.

7:55 So, I I love that I'm very magic adjacent.

7:58 I have a lot of magician friends.

8:00 And one of the things I love about

8:01 magicians is they'll show you the same trick twice,

8:04 but they're not showing the same trick twice.

8:06 They're showing to you two different methods,

8:09 and those methods cancel each other out.

8:11 I noticed you guys doing stuff like that with this.

8:13 You're doing tricks with this that are impossible,

8:16 but I realize there must be dozens

8:18 of people behind the scenes making stuff happen.

8:20 There is.

8:21 And a lot of the time it is perform performers and technicians inside.

8:24 So, they might be getting cues and stuff.

8:26 So, as much as it looks simple that someone's pulled a box out of the queue,

8:30 but might actually being pushed from behind and and things like that.

8:33 You know, there's over the years on Mythbusters,

8:36 we've investigated some things that were really cool like

8:38 um uh uh uh uh like blood hounds, right?

8:41 working with police and also snipers.

8:43 And in both of these cases, what you thought was like, well,

8:46 the blood hound is the business end of this or the sniper is the business end.

8:49 In each case, those were deep partnerships, right?

8:52 Like the sniper is nothing without a spotter

8:54 and the dog is nothing without the trainer.

8:56 And you know, people come to this show

8:58 and think that it's just these performers doing amazing stuff,

9:00 but they don't realize that there's a second set of performers in black.

9:05 No.

9:04 Doing just as much work behind the scenes.

9:06 Absolutely.

9:07 And it's a funny one for our industry in that a lot

9:09 of the time people know we exist when we haven't done our job correctly.

9:13 If if we've done our job right,

9:14 people should never know that we're really there.

9:17 Um and there is a kind of magic to that in a way like

9:20 Well, and also you are there to the performers, right?

9:23 You're their partners in this show.

9:24 They're you're ever present to them.

9:26 And I I I love that sort of hidden

9:28 dynamic that the audience doesn't know is happening.

9:30 Yeah.

9:30 No, like we the audience never gets to see that reaction interaction,

9:35 but uh I mean particularly with a show

9:36 like this, we're on the road all together.

9:38 It is one big family and so we're hanging out

9:40 with them as much as we are with each other.

9:42 Can we see some of the other fun stuff that's Absolutely.

9:44 Yeah.

9:44 Let's show you some of the the content that we've got on here.

9:47 Yeah.

9:47 See, I'm completely fooled by that.

9:50 Yeah.

9:50 So, a lot of the content has been created to mimic what is underneath.

9:55 So, this one is simple in that you're seeing

9:57 the exact lines that we see on all of the containers.

9:59 But am I seeing that the light that's

10:02 moving and spilling onto that corner is actual?

10:05 No.

10:05 So that that is projection.

10:06 So there is almost like a bit of a heartbeat.

10:09 And then Yeah.

10:10 When you see this one when all of a sudden everything starts to move.

10:13 I'm completely fooled.

10:15 Yeah.

10:15 But at the same time while this is running,

10:17 a performer will come and grab a cube out

10:19 at the same time that it's projected to be removed.

10:22 I mean that's the thing is that because you have

10:23 these lighting elements here and I see these hot corners,

10:26 my brain is just telling me that's totally

10:28 Absolutely.

10:28 It adds that whole extra dimension to it.

10:31 And it's funny seeing it kind of being deconstructed right

10:34 now because this is in the first half of our show

10:37 and then the cube does actually get taken

10:38 apart later on, but the audience like they don't

10:41 see that one as much but they've kind of got to see it in in this digital world.

10:45 That's so cool.

10:48 Yeah,

10:48 dude.

10:48 This is crazy.

10:50 I want to do this on the ceiling of my house.

10:52 Yeah, right.

10:54 I mean, a lot of people are doing that now.

10:55 It's amazing what you can do with 3D projection

10:58 for a bit of decoration around the place and mapping.

11:02 Um, occasionally I would imagine you learn something that this can do

11:06 that wasn't part of its charge or some extra ability it has.

11:10 Um, I would imagine within the company you and the other

11:14 people in your position trade notes about the this technologies that you're

11:18 bringing into shows because I would imagine this is a set

11:21 of companies that always wants to push each technology to its extent.

11:25 Absolutely.

11:25 like we we do keep an eye on new and emerging technologies and what's

11:29 out there and try and integrate as much as we can where we can.

11:32 Um but

11:33 although you've got the drones and I've watched

11:35 that technology blow up in the last 15 years

11:37 and and something like that it's interesting trying to be

11:41 at the forefront but at the same time if you're if you're

11:43 the first to integrate something by the time a couple of other

11:46 people have started to do it it might be completely changed.

11:48 So it is trying to keep up with everything as it goes.

11:51 I remember calling up one of those first drone operators and asking

11:54 if I could incorporate it into a touring show and they're like,

11:56 "We need three days of setup for every performance." And I'm like, "Okay, that's

12:01 now that's nice and easy.

12:02 You have them roll out of a rack and they're ready to go."

12:05 But we we also have uh crosspollination between the shows.

12:08 So I've been with Echo now for about 6 months,

12:10 but I spent 3 years on another show.

12:12 And so I bring that knowledge from from the other show.

12:15 Any new staff members we have from outside the company,

12:17 they also bring other ideas.

12:18 And so you do get an amalgamation.

12:20 Even though it's a a fixed product right now,

12:23 there's always going to be things to change.

12:24 And but that's lovely too from a from your professional standpoint.

12:28 It sounds like uh the company engenders creativity and exploration.

12:34 So it's not just like you're showing up and pushing buttons.

12:36 You're part of this creative process.

12:38 Absolutely.

12:38 Like we a normal week we are obviously

12:41 very focused on shows but anytime we're not

12:43 we're we're doing maintenance and we've always got

12:45 projects of what can be improved and that might

12:47 be simply to make our our life easier moving from one city to the next

12:51 but a lot of it is to improve what the audience gets to experience every night.

12:55 That's really cool.

12:56 All right, dude.

12:59 This is super cool.

13:00 So this is the tracking system.

13:02 This is our our test stick.

13:04 So this is why this one looks a bit rudimentary.

13:07 Uh, but we use this every night to to check

13:09 that all of our fixtures uh are tracking.

13:11 So it'll step through individually and follow this dot.

13:14 Um, and this is one of the the little infrared buds.

13:17 So it's actively powered.

13:18 It's not just a passive device.

13:20 Correct.

13:20 And so these will uh will flicker at a slightly

13:24 different frequency and those frequencies get assigned an ID.

13:27 So we so we can assign that to our different characters and that sort of thing.

13:31 Um, and actually your your cameras probably right

13:33 now could see the ones on the cube,

13:35 but to the audience that they will never notice this.

13:38 Like if if we have a look at it closely, you can just see the faint red.

13:41 Um, but it is very faint.

13:43 Um, and so yeah,

13:45 I love this so much.

13:46 Um, because I also like I can see

13:49 why you still need a funnel spot operators, right?

13:52 They they can still do things in a dynamic way that this isn't.

13:56 But like this is so cool.

13:58 Yeah.

13:58 And like there are some limitations to the the system.

14:01 But it's also designed so that if the buds get lost at all.

14:04 If I was to cover this one up,

14:06 then none of the cameras can see it now and everything's going to fade off.

14:09 But once it gets seen by the system again, uh it's going to come back on.

14:13 Um but that's also part of why all

14:16 of our costumes and I've actually got one here.

14:20 Yeah.

14:20 So the costumes

14:21 Oh, this one in the clowns.

14:22 Yes.

14:23 Okay.

14:23 And so we can show later.

14:25 We're like seeing this moving in the 3D space,

14:27 but they've just got a couple of buds in the corners there.

14:30 And as much as anything that's that if they were say to lie down

14:34 that one of the buds is always going to be visible by all of the cameras.

14:37 Amazing.

14:37 So one's on the front, one's on the back, opposite sides.

14:40 And so anytime that the system can see more than one bud,

14:43 it's basically going to take the 3D point in space

14:46 between the two points and that's where everything will be focused.

14:49 Do you end up putting sensors on every performer or just key performers?

14:52 No, just key performers.

14:53 So we all of our characters in the show attract

14:57 um and then also a couple of the aerial acts

14:59 um we found that that's the best way to to follow

15:01 them and to get the looks that we're after.

15:02 Oh, fascinating.

15:03 So some of them have it.

15:04 Um that must have been an interesting rigging

15:07 thing putting a sensor on an aerial performer.

15:10 Yeah.

15:10 So that that then becomes a mix between rigging

15:13 and making sure they're happy with what they've got.

15:15 Uh between uh us and having the system

15:17 and obviously wardrobe and and costume and designing it all.

15:20 This is more batteries that have to be checked.

15:23 Yeah.

15:24 So, this this is just coming to a pack and it's

15:26 the exact same as what I've got on the tracking stick here.

15:29 Um, and so before every show we're

15:30 going through and swapping all of the batteries

15:32 and we have a station out the back where we check that everything's working.

15:35 Um, but we also have a camera set up so that the performers

15:38 as they're coming on stage can walk past it and see that they are working.

15:42 Incredible.

15:43 So, they're also part of the check system.

15:46 Absolutely.

15:45 Oh, okay.

15:46 So, there's your digital.

15:49 Yeah.

15:49 Chloe's just going to kind of position it for us.

15:54 So, th this one we're normally actually watching in the booth, right?

15:57 But this is purely just for us here to monitor things that it gives us a um Wow.

16:02 Uh a viewer into it.

16:06 Um and then so we have this screen here,

16:08 which is just the the camera up here in a night vision.

16:10 Right.

16:10 Right.

16:11 Uh and so Oh, look at how bright those are.

16:14 Wow.

16:14 We see clear as day.

16:15 So that's what the Wow.

16:17 Yeah.

16:17 So the system is seeing that clearly,

16:19 but as as uh well actually your camera again

16:21 will probably pick this up better than our eyes will.

16:24 Um so the performers can walk past this uh and treat it kind of like a mirror.

16:28 Just have a quick look over, make sure that they're they're okay.

16:31 Um and also we have a a person here during the show.

16:34 So we keep an eye just anytime someone passes,

16:36 quick security check, make sure that they're all good to go.

16:39 And then when they actually move out into the space,

16:42 so uh the system will start to pick it up and we have someone walking around.

16:46 You can see Alfie walking around with the stick that we had before.

16:50 Yeah.

16:49 So, right now I can see that 17 cameras are picking that up.

16:53 Um, and amongst all of the cameras,

16:55 there is about an 8 Nm uh difference that they're seeing.

16:58 So, they're they're slightly arguing with each other over that.

17:02 Um, but above a certain amount uh that the cameras will just be removed

17:07 from the equation because let's say a camera's

17:10 got bumped a good foot over or something.

17:13 Uh then it will just go, hey, there's too much of a discrepancy here.

17:16 I'm going to ignore what data you're giving me.

17:18 Fascinating.

17:19 So then the camera doesn't become part of a false feedback loop.

17:22 Correct.

17:22 Yeah.

17:23 So it will allow a certain amount of uh discrepancy.

17:26 Um but then you can see the actual dot

17:28 of uh of the pole walking around the stage right now.

17:31 So there's a bunch of other dots.

17:33 Uh for example, it's seeing all of the ones that we have on the cube.

17:36 Um but you can see Alfie walking around

17:38 and actually the lights that are following him right now.

17:40 It is all being shown in the 3D space.

17:44 I'm curious, are there like industry magazines in which

17:47 you guys do interviews about the technologies you're

17:49 using or is it mostly like as the crews

17:51 use these technologies and metriculate out into the world,

17:54 other people learn some of your

17:55 I mean there there aren't there there are a few out there.

17:58 Um but as much as anything, it's a bit of word of mouth.

18:01 Uh it is still such a small industry that we know a lot

18:04 of people in in concert work and in circus and in theater.

18:08 Uh so often we'll learn things on the likes

18:10 of Instagram and justi finding out what people are doing.

18:13 So you'll see something cool and you'll call up a mate

18:14 and you'll be like how do you know about this?

18:16 Yeah, absolutely.

18:17 Yeah.

18:17 I mean I had one of the performers come up to me one day and ask hey

18:21 am I allowed to tell my friend what

18:22 those lights are that you had around the stage

18:24 and I was like absolutely and she had

18:26 a friend that was a lighting designer and he wanted

18:28 to and we're like hey that that's something we're

18:30 absolutely happy to share that kind of knowledge around.

18:32 Um but yeah that's super awesome.

18:35 Yeah.

18:35 So, I mean, it's great having things like this because it

18:38 it does give a look into this world behind the scenes.

18:40 I would never have imagined.

18:42 That's just totally crazy.

18:43 You can literally watch a 3D representation of what's actually happening.

18:47 Yeah.

18:47 And so, the data that this system is producing is feeding back

18:50 not only into uh the projection to keep everything on the cube,

18:53 but it also provides feedback to our lighting console,

18:56 which also means I would imagine if you had a big issue during the show,

18:58 you could go back and review both of all of that data and hone in.

19:04 Yes.

19:04 No, we we do have the ability to to record this data.

19:08 Um we don't do it on a a regular basis because those files

19:11 just end up too large to deal with on a regular basis.

19:14 Um but at times if we are trying to really hone in a particular queue,

19:18 we can actually record a scene and play back the data

19:21 and is you wouldn't see Alfie up here walking around the stage,

19:25 but you would see the dot of where he had been uh moving in that 3D space.

19:29 All right, I feel like we're done talking.

19:30 We should tell Alfie he can stop wandering around.

19:34 Hey Alfie, you're good.

19:37 Um, so when you have a a technology like this, you're

19:40 also watching how their competitors are doing what they do,

19:43 looking for the most amount of I would imagine the most amount of flexibility.

19:47 Absolutely.

19:47 There there are multiple different providers out

19:50 there starting to do this sort of technology

19:51 and and each bring their own uh kind of systems to the uh to the market.

19:56 Um, and sometimes ours does have a lot of flexibility

20:00 in that we can program and build things ourselves in the background.

20:03 So sometimes there are elements that we see

20:06 exist in other systems that don't in ours,

20:08 but we might be able to kind of get a workaround that gets us close to that.

20:11 So you would might you guys do

20:13 your own like Arduino circuitry for sensing technology

20:16 or do you really try and leave that to other vendors who are making it robust?

20:20 For the most part, other vendors.

20:21 Um, but there are things that we can do with various algorithms and stuff.

20:24 So I was mentioning before about the prediction of the performers

20:27 um to try and get different motions and we can also

20:30 set boundaries at the edge of the stage so

20:32 that as a performer walks over a boundary they'll begin to fade out.

20:35 So it's not just that you're programming if then you're programming

20:39 when this happens you can do this or you can do that.

20:43 And we're also looking at things like velocity.

20:45 So like follow spotting we it's circus we have a lot of dynamic elements

20:49 right they're happening too fast to sense but it could

20:51 happen fast enough that it knows it's happening and accommodate.

20:54 Correct.

20:54 So it might be that we can make things uh increase their diameter so

20:57 that we we have a bit more leeway if a performer is moving quickly.

21:01 Um, yeah.

21:02 And there's a lot that we can do with it, but it's all time.

21:07 Do you guys run into frequency?

21:09 What do you call it?

21:10 Like my sound guys over the years have had to change their microphones a bunch

21:14 of times as the FCC changes its codes and you guys perform all over the world.

21:19 There must be interesting interference issues that show up.

21:21 There is.

21:22 So, at least not with this.

21:23 For the infrared stuff, we're okay,

21:24 but we do use a bit of wireless uh wireless data

21:28 for some of our uh we have lights in some of the costumes,

21:30 couple of the small set elements.

21:32 Um thankfully here in North America, not too bad,

21:34 but as we've traveled around, we do sometimes have issues with that.

21:38 Yeah.

21:38 Um, and it's often we find if there's a cell tower on the corner of the site,

21:44 yeah, and the annoying thing is that we

21:46 might check everything at preset and it's perfectly fine,

21:48 but then you put two and a half thousand cell phones in the room

21:51 and all of a sudden you have a lot of issues come showtime.

21:54 I had a gag in one of my touring shows in which we had to ask

21:57 the audience to put their phones on airplane mode in order for the gag to work.

22:02 Yeah, we I also had a site where

22:04 we were right next door to the rescue helicopter.

22:07 Anytime that they flew out, they actually sent out a jamming signal.

22:10 So, all of a sudden, everything was gone.

22:12 Yeah.

22:13 And I mean, there's no predicting for that one.

22:15 That's amazing.

22:16 So, in in a sense, like the CIRC is this compendium

22:20 of knowledge of the different laws all over the world, how to deal with them.

22:24 Anytime we go to a site, we we do a city report afterwards.

22:27 And that can be everything from the wireless

22:29 issues to how different uh permitting departments work, right?

22:34 Ground conditions, everything.

22:35 So, uh for future shows,

22:37 we have that information so that we can look back and go

22:40 in with a little bit of preparedness uh to know what we're going into.

22:44 Amazing.

22:44 Todd, thank you so much.

22:46 Really thrilling.

22:49 Yeah.

22:47 So cool.

22:48 This This is amazing.