A paper airplane flying contest might have cut it at some engineering conference in the 1950s, but the upcoming 2013 IDSA conference will be holding something considerably more exciting. Come August 24th in Chicago, ten 3D-printed cars will be launched down a model of a ski jump, and the car's resultant flight (and the spectacle-worthiness of its crash) will be judged for excellence.
Whose ten 3D-printed cars, you ask? Maybe yours. The Launch Day 2013 competition is open to all comers, provided you get your 3D-printed design in by August 12th. That initial batch will be judged for both aesthetics and for "using unique attributes of 3D printing," winnowing the field down to ten. The final ten will then be printed, then launched on the final day of the conference, and whomever's design is judged the winner will take home a brand-new 3D printer. (Runners-up will get $100 gift cards from competition sponsor Inventables.)
There's no cost to enter, and each entrant can submit up to five designs. Sounds too good to be true, doesn't it? Which means yep, there's a catch: You've gotta be in it to win it. Specifically, inside the conference center in Chicago, as only registered attendees are eligible to win.
Click here to get details on the build envelope and printer selection for entries.
Our favorite Japanese purveyor of no-brand quality goods is pleased to partner with All Nippon Airways a new sweepstakes to promote MUJI to GO, "a category of MUJI products curated based on the concept of 'Good Travels with Good Products.'" The global campaign "Mini to GO" will launch at the Times Square location on July 12, and run for just over a month. From this Friday until August 15, customers who shop at the MUJI stores can bring their receipt to the store at the New York Times Building to get a 3D photograph taken. Participants can enter for a chance to win one of ten free 3D-printed figurines (from the scans) and the grand prize, a vacation courtesy of ANA.
The MUJI Times Square store is located at 620 8th Ave (at 40th St), New York, NY 10018. See more details here.
In the (soon-to-be) grand tradition of digi-fab sculptor Joshua Harker, namisu's Octavio Asensio has turned to Kickstarter to produce a new 3D-printed work of art. Where Harker's skulls harken (sorry, couldn't resist) back to the dead as a totemic memento mori, the 3D-REX brings natural history from the museum to your living room. (Two, it seems, is a trend, as Philippe Pasqua's chrome T-Rex skeleton has also been making blog rounds this week.)
We came up with the concept of a wireframe fossil, a complex geometric mesh representing one of the most ancient and iconic creatures: the Tyrannosaurus Rex! The concept really appealed to us because it represents a contrast between old and new, mixing nature's own amazing creations with technological advances of today. Though it looked good as a CAD model, the 3D-Printed result blew us away; the way the organic wireframe flows and plays off the light is really quite a sight.
Just about everyone has that really gruesome childhood story of the first time you broke a bone and went through the lengthy process of getting a cast. If you happen to grow up to be in the best professional field ever (i.e. design), you likely also have stories of fantastical apparatuses with which to get at that itch underneath the layers of plaster or ingenious ways to keep the cast dry at a pool party.
It's really no secret that designing for medical products is one of the fastest moving and innovative subsets of the product design game. Designing objects for better administering or healthcare, implementing new technology and identifying opportunities for innovation is serious business. So how did it take this long to merge with out favorite manufacturing technique of the latter, 3D printing? Whatever the reason, the recent work of Victoria University of Wellington graduate Jake Evill is certainly notable for merging digital fabrication and one of the most uncomfortable medical devices.
Achieving what will be the epitome of a Nervous System-meets-Spiderman aesthetic, the Cortex 3D-printed concept cast boasts some really nice features that put its traditional (and itchy) plaster counterpart to shame. The lightweight polyamide cast both allowing you to shower and recycle the parts when healing is complete. Paired with 3D scanning technology, the design and support structure could easily be tweaked to provide extra support to fractured areas of the arm.
CNC mills live in shops, and power tools are things you can carry around. That's been the paradigm. But building on their successful 17 years of producing and refining CNC mills, ShopBot Tools has now combined the two worlds with their new, portable, crowdfunded Handibot. (The Kickstarter campaign went live about fifteen minutes ago.)
The Handibot is what they're calling a "smart tool," and it's essentially a 3-axis CNC mill that you can carry (and run via PC, tablet or even smartphone). But don't let the small size fool you: By "tiling" your digital files and registering the Handibot from one location to the next, you can work on surfaces of unlimited size with total CNC precision—it's even "capable of high precision such as on PC boards."
The benefits to builders seem obvious: Haul a Handibot to the jobsite and this thing will cut rafter tails and stair stringers all day long. Templates and pattern bits will stay in the truck. In one demo I saw, a ShopBotter hacked up Handibot wall rig, where he programmed it to precisely cut outlet holes into vertical sheetrock. For one outlet hole, sure, that's overkill; but in a commercial building where you're cutting hundreds of outlet holes, the Handibot would be your new best friend.
The benefits that aren't yet obvious, however, is what company founder Ted Hall is curious about: The uses that you would put the Handibot to. ShopBot is looking to expand the user base by reaching out to consumers, building their already-formidable user community out into an ecosystem of shared designs that all users can easily access; something akin to MakerBot's Thingiverse, and with the added value of smartphone- or tablet-run apps that spur the Handibot into specific actions.
That is what makes creating digital fabrication tools so fascinating. If I design a tennis racket, I know what you're going to use it for: You and the missus will play doubles with the Browns, and maybe you'll swing it around your living room when a fruit bat gets in through the window. But when companies like MakerBot and ShopBot release their offerings, they know that the collective cleverness of the user base is going to surprise them with unexpected and unforeseen applications.
"We're enthusiastic about exploring the 'open innovation' concepts behind the tool," says Hall. "And we're excited about the Handibot tool itself - it is just enough of a new twist to offer a utility that really goes beyond both what power tools traditionally do and what people usually think of for CNC. I love that one can just whack away at real construction lumber with it."
Not that lumber is the limit. The Handibot will cut through wood, metal, plastic, paper & cardboard (with a drag knife attachment) and can even be used to etch glass.
As we announced earlier, Stratasys, like the objects coming out of their print nozzles, has acquired their own third dimension. Last year, the manufacturer of industrial 3D printers married up, merging with Objet and their super-high-end machines (we looked at a 16-micron-capable unit here); it's just been announced that they've married down as well, scooping up MakerBot and their entry-level machines for a reported $400 million. Stratasys has tried to go low-end before through a short-lived partnership with HP; this time is different, largely because HP doesn't know what the hell they're doing and MakerBot does.
So what does this all mean? Several things:
At first blush, this might seem like Makita acquiring Festool, then picking up Skil; the one company will have access to three different strata, if you'll pardon the pun, of users. In most industries, that spells dominance. But unlike with power tools, with 3D printing there will always be a dedicated DIY-hacker base happy to keep tinkering with their RepRaps in the garage, meaning that that unexpected (and perhaps unreliable) source of individual innovation will not be snuffed out. This is good for everyone.
It does mean, however, that Stratasys will dominate the plug-and-play market. Between them and Objet they've got the industrial market well-covered, and with MakerBot's relative ease-of-use appeal—as proven with their Replicator 2's 11,000 units sold since launch, accounting for half of the company's sales since their birth—they will be the go-to for consumers who "don't want a toaster and just want toast."
Here's one sound that librarians won't be "shushing" in Chicago: The distinctive whining-and-grinding of a CNC mill. The Chicago Public Library has announced that their centrally-located Harold Washington branch, inside the Loop, will be getting the Windy City's first free maker space.
The pop-up fabrication lab will offer the public access to 3D printers, laser cutters, a milling machine and a vinyl cutter as well as a variety of supporting design software.
How rad is that? The CPL's Innovation Lab is a new initiative to give Chicagoans no-cost access to digital manufacturing, and it's the first that we know of located smack-dab in the middle of a large American city. The six-month run of the Harold Washington maker space, which starts on July 8th, is intended to be a trial run; should it prove successful, the CPL will consider expanding it to other branches around the city.
"The maker lab is the first of several ideas we plan to test over the next few years in the Innovation Lab," said CPL Commissioner Brian Bannon, "as we focus on expanding access to 21st century ideas and information to our communities." We're pretty psyched that they're starting off with digital manufacturing, and we hope the pilot program causes other big cities to take note. American libraries have been dying on the vine for years, and we can't think of a better use for the typically cavernous and underused spaces.
As the origin of an increasing proportion of cultural touchstones, so too has the Internet spawned its own genre of memorabilia. Inspired by "the way designers showcased their work by holding it in front of them," Nadia Ahmad's "Handvas" is among the more successful examples we've seen—a clever way to display a poster or print, modeled after a popular trope of product photography.
In fact, Ahmad isn't a product designer by training or trade: the Sydney-based art director works in advertising by day and simply wanted to make her idea a reality. "I didn't have the skills or knowledge to produce it," she noted by e-mail. "So I went in search of a company that could help [me] bring my idea to life."
It seems like nearly every video from the MIT MediaLab is bound to be come a "holy-crap-technology-is-awesome" viral hit, and the latest one from the Mediated Matter group is no exception. Unveiled last week, the Silk Pavilion "explores the relationship between digital and biological fabrication on product and architectural scales."
Inspired by the silkworm's ability to generate a 3D cocoon out of a single multi-property silk thread (1km in length), the overall geometry of the pavilion was created using an algorithm that assigns a single continuous thread across patches providing various degrees of density. Overall density variation was informed by the silkworm itself deployed as a biological "printer" in the creation of a secondary structure. A swarm of 6,500 silkworms was positioned at the bottom rim of the scaffold spinning flat non-woven silk patches as they locally reinforced the gaps across CNC-deposited silk fibers.
Earlier this year, we came across the 3Doodler, a pen that allows the user to sketch far beyond the bounds a material substrate, namely paper. (Boston's WobbleWorks had more than quadrupled their $30,000 funding goal when we posted about the product at launch; by the time the campaign wrapped up a month later, they'd raised a whopping $2.3m)
Led by Petr Novikov and Saša Jokić, a team of researchers from the Institute for Advanced Architecture of Catalonia (IAAC) and Joris Laarman Studio in Amsterdam have developed a new, patent-pending additive manufacturing technology, known as MATAERIAL. (Pun lover though I may be, it took me a moment to get the name.) The machine is essentially an articulating arm that can create three-dimensional objects on any surface, independently of a build platform.
By using innovative extrusion technology we are now able to neutralize the effect of gravity during the course of the printing process. This method gives us a flexibility to create truly natural objects by making 3D curves instead of 2D layers. Unlike 2D layers that are ignorant to the structure of the object, the 3D curves can follow exact stress lines of a custom shape. Finally, our new out of the box printing method can help manufacture structures of almost any size and shape.
We were pretty impressed with Amanda Ghassaei's 3D-printed records, but apparently the Tech Editor at Instructables isn't content to blow our minds with her digital fabrication prowess just once. As of this weekend, she's back with a veritable encore: a Laser Cut Record.
Although all the documentation for that project is available here, and the 3D models can be printed through an online fabrication service, I felt like the barrier to entry was still way too high. With this project I wanted to try to extend the idea of digitally fabricated records to use relatively common and affordable machines and materials so that (hopefully) more people can participate and actually find some value in all this documentation I've been writing.
As with the 3D-printed vinyl, the laser cut record is hardly high-fidelity... but that's not the point. The point is, it's really f'in cool.
Earlier this year, we had took a look (and listen) at Amanda Ghassaei's 3D-printed 33's. I suppose it's no coincidence that the muffled but recognizable playback obliquely evoked the soothing sounds of "a printer or scanner arm moving back and forth across a two- or three-dimensional stage." Swedish art hacker Rickard Dahlstrand apparently arrived at a similar conclusion, but he's upped the ante by actually programming a 3D-printer to chirp out ditties, "using a Lulzbot 3D-printer to visualize different classical musical pieces." On the occasion of the recent Art Hack Day in Stockholm, he took the opportunity to "explore the alternative uses of 3D-printers to create unique art by 'printing' classical pieces of music while at the same time acting as an instrument and performing the music itself."
In short, the step motors—which control the movement of the stage and print head—generate pitched tone based on their speed, such that it is possible to predict discreet tones by varying their speed. "Microphones on the motors pick up the sound and amplify it." I imagine Dahlstrand determined the correlation between the output in space (XY coordinates) and as sound in order to transpose the tunes as CAD files; the current repertoire includes Beethoven, Rossini, Mozart, Strauss, Bizet and Williams (John, that is).
The hybrid fashion label/experimental design lab, Continuum Fashion, was first on our radar for their 3D printed bikini manufactured with Shapeways in 2011. Since the initial buzz, the design duo Jenna Fizel and Mary Huang have expanded into software, giving design power directly to the user to create their own garment.
With projects like the Diatom's SketchChair floating around, made-to-order furniture and fashion seem to be carving out their own unique—and maybe even affordable—place in the design world. Continuum's CONSTRVCT and D.dress software gives pretty much anyone a creative platform and foolproof software to act as their own fashion designer with no assembly (or drawing skills) required.
The fashion industry, like ID, is no stranger to digital fabrication—particularly with the rising fame of Iris van Herpen, the 3D printing hype is flowing directly onto the runway. With the D.Dress software, the guesswork is taken out of the avant-garde dress making completely. The CAD-savvy might recognize the D.dress's triangulated surface structure as a consideration more for ease of outputting quick .stl files than either aesthetics or sewing. To Continuum's credit,however, they make a good case that "the triangulation also ensures that almost any drawing will produce an interesting form, and in fact produces good meshes from mere scribbles."
The shape of a 3D printer is easy to envision: "Form follows function" dictates that they all have rigid parts aligned in the X-, Y- and Z-axes that the print head will travel along. But a fellow named Jon Wise is tinkering with an alternate design that uses radial arms rather than a grid-based Cartesian system of plotting, making his mock-up look less like a box and more like a drawing machine.
"Standard 3D printers require significant mechanical structure to provide movement on the three axes," writes Wise. "This alternative design uses radial arms with a minimum of mechanical engineering." If 3D printers were all designed this way, assuming the pieces had the appropriate rigidity, they could use less materials in their construction and, through clever design, be made more portable. Sure there'd be more calculations required for plotting, but Wise farms that out to the diminutive, inexpensive Raspberry Pi computer board:
This brains-over-brawn approach is intriguing. It would be neat if it not only folded up, but if there were little laser sensors hooked up to a processor that could constantly make microadjustments to the stepper motors to compensate for slop in the parts. If even a clumsy craftsperson could slap one of these together, and a computer brain did the heavy lifting in terms of calculations, it could open up a lot of possibilities for bringing precision production to areas where precision is in short supply.
The Photon 3D Scanner we mentioned last week has been overfunded by $140,000. The Photon, you'll recall, will allow you to inexpensively scan things on your desk.
A team of Heriot-Watt University researchers in Scotland, however, have developed a 3D scanner with a very different reach: It scans objects that are up to 325 meters away from it, and will reportedly be able to scan at a distance of 10 kilometers in the future. The researchers documented the results achieved with their functioning prototype in an optic science journal, and according to 3Ders,
The new system works by sweeping a low-power infrared laser beam rapidly over an object. It then records, pixel-by-pixel, the round-trip flight time of the photons in the beam as they bounce off the object and arrive back at the source. The system can resolve depth on the millimeter scale over long distances using a detector that can "count" individual photons.
However, you'll notice that while the mannequin scanned with something approaching fidelity, the face of the Asian gentleman (one of the co-authors of the research paper) is severely distorted:
This would seem to indicate that Asian people are immune to laser beams. For their part the researchers claim that human skin and perspiration muck with the scanning technology, but I think we can all agree that my explanation is more compelling.
As for applications, the team forecasts that their long-range 3D scanner could be used to scan large natural environments, like the side of a mountain, for example. They estimate that "a lightweight, fully portable scanning depth imager is possible and could be a product in less than five years."
"We've visited various makerspaces," write Adam Brandejs and Drew Cox, "and we were surprised to find a lot of people that had bought 3D printers didn't really know what to do with them." Jeez Louise, I can tell you what to do with them! Assuming affordability, I'd use a 3D printer to create precisely-sized tool cutouts as custom drawer inserts, to organize my hand tools; I'd make a nozzle adapter to turn a Shop Vac into a micro-vac for cleaning inside dusty machines; I'd make cases to carry irregularly-shaped objects.
All of those things require CAD files of the objects they'll carry and fit into, and that's where Brandejs and Cox come in. They're the multitalented desigers/programmers behind Matterform, a Toronto-based startup trying to get an affordable 3D scanner on the market. By making it easier to get input data, they're thinking, a barrier to 3D printing will be lowered.
Matterform has spent a year working on the prototype for their Photo 3D Scanner, and it looks pretty sweet:
Next step? Getting the thing funded so it can go into production. The Photon is currently up on Indiegogo, and while the $349 Early Backers price is sold out, there's still plenty of slots left to claim a first-batch unit at $399.
At press time the Photon was up to $61,541 of an $81,000 target, and with 30 days left to pledge, it looks like this thing will happen.
Electrical discharge machining, or EDM, is a wicked (and expensive) way of cutting metal to extremely fine tolerances. It's a CNC process whereby two electrodes are precisely placed at opposite ends of the workpiece; a powerful spark is then generated between them, essentially vaporizing the material in the path of the spark. The dross is then flushed away by a constant stream of de-ionized water running across the workpiece. Check it out:
Up above is The Art of Japanese Joinery, a book I jealously guarded for years because it could only be found at Kinokuniya; nowadays you can get it on Amazon. Inside are photos of the fiendishly complicated joints that traditional Japanese carpenters used to cut using pull saws (like this one on Hand-Eye Supply) and the like, constructing both houses and enormous temples completely free of metal fasteners. And the joints were strong enough to withstand earthquakes.
It's hard to believe the book is from 1977, as everything in it looks like it was cut by a CNC machine rather than guys named Yoshi and Taka who drink Ki-Rin on the weekends. Nowadays, of course, the Japanese traditional carpenter is being supplanted by CNC machinery, but at least they're still used during the assembly and final finishing phases of house construction. Doobybrain dug up this video from '11 showing a Japanese CNC shop preparing lumber for house construction, followed by footage of the builders putting it up:
A buddy of mine who works in construction has disabused me of my builder envy; there is nothing fun, he has pointed out, about straddling a header and trying to wrestle a Glulam beam into place with guys named Bobby and Tommy who drink Miller on the weekends. But seeing the guys in this video snap each precisely-cut piece into place looks... satisfying, no?
You've heard of MakerBot, Cubify and Solidoodle. And if someone finds out you're into ID and asks "Hey, what do one of those 3D printers go for?" you can spit out a ballpark figure, and maybe some basic stats.
But there are tons of other 3D printers available on the consumer market, and plenty of questions you might not have the answers handy to: Which can I most easily buy if I'm in India, the Netherlands, or Taiwan? What are the build envelopes and prices? Which use fused filament fabrication, which go with fused deposition modeling? Are there affordable ones that do stereolithography?
To answer these questions and more, the good folks over at 3Ders.org have put together a handy database listing over 100 different types of 3D printers with their relevant stats, countries of origin, current stock availability, and prices (the lowest-priced DIY machine starts at US $189, while the high end of the consumer market goes into five figures). Anyone across the globe who's looking to get into 3D printing will find it a handy place to start narrowing options.
Here's something we're curious about—in a year's time, do you reckon this list will be longer, or shorter?
Well folks, it looks like 3D printing is about to get a lot bigger, literally, for consumers. In January a company called re:3D debuted their Gigabot, a large-scale 3D printer with an enormous 24" x 24" x 24" build area. The larger capacity was designed to print out the things re:3D wanted to make, namely, rainwater collecting devices and composting toilets for the developing world.
After the Gigabot was unveiled at Houston's Mini Maker Faire, interest was so high that re:3D subseqently launched a Kickstarter campaign for mass producing them. With prices starting at $2,500 for a kit and up to $4,950 for a flatpack requiring some assembly, buy-in was not cheap; despite that, the interest was real, as they've topped their $40,000 target with $105,000 at press time.
While there's nearly 48 days left to pledge, those looking to get in on this had better hurry—there are just a handful of machines available starting at the $3,250 price bracket.
Here's a closer look at the machine, its capabilities, and re:3D's original mission for it:
Illinois-based Superior Joining Technologies is "a Woman-Owned Business," as they proudly point out; for several years they've also been the owners of an incredibly bad-ass machine called the Trulaser Cell 7040, a 5000-watt beast manufactured by Germany's Trumpf.
The Trulaser 7000 series are multi-axis laser cutting and laser welding machines that run off of CAD file input. What can these machines do with metal? A better question is what can't they do. Observe their sheer majesty:
By the bye, while I rate this video highly for the machine's kick-assery, I still think the cat guy would've made this video awesome.
Well, it's hard not to be flattered by this one: at the end of a post about Samuel Bernier's recent 3D-printed IKEA hack, I idly mused that he should join forces with fellow DIYer Andreas Bhend of Frosta remix fame. It so happens that Andreas did read it, and the two actually acted on my suggestion to get together and "collaborate on a series of IKEA hacks with bespoke 3D printed parts and instructions..."
Andreas, a student from Switzerland, was only a short train ride from Paris, where Samuel works at le FabShop, a 3D printing startup. Even though they didn't know each other (nor do I know either of them, for disclosure's sake), they accepted the challenge and came up with a couple projects during a two and a half day charrette: a child's sled and a balance bicycle. Samuel shared the whole story:
This project has a lot of improvisation into it. When they decided to work together, Samuel and Andreas still didn't know what they would do. Andreas had made his marks with the IKEA's Frosta, a 10€ stool that was inspired by Alvar Aalto's classic. Samuel, on his side, was famous for his use of affordable 3D printing. The idea for a Draisienne came from thin air. Or maybe the wheelless bicycles that young children ride on Paris's sidewalks inspired Samuel. Few details were decided when Bhend brought the stools to Paris. The assembly, the wheels axis and the final proportions were all left for the imagination.
All these choices were made while manipulating the industrialized parts. The only tools they had were a drill, pliers, a metal saw (not appropriate) and... a Makerbot Replicator 2 (from le FabShop). There was a debate about what colour to choose for the printed parts. Since yellow didn't have enough contrast and blue was a little bit boring, they chose orange, a reference to Bernier's Project RE_.
Remember Iris van Herpen's digitally-fabricated clothes from Paris Fashion Week? While we didn't realize it at the time, the laser-sintered dress was made from a special material sexily named TPU 92A-1, specifically engineered to provide "durable elasticity." Translation: It's bendy as all get-out, but highly abrasive- and tear-resistant, and appears to have pretty excellent shape memory.
Take a look:
Materialise, who laser-sintered the van Herpen dress, has announced they're making the material available to its professional RP services customers. It seems it hasn't yet trickled down to their consumer-level i.materialise site, keeping it out of reach for most of us, but hopefully it's just a matter of time.
Andras Forgacs is the CEO of Modern Meadow, a company that's seeking to mass produce bioengineered meat that comes out of a bioprinter. Why? Because commercial meat production is a highly resource-intensive process, and Modern Meadow argues that their product is a more sustainable way to provide protein.
While Forgacs and co. have been at this for some time—below is a video of him eating Modern Meadow's early product in front of a TED audience in 2011—last week he submitted himself to a Reddit AMA ("ask me anything") session, clearing up some things I'd been confused about. Here are some excerpts:
Q:What is the input, what is the output ? Explain like I am five, for 1 kg of meat , what is needed?
The input are largely animal cells (muscle, fat and a couple other types - taken from a donor animal through a biopsy) and cell culture media (a soup in which the cells grow made of amino acids, vitamins, minerals, salts, sugars) and then energy to run the process. Output is muscle tissue that is then matured/conditioned until it is processed into meat products.
Q: Are the input animal cells consistent with the output? Or will there be a blending of pig/cow/horse etc to create "beef"?
A: No blending of different species. Pig stays pig. Cow stays cow. Etc. We are using multiple cell types from each animal but staying with the same animal. In fact, an advantage of this approach is that it can ensure purity. Because we control the inputs and have such a tight process, we know the exact ingredients of every batch. No mystery meat surprises like the recent one from the UK.
In the aforementioned video, Forgacs spends roughly the first half explaining why bioprinted meat is a good idea, and roughly the second half whipping up a snack in a raclette, then tosses it down the hatch:
Now whether you're grossed out by this or not, you've gotta be wondering: How does it taste? Writes Forgacs,
I've tasted it as have my colleagues. We've only been able to have small bites since we're still working on getting the process right.
I cooked some pieces in olive oil and ate some with and without salt and pepper. Not bad. The taste is good but not yet fully like meat. We have yet to get the fat content right and other elements that influence taste. This process will be iterative and involve us working closely with our consulting chefs.
While I fully understand Modern Meadow's sustainability rationale for pursuing their goal, I'm a little squeamish about eating the stuff. But I can definitely get behind the company's other goal: They hope to successfully print leather, which would be pretty awesome.
The most awesome thing I've seen all week: Portland-based physicist David Neevel has combined CNC and robotics with a dose of Rube Goldberg to perform a task of vital importance. Along the way he's had to make some stiff sacrifices. I know you think this video's going to suck, but trust me, it does not: