 Hi, I'm Chris Paul Mares, and we're watching December What's Neat, and it's starting now. This is What's Neat for December 2016. I'm your host Ken Patterson, and this month we interview movie producer Neil Enoch, who tells us about his new Christmas book, Doc Christmas, The Magic of Trains, which in part plays out in the miniature world of model rarity. For layout construction this month, we experiment with five sub-bases for making scenery on our model railroads using spray foam products. For modeling tips, we look at making freight car loads and scenery from waste shavings of various types. In model photography this month, we model a narrow gauge snow scene with a Christmas theme for Blackstone models. This photo shoot came out pretty neat. Add to that some well-modeled run-bys, and we've got a great show this month for What's Neat. Now, I missed going to the Brass Expo show this past fall, held at the Weston in the suburbs of Chicago. James Wright provided us with some video of all of the wonderful models on display and a custom-built set that had the feel of visiting a museum. John Glab and most of the principles of today's brass industry were in attendance. September 30th and October 1st 2017 are the dates for next year's show, so go to brassexpo.com for more information on this. Now, if you've been following me on Facebook, you will know that I have made a major push to get my garden railroad running after two years of deferred maintenance. This process included replacing the old broken plastic ties by sliding fresh new ones with the help of a handmade jig onto the rails. I added new power feed wires in eight spots along the 400-foot mainline by using a resistant soldering rig to heat the large rail fast with a minimum of damage to the plastic ties surrounding the area. I sanded the train deck down, down to the wood finish, and after cleaning up all the dust that came from the sanding, I applied a fresh coat of semi-transparent green stain to the deck. I then reassembled a lot of the wood trim that had a darker finished applied, which really sort of compliments the green. In the trestle area, I repaired the track with new ties. I dug up and reset and leveled some of the cement roadbed that had settled. I then repaired and leveled the trestle using a red laser light in the middle of the night. After rechecking my work in the day, using bubble levels, it was finally time to install a new waterproof box that will house a new Bridgework's radio-controlled power supply. And finally, it was time to clean the track with a drywall sanding pole so that I can begin filming new run-bys and also have an operating platform for filming product reviews for the What's Needs show. Now if you go to KenPatterson.com, you will find a complete video on how I built my garden railroad from the very beginning, titled the 14-Year Learning Curve. Also check out my newest video that I just finished this year, Building Craftsman Structures, Volume 1. In this two-hour long presentation, we will build the BTS Hyde Pulp Mill series of buildings into what turned out to be a beautiful warf scene on my layout. On behalf of me and my family of friends that help us produce the What's Needs show every month, let me wish you a happy holiday season and a very prosperous new year. This is going to be a layout construction segment. I've got an area on the layout that I've been working on where I've added a siding and it's all narrow gauge and it's all plywood construction, so it's the old-fashioned way of building layouts, not using foam. And I had an area here, a large gap in the layout, where I wanted to fill it in temporarily so that the engine wouldn't roll off and break and fall straight through to the floor. So what I did was I took some of this Gorilla tape, just some duct tape, and I taped underneath the layout. And then I filled the area up with this great Stuff Foam Pro that we use all the time, we've found 12 or 14 uses for this on the show already. And I just put just a little bead of this material in here and it expanded and it created not a temporary solution, but what has turned out to be a rather permanent solution in that I know I don't have to worry about a train rolling off of this and falling through the gap onto the floor, it's very, it's very strong. So let's do this, let's build some open grid bench work in the shop and let's try a few different materials. Let's try tape, let's try screen, let's try various things on the open grid bench work type of that we're going to build in the shop and then we'll put this Foam Pro on it and see structurally if it's temporary or if it's permanent and if it can be utilized for our layouts. So let's see how this segment turns out. To start this project on testing whether or not this Foam Pro has structural integrity, I built a traditional open grid bench work using one by three's and I formed a box as you normally always do on the model railroad layout and then I cut this wood just about five feet long is the size and dimensions of the way this turned out to be. Then what I did was I put a traditional top on it like we're always used to seeing and that's where we would put our cork road bed and then lay our track right on top of that. And what I ended up with was a completed module ready to go, ready to be scenic. Now on the back of the module, I chose to use traditional foam like we always use, like I always use on my layouts, except for this way I'm working it in with the bench work similarly the way we did on the Midwest Valley modelers layout 15, 20 years ago. And so I've got the back where I could just carve it normally with a carving tool and shape that foam on the upper side back behind on the backside of the module with tracks are going to be right in the front. Then what I've done was I took and I'll show you here on the diorama, I've took window screen and I stapled the window screen into position filling the forward gap on the diorama. Now what we'll do is we'll put the foam pro right on top of that and see what kind of structural integrity we have. This is not metal aluminum screen. This is simple mesh, the fiberglass type of screen that you see all the time that's used today and it wouldn't hurt to stick some newspapers underneath this if you try this to give it a little more contour and scenery. But the way I've got it set up, I'm just doing a straight hill. Now we know that this works with duct tape. That was the second area that I did. I took strips of duct tape and I filled in this area. OK, this is that gorilla tape. It's two inch tape. I've taped it at the top and I've secured it here at the bottom. There's no staples in this and this is just tape. And we know this works because this is what I used in the corner, except for that was a much smaller area than what we've got right here. Another thing I tried to do is I took strips of masking tape and I simply tore them off the roll and started an X pattern. And on this I put a couple strips behind and the rest of the strips on the front just to give us again a platform for which the foam pro will rest and expand. Another thing I want to try, which we would never think of doing probably on our scenery, is I tried using simple paper towels. And I cut strips of paper towels and I positioned them in the place with a little masking tape. There's not a lot of structural integrity to it. And if you'll remember in the old days, this is how we made our hard shelf scenery, was simply to take the paper towels and lay them over hard screen wire after the towels were soaked in plaster. And that worked great for years, but today we're going to take the simple paper towels and just put the foam pro on it and see how that holds up. The last thing I wanted to do, which you could do with a sheet, I used a rag here and this is a simple piece of cloth. In fact, I think this is one of those microfiber cloths. And I used a staple gun and I stapled that around the edges. It's got some structural integrity because it's being held by the staples, but we'll put the foam on top of this and see what happens. I know this sounds crazy. It's not how we normally would build a layout. I wouldn't do it that way. But for this experiment, let's see what happens when we go ahead and start doing this. So I've got a can of foam pro now, ready to go, and let's start applying it to the scene and see what happens. The foam I see is penetrating the backside of the screen. So that in itself, this is going to act almost like cement, the way they pour cement and they put wire mesh in it. If this foam goes on both sides of this screen, I think that would add great structure to it because now you're dealing with width of more than an inch thick once this expands. And of course, after this expands, we'll simply carve it down with our saws and our Stanley shore form planer and be able to contour this any way we need. Now I'm going to go over and I'm going to do this as quickly as we can. I'm going to go over the masking tape section here. I've got a few lines in here and holes, but this will expand and fill all those holes. Let's cover up the duct tape, the gorilla tape. I bet this will hold strong, but we'll see. If any of these methods work, especially the ones where we're simply using tape, it could greatly reduce the cost of building a layout. A can of this foam costs about 16 bucks and it goes a long way. I don't know what I mean by that. I've had cans of this stuff for the last three months and I've used it quite a lot. Okay, now we're going to cover up the paper towels. I have serious doubts in the strength of this, but let's see. I can see how this foam, if it becomes one large piece, just the outside edges would give us a little bit of structural integrity if you push down on it. It would definitely protect a train from rolling off the hill. And now we're going to cover up the last part here is the microfiber cloth. I would not build my layout this way. This is so unorthodox, if that's the correct word. But again, let's see what this does. We'll have to let this set for 30 minutes. That's how long it'll take for the foam to expand. And really a good hour if you want the inside of this to cure because this is going to be pretty thick once it sets up. So that's it. I'm going to clean my nozzle, close my gun so that I don't lose any more air pressure in that can. And that'll last me a while. And so far, here's what we've got. It looks like normal scenery in any normal sense of what we're used to. But again, you know what's underneath this, all these different variables will change and make it very interesting now at this point to see what happens. So let's give it a good hour and let's come back and see what we've got to carve down and exactly how this project turns out. Okay, it's been an hour since we put the foam pro out on top of our diorama. And during that time, I painted the pink foam, the regular foam, with some latex house paint, and you saw the foam rise over the time period of an hour as this set up. So now what we're going to do is we're going to look at the structural integrity of all of these sections that we've just worked with here to see how they hold up. As you'll remember, we've got the black duct tape. I've got the regular masking tape. We've got the paper towels. We have cloth. And then on the end here is the window screen, which I can tell you a lot of the foam did go through the window screen, which is a good thing. I've got a 10-pound dumbbell here. All we're really concerned with is whether or not our train would fall off and would fall to the scenery. And I can tell you just from touching this, it's pretty firm. Even the paper towels feels good. We know it would support the weight of a locomotive. So let's take a 10-pound dumbbell and let's put it on the black tape. That's holding. How about the masking tape? I hear no cracking. I can't let it go because it's going to roll down. The screen feels very firm. The window screen is very firm. Now let's look at the paper towels. Will the paper towels hold the 10-pound dumbbell with just foam on it? And it does. The weakest point would be the middle. That's where I've got the weight. It holds it. Now I would not build a layout this way, but the fact is it does work. The last thing is the cloth. This is that microfiber cloth. Let's see how that holds up to the dumbbell. OK, that holds the weight. All right, so far so good. Actually, all methods work. I'm surprised that the paper towels got the rigidity that I can see here. Let me do this. Let me carve this down with a saw and my sure form planer. And let's see, as we make it thinner, if it can still be strong enough to work with for scenery. So let me do that. Let me carve this down now. And I'm going to do that over a period of time here. And let's see what happens next as I get this all carved down. And just like that, I've got it all carved down. I used a Stanley sure form planer. And I also used this printing saw, which is one of my favorite tools for carving foam. And I carved all of the foam on top of our various materials. And I've got a lot of gaps in here that I can go ahead and further fill in with a little more foam if I want, or lay Texcock, or just lay my fake fur on top of this if I want to do fake fur scenery. That would work just great. But the fact is, all of the scenery survived quite well during the carving process. None of it is caved in. The cloth, again, all of it is holding up very well. There isn't one segment. Here's the cloth. Here's the paper towel scenery. There's a little bit of flex to it, but it's not going anywhere. It's stable. It's not going to pull up. The grill tape is strong. Masking tape flexes more than any section on the diorama. But again, it's not pushing through even thinner. Now that it's been carved down, you've got to figure the scenery is thinner now. And it still has enough structural integrity to definitely hold trains, hold scenery, and be a very lightweight method. And of course, the very end down here is the window screen, which is also very strong. So to be honest with you, I could take this diorama. I've got the HO scale track laying right here. I would put down my cork roadbed. And of course, lay track right there. I've got a Blackstone locomotive sitting here with a little bit of this track that they've come out with, the Blackstone line of track, which looks really nice set up here. So either way, I can make this diorama just the way it is, functional to do video run-bys and to do photography on it, or to work it into a modular layout just the way it sits. And with the various mediums that we've used for the underbody of the foam, everything's held up. Everything works. So it's amazing. There's not a loser. There's not a winner. Paper towels, masking tape, duct tape, cloth, window screen. All of those materials work as a very good underneath base for the foam pro then to go on top of. The foam pro's got enough structural integrity that we've got scenery. So I expected a winner. I expected a loser. And they all worked. Everything worked. So check it out. Here's another great way to investigate quick, fast scenery. And I wouldn't say temporary scenery. I would say that this would work well on a permanent layout. Just imagine taking a bunch of newspaper, covering it up with window screen, putting the foam pro on top of that. And you've got a tunnel for a Lionel layout or a Christmas display, or again, the way we've done it here for your permanent layout. So that's this layout construction tip for what's neat working with foam pro again. Pretty cool experiment this time. For this modeling tip on what's neat, don't discard your pencil sharpening waste. Because I'll tell you what, this material would actually make perfect O scale and HO scale. It's kind of curly. And in addition to using sawdust, this would be perfect for a sawmill, perfect for some sort of a wood structure where they're sawing wood and they would have shavings. I mean, this material is just magnificent for shavings for that type of scenery effect. And while we're talking about shavings, if you know where there's a machine shop in your area, fine machine metal like this makes fantastic freight car loads. It usually comes with just a little coating of oil on it, but if you wash it in water, let it sit outside. It'll get a nice shade of rust on it. And then you can make fantastic Gondola loads for your freight cars. You could either do it bright silver or let it get all rusty either way. It's a great medium for creating loads for our HO scale and O scale freight cars. So that's this modeling tip on what's neat. This photography segment of what's neat. Since it's the month of December, let me share with you a story about a Christmas card photo that I made for Blackstone Models. One day when the wonderful folks at Blackstone Models were surfing the internet, they found this wonderful photograph from world-renowned photographer Yovan Lajmet. And what it is is it's just this beautiful shot of the narrow gauge locomotive running through snow. What a great shot for a Christmas card, including the wreath hanging on the front of the locomotive. So to design a shot like this for them, of course now we know we can do projects like this because we've seen in previous shows doing the athern photograph where we copied that beautiful photograph to grain elevators in it. Well, for this shot, I'm primarily interested in the texture of the photograph. Most of it is going to be subliminal detail, shades of dark, shades of brown, textures. That's primarily what I'm concerned with. And then I'll figure out how to put the wreath on the front of the locomotive. Maybe we'll use pipe cleaners for that. So let's see how this photograph turns out in model form. I started by designing the scene on a flat sheet of two inch foam, matching the curve in the prototype photo exactly by using the length of the passenger cars as a guide as I could see how the curve and the cars kind of faded off into the vegetation. I also carved out the foam on both sides to create the correct topography to match the photo. I glued down code 55 HON3 track, covering this with tape. I then proceeded to paint the foam with white latex house paint. This quick effort made for a perfect base which will hold all of the vegetation. After painting, I pulled up the tape revealing the Microengineering HON3 track. I ballasted the scene with Woodland Scenic's fine ballast using an artist brush. The primary reason for using ballast on the scene was to create texture to match the prototype photo when the snow is applied. I soaked the area with Woodland Scenic Scenic cement and let this dry for a few hours. Using a can of white spray paint, I painted the track area with a mist of snow. Using Great Stuff Foam Pro, I applied this to the areas where the wild grass would grow. This glued down the fake fur with a dry time of about 30 minutes. I planted this fake fur on both sides of the track, pressing it into the foam adhesive and then letting this set and dry. I sprayed the fake fur with spots of camouflage brown spray paint. Now this will create varying shades of dark in the wild grass areas when the plaster snow is applied. This is kind of an important process. It doesn't look like much now, but the effect will be seen in the photo. So I've got the camera set up. I've got the locomotive in the right spot where it is in the photograph. The painting that I'm copying, the photograph that I'm copying, and now what I'm doing is I'm putting lots of pine trees in the background. These are just gonna blur out and just kind of fill the void. And then I'm taking these super trees and I've got a lot of super trees over here on this table when they put them in front of the camera so you can see them talk a lot. And I'm spray painting them with camouflage paint. And then what we'll do is when all of this is in place, it's like the photograph and it obscures the sides of the main line, just like in the photograph. Then what I'll do is I'll cover the entire scene with plaster, put the train in the place, and we'll be able to be ready to do our photo shoot outside. So we're almost there, just about one and more hour of planting vegetation and maybe just a few pieces of sill floor, brown weeds right here towards the front of the locomotive. And I think we're gonna have our shot finished. Well, the scene is pretty much finished and it's shoot time. Right now it's really cloudy outside, which is exactly what I want for this shot. And it's a little windy. So because of the wind, I'm gonna go ahead and make it snow inside. Because I don't want this plaster blowing around as it drifts down, I want it exactly where I want it to go. Then I'm gonna set the scene up outside, hook up my DCC to it, put the train in place, drop a little bit of snow on the three passenger cars and this thing should be ready to shoot. As long as I've got clean track with the engine sets, which I'm gonna make sure of inside before I go outside. So right now, here's a moment of truth. I can either screw it up or make it look really good right now. And I don't have a choice but to get started. Because I need to shoot this in clouds and then tomorrow I'll shoot this in sun. But right now it's gonna snow. And this is how I do it, I just take a screen and it's just like we're sifting dirt onto a diorama. But we're not, we're putting straight plaster on it. Now we'll take a brush and tease the grass a little bit, especially the sill floor grass, so that the snow is not sticking to the tops of it, but more or less the tops are sticking out of the snow. So this is gonna take a little while to go through this and get this just perfect work right here. You may get just perfect just the way I need it to be. I need all the vegetation just simply covered with a little bit of white thoroughly. That's the most important thing is thorough. This large pine tree here will not be seen except for the bottom trunk area. So the top of this pine tree is important on how much snow goes into that. All these background trees have gotten to have snow in them and they're getting it right now. Pine trees have already got snow in them, just like this. Just like this very light, very even coating of white stuff. So let me get this done and I'll show you what the sheet looks like as we go outside and move this thing outside. Okay, I'm set up out here and I'm ready to shoot. I got a brisk wind which is blowing the plaster all over the place. I've just got to deal with it. Let me show you the shot the way this is all set up now. I got the snow out here. I've got my DCC hooked up to everything. And again, everything just lined up just the way I wanted it to be to capture the photograph that we're copying. And I also had the exterior, these photo floodlights turned on for one of the exposures just to see what'll happen. Tomorrow I plan to shoot this in daytime under full sun and maybe drop a mountain behind it just for a little more variation. This is kind of what we've got now. Another kind of inconvenience has been that the wind has been blowing the snow right off of these trees and onto the side of the locomotive. That's the hazard of working outdoors. There isn't anything I can do about that. I could shoot it inside possibly, which I still may try to do. But right now I've got everything I need for outdoor on this shot. It looks pretty good so far. Let's see how this project turns out. So after spending a few days shooting the diorama in different types of lighting, the cloudy day shot that I did, I did it in where it's lit with photo floods on a cloudy day. I shot the photograph in full sunlight with mountains in the background. And then I shot the same photograph with a sunrise shot during a foggy morning. And after Blackstone models reviewed all of these photographs, they picked out the cloudy day shot. So then my job was to try to figure out how to put a wreath on the front of the locomotive to match Yovan's photograph. So I elected to try using pipe cleaners. At first I bent a little wreath the size of the front of the boiler of the Blackstone K27. And it didn't really look quite the way I wanted it to look. It just didn't have that effect. What I did find was a wreath hanging on a local shopping center wall within hours of me shooting the cloudy day photograph. So I ran home, grabbed my tripod and camera and set up and shot the wreath right on the side of the building. It was the same size as about the boiler the locomotives front would be. So I knew it would match. And I thought maybe I would just simply photoshop this into the photograph, which is what I ended up doing. And the lighting matched because I shot that wreath with an hour of shooting the cloudy day shot. And they were both the same angle. So the sun pattern matched on the wreath that matches in the model photograph. And now I can show you this is how the model photograph came out after that effort. It's just a beautiful Christmas card. It captures the essence of all the wilderness around the train as it's running through. It's just, it's just a great shot. I'm really, really happy with the results on this. So that's this segment for photography for What's Neat. Pretty cool shot this month. This segment of What's Neat, I've got Neil Enoch, a friend that I met on the internet, on Facebook. He is a fellow model wear order, a movie producer, a movie prop builder, and an author. Neil, welcome to What's Neat. We want to know about your interesting life. But thanks for having me. I've been watching the show for a bit and I actually let a couple of my friends know we weren't able to time it out. They're, oh, we want to be around, we want to be around. They couldn't make it. So really happy you had me on. Appreciate it. No, that's fantastic. Tell us about this prop that you're standing in. It's the inside of the Atlas Plastic train station that we're also familiar with, but you're on the inside of the train station. So you've actually got the molding, you know, you can see the molds and what have you. Tell us about the prop and what's that all about. All right, well, this came to life because on idle hands, as the devils were, as they say, and sitting around on a TV production like Helen Wheels, as I was, I got the idea for this crazy TV show. Well, I actually got this idea for a movie. And then I wrote it up as a screenplay. And then I thought, you know what, this could be better done as a book. And it could also target people in my hobby, model rail routers, and rail routers in general. So low and behold, a little bit later, about Christmas and the Magic of Trains was born. The Christmas book. So it's perfect for the December issue that you're in this month. It's your Christmas book. Folks, tell us, Neil, what website would we go to to get a copy of your book? If you go to docchristmas.com, it will lead you to my public, it'll tell you a bit about the book and it'll lead you to my publisher's website, itinkerink, and you can get a copy there, you can buy it on Amazon, you can get it on Probo, just about everywhere, except probably in your local bookstore because I am actually self-published. And in this book, you actually become your, you are one of the miniature characters on this train layout. Tell us a bit about the story without giving it up. Okay. Well, I need to give you a little bit about the story. It's basically, it starts life as a Scrooge story, little bit, but this guy's a little bit nicer. He's an older fellow, model roader, road roader of all types, but he's lost his wife a few years prior and since then he doesn't do anything except work. But his work is that of a doctor and his specialty is rare and exotic diseases. That becomes really important to Nick when an epidemic races through the North Pole and even their advanced science can't cure. So the book is really Doc's journey as Nick goes undercover to try and convince the doc to reconnect with his family, to believe in Christmas again, and ultimately to believe in magic, all so that he can get to be this tall because this is the height of your average elf. That's true. And the doc can't work on him when he's this big, he's got to get this small. So really the doc has to be inside here, which is why we're inside here. So this is part of this now. I understand that you're gonna turn this book into a movie. Well, being my film background and whatnot, I am very interested in turning it into a movie. We've actually started developing cameras so that we can get down, right down inside a model road layout with ultra-high definition 4K production. This one has, this is a modified GoPro, but it has, if I can do that, interchangeable lenses so I can use cinema quality lenses on it. I have spoken to Dean Khange, who was the director of photography for Honey I Sharp the Kids, Back to the Future, Jurassic Park. Because of his Honey I Sharp the Kids thing, which was all miniatures and models, big models, he's dying to shoot it. So we just need a star to help him for maybe Rod Stewart or Patrick Stewart, might be interested though. I've got copies on the way to them, but I haven't connected yet. Rod Stewart is a gentleman that's on my list. Rod, if you're looking, I certainly at some point would like to have Rod Stewart do an interview with you and talk about your train layout. Neil, you came up with a board game, a wooden board game that you produce and sell? Well, the game is not mine. The game is Crippage. It's been around for about 400 years. It's a British game and if you've seen it, it's usually just a little surf and time board, but I took it a little differently. This one is to help promote Dog Christmas. So this is an actual railroad. It's kind of from the mountains to the coast and it's carved out of a block of solid. This one is Australian Blackwood and it's a Crippage game. It's a card game, easy to play. I actually got into the Crippage game to help teach my kids how to add quickly and it worked good because you're both ace in math right now. That's pretty cool. It's just something we've done to help promote the book. And before we let you go, I know you're quite a prop builder for, can we get a quick tour of your shop? I understand you've got a pretty neat studio. I do and I'll walk you around. I will show you one of the props from the book. Okay. It's this. How about that? This is a product we actually hope to release. It's just an iPhone case. It's actually called the wrist wrap, but in the book, this is an elf pad, a portable elf pad and the elves can pull a nice hot cup of cocoa out of it anytime they want. But in reality, it's a great little iPhone case. Okay. And so this is any kind of props. Props are wonderful things. If you can see way up in the rafters there, I don't know if you can move a bit. There's pieces of the Polar Express up there. Can you see the cars? Oh, okay. It's a 1-8 scale Polar Express train. Those are the bodies for the passenger cars. Oh, I do see those. Yes, I do. That's just a little thing. Then this is the whole station. We've got the plastic numbers in the door and the windows are actually plastic. We've got a monitor in there so we can feed the, put a feed in it. And if we go through the door, we'll see a few other things here. I don't have anything from the Star Trek. I just did a Star Trek spoof. Okay. Which I did the bridge of the Starship for. But the cage there, that's a time machine and a TV pilot called Sum Wynn. It's not out yet. Okay. And then everything down to clay models, these are, this is the island of Santorini. Before, I'll show you, so I can show you properly there. That's the island of Santorini before it exploded. This is the mythical location, one of the mythical locations of Atlantis. And this is what the island looks like today. The middle is gone. Interesting. And that's actually the subject of my new book, which just came out. And it's the best seller last week and that's called mine. So we can build it with the, we have woodwork equipment, we have laser cutters, we have 3D printers. I kind of do all kinds of clockwork and yeah. Boy, I tell you what, as a model railroader, I would love to get my hands inside your shop and build stuff. That looks like a fun place to work. It's pretty cool. The only thing is we end up very short on time a lot. Amen, brother. I heard you on that. I guess, tell us one more thing. You were talking about a really nice wooden box that you had built, something to do with. Oh yeah. Yeah. Well, before I even got into the movie business myself, I had a company called woodenboxes.com of all things and it made wooden boxes. So we ended up having a few movie clients. We did one over and over again. This is one of the boxes we made. Okay. You may know that movie. Okay. And basically, it was one of the projects we did. We made all kinds of wooden boxes and typically around Oscar time, people who had a movie come out at the beginning of the year would want to remind the Academy members how wonderful their movie was. So they'd send them a swag pack with the movie, copy the movie and prop from the movie. This one had the master wand in it and the DVD and some other stuff. Just to remind them about wonderful their movie was and the nice thing is they wanted something that people would keep. And as you can see, this is a wonderful HO scale collector's box. You got that right. You can fit a big boy in there all day. Exactly. Well, I want to thank you for being on the show and we look forward to seeing some more of your good stuff. Let's do your website one more time to get ahold of the book. That website is docchristmas.com or if you want to link to everything, neilenock.com and it's enock with a K. All right, well thank you very much, Neil for being on the show. That's Neil Enock. Thanks, Tim.