All language subtitles for Bitchin Rides Road To The Ridler S01E03 Too Late to Turn Back Now 1080p DISC WEB-DL AAC2 0 H 264-RAWR[EZTVx.to]

[upbeat music playing]

The whole goal with this car
has been to build
an aluminum Corvette.

Somebody who might say,
"Well, why would you do that?

Corvettes are composite
and Corvettes are this
and that and the other."

But what it is
is kind of a throwback

to some metal craftsmanship.

And to doing something
that hasn't been done.

So we're gonna
build this entire car,

the floor, the outer shell
and the framework
all out of aluminum.

We've got the whole structure
for the body going together.

Just stoked to do it.

So... stay tuned.

[opening theme music playing]

[Dave] This has been a dream,
well before I was in business.

[Kevin] It's gonna
take a team.

Everybody's expertise,
everybody's input.

[Dave] These cars cannot
be displayed, promoted,

seen by the public
until they arrive
at Detroit Autorama.

[Kevin] There's only
so many teams that have
put these cars together

so it's a great, great,
great opportunity.

[Dave] We'll build a car
that nobody
has ever seen before.

The goal is to build a Ridler.

- Two and a half.
- [Dave] Two and a half?

Well, that's not
a big difference, is it?

Visually, it's a lot, but...

This will give me the line
at which I put it
in the tipping wheel.

It kind of defines
where the edge
of the wheel well is.

So I'm trying to get
that little bit of a flair.

One smack at a time.

[tapping]

[man] And these
are the buck, the structure.

Designed it on the computer
and there's just
so many pieces.

So I had gone through
and labeled them luckily.

[Jordan] I think Kevin's
one of those people

that would see somebody
doing a puzzle

and then take
one of the pieces

so he could be the last person
that put a piece in.

[man] Yeah,
that sounds right.

[Jordan] I'm hoping that
I can get the body done
before I die.

[man] How long does it
usually take someone
to build a body from scratch?

- I don't know.
I've never done it.
- [man] Oh, yeah.

[whirring]

[Dave] So the front
does have a lot more sweep.

It's a little bit more
of a longer angle.

Something just looks
out of place here.

Um...

But I mean, this isn't
super well-defined,
either, right.

I kind of brought it back in

- to kind of match
the front a little bit.
- Right

We can flare that guy open
a little bit more, too.

I didn't wanna go
too far, though.
'Cause it kind of looks like--

[Dave] Actually,
we've got a long radius here
on that lower rocker.

Um, I think that it would be

a little bit, uh, too much
if we go back quite that far.

- But this section right here
is kind of...
- Okay.

- smoothing a little bit.
So, yeah, smooth it out. Okay.
- Yeah, I'll smooth this out.

[Dave] Jordan and I
have kind of worked
on the wheel openings.

And I don't wanna,
like the CF1,

where I just radius
around the wheels,

I want a nice long sweep,

- but not the same
as what the original is.
- Like the Caddy?

And I'll get some
radius' on there

- and make sure that
it's all pretty close.
- Mmm-hmm.

Well, like the original
but I want it higher
and I want it shorter.

I don't want it...
I just don't want it
sloppy looking.

I wanna close in
but keep a lot
of the same style lines.

From right here
to right here...

is where we need to be
just almost,
like just a full...

- Just, uh,
one continuous radius?
- Perfect arch. Right, right.

- And then as it gets here,
soften it out.
- Yeah.

But going back quite that far,
I think we need to come back
to the wheel well, so.

- Yeah.
- If we can just get rid
of that little flat spot

and just have that
little more flow right there,

I think we're in good shape.

I don't know, I think
it's pretty good, actually.

- Swoopy? But tight?
- As in... swoop...

- Tight but swoopy.
- Tight but swoopy.

- Tight and swoopy.
- Hmm.

[Will] I am trying
to accomplish
the dream 'Vette.

The engine,
the whole drivetrain,

the suspensions and the floor.

I mean, it's kind of
a unibody construction,

whereas the frame
will be internal
of the bottom of the car.

The frame won't be exposed
to the bottom of the car.

So that's
a little bit different.

We're doing a V12 engine.

We're doing a lot
with that V12 engine.

We're changing around
the accessory drives.

The drivetrain's very wild.

We knew that the suspension
was gonna tie

- to the drivetrain, right?
- Right.

The whole thing is designed
around a full floor.

I think that's
the coolest part about,
it's just like standing alone.

Any of those parts,
the engine, the structure
or the body do nothing.

- They would just
fall apart by themselves.
- Right.

[Will] Where I'm at now
is I've got

a really good shell
for the floor.

And we need to get it out
of the computer

and turn it into a real piece.

And the way I'm gonna do that
is build a fixture.

I've been working
on this fixture design.

This is what it looks like
after the floor
has been removed

and we just have
the structural pieces.

Our wheel wells, the tunnel,

and the floor platform itself.

This is the next tool
we need to build,

so we can dream
of getting this floor done.

For the most part,
I had the whole fixture
laser cut.

So it's ultra-precise.

Super strong, super cool.

It's gonna tell us
every location we need to

to get the floor done
that's gonna work
with the body.

Then within a couple of days,
I'll have all the aluminum,
which is also laser cut.

We should pretty well be able
to just tip the edges up
of each of the pieces

'cause they're all gonna
come together at a radius.

But lay on here and fix her up
and hopefully
go together really fast,

which will make us all happy
because we're, uh,

definitely pressed for time
at this point, so.

Once we have
this floor all constructed,

we actually have basically
a frame superstructure,

which is all three eighths
aluminum plate.

It should basically
puzzle together
very much like this fixture

That creates the frame inside.

We're basically building
a unibody car

with a superstructure frame
inside it.

So this car
should be so ultra rigid,

which is good because
this engine's gonna just
produce a lot of torque

and will want to twist
a little aluminum car up.

It should be super strong.

Okay. I'm just trying
to sort out
what the hell piece is this.

[laughing]

The trick about the Ridler is,
I mean, a lot
of different stuff has won.

It's not the Grand National
Roadster Show.

It doesn't have to be
a particular car.

It just has to be
an excellent car.

All we can do
is cross our fingers
and put our best foot forward.

And then, uh, we'll see
when that day comes.

It all comes down--
You put your
best foot forward,

that's where the payoff is.

And if it's not your day,

you do your damnedest
to appreciate
who might have bested you

and then you try
to learn from that.

And then you find them
in the parking lot
and you steal their hamburger.

'Cause nobody's going home
with my lunch.

Overall, through
this little car, I mean,
we had to think way ahead.

So when that came down
to the chassis
and ultimately the floor,

the thing I wanted out of it
is to be aerodynamic.

I wanted to have
some level of racecar-inspired

aerodynamics under the car.

So these are the front
inner wheel houses.

Besides the tunnel,
this is probably the most
intricate piece in the floor.

This is a big shrinking tool
to get the dome shape

that I need.

I stretched it through here
and then I'm gonna shrink this

and this edge here.
It's gonna take a while.

[dramatic music playing]

If I'm patient, then I won't
over-shrink anything

and basically, like,
make a mess of it

because the shrinks
can kind of fold

on top of each other
if you're not careful.

But really, that just requires
a little patience.

Don't go too heavy
with the machine.

There are other processes
you can follow,
but this is as good as any.

This machine's incredible.

[dramatic music continues]

So now we've run that edge
and you can see

it's got this bend
from us rolling it up

and it gathered a bunch

Now we'll basically stamp
right down through that bend.

And because the bends there,
it can gather that easier too.

You can see right now
near the edge,
it has a big effect

because it's dealing
with less material.

It's not in the middle
of the panel.

So what we do is we go
and shrink this edge

and then we work our way
back from there.

It is basically
grabbing the material
and shoving it together.

That's gonna make
that radius smaller

and and that's effectively
what we're doing.

You can see
it's just a process.

The shape will get there.
It takes a minute.

Or an hour... or two.

Not only am I shrinking it
here on the machine
on this shrinker,

but the way this works
is kind of indifference.

I can stretch the center,
that will make it grow.

Then I shrink the outsides,
that makes it shrink.

And that together
makes the entire machine.

So I'll go run
the power hammer

and run it through the center
for the most part.

Then all shrink
the rest of this up,

but to smooth it
and ultimately smooth it.

I'm gonna run it, all of it,
through the power hammer.

- [hammering]
- [dramatic music playing]

[Will] The fixture's built

and I've been working
on the wheel houses,
the inner wheel houses

and It's just a lot
of back and forth.

I mean, you got to shrink
and stretch every little piece

to get it to fit
the buck perfectly

and it just feels like
I'm getting my miles in.

You can see our line here.

This is where I want
that dome shape.

This I just want
to be a cylinder.

Instead of using a hammer,
I'm using this
rubber band basically.

It makes the top die soft,

so this die can push
the metal up inside that
little bit of banding

and bend it.

Obviously, not enough.
[laughs]

[dramatic music playing]

[Will] Still that is so funny.

I'm going back and forth,
back and forth

from the power hammer,
shrinker-stretcher,

I mean, it's just been

back and forth,
back and forth.
That's all I do.

[hammering]

It's even
and it's looking okay,

but, just need to go more.

2
But ultimately,
what I'm looking for

is for it to touch
basically all the ribs

as close to the form
as possible.

So, almost
and it's getting closer.

I think I need
to beat on it here

and, uh, just kind of
push the shape around.

This edging here is saying
that it's not great.

That's not what we want.

I'll probably shrink
all of this a little too much,

so that I can
hammer it back out

up to the shape
that I really ultimately want.

More. This needs more.

Just when you thought
you were done.

Needs more.

[dramatic music playing]

[hammering]

Round 77. [laughs]

- So there was a lot of...
- Shrinking and stretching
going on.

A lot of shrinking
and stretching going on.

[Kevin] And back and forth
and back and forth?

- Back and forth,
back and forth.
- [laughing]

[Will] Not too bad.

[man] Nice.

[Will] I think it fits
well enough
to give my freaking brain

- a break for half a second.
- [man laughs]

[rock music playing]

[Will] For the most part
on these floors,

the panels are flat.

But where we join
each of the panels,

we don't want
just a square edge.

So we're rolling the edge.

Each of these pieces
individually, are very weak,

but once we get them
all put together,

then, you know,
it'll be a nice floor.

And we do want it flat,
so that it just looks
crazy smooth

and aerodynamic,
that's kind of
what I'm after, so.

I'm just putting these,
uh, simple rolls
in here right now.

You know, I designed
all this in the computer,

but I want
to get it all close.

Kind of in the real
initial fab stages here.

So I'm gonna get
all these pieces basically
put together, bent close

and then, as we join them
with each piece,

then we'll make sure
that they're spot on

and fitting
the way we want to.

It seems like everything
I get into these days,

everything is
a challenge for me.

I mean, uh, nobody gives me
the task that I've
done before, I swear.

[man laughs]

Looks like I gotta
shrink right here to get it
to lay down a little bit.

So... let's go hit
the shrinker.

This one,
once you have a flange,

shrinking and stretching
this edge

defines what
this profile does, you know.

So it was teetering about
right here on the panel,

around the body or whatever.

So you just gotta
shrink that a little bit

to reduce that high spot
so it can lay down.

Okay, let's try that.

It's not teetering
there any more
but now I gotta...

I'm concerned it might have
a tiny bit of a gap there,

so I might just
stretch that out
just a tiny bit

to get it to relax
so it's right there.

It's really close, though.

[hammering]

[Jordan] I think this one's
sitting pretty good
where I like it.

It doesn't feel like
there's a gap or anything.

I think we'll move on
to the next panel.

We'll start with
the regular tipping wheel

and define the line
that I want it to tip at.

Since it's on
a curve like this,

I gotta stretch this edge,
this flange,

to get it to lay down
like I've done
on the other side here.

This one, we gotta stretch it.

So there's my scribe line.

Yesterday I came in here
with a razor blade

and just kind of scored
the inside edge of all these.

So that's what
I have to aim for.

We'll hit it again.

[upbeat music playing]

[Jordan] A little better.

Now I'm gonna
kinda persuade it
to tip up a little bit

by putting pressure on this
as it goes through.

Okay, now we can go
and stretch this edge

and help persuade
the tip down.

- This machine
just smashes metal.
- [hammering]

If you have
the right dies in it,

it's usually gonna stretch.

But if you have, like,
the thumbnail dies in it,

you can work it
like the pull max
that fits thumbnail dies

and shrink the metal.

But, it's a really
noisy machine.

I don't prefer it
for most things.

That's probably good enough.

Aluminum is about
as forgivable as steel.

Wonk-wonk.

Finish tipping that over.

I'm gonna try it
on the wheel over here.

Like, if I stretch it too far,

it's no problem to go back
and shrink it a little bit
here and there.

It's not as unforgiving
as you'd think.

If it was a different alloy,
it might be more finicky.

But 3003,
it's pretty malleable.

- You can hammer it around
and it'll forgive you.
- [hammering]

It's sure nice
having a mockup body

to be able to just
Cleco this stuff to

and know exactly
where you're at.

We got a high spot there.

I think I might try
stretching this a little bit

to get it to lay down
right there.

It just doesn't flow
quite right.

After that,
it should be pretty good.

Gonna do it on
the power hammer
again real quick.

[hammering]

Well, I'm gonna doink that in
and it might be just right.

[hammering]

Yeah, you can feel it
teetering right there.

Think I'll just shrink it
a little bit right there.

And then it should maybe
be kind of close-ish.

[hammering]

[dramatic music playing]

[hammering]

[grinding]

And then it should be
good enough to move on
to the next panel.

Or go to lunch,
whichever comes first.

That's good enough.

I'd say it's time
for lunch or something.

2
[Dave]
We have obviously

the biggest project
that Kindig-it Design's
ever had,

this Ridler project.

But we've also got
a whole shop full of cars

that we still have
commitments to
to get 'em done.

[legendary music playing]

[Dave] There's Jen and Sue.

- Hello.
- Hi!

- Hey!
- How are ya?

Good, good.

- [Dave] Great to see you guys.
- Hey, guys.

Oh, so good.

Today we're in Michigan.

We're at our very favorite
place to make paint,

that is AkzoNobel
which was Sikkens.

And, of course,
my modern classic line.

We're here to develop a color
for a very special project.

So, you know, I figured
since we were here,
I wanted to get with you guys.

Um, we have a really special
opportunity right now

to build something to go
and compete at Detroit.

Now I have already kind of
had an idea of doing
some silvers on red interior,

- but, to be honest with you...
- Not my favorite.

Well, and it may not be
my favorite, either.

I wanted to get with, uh,
Rick and maybe the guys

and just see
if we can develop...

I wanna do a special red.

Well, all of the places
that you could go,

this is the place to be.

- Nice.
- So, everything
that you guys have in Utah,

we have here
on a much broader,
grander scale.

So, you guys can start...
You can go in the lab,
the color development.

- You can cocktail
your own little color formula.
- [Kevin] I can probably

come up with my own colors
that might even be better

than the ones
you came up with.

I doubt it, but whatever.

- [laughs]
- You can make some blues,
you can make some reds.

I think that we're definitely
in the right place.

I know that you got
some wonderful people here

that will help us
kind of get my vision
on a panel,

so we can kind of
figure that out.

And then,
we'll kind of develop

the rest of the colors
and stuff.

But I think
this would be really...

- [Sue] It's exciting.
- Yeah.

Is this what we're gonna
pick from here?

- No. We're gonna go
see Rick and Bob.
- Okay.

Down in the mix room.

- Awesome.
- Let's do it.

Let's go get creative.

You know,
I have a really good idea

of where I wanna go
with this color.

I know kind of the direction,
I want it to flop from golds
and reds and so forth.

I've got it down on paper,

but now I gotta
make it actually in liquid

and make it look good
on a panel.

- Hey.
- Hey, guys.

Look at this. This is even
cleaner than our shop.

- How are ya?
- Good, good, good.

- How's it going?
- Very nice to see you.

- Good to mee you.
- How are you?
Nice seeing you again.

So, I have some ideas.

We have this huge build
that we're putting together
for, uh, the Detroit Autorama.

- [Bob] Mmm-hmm.
- So, we're gonna try and build
something kind of cool

to go and compete.

And I've had these really
kind of awesome visions,
I think,

and we've all kind of
agreed on the silver

with the red interior.
But the more I kind of
think about it,

I just wanna kinda open up
some options.

I'm kind of thinking
of actually changing gears.

I'm thinking maybe in the red.

Something that'll pop off
of the black carpet display
that we're putting together.

So, I'd like to just kind of
play around. I wanna look at
some different flops.

I have kind of an idea
of where I wanna go with it.

But, obviously,
you guys are the pros.

You're the paint guys.

[Bob] Something
other than silver?

[Kevin] Yeah, silver
is not my favorite.

I mean, I think it'll do,
but I think there is something
out there

- that is greater than that.
- That'll pop, yeah.

- Yeah.
- Something that'll pop.

[Bob] I think
we can figure something out.

- Let's do it.
- Far out! Let's play.

- [Rick] While
you're here...
- Yes!

...we have some things
for you.

- If you're in the booth...
- [laughing]

- ...this is--
- Oh, they got our names
on 'em.

Hey, Thank you.

- Do you want me
to wear that one?
- No, no, no!

You can wear the "Kevin" one.

[sweeping music]

[Kevin] Tell me... tell me
how official I look.

- [Dave] This is awesome!
- [Rick] Yeah.

You could be
one of our lab techs.

- [Dave] You are official.
- We need a clipboard.

- [Rick chuckles]
- [Dave] Do you need
a clipboard?

- I feel like--
- Taking notes?

Yeah.

[Dave] Anytime
I'm mixing paint,

really, I've got kind of
an idea of where I wanna
go with it.

But of course, you always
stumble into those

happy accidents,
as we call 'em.

So, we're hoping
for some really cool
happy accidents.

And if nothing else,
if all else fails,

we just go with
what I have already
in my mind.

Come on back, guys. I think
we got some reds
we can look at.

- We have some blues,
we got some greens.
- [Kevin] Hmm.

- We got all--
- Can we actually mix
some stuff here?

- Absolutely.
- Okay. Awesome.

- Awesome.
- [Bob] All right.
So, here's our toners.

And, yeah,
what are you looking for?

I want to do a red,
but I want some, maybe,
gold undertones.

I want it to be a darker,
almost burgundy, fine pearl,

but I want a gold undertone.

The more I look at that,
I'm really envisioning
doing the display in black.

And much like my renderings,
a lot of times, I'll do
a black background

to make the color
pop off of the page.

So, that's kind of
what I'm thinking is,
I'm wondering,

is the silver gonna be enough
with the red interior?

Is there enough red
to bring that out?

Is the engine gonna be red?
and at that point,
I'm, like, going,

"I don't know if I really want
the engine red."

So, now, I'm thinking
red on the outside,
make it more...

popping on the outside,
and maybe doing some gold
or whatever interior,

- on the gold side
with, maybe, browns.
- [Bob] All right.

So, I think, definitely
something with an undertone
of gold,

I think, is really where
I'm kinda wanting to go.

The color is the first thing
anybody sees.

- Exactly.
- So, you know,

we'll try to make it pop
as best we can.

- Cool.
- I'm in.

- [Bob] Let's get that
kind of gold undertone first.
- [Dave] Okay.

And, then, we'll start
maybe adding some burgundy
or something to it,

till we get something
how we like it.

I think this is very important
because I'm not a fan
of the silver.

So, I really need you
to come through
on some epic color.

So, Kevin can be
my mixologist.

[instrumental hip-hop music]

You kind of...

You kind of have this, um...

Darth Vader thing
kind of going.

I'm doing my job.
You guys need to do yours now.

- [Dave] I'm sorry, I couldn't
hear a word you said.
- [all laughing]

- Thank God!
- [Kevin] Yeah, you might
like this too much.

[hip-hop music continues]

[Dave] So, we start with gold,
then we add the red to it?

You think that's the best way?

[Bob] I think
that's probably the best way.

- We'll keep track of it
as we go along...
- Yeah.

- ...what toners
we're putting in...
- Do you mind if I use this?

...and the weight.
Yeah, absolutely.

And, so, that way,
once we have the weight,

then we can figure out
how much binder to add.

- And, now you have
a complete color.
- Okay.

So let's go, um...

- Let's go ahead--
- What color would you suggest?

Maybe find a medium gold?

Yeah, let's do one of these
specialty toners.

Let's try this one.

Okay, which one's that?

That's 878NB.

- 878NB.
- That's gonna give us
that gold.

[instrumental hip-hop music]

[Kevin] That's cool.

[Dave] That's
a really cool color. Okay.

- So, now, let's--
- Go into the reds.

Let's, uh... let's give it
a little bit of...

Ooh, that's a little
color-shifting pigment there.

This is red to gold.

- This is 877RA.
- [Dave] Okay.

[Bob] We'll see
what happens when we add
a little of that.

- [Dave] You know what? Can I
use this and make something?
- [Bob] Yeah.

[Dave] Let's just see
what this is. Is this
gonna screw it up?

[Kevin] Look at that! Okay,
that's super, super orange.

That's really orange.
We need a lot more red.

2
[Kevin] Look at that!
Okay, that's super,
super orange.

That's really orange.
We need a lot more red.

Today, we're in Michigan.
We're at our very favorite
place to make paint.

[Kevin] All right. So, you...

- Is that a translucent red
that we were just using?
- Yeah.

We're here to develop a color
for a very special project.

- [Kevin] It's got a lot of
violet to it. See that violet?
- Yeah.

Which I don't hate.

- Let's go...
- [Kevin] Need more red.
You need to get more red.

- Let's get more red.
- Let's get more red, yeah.

[upbeat instrumental music]

[Kevin] I think this stuff
is super-potent.

- You think so?
- [Kevin] Yeah.

- Correct.
- [Kevin] Mix it up.

[Dave] Oh, yeah.
Look at that. Oh!

- [Kevin] Look how it just
took it from orange to red.
- [Dave] Wow.

- Too much?
- [Kevin] That one's on me.

That's pretty.
I want more red in it, though.

- [Kevin] That was only
a little.
- A little bit more red.

Or am I thinking
that it needs to be more red,

but maybe, when it sprays out,
I see a lot of red to it?

- But it's still really
quite orange.
- [Kevin] Orange.

[Dave] Let's go
a little bit more red.

This place has all of the toys
and toners to make
a bitchin' color.

Let's stop right there.

[upbeat instrumental music]

Stop.

Let's see what that is,
'cause that's quite a bit more
than we had.

Oh! [laughs]

Look at that.

That's what I'm talking.
Look at that.
Look how pretty that is.

It'd be interesting
to see what the flop is
on that.

I'd like to see this
before we go any more red,
because I don't want it too...

blown out, just red-red.

I want those gold undertones,

and I can see
just that little bit of...

you know, model right here.
You see that?

See, that's kind of what
I'm after, is...

I know, obviously,
it's just a white,

but you see
how dark that burgundy is,

and you get that real orange,
kind of copper or gold
look to it.

[Rick] Yeah.

[Dave] Can you imagine that
with, like, a tan
or a brown interior?

[Kevin] Mmm-hmm.

Almost like a cork.

I'm gonna say,
let's start with this one
and let's get some, uh...

let's get some binder to it.
See if we can do a spray up.

Kevin's a better employee here
than he is back in Salt Lake.

Honestly, he's following
all the directions.

- Ah, doesn't know.
- [Kevin] Doesn't know what?

We gotta write that down, too.
Hang on.

It's weird. I've never seen
anybody actually...

Well, I've never seen him
actually do that. So...

Uh-uh-uh! Dude!

This is a really good
training facility for him.

Maybe I'll leave them here.

[Kevin] Okay, so are we
gonna try... What,
we're gonna do one?

No, I just wanna see where...
I know we are. Like...

Yeah, but you know what else
we gotta do, is actually...

Let's spray this out.

I wanna see
what this looks like.

And, then, maybe we can
come up with another color
for the engine drive train

the undercarriage stuff.

[Kevin] I mean, yeah.
But we have all of this stuff.

- I know that.
- It's fantastic.

There's a lot of cars
out there, Kevin, you know.

- Baby steps, Darth Vader.
- [laughing]

- [Kevin] I'm excited.
- Darth Kev-Dog.

You know, there's always
a little bit of stress

trying to create
something new,
and make sure that it

not only makes sense to you
in your mind and what
you've thought about,

certainly for me,

but also to make sure
that other people around
see that same vision

and get the idea
and the combinations
and so forth.

This was what I was
originally thinking with a...
kind of a reddish interior,

which I think would still be,
you know, nice.

It reminds me... You know
what it reminds me of,

is Johnny Martin's car,

which I really loved,
but it's already been
kind of done,

- silver on red. Right?
- Okay.

- And, then, I think this was
one of the first ones.
- [Dave] Mmm-hmm.

[Kevin] So, that's the red,
and that's...

Is that what
you were looking for?
It's almost like a...

It's almost like
a transparent red,
in layman's terms,

over the silver.

[Dave] And, really, right now,
the pressure is on me
to create the color

for this biggest project
we've ever built.

See how much...

[intense instrumental music]

I just... I'm telling you
right now, that gold undertone
is just...

gorgeous.

Yeah.

- You like that?
- [Kevin] Yeah.

- I like it.
- [Rick] Me, too.

[Dave] See how it goes on
almost like a violet side

but, then, it comes back
up here on the roll
of the body line,

- and it's gonna show
depth of the body as it rolls.
- Yeah.

- And, then, the highlights
will just be amplified.
- Yup.

So... And this is
the sage list with black.

- So, that's a dark
and sage list that we--
- Yeah! See, look at that.

[Kevin] You know what
we might even wanna try out?

We could try out with this,
maybe doing some different
sheens with this.

- I like the color.
- Mmm-hmm, I like
the color, too.

But I think I almost
envisioned that
being a matte finish

to offset against the red

It's already
a contrasting color,

but to think about
the contrasting sheens also,

- that would be cool.
- Well, yeah. And I think
that, definitely,

this would be
a great accent color
with the browns.

You know, looking at
all of these killer swatches
under the sunlight,

this really has given me
a new breath of fresh air.

I'm really in love with this.
I think this is definitely...

I think this is definitely
something to continue
to explore.

I wanna probably draw it up
and see for sure

- if this is the color.
- All right, so is it
swaying you?

Oh, I'm very much swayed.

- I like that.
- 'Cause, like I said,
I like this color.

But I just think it's been,
you know, a red
on the interior

with this color.

It's a great combination,
but I think that this

would stand off of
the black background more.

- More a red Corvette
is kind of telltale, you know?
- [Rick] Mmm-hmm.

Definitely, a tan interior,
I think, is gonna go
really good with this.

And I'd love to see
what this looks like in
a matte finish next to that.

But I'm already convinced
that that's just great color.

I know, right? I agree.
And I am super pumped, again,
'cause, like I told you,

this is a great color.

But, to me,
this is like vanilla.

This is the norm.
This is the same, right?

- This is exciting, I think.
- [Dave] Yeah. Yeah.

All right.
Well, let's get back
and you can do...

- I'll do some doodles.
- I wanna do some doodles.

- I'll do some doodles.
- You should do...
Okay, doctor.

- Doctor. [laughs]
- Yeah, I'd like to
see that. [laughs]

- Okay. Thanks, Rick.
- Thanks so much
for the help, Bob.

Thank you very much.
You guys did awesome.

- Can I take those with me?
- Sure can.

You don't need those? No?

- [Kevin] Cool.
- [Dave] All right,
let's pack those.

Think we got it.
I cannot wait to get back
and start painting this car.

[sweeping instrumental music]

2
- [playful instrumental music]
- [hammering]

[Jordan]
Playing with the hood,
trying to tip these flanges,

I got the shape of the hood
all dialed in from the old
fiberglass hood.

This is probably
one of the last pieces
on the front end.

You know, just making
a nice, sharp edge out of it.

Then, we'll go shrink
and stretch the corners

to get it exactly the profile
that I'm after.

Gonna go around, get this edge
nice and 90 degrees,

nice and sharp.

I made a couple of templates

to help me out
with the profile.

So, I made this
to the actual hood,
so I can just set it on here.

'Cause it's hard,
when this is sitting
on the hood,

to tell what gap is in there,
you know?

So, I can see
there's a gap there.

I just need to shrink
this edge to get it to come up
and meet that.

Makes it an empty little tool
to get the profile
right there.

Made it for the front
and the rear.

Progress, yup.

One smack at a time.

[intriguing
instrumental music]

[hammering]

[music ends]

2
[dramatic instrumental music]

[slow instrumental music]

[Dave] You know, honestly,
to get all of this stuff done

in a reasonable amount
of time,

I think we're gonna have to
kind of divide and conquer.

I think I have these
top roof panels
fitting really well.

Got the edges all tipped in
where I like 'em.

It's touching. I went along
and did reference marks
of how it fit together,

and how to line it up.

So, I think I just need to
weld it together.

No more excuses not to.

I don't know
if I'm nervous, just...

or overly cautious.
I don't know.

It seems like a big,
irreversible step.

You wanna clean the aluminum
with a clean stainless brush,

just get all the oxidation
off of it,

so you have a nicer weld.

[intriguing
instrumental music]

[Dave] I wanted
to come up with something
that was different

from what we normally build

and paid homage
to other supercars,
or American sports cars.

And I thought of the Viper.
I thought that was
a perfect thing

on the GTS roof,
where it had just that
little bit of lump

over the driver and passenger.

[Jordan] Aluminum, you wanna
weld it on AC for this stuff.

It's fairly thin. You wanna be
careful not to put
too much heat into it,

or blow through it
or anything like that.

Like, just how slippery...
Like, the roof line
on that car,

and just how it cascades
down to the bottom.

[Jordan] Welding it.
Close the gap.

But I'm gonna open it
back up a touch.

So, you smack that tap weld,
and open that gap back up
to where you want it.

So, let's test it
really quick.

[intriguing
instrumental music]

It's already pretty strong.

Fitting pretty decent.

And see how you can
kind of doink it down.

We'll finalize that
when it's all welded up.

But...

First two pieces
tacked together!

[Dave] There's so many things
going on with that shape.

[Kevin] You have the windows
that have to meet up
at a certain point.

You have the top
of the windshield

that has to meet the roof
at a certain point.

And, then, you throw
the bubble on top of it,

which I call, you know,
the double bubble.

And, then, you're running it
through the windshield.

And, then, you wanted
the back windows
a certain way.

I mean, there was just
endless amounts
of thinking about it.

"What are we gonna do,
and how are we gonna
finish this off,

and how is it all gonna
tie together?"

[Jordan] I mean, we want
some more panels.

The rear upper trunks,
deck lid.

Okay, now it's just fit.

Looking to see that it doesn't
just fall right off.

And it actually follows
the lines pretty close,
so that's a little reassuring.

[instrumental music]

And this guy,
I got these two pieces
welded together.

All the welds smoothed out.

This car
isn't perfectly symmetric.

Back buck is.

So, there's gonna be
a little bit of

massaging to get it to fit
that perfectly.

That looks pretty good there,

but just a little bit
of a battle getting everything
to tie together right.

A little thing
I'm slightly nervous of is,

if I weld it together,
will I be able to
get this whole section off

to be able to finish
welding it off the bench
and planch it all out.

[intriguing
instrumental music]

[Will] We're wanting this car
to be a unibody.

We don't want a chassis
under the car.

The best way
to go to that extreme

is basically have
the chassis structure
inside the body.

We're building a bobsled.

[Eric] We don't really know
what we're looking at yet.

We got some
rudimentary maps here.

What we've got laid out
right here on the ground
is more or less the puzzle.

We're just gonna start
standing things up,

and making our best shot
of it, and we'll go
from there.

Little more.

Should check side to side
and see how close we are.

I got 90.5.

It's a modern chassis.
It's all kinda gonna play off
of each other.

90 and 7/8ths.

90 and 5/8ths

90 and 11/16ths.

It was built in the computer
so, technically, it should
go together.

But in real life,
it's a little different.
So, we're gonna...

use our eyeballs
and maybe a laser,

and some measuring tapes,
and some shims,

and see
what we can come up with.

- I think we're good.
- Do we wanna start
tacking stuff at all? Or...

- Or I think we should
tack this square.
- [Eric] Yes.

And, then, we could take
the clamps off and use them
for the rest.

- Okay. Ready?
- [Eric] Yup.

[intriguing
instrumental music]

[Will] But the main
chassis structure is all
3/8ths aluminum.

Stout, but not too rigid.

And what's the reason
that you use 5052?

It's just tougher.

- [Kevin] That's tougher?
- Yeah.

[intriguing
instrumental music]

It's just that
what we needed to do
was, like, absorb the impact.

Oh, like a more structural...

So, something that's not gonna
work hard in over time,
and break.

That's cool.

[Eric] What was this thing?

They haven't showed you
what it goes to?

I thought it was gonna be
a stegosaurus
when we were done, but...

You know what it is, dude.

That's the firewall support.

Look, there's the back seat.

I look at it as, like,
a parade float.

You have this structure
that drives the car

and, then, you just build
this beautiful thing
around it.

There's a lot of room
in this car.

Crazy, dude.

How much does this weigh,
do you guys know? Have you
been able to move it around?

300 pounds, done,
when you pull things together.

Get all your hammer strikes
out when Will's not here.

[intriguing
instrumental music]

I think this one's
supposed to stay
the same distance here.

That looks
more like the picture,
but I don't like it.

It's weird 'cause,
for how close
everything else has been,

for this to be this far off.

- [Daniel] Doesn't make sense.
- [Eric] No.

But it works on the computer.

2
[welding machine buzzes]

So, this thing
is really important
to make sure that everything's

exactly the way
that it was designed,

because so many
different things that come
after this rely on it.

So, we're taking our time
to make sure that everything's
90, or square,

or 100% whatever
Will designed.

[winces]

- [Daniel] Oh, I saw the flame
in that one.
- [laughing]

Smell that?

[intriguing
instrumental music]

Now that we've got
the whole structure
tacked together,

we can start doing
all the final welding.

Stitching it.
So, it's all MIG weld,
so it gets pretty hot.

And, then, how thick this is,
it's gotta be turned up
quite high.

I wanna weld everything
all the way around

so we can get welds behind 'em
and in front of 'em.

I'm just going back and forth
and trying to keep
everything symmetrical

so that heat can distribute
evenly throughout the part.

[Kevin] If you don't build
cars, you don't know.

But, you know, you spend
all day trying to make
these things perfect,

- and they move.
- Yeah.

- They move around.
- Oh, they do, all the time.

- Cars move around.
They change. They shift.
- [Dave] The temperature.

- They bend. The temperature
changes 'em.
- [Dave] Mmm-hmm.

You think that this is
a piece of metal,

and it stays the exact
same shape the whole time.

- Well, it does not.
- [Dave] Absolutely. Yeah.

- This is kind of cool.
- [Will] It's really cool,
isn't it?

- Uh-huh.
- It's like...

we're gonna go to Mars.

Looks like
you've been to Mars.

[Will] As soon as we're done
with the car,

we're gonna take it to Mars.

[Dave] What are we looking at
here, Will?

[Will] This is kind of
our version of a mono chassis,
I guess you'd say,

almost from early, like,
Can-Am, IndyCars.

So this, basically,
is the main structure
for the car.

So we've got the skin...

[Will] The exterior skin
and the floor structure,

basically, kind of unibody.

But exterior shell
like the egg.

- Then, this hides inside
all that shell.
- [Dave] Mmm-hmm.

And picks up the engine
and the transmission
all tied to this.

So, when you're done,
we'll have a rolling unit
that can be rolled underneath,

- and creates the structure
with this...
- Yes.

...in the floor
with the shell of the body
on top.

- Yes. Pretty wild.
- [Dave] Yeah, this is awesome.

[Will] We're gonna brush it up
and clean it up
and make it look all pretty.

And, then,
it's gonna get buried.

Right.

- [Will] You know?
- Let's get to burying it.

- That's gonna be cool, though.
- [Will] I know.
It's wild, huh?

[Dave] That's some
next-level stuff.

Do we say "next-level"?

Are we gonna change the name
of our TV show now
to the Next Level?

- No, we're not gonna do that.
- Okay.

- Come on, let's go.
- Okay.

Masterpiece!

[Dave] Now,
I'm getting chills.

Now, I can start to really see
the car come to life.

[Jordan] We're welding
the chassis to the floor.

This is the point
of no return.

There you go.

Yeah, this looks pretty
good side to side now.

[man] The rest of
the aesthetic stuff,

that's really where
you kind of make compromises.

Don't let Dave hear me
say that. [laughing]

Once we scan this,
then it'll all be
in the computer,

and we can reference it
whenever we need.

Yo, Mad Max! Steve!
Come give us a hand, will ya?

[Jordan] Pop it on
for the last time
and weld it up.

- On for good?
- Hopefully.

One, two, three, go!

[intriguing
instrumental music]

[Dave] Yeah, I'm gonna start
to lift the rear end a little.

[Jordan] Right there
is about as far
as we can go.

[Dave] Can we go up?
Can we go a little more
forward, Will?

- [Will] No.
- [Jordan] This is gonna be
a really hard thing to...

[Dave] She smokes.

[Jordan] We're stuck
on the fixture.

Right there is about as far
as we can go.

- [Will] Are we hitting stuff
up there?
- [Dave] Yeah.

Wow!

That is incredible.