Because of this, we forewent the liaison and managed the production ourselves: identifying and inspecting vendors, managing international logistics, and personally overseeing final assembly and QC. Our second launch, Pixelstick, was a much more complex product to design and produce, and we had to limit overhead and unnecessary expenses to keep the price to consumers low. At the time, we had no experience whatsoever with manufacturing or mass-market industrial design, so each step was new territory and we had to rely on a project management liaison, which came with somewhat nebulous markups. Our first campaign, Remee, was very much a learning process throughout. The two projects presented two somewhat different sets of challenges. With the Pixelstick being your second successful crowdfunding project, what are some of the biggest challenges you’ve encountered during these campaigns? If we had to pick just one, we’d probably have to say that seeing pixelstick used extensively in the Season 40 credits and bumpers for Saturday Night Live was one of the more surreal and satisfying moments since launch. Not long after we were treated to a full length music video for the band U2 that used pixelstick throughout. Early on, we saw commercials for Audi, Volkswagen, and Citroen that used Pixelstick to great effect. We were immediately surprised and pleased to see how many global brands were excited to use pixelstick in their creative. Wow, there have been so many! It’s tough to choose just one. The Pixelstick can be used to create amazing light paintings as well as stop-motion and time-lapse animations - what’s the most incredible thing you’ve seen people use it for? The first images we created “pulling” a length of LEDs through a long exposure to paint a fully formed image were visually compelling, and we were convinced other photographers would agree. After some early success in building functional photography equipment, Duncan got the idea to try and mimic the process of physically silk-screening a t-shirt in a photograph, and pixelstick was born. Pixelstick has it’s origins in Duncan’s work as a freelance stock photographer, where he first began building electronic rigs to help him get the types of shots he needed. What’s the story behind the Pixelstick? How did you come up with the idea for it? Since then we’ve had two successful launches on Kickstarter, the most recent of which was Pixelstick, our exciting and unique photography tool. In 2011, we pooled our mutual wealth of ideas and skill-sets and formed Bitbanger Labs as an outlet for our ideas. We’re two childhood friends with a passion for making things. Hey Duncan and Stephen! Please tell us a bit about yourselves and what you do.
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