iPhone Cameras in F1, MrBeast's AI Controversy, and Meta's AI Ad Creator

0:00In this episode of The Noise, how Apple hacked an iPhone to help shoot F1 the movie controversy around Mr. Beast's AI thumbnail tool and Meta's new AI ad platform. Let's new AI platform. even though i i gotta check out because i remember before i think we said that they put out that it was going to be displayed in full 1.91 imax i think it was maybe a little bit smaller than that but it's still yeah bigger than widescreen seen it in an imax theater so it was all shot on film or most of it it was shot for imax is the shot for imax shot for imax with imax correct yeah shot for imax so i think i'm pretty i think there's the uh sony venice twos for a lot of it Yeah.

0:52Along with which we've talked about throughout past episodes, seeing the Ronin 4D in the live action stuff that they shot at the events because they shot a lot of stuff hybrid where they would bring Brad Pitt and the fake F1 team to actual race events and shoot shots at actual race events, which ties into the first story. what's going on so there was a cool interesting article and breakdown of one specific type of shot where they modified the camera inside the iphone to fit inside an actual f1 car that was being uh driven around the actual racetrack at the actual races so some of the shots in the film were from the top pov of the car where you kind of see the top of the driver's head you see the track and you kind of get a very immersive experience it's a shot that does exist in the broadcast uh f1 broadcast but it's using broadcast quality cameras so it doesn't have the same color space doesn't have the same resolution right that you would need for something they're gonna blow up for an imax uh yeah aces color so they but iphones can shoot lossless pro res of course better color space they have been for a while yes so they took components out from a phone and modified it to fit inside the wing that goes on the side of the f1 car to help record some of these shots incredible wow i mean it feels like apple green lights a hundred million dollar whatever movie they're like 300 million just for brad pitt and the rest for their marketing campaign like we gotta use iphones in here guys let's figure this out well i mean the funny thing is i don't even remember seeing an iphone in the film but i do definitely remember seeing even in the opening shot of brad pidgey supposed to be like uh down on his luck um you know kind of uh dirt bag uh living in his van yeah driver kind of guy he's got his like apple airpod oh the airpod max the airpod max yeah but to make it look like a little bit beat up it's like covered in stickers product placement uh yeah and then every everything when they're doing the wind simulators or trying to do tech stuff it's like the apple xdr displays and it's the apple mac studios on the desk i mean you know why not it's part of the game it's part of the game if you see a computer in this world it's going to be an apple they remember swordfish there was so much product placement like at the time like the nokia phones and the dell computers and all that stuff i remember the matrix i always the phone with the slide out bottom and i was always like where's that phone i want that phone that was a nokia it was it was i don't feel like you know i feel like you never saw it in the wild i think that was spring-loaded just for the movie because otherwise you have to like hand do it yeah yeah yeah not yeah never as cool as just more pss yeah it was probably painted glossy black just for the movie as well yeah too yeah you don't see the crew yeah so this was an interesting shot with this and they did a couple of other modified rigs this specific shot we're talking about was they needed to put it on an actual f1 car that was being driven in the race so you can't slap on a camera on the side of it these are like finally two machines you can't put anything that's going to mess up with the aerodynamics.

3:56This is already built for this camera. And they swapped out the mechanics with the camera. Yeah, there were other shots were like Brad pitch driving, where they did actually train them and they have them in up to an F2 car, which is a little less powerful, but still really fast. And that's the one you might have seen behind the scenes shots where there's like a side rig with I think it's a it was a realto or modified. So not as aerodynamic. It's like, no, like, but it's like, those are the shots you can see in the trailer to where it's like showing Brad Pitt's face and then like quickly whip hands to like a car on the side or something and they shot those all practically you know kind of same ethos of uh top gun exactly right so but with that type of car it's not an actual race yeah they're shooting for the film they can throw more stuff on the car i mean for f1 imagine the ruggedization the camera has to be yeah the vibration vibration heat yes gyroscope like all that acceleration yeah deceleration yeah that's incredible i mean that's an engineering feat yeah yeah i'm wondering though at what point so i mean the you know these cameras exist already in the cars and they're always recording uh the the broadcast quality cameras yeah not as good at what point would it just be like oh hey we can use this existing footage and just up res it and we don't need to build a custom rig yeah i think that's more of a obviously an ethical question than a technological one like the technology exists today like we talked about topaz right like you can upscale and well i wonder though because i mean i'd be curious to test topaz out with something i mean this type of shot a huge motion blur yeah a lot of details a lot of stuff happening you know you got the crowds in the stands you have a lot of like small details that up resi might i'd be curious to test this might still not work the best with oh you're saying that the technology today is just not there yet for broadcast for something that is like a high speed like motion blur shot down the track with a lot of details yeah i'd agree with you on that and especially if you want real time or close to real time no way oh wait no i'm saying you could still process it yeah like if you took the and i would guess that they did this with some of the because they blended some existing broadcast footage and with the movie anyway so i guess they did some type of uprising yeah on like wide shots like helicopter shots of like actual races right stock footage if you will yeah so i would be curious what they did use that was existing and what you know they needed to kind of level up the cameras that were being yeah shot with for at existing events the only like the caveat that i pull is uh broadcast is not film right in broadcast you're trying to capture reality it's like news it's journalism it's like as true to the source as you can and in that instance you would rather have a noisy 4k camera than a 720p camera uprest to 4k because because of the ethics around journalism and staying true to the source that's like it's it gets into like a cloudy yeah yeah you're trying not trying to modify it but i'm saying like for them to just use the existing on cam on car cameras and up-res it yeah where where's the point where like is the tech going to be for them to just use the existing footage yeah and not have to build a full custom rig as fun as the custom rig is and i enjoy that um i'm just curious in the future or if you know you don't have a 300 million dollar budget and the cooperation of apple to build you basically a custom gopro when can you know where's the uprise technology and with that i'm shocked that f1 didn't use any virtual production i remember senna was so heavy yes with vp the studio in brazil did a lot of that work uh i mean i'm sure there's opportunity to save some money there here and there i mean i yeah i think i think this goes to their ethos of want to shoot as practical as possible yeah and also i mean look they have this is a case where it's like they basically have unlimited resources they have the full cooperation of f1 liberty media like to kind of take control of the tracks and shoot stuff on the tracks and shoot it real life they have access to cars i think mercedes helped them develop the cars that were seen on screen uh that they like the race car the uh the on-screen cars they have you know cooperation of apple so this is literally the case where you have unlimited resources you can do whatever you want yeah and you're not gonna do but for something like semna which was i don't know the budget but like a much smaller budget i yeah i mean it's what was it a part eight hour way way longer content yeah and i think it was probably international productions not an american i'm gonna guess maybe around 50 mil you need to lean on virtual production for something like that yeah they did a good job yeah and i like uh it's funny the the that racing movies uh generally are so hit and miss at the box office i just looked at box office mojo we're sitting at what like 155 worldwide that's so healthy for an f1 okay yeah but definitely apple's biggest success um commercially and at a box office also but i did see something that i think 55 of the ticket sales were from premium ticket sales which means imax or a large format yeah yeah so it also pays to go big did you hear that uh some movie theater execs are forecasting that in 20 years the movie theater business might not be around i saw blurbs about that that's kind of a bummer yeah they need they need more ziplines they need more f-lines do you remember that story from like six months that was i think part of amc's um ideas of like how to revamp the movie theater experience to kind of be more interactive and offer more things than just the movie theaters and like one of the ideas was to install ziplines inside the theater to drop food down to the what yeah i think that's a yeah it's a sad reality yeah i mean i'm hoping it doesn't go that way And I'm hoping by this kind of run of, you know, really good movies that make the theatrical experience worth it, like Sinners, like Mission Impossible and now F1, that, you know, this can shift the conversation around.

9:36And it's like, these are good reasons to go to the movie theater. You and I are big movie fans. You and I both go to the theater to watch movies. You happen to go opening weekend or close. Like you go when it's crowded. And I always typically miss that window. And then I'll go like a couple of weeks later. every movie that i've been i just saw lilo and stitch and one more before that and i walk into the theater you don't need reserved seating because it's practically empty so it's like a spike in the first opening weekend and then it's like exponentially drops off oh yeah i mean well also you know we're in la and i feel like la is a weird bubble too because i well i was like also said i'm like i want to see this imax yeah and i kind of was like late to get the tickets and And I kept having to scour.

10:21It was sold out everywhere. Every IMAX theater in Southern California. When Sinners came out, I couldn't find any seat for weeks. Yeah. Yeah. So if it's the right movie and it's like, oh, this is, you know, the format. Like, I'm sure, yeah, if I wanted to see this in period 80 screen, that would have been pretty easy. Okay. Because it was in, you know, three, four screens at each movie theater. Yeah. But to see it in the biggest screen possible, that was, it was challenging. Yeah. I don't know if you knew this about me, but throughout my teenage years, all throughout high school and even early.

10:49college i worked at a movie theater in beverly hills oh okay yeah and the reason i say beverly hills is because um that's where at the time that's where all the celebrities lived and um it was a very private theater like there was a big movie theater on beverly center last thing again third and then across the street there was a theater that nobody really knew about but it was a pacific theater so all the celebrities will go there to watch their movie because it's just quiet yeah you know they don't get harassed or whatever and um you know like i saw russell crowe during the gladiator opening weekend there yeah and then the waynes brothers were there during scary movie they were just like checking out the audience reaction and i remember working there throughout you know the early 2000s and it was like a sustained level of full for months across any movie right even something like pitch black with vin diesel you remember that movie the first one like that was booked for like months yeah and i even remember uh the matrix when that premiered and you know people show up in their latex suits and the leather jackets yeah and that went on for months and like we just don't see that level of activity in the theater anymore and now i mean obviously i go there yeah i think that's over i think the hope is yeah bigger theatrical experiences yeah uh i mean you know they're building more imac screens so like we talked about that a few weeks ago like so you know with the successive centers and and um the bigger formats like that could be the balance where it's just like yeah a lot of movies is don't make maybe they don't make sense theatrical or very short runs um yeah but and the theater business is also shifting upwards in market right it used to be egalitarian thing like anybody with ten dollars in their pocket can go see a movie but now that they have to ship up market to make that money up like imax is not going to be cheap you know any of those premium amc tickets with the leaning back chairs and the meal yeah and i mean they make the money off the food yeah and the drinks right so it's just a shame that like you know it's not for everybody anymore like ten dollars won't get you a movie theater ticket anymore no maybe some random spot on a matinee on a tuesday right for taking advantage of a deal yeah but yeah it's yeah especially also if you're going out with a family yeah maybe the savior is the subscription thing that amc has it's good it's good it's a good value yeah i mean if you see like two movies a month it pretty much is worth it yeah all right so next story so mr beast talked about him a couple times pretty big youtuber so he has another company uh well he has a bunch of companies but one of his other companies is specifically for other youtubers it's called view stats and it is sort of like a youtube analysis platform you can subscribe to it it's to help are you on it i have used it before i actually there's another platform i like a little bit more called one of ten um but the gist they're all and there's also vid iq they all overlap in their functionality a lot but the gist is tracking outlier thumbnails so a lot of the youtube game is figuring out titles and thumbnails that still work first yeah we're kind of guessing the clip it's looking at outliers a channel so it's like oh this channel posted a bunch of videos but like this one video performed like 10x better than all the other videos.

13:59What did that video do? So you can kind of reverse engineer and apply it to your own videos. That's a lot of the YouTube game and sort of how like the bigger YouTubers think of it. So ViewStats kind of has a couple of tools for tracking other channels, seeing outliers, kind of coming up with ideas and tracking the performance of your own videos. And then he rolled out a new tool the other week that was an AI thumbnail generator. And he's not the first to do this. There are other companies that have AI thumbnail generators. He got a lot of backlash for this. why from the community i think the the bulk of the backlash is around a lot of just sort of the knee-jerk ai backlash of like oh it's putting existing thumbnail creators out of business or uh you know it's hurting like thumbnail artists his original launch pitch i believe was like hey we're putting this out there uh to help smaller channels who like can't afford a dedicated art thumbnail designer yep to like you know give them a leg up to make better thumbnails absolutely without you know when they don't have a budget for an artist yeah i've got a lot of backlash and now he's pulled the entire tool and basically replaced it with a hey we've got like a you know directory of like thumbnail artists you can go higher which just sort of goes full loop back to the original problem of like well if you're a smaller channel you don't have the money to hire an artist thumbnail and what are the thumbnail artists going to use they're probably going to use some ai i would assume so yeah i think there are other ways around this too where it's like well well i mean first off there is one issue with the a with the ai thumbnails but also this issue ties into just thumbnail ripoffs in general where like there is an issue of you know a big creator has like a thumbnail format and the format kind of works or that video works and then people will just kind of some other creators will like they'll copy it yeah yeah rip it off like copy it yeah pretty much verbatim maybe just you know and obviously just swap their face out yeah like the color palette is proprietary to that youtube channel sometimes you associate it with the border style beyond that of just like literal like um i'm trying to think oh there was one with like balls like um like i was like they filled the house with like um plastic balls like some big creator did mark rober maybe maybe him i forgot the i forgot the names but it was like one creator did a video around you know filling the house with plastic balls and the photo i think was like their face with like a bunch of plastic balls behind them and then someone else like ripped off the same exact video with the same exact thumbnail like their face on a big thing of plastic balls yeah and you know it's just like they're just you know ripping it off that's not cool yeah and so with the thumbnail generator that obviously makes that easier to do sure but you could do that with a human person anyways you copy photoshop if you want to copy yeah an existing style you can do there's nothing stopping you it's just like kind of icky but yeah i guess to the the crowd's defense like it's so much more effortless with ai like it's literally like seconds, couple of clicks.

16:49But I mean, yeah, I think, I think it kind of goes to what we said before. It's like, if this tool existed, it would you get something as good as a human, you know, thumbnail creator or strategist who like, you know, thinks about like the psychology behind it? No, but if you don't have the resources to hire that and you're like, have kind of an idea of sort of what you want. Yeah. Will it get you better than you trying to do it on Canva yourself? because that's all you can afford. Yeah. Yeah, probably. Yeah, exactly. And Mr. Beast, I mean, from the outside looking in, he's always been very philanthropic and he's not a flashy guy.

17:25Like we talked about this before, like probably a billionaire, right? He could just easily not do all this stuff. Yeah, he's in it for the love of the game. Yeah, and he wants to help other creators and like he wants to elevate creator platform in general. Like I don't think like his intentions are to like cut out jobs and stuff. No, I don't think so either. yeah um yeah if he doesn't do it like you said somebody else will and yeah there are other platforms and then there's another retweet of like um you know people kind of spinning off because i it is at this point with between imogen between chat gpt for um it's relatively easy to build a little api wrapper to be like hey upload a photo yourself and upload some other photos and you know we fine-tuned a little bit where it'll put together a youtube style thumbnail yeah so that's pretty easy to spin up a platform using all the really powerful existing models and connect to their API and just be like, boom, you know, we built a little tool for you to do this.

18:22And if you're a creator who's like, quote unquote, you know, photoreal and manual and artistic, like you can certainly generate the thumbnail yourself and have it stand out in a different style than everybody else's AI generated thumbnails, right? Like you don't have to do what everybody else is doing and that's the beauty of being a creator you can totally do your own thing and i think i mentioned like gox and um alex and there are just some some of these creators that are super like they could be a level hollywood directors yeah and they're visionaries and then they choose to funnel their creative energy into youtube and it clearly shows they're different yeah yeah which is where they decide to focus that energy yeah yeah so yeah i thought this was interesting and sort of just kind of this i'm sure we'll see more of this back and forth between like yeah it's gonna take a while help you ai backlash ai help you yeah where there's one comment i like that was uh i love how nobody um bats an eye when you create like a video description using chat gpt right because nobody wants to write that stuff you're replacing scribes yeah oh there to please stop using photography oil painters have families to feed next one next one speaking of ai replacing agencies uh yeah what'd you say with the art x story yeah so uh can the film festival happens every may and then like a month later in june they have like an advertising focus festival i think it's i'm not saying it's right can leon or can lion and it's a much bigger because there's just so many brands they show up There's insightful panels.

20:03There is obviously a lot of deals going on back and forth between distributors, advertisers, brands, a lot of handshaking. And this year, from the feedback that I got from a few of my friends who went there, was that there is a lot of fear around AI platforms like the one that Meta just released. So just to backtrack, Meta, owner of Instagram, owner of Facebook, probably has a good portion of the world's internet traffic under their thumb and clearly has the power to make or break companies, right? Like Instagram has made so many fashion apparels successful and, you know, like a company like Kodak who hasn't really figured out Instagram is struggling, right?

20:50So it goes both ways. So typically to remedy the world of algorithms and product placement and, you know, SEO and all those things, a company will hire a creative agency. They'll not only build a brand from an imagery visual perspective, but also create a narrative. They'll also create a string of imagery videos, tie it to SEO, tie it to algorithms, and then just make sure that, you know, the brand has the ability to be successful. meta is now cutting out that entire middle piece so supposedly you can upload your product photos and your brand logos as a as an individual you know company owner and then meta will generate all the stuff that a creative agency will generate like imagery videos you know virtual try-ons whatever what have you and then post it on their platform or other platforms and this cause obviously you know it's like this is just a glimpse into dread absolutely yeah yeah i mean for yeah large but even median size companies if you're running if you have a lot of products you're running ad campaigns you're running hundreds if not thousands of individual campaigns with unique creative around the different products different write-ups and you normally would hire an agency unless you're big enough to build an in-house team you're gonna hire an agency to just stay on top of this because it can be very complicated and very cumbersome.

22:19Absolutely. Even the largest companies like Nike, right? Like they can do all this stuff themselves, but then they'll leverage creative, multiple creative agencies because those are the subject matter experts. Like they understand content and imagery and then campaigns way better than Nike ever could. And to be honest, Nike's focus is to really build shoes and build, you know make deals with athletes like that's their game so that creative agency industry is probably in the trillions of dollars it's a big industry yeah and now that meta is looking to essentially cut out the middleman this could be a major fear for a lot of people yeah just kind of cutting down on the like if a company doesn't need them as much anymore i mean yeah from the wall street journal article using the ad tools meta is developing a brand could present an image of the product it wants to promote along with a budgetary goal and ai would create the entire ad including imagery video and text the system would then decide which instagram and facebook users to target and offer suggestions on budget people familiar with the matter said yeah uh the second part sort of exists so i mean on the on the flip end counter argument of like this is useful you know i advertise on meta usually for the newsletter uh and some other i've dabbled for years with just different attempts at like trying to like sell courses or other things i yeah i'm not hiring an agency i'm trying to do it myself right uh having been on meta's facebook ad manager platform off and on for years originally it was very complicated because you'd have there are a lot of options a lot of settings and you sort of have to know there's campaigns there's ad sets there's ad groups and then you have to see how they're performing and turn them on turn them off try to guess which ad copy and creatives are performing better.

24:02They have updated that to now there's like an AI basically tool where you can just give it currently the last time I use it, it's like you just give it all of the media you have. So you're still generating the assets, but you're giving it the videos, you're giving it photos, you're giving it text write ups. And then it will automatically test all of these combinations across all the platforms, hundreds of thousands of times, and then figure out what gets, based on whatever your goal is, what gets the best performance. So that's existed for a while. And that's very helpful for someone like me where I'm like, I'm not an ad expert.

24:32Yeah, and you can't scale. Yeah, and also like even experts that I was seeing talking about this, like they've all just kind of shifted to let Facebook do the thing because it's like Facebook knows Facebook best. Like you can't outperform its own platform. And so now it's taking that a step further and it's going to be like, just create the advertising because it's like, yeah, we still have to make the creative. But I mean, I think that comes back to, even the ai thumbnail tool it's like well it's still ai and what's the quality going to be like yeah you know is it going to like be able to do something funny punny like you know that works but also for something like this where you're probably going with bulk you know if it's like you're a big e-commerce brand and you've got hundreds of thousands of products you probably might not even need to care about being cute or funny you might just need to move products and if this thing can do this hundreds of thousands of times yeah a day and test like every variety to every person across timeframes and demographics yeah then you being cute and funny might not really matter right if it moves products and gets a you know if you're getting a good um click-through rate for sure you know in the M &E world I could see so now you have on the creation side and the film creation side we talk about all the AI tools you have right like you're now leveling up and you know we we have an interview coming up where we really get into that and on top of that how do you get your amazing movie out into the real world right you'll use something like this ai ad platform to create imagery around the movie poster you know a trailer smart trailer yeah what if you can give it clips and then it cuts a trailer custom to like oh this person kind of likes action films we're going to show them all the action shots exactly this person kind of likes you know the romance story so we'll show them like more the romance side yeah so now as a individual filmmaker one person you are now able to leverage ad platform as well as the creation as well as the post vfx like all these things are really leveling the playing field yeah yeah for the smaller creators for the smaller yeah so i think it is good for the smaller creators yeah if you have a large ad agency i don't know yeah i think uh the the large agencies will probably be smart to be uh on top of this and adopt this and overlay a service on top of this yes i think right they're like we've highlighted some holes i'm sure they're like this will not be perfect or not be great for you know at the top the highest level so i think if you can generate your own additional tool to help manage on top of what this is already doing yeah that that would help out this it kind of reminds me i was at a vidcon and there was a advertiser tool presentation i remember one company they were just focusing on targeting for youtube kids so youtube kids is sort of different and you're very limited on how you can i'm familiar it's a different ish platform but also like because you they're kids and you can't like track you can't track them because it's not legal it's not legal or ethical um you could only really target the video and be like oh hey we think our product would be good on this kind of video right but it could be something in the title like youtube's targeting is just based on like the thumbnail and the title right they built an extra system that will actually scan the entire video and analyze the entire video and kind of pull out elements of like oh this you know it features this subject matter it features these products to give the advertisers using their platform like eddie ai kind of like that no totally different i mean i guess maybe in the set or more like a 12 labs where it's like yeah where it's reading through video it's looking at the actual video and looking at like the emotions the products the just giving you a lot more data than the title and thumbnail and so they built their own platform so then the advertisers using their platform are still advertising and giving youtube money but they're able to much more finely target the types of videos they're showing up against right so as just an example of like yeah there it's youtube doesn't you know google and youtube ad platform has a lot of ai yeah try to help you target stuff but it still has holes and lacks granularity that absolutely needs so there's opportunities to build tools on top of the existing platform that is a value add.

28:37Yeah. I'm wondering what's going on with Meta at the highest level, right? Like one can only wonder because they just acquired Scale AI, which for$14.5 billion. And they put the CEO, I think the youngest self-made billionaire, Alexander Wang, as the head of Meta's artificial general intelligence division. And now then, so they did that move in addition to that did you hear about the open ai poaching thing i was gonna say i think i saw this morning they poached like three more engineers yeah so it was really funny uh so we i think we talked about this a couple episodes back uh meta said in the in to the effect of like hey 100 million dollars are waiting for you if you come over to meta it sounds like a lot of money but those uh top research scientists are so vested in open ai right like they have so much chunk of equity and sam altman's like look that's not gonna work because our guys are gonna make way more than that and 100 million is honestly not enough a day later three top researchers from weapon ai go on x they say just so you know we're quitting and no the 100 million thing is a myth we're just going to a better platform and a better place to innovate right so like i'm curious what vision he's painting because i was thinking too it's like what i you know aside from the money you sort of kind of get this grand world-changing view from open ai meta maybe five ish years ago it would have been like hey we need ai people or 10 years ago we need ai people to help us build a smarter ad platform and that might not be the most exciting thing for uh the top ai minds to build yeah but now i'm curious what are they what vision is he painting today i don't think you need artificial general intelligence for all this ad platform stuff like what conventional ai if you will today i think is powerful enough we just need to get the quality better but agi is a you know is gonna become a si artificial super intelligence and that's so that's when a ai system is inherently smarter than a human being and can learn itself to even exponentially grow past that point okay So this is what Ilya Sitsukur, he is the co-founder of OpenAI.

30:50He now founded Safe Super Intelligence, which is obviously what the title says. He's very concerned with all of this research going on. Yeah. So we're getting into Skynet territory somewhere in meta. The T1000 can learn and improve upon itself. Yeah. And it could be infinitely smarter than a human being. Out-reason us, out-skill us. You know, it's the stuff that we talked about. where you try to shut down an AI model, it backed itself up to the cloud and just immediately went into backup land. So imagine that times a thousand when it's actually smart. Yeah. Great place to end on. Let's just end this on an apocalyptic note.

31:33All right. All right. I'll give you another apocalyptic note. The godfather of AI, Jeffrey Hinton, went on a podcast recently and said, there is a greater than 50 % chance that AI will annihilate us. Yeah. So things are going well. Yeah. I mean, I think there's also other factors that could annihilate us too. It's not just AI. So just add it to the existential dread list. It'll be a fun ride. Yeah. But in the meantime, before, if we don't get annihilated, you should subscribe to the podcast if you haven't already. Get all your podcasts in before the world ends. Yeah. All right. Great note to end on.

32:11Yeah. links for everything we talk about are available at denoistpodcast.com I'm just kidding by the way no you should subscribe not about that part please subscribe and give us some likes and some action on YouTube thank you alright thanks everyone catch you in the next episode