 So this is E-boy. Wait, hold on. This is E-boy. There are three of them. They're computer artists or artists that use computers? I think we are three guys that work with pixels and make images. Images like a chair or that robot from Robocop, some nude hippies, a cool car. In the end, we do everything with a pen tool. So it's a very, I think, the most basic tool in Photoshop is used to draw each pixel. The size of the pen tool is just one pixel, one by one. Everything is made like this, one pixel at a time. So it's really labor intensive. But they've been doing it for nearly 20 years. So they've made a lot of stuff. Like a ton of stuff. So here they are again, E-boy. Freeze frame. Sven, Kai and Stefan. They all met here in Berlin, the capital of Germany. Home of the Brandenburg Gate. The Berlin Wall. Sausage Walkers. And world class graffiti. Stefan and Sven have been friends since they were teenagers. Then when they met Kai in the mid 90s, the group was complete. Between the three of them, they've made images of Honda, Adobe, Yahoo, Total, Groove Armada, Uniqlo, Mountain Dew, Asics, Xbox, Lacoste, DKNY, Haribo, HBO. With Robot we work with Mike a lot, Paul Smith, Adidas as well with Coca Cola, New York Times magazine, Wired magazine. But that's just to pay the rent. I mean what they're really excited about are these giant pixel cities they build in their free time. They're pixel versions of real cities. Because people know New York for example and they see an interpretation of New York and that's always interesting to see. Something you know how it's seen from a different side. They've actually built a lot of cities. Berlin, Venice, London, Cologne, New York, Tokyo, Baltimore, Los Angeles, Paris, Rio and Marseille. And they call them Pixoramas. Pixelized stylized versions of cities. Working in their free time each one takes two or three years to complete. And as of today they've created over 9000 little parts. We have a huge database with thousands of objects in it and everything can be reused. The pixels are modular. Modular, now this is the key. So you can very easily reuse pixels and combine them. So like you can get this car and then take this guy out and put this other guy in or take away his eye or whatever. Also everything is isometric. So the things that are in front have the same size as the things that are in the back. So I can take this topless lady and have her move all the way over to this construction site or have her hang out at this rooftop barbecue. You can move her wherever you want and she'll always be topless, always the right scale. This is a donor. It's a lot like a Euro but it has like different vegetables, different sauces. Donors are delicious. There's even a donor place in their Berlin pixelrama. Look at all this stuff. Look at all the detail. Why would anyone devote their life to building something like this? What's funny is that at home we had a picture from Bruegel. Do you know Bruegel? And I grew up with it and it's a scene with a lot of people. Of course, Bruegel. All those little details, that little universe frozen in time. Could it be that when Kai was a kid, life outside his home was too complex, full of confusion and constantly changing? But the world of the painting never changed. He could examine it, understand it and maybe now that's what he does with our world. To be honest, I don't think it has anything to do with what we do. But I don't think so. It turns out it was more practical than that. For example, you design something on a computer, a layout for an image. You just do something on your screen. Then when you go to print, you have to deal with a different color space. You have CMYK versus RGB on the screen. Then you have to deal with the printer who uses some kind of special inks. And then you have to deal with the guy that puts more ink or less ink. And so the result for me never was, I was never happy about anything I printed. I could live with it, but more often than not I was like... I like to make a thing and then that's the thing. But the bad thing about making one thing is that you cannot copy it. So I wanted to become an artist at some point, but I didn't want to make stuff that I have to sell to live and then that guy puts it on his wall, which might be nice or not. I would never see that stuff again. I hated to leave it alone. So that was the reason why digitally it was so extremely important being able to share without having to leave your work. They say a common sign that a pixarama isn't complete is if you look around it and you can't find anywhere you'd like to be. We have a theory that there has to be a place where you have to be able to relax. So if everything is just in your face, I don't want to be there. So if you see that we cannot go into it, it might be a source of a problem. So for example here you have this scene in a café where the guys are sitting with the computers and that's for example a place I think everyone from us would love to be there. There are all these Apple employees working, the blue shirts, they're having their lunch, I don't know, their coffee. But they didn't always have genius lunches. I mean up until the fall of the Berlin Wall, both Sven and Stefan lived in East Berlin. When you are a teenager and you see that you can't go through the wall, you see the wall every day and you can't travel. And you see it on television, all the cool stuff. All the bands played in West Berlin so you could hear it on the radio but you couldn't go there. But we had some cool stuff going on too, like East German bands playing in churches and stuff in really strange places. It was very cool as well but that weren't the bands we wanted to see in the first place. But growing up in East Germany was pretty normal. It was a bit like a surreal moment when all of a sudden you can go to the other side of the city. Before it was like a secret hidden world and now it was just possible and it took a while to believe that it's now normal. For me it was like, after the wall came down, there was advertising everywhere. So back then in East Germany it was really black and white, everything was kind of the same. I remember I first went to a supermarket and it was like a gallery. All those cereal packages and boxes and it was so exciting, just a really cheap supermarket here in this area. It seems like everything they're excited about eventually gets immortalized in pixels and given a home in their cities. And they're pretty much excited about everything. For us it's very important to have time to play really. We are really lucky to have met. You see it on bands sometimes, it's just luck that somehow they met and it was a good fit. For us it's just good that we are happy and we can live from it and we enjoy our work and it's great, I guess.
 So this is E-boy.
 Wait, hold on.
 This is E-boy.
 There are three of them.
 They're computer artists or artists that use computers?
 I think we are three guys that work with pixels and make images.
 Images like a chair or that robot from Robocop, some nude hippies, a cool car.
 In the end, we do everything with a pen tool.
 So it's a very, I think, the most basic tool in Photoshop is used to draw each pixel.
 The size of the pen tool is just one pixel, one by one.
 Everything is made like this, one pixel at a time.
 So it's really labor intensive.
 But they've been doing it for nearly 20 years.
 So they've made a lot of stuff.
 Like a ton of stuff.
 So here they are again, E-boy.
 Freeze frame.
 Sven, Kai and Stefan.
 They all met here in Berlin, the capital of Germany.
 Home of the Brandenburg Gate.
 The Berlin Wall.
 Sausage Walkers.
 And world class graffiti.
 Stefan and Sven have been friends since they were teenagers.
 Then when they met Kai in the mid 90s, the group was complete.
 Between the three of them, they've made images of Honda, Adobe, Yahoo, Total, Groove Armada,
 Uniqlo, Mountain Dew, Asics, Xbox, Lacoste, DKNY, Haribo, HBO.
 With Robot we work with Mike a lot, Paul Smith, Adidas as well with Coca Cola, New York Times
 magazine, Wired magazine.
 But that's just to pay the rent.
 I mean what they're really excited about are these giant pixel cities they build in their
 free time.
 They're pixel versions of real cities.
 Because people know New York for example and they see an interpretation of New York and
 that's always interesting to see.
 Something you know how it's seen from a different side.
 They've actually built a lot of cities.
 Berlin, Venice, London, Cologne, New York, Tokyo, Baltimore, Los Angeles, Paris, Rio
 and Marseille.
 And they call them Pixoramas.
 Pixelized stylized versions of cities.
 Working in their free time each one takes two or three years to complete.
 And as of today they've created over 9000 little parts.
 We have a huge database with thousands of objects in it and everything can be reused.
 The pixels are modular.
 Modular, now this is the key.
 So you can very easily reuse pixels and combine them.
 So like you can get this car and then take this guy out and put this other guy in or
 take away his eye or whatever.
 Also everything is isometric.
 So the things that are in front have the same size as the things that are in the back.
 So I can take this topless lady and have her move all the way over to this construction
 site or have her hang out at this rooftop barbecue.
 You can move her wherever you want and she'll always be topless, always the right scale.
 This is a donor.
 It's a lot like a Euro but it has like different vegetables, different sauces.
 Donors are delicious.
 There's even a donor place in their Berlin pixelrama.
 Look at all this stuff.
 Look at all the detail.
 Why would anyone devote their life to building something like this?
 What's funny is that at home we had a picture from Bruegel.
 Do you know Bruegel?
 And I grew up with it and it's a scene with a lot of people.
 Of course, Bruegel.
 All those little details, that little universe frozen in time.
 Could it be that when Kai was a kid, life outside his home was too complex, full of
 confusion and constantly changing?
 But the world of the painting never changed.
 He could examine it, understand it and maybe now that's what he does with our world.
 To be honest, I don't think it has anything to do with what we do.
 But I don't think so.
 It turns out it was more practical than that.
 For example, you design something on a computer, a layout for an image.
 You just do something on your screen.
 Then when you go to print, you have to deal with a different color space.
 You have CMYK versus RGB on the screen.
 Then you have to deal with the printer who uses some kind of special inks.
 And then you have to deal with the guy that puts more ink or less ink.
 And so the result for me never was, I was never happy about anything I printed.
 I could live with it, but more often than not I was like...
 I like to make a thing and then that's the thing.
 But the bad thing about making one thing is that you cannot copy it.
 So I wanted to become an artist at some point, but I didn't want to make stuff that I have
 to sell to live and then that guy puts it on his wall, which might be nice or not.
 I would never see that stuff again.
 I hated to leave it alone.
 So that was the reason why digitally it was so extremely important being able to share
 without having to leave your work.
 They say a common sign that a pixarama isn't complete is if you look around it and you
 can't find anywhere you'd like to be.
 We have a theory that there has to be a place where you have to be able to relax.
 So if everything is just in your face, I don't want to be there.
 So if you see that we cannot go into it, it might be a source of a problem.
 So for example here you have this scene in a café where the guys are sitting with the
 computers and that's for example a place I think everyone from us would love to be there.
 There are all these Apple employees working, the blue shirts, they're having their lunch,
 I don't know, their coffee.
 But they didn't always have genius lunches.
 I mean up until the fall of the Berlin Wall, both Sven and Stefan lived in East Berlin.
 When you are a teenager and you see that you can't go through the wall, you see the wall
 every day and you can't travel.
 And you see it on television, all the cool stuff.
 All the bands played in West Berlin so you could hear it on the radio but you couldn't
 go there.
 But we had some cool stuff going on too, like East German bands playing in churches and
 stuff in really strange places.
 It was very cool as well but that weren't the bands we wanted to see in the first place.
 But growing up in East Germany was pretty normal.
 It was a bit like a surreal moment when all of a sudden you can go to the other side of
 the city.
 Before it was like a secret hidden world and now it was just possible and it took a while
 to believe that it's now normal.
 For me it was like, after the wall came down, there was advertising everywhere.
 So back then in East Germany it was really black and white, everything was kind of the
 same.
 I remember I first went to a supermarket and it was like a gallery.
 All those cereal packages and boxes and it was so exciting, just a really cheap supermarket
 here in this area.
 It seems like everything they're excited about eventually gets immortalized in pixels and
 given a home in their cities.
 And they're pretty much excited about everything.
 For us it's very important to have time to play really.
 We are really lucky to have met.
 You see it on bands sometimes, it's just luck that somehow they met and it was a good fit.
 For us it's just good that we are happy and we can live from it and we enjoy our work
 and it's great, I guess.