- Oh hi, we're The Try Guys.
- This is our office.
Why don't you come on inside and check it out?
Wow. - Wow.
- It's huge. - There's nobody here.
[relaxed R&B music]
- We outgrew our first office almost immediately.
I mean, it had that fun startup vibe.
- It was about a thousand square feet
and it was fine when there was four of us,
and then it was five of us,
and then by the end, it was 15 of us,
all crammed into this tiny little house.
- Ooh, and there was one bathroom.
That's probably why - One bathroom.
- it was time to go.
- That's how we knew, yeah. - Yeah.
- There were a lot of spaces we toured
that felt very corporate, and we were really fortunate in
that we got to design this space from the ground up.
- It was supposed to be one of those bank coffee shops.
You've seen them, they're confusing,
you don't know if you belong in it
when you're there for the bank or the coffee shop.
It was gonna be one of those, and we came in
and it was such a big space that had so much potential,
and being able to design something specifically
for what we wanted to do made it feel,
I don't know, more fun, more personal.
- We really wanted to make sure
that it felt like a burgeoning digital business,
but also had a air of professionalism.
Obviously with our branding,
we lean in to some bright coloring,
but I think toning it down a little bit
and letting a interior designer's eye interpret it
in a way that feels like anyone can come in
and be impressed was really paramount for us
when we opened this space.
- When we were looking for the new space,
we need to be in a place that we can work
and do all the prep for shoots, but then also shoot in.
So you'll see as we tour the space
that everything is a shootable space.
- It's like the Wonka factory,
but instead of you being able to eat everything,
you can film everything.
[mid tempo bright music]
- [Ned] This was originally gonna be the entrance
to the coffee shop, so it's got a lot of natural light,
giant floor to ceiling windows,
but it's right on the street,
that's why we put these privacy screens up.
- [Keith] It's just high enough where you get
to see just the lovely palm trees,
and it feels like you're not right up against the street.
- This has my favorite piece actually in the entire office,
which is this wonderful Astro Mobile chandelier
by Andrew Neyer.
It's gorgeous, I think it really captures
that mid-century vibe that we were going for.
- Originally, it was about six inches shorter,
so one of the times we had our first meeting,
I sit up and I just hit my head right on it,
and it doesn't have a lot of give
- That's mid-century modern for you.
Not a lot of give.
- [Keith and Zach] Not a lot of give.
- No. - Good to look at.
- Yeah. - Not necessarily to sit in.
- This doubles as a green room anytime we use bigger shoots,
and we actually have a little bar
in case people wanna get a little toasty
before they get on camera.
- I had a backwards bar mitzvah here for my 31st birthday.
I dropped out of Hebrew school as a kid,
so I turned this whole space
into a full bar mitzvah nightclub,
so you can really do a lot here.
- We should clarify, from nine to six,
this is a traditional workspace.
- Yeah, sure, sure.
- The weekends, we throw bar mitzvahs.
We try to have, in every room, some fun wall
that could be a nice photo backdrop,
or just something that is fun to look at,
gives a pop of color, gives a little motion to it.
- [Ned] Look at this,
look at Keith, he's holding - Oh.
a yellow jug, oh.
- What's in that jug? - Ooh,
oh, you're a bad boy. - Oh, he's taking a bath.
- [Ned] Oh, you're bad.
- I'm such a sucker for an accent wall.
You get three walls that are all the same,
and then whoa, what's going on with that fourth one?
- Our wall philosophy is kind of like The Try Guys,
it's three white ones and one very gay one.
[Keith laughs] [crew laugh]
Next room? - Yep.
[relaxing music]
- Why it's my wife, Ariel Fulmer,
- Hello. - who is also
the interior designer of the space.
Tell us a little bit about all of the work
that went into making this space beautiful.
- I knew that this space had to be what?
Polished, colorful, but I also wanted it
to be a little bit masculine.
I pulled in a lot of design elements
that were traditionally mid-century modern.
The couch with wood accents and things like that,
and this Eames chair.
When Ned was an intern
in college in LA, - Yeah.
- he worked at a production studio that had an Eames chair.
- Yeah, I saw it as a sign of like, wow, you've made it,
you have an Eames chair in your office.
- We like to have Eugene here with us at all times.
I don't like to be alone, so on an instance
where maybe I am working here by myself,
I'm not ever alone.
- [Ned] And that thing back there
is a black dry erase board.
Pretty cool, huh?
- It's it extremely sexy, way cooler than a whiteboard,
but then we found out that when you take photos
of your ideas at the end, it is just a big old mirror.
- Sometimes, what you want is wrong,
[Zach and Eugene laugh]
but it still looks nice.
[mid tempo R&B music]
This is actually really cool.
This recent edition is just having our merch
in a nice displayed way, so that when we have guests,
we're like, oh, you like this?
- You want this, t-shirt?
Take it home. - Take it home.
Take it home!
[fun hip hop music]
- We really wanted a space where you could just walk in,
hit a light switch, and all of a sudden,
it was completely ready to film.
- You can see that we have the cameras,
the mics are all permanently set up, so it really is
as simple as turning everything on, hit record.
- Podcasts are supposed to be a very relaxed thing, right?
So you're supposed to just come in here
and feel like you don't have lights
and cameras and microphones in front of you.
You want it, in its best form, to just feel
like you're hanging out with friends and talking.
- [Keith] Also, Eugene is always here with us,
which we really love.
He's got his own mic over there.
- [Ned] Our HR puppet, Ronald.
- Oh, that's Ronald. - He's here.
- He runs the finances, and all the intercompany drama.
- The idea behind the wooden walls was we wanted it
to be a really warm and inviting space,
something that would work
with all of the different podcasts,
but little accents that we could customize
like this shelf or little throw pillows.
- What's kind of great
about this particular wood paneling is
that it brings a lot of richness
to multiple types of skin tones.
I really like the way that we were able
to mix and match the different treatments of the wood,
because that is one of the first things
you should always look at when you do anything on camera is,
will this complement the widest diversity of skin?
- Yeah, also, wood is a natural sound dampener,
but it looks nice, doesn't it?
[mid tempo funk music]
- [Zach] This is where we shoot a ton of our videos.
It's one of the only office kitchens
that has permanent lights above,
so you kind of feel like you're in a sitcom
while you're making your macaroni.
- These shelves stay the entire time,
but then we swap in and out different props
for different themes,
and then this is just a stick-on backdrop
that you can also swap out with different textures,
just to give different shows different looks.
- I had initially designed the space
to be a black and white kitchen.
We were very late in the design process,
and Zach goes, "What about green?
We should do green."
And so we had to custom color all of the cabinets.
It was about a $20,000 change.
- Oh. - Ooh.
[Ned laughs] - Yeah.
- That's the first time I'm hearing that,
and that is awesome and, we all agree, absolutely worth it
and not a mistake at all, and I stand by it.
What a fun thing that I did.
$20,000, did they paint it with gold?
What the-? - No, but they had to,
they had to seal it, so if you scrape a fork on it,
which I'm sure one of you has done
at some point. - Wait let me get a quick--
- Shall we test it out?
[Ned laughs]
It'll protect it from a fork?
- [Ned] Wow, there it is.
- Can I show you one more thing that I just love about here?
Come downstairs with me, right down here.
But there's these outlets.
You can plug in your mixers, right,
when you're making a cake, right here,
so you don't have to run an extension cable
across the whole kitchen, it's right here.
Also what's great about these is,
if they're up and you don't notice,
you will trip, and fall right onto a concrete floor.
I've done it.
[upbeat music]
Normally, this has limes, but today?
Apples. - We love limes.
- Almost. - Oh.
- I haven't done that in years.
Which one am I eating, which one am I eating,
which one am I eating?
- Whoa [laughs].
- Thank you.
- You three especially were obsessed
with the idea of doing an exposed ceiling.
- Yes.
- Because this had nothing before,
so it was kind of like empty canvas.
- [Ned and Keith] Mm-hmm.
- So what gave us the impetus to do a dropped ceiling
as opposed to full exposed ceiling?
- When we were looking into the space,
we realized that it was not soundproofed at all.
- Trying to do choices
that didn't look like a corporate choice.
Like typically you go into a corporate office,
very cubicle-y, very flat ceiling, very boring lighting,
and we really just didn't want that at all,
so we really thought, to do that,
we needed to have an exposed wood beam ceiling,
but Ariel said, "I think if you do the exposed ducts
and we have these drop lights,
it'll give that cool vibe that's not too corporate,
while still actually solving what we really need,
which is sound proofing for shooting."
- [Zach] Oh, and check this.
We got two refrigerators.
- It's been my dream ever since we've had an office
to have a drink fridge that looks like a 7/11,
and we got it.
- Yeah. - We did it.
[mid tempo hip hop music]
We do have a water cooler for the water cooler conversation.
Very important. - Mm-hmm.
- We did some cool things though.
There's three giant electrical panels,
and we worked with Murt, who's an artist
that we got connected with on Twitter,
and he did like all four of our colors
with different figures on the electrical panel,
and he also did a super cool mural
right at the front of the office,
that of course we use as a shooting backdrop as well.
- Yeah.
[relaxed bright music]
- We just put the finishing touches on it,
it is our brand new, beautiful studio,
designed by Susannah Honey.
We wanted our videos to have a recognizable look.
- We use red, blue, green and purple in a lot of our stuff,
those are the four colors of The Try Guys,
so we tried to find mature versions,
and then we also used orange because it tends
to go with all of those colors often.
So you've got a nice little pink vase here,
you've got a sort of blue and purple vase.
- As Ariel pointed out,
there were some distinct masculine touches
in a traditional way that she gave most of the office,
and the studio ended up being, what I would say,
a more conservatively feminine space,
more of a '60s, '70s slant in terms of design features,
and I think it turned out really well,
I think a lot of people feel comfortable in this space.
It's not threatening.
- It's cozy, and look at the pillow on this rug.
I mean, what is this, so tall?
- I mean. - My gosh,
look at it, yeah, - So nice.
- you can crawl around on it.
- To have a studio that has an iconic look,
that can always be here,
we have the lights, we can pop 'em on,
this feels like a real maturing moment for us,
to have, finally, after all of these years, our space.
- And we talked to so many people to make it perfect.
Just designers, and also brought in directors of photography
to tell us how best to put the lights in here
to make sure that everything would always look good
for all the different needs we would have.
A lot of thought goes into design in a production studio
that maybe is not always for design just of a normal place,
which is the functionality and the beauty.
- I like the asymmetric wainscotting.
That was a word that I learned when we designed this space,
and I think it's just cool,
'cause when you're sitting here, it's still a nice flat wall
but there's a lot of texture to it.
- I really like this spot right here, I'm not kidding.
This spot, there's something so sharp
about this gray triangle [Ned laughs]
with this, [laughs] I just love it.
Every time I look over here,
I'm look at this particular triangle,
I think they just crushed it.
- You know, there is one thing missing.
- I could just stand really still in the corner.
- That'd be nice.
But see what this does to a room?
Now think where a Eugene cutout could go in your home,
or your office.
You don't even have to just have one,
you could have two, you could have three,
you could have it as a theme running through your house.
- [Ned] And here he is, being safe with ladders.
- He looks relaxed. [Ned laughs]
He looks fairly relaxed over there.
A little judgey over here.
[cool hip hop music]
All right, thanks, guys.
We'll see you next time.
- We gotta get back to work, so.
- [Keith] All right, everybody, you can come out now.
- You guys can come out of hiding.
- Come on out. - Back to work!
- Bye bye. - Back to work!
Get in your office, get at your desks!
I need three videos by Friday!
[Eugene laughs]