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Making the Google Chrome Speed Tests


There’s things that happen like
in front of own human eyes that we never see that are
totally invisible to us. Speeds on the internet are much
faster than speeds in real life, most of the time anyway,
so we want fast to mean something that’s immediate. Most shoots you have a pretty
clear picture of what you’re going to see and what
you’re going to get. I think every step along the
way we weren’t sure what we were going to see. We are truly running
experiments. Which is really exciting and– [POTATO GUN FIRING] And sometimes they
fail miserably. Sometimes they surprise
and delight us. We need to somehow benchmark
what Chrome fast was. And we wanted to benchmark it
against some things that people knew were going to be fast. [SERIES___OF___F
IVE___DISTINCT___SOUNDS] 2,700 frames per second. When you capture something, a
page downloading at 2,700 frames per second, and trying
to get the shot of a page loading at the same time as
potatoes are flying across the screen. I mean– [LAUGHTER] And the fact that it took 51
different takes to get the potato gun to work just
the way we wanted it to. [POTATO GUN FIRING] I think we moved to the
Idaho potato at this point. They’re pretty good for
launching through a grater at high speeds. This is our original gun, but
it couldn’t fit in the frame. We rearranged it. It fires in the
other direction. The challenge has been to
really measure these things for real and capture that on film. So we have to invent ways to
set them off at the right time. The trigger in this one
is the boot falling from the top of this frame. The double-bass pedal hits the
mouse, which clicks Chrome and then also hits the keytar
key at the same time. Hits the drum, shoots
the paint into the ear. That’s corn syrup mixed with
acrylic paint to get the right consistency to stay
together when it’s aloft. What’s right frequency, what’s
the right volume, the right kind of speaker, the right
viscosity and density of the paint itself. We played around with a lot
of things to set it off. I mean, just technically,
what could you hit quickly to make a blast. Then along came the keytar,
and everything changed from there on. [BOOT FALLING ] We didn’t want to keep it
polished and like looking clean and pristine. We wanted to feel sort
of the inventiveness of the experiment. So it’s not so much lab coats. It’s more having fun and
blowing things up and stuff. [ROLLING SOUNDS] This is the model SG10 rotary
spark gap Tesla coil. Electricity is lazy. It always wants to go to the
nearest grounded object. So we’re going to ground
the pirate ship. Pass the ground through
this wire to this ground right back here. What we’ve added is what’s
called the corona point. That becomes the spout
that the electricity’s going to flow off of. We want to have a
big, thick arc. So I’ve put two close together
so we can kind of have them laid up on top of each other
and look thicker on film. So we’re going to end up being
at about 4.2 million volts per arc, plus you have to take into
account that the arc we’re looking at isn’t only one arc. It’s multiple arcs stacked
on top of each other very densely that you, with
our naked eye, can’t see. Before we do anything with
the Tesla coil we’re going to clear the area. Everyone is going to stay
behind the human line. I mean, the fact that we have
a pyrotechnics expert, a ballistics expert, a Tesla coil
expert on set, that’s exciting. Rather than saying, oh well, we
can fix that later, there’s not been a lot of you can fix that
later about this shoot, which is the dedication of the team
to actually getting it really right in camera, genuinely. And so when you really get
to like sit back and watch it just evolve in front
of you, it’s amazing. I mean, we don’t get to do
that on a regular basis. [FINAL TAKE]

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