How To Buff Clear Coat & Polishing Your Car Part 2 of 3 – Kevin Tetz Demonstration – Eastwood

How To Buff Clear Coat & Polishing Your Car Part 2 of 3 – Kevin Tetz Demonstration – Eastwood

you do you really okay um yeah different
he said hes be bumps around 1400 RPM the point is variable speed buffer I
kind of float I kind of fluctuate but I start off typically about a thousand and
then i read the panel and I see but this is the wall buffer we’re not
bluffing at this speed it’s not happened if this hits me in the
crotch this demonstration is over and have you ever buffed out in nineteen
fifty Ford to the hardtop cadillac conversion van it’s like cruise
control that 600 grit I don’t have to worry about the trigger
now I can look at my panel i’m looking at the reflection I’m not
worried about this I took this out of the equation this question was why don’t
I just ride the trigger get a lower rpm when I want to I said his cruise control it saves me
from having to think about that I’m thinking about enough I’m thinking about
these edges I’m thinking about you know the customer that I have to explain that
I rolled the paint edge off of that hood I’m thinking about what my next step is
I’m probably thinking about a sandwich for dinner but this eliminates one layer
of me having to think and allows me to read the panel when you’re hammering a
nail do you look at the nail or do you look
at the hammer you look at the nail if you look at the hammer buddy your
thumb is going to be fat and purple so you and it’s the same thing with
painting it’s the same thing with buffing you’re looking at your subject
and you’re reading the surface while the rest of the action is happening you got
to trust your compound you got to trust your machinery and you got it but mostly
you have to trust your eyes you’re reading the panel just the same as
you’re watching the nail and your beer just muscle memory is guiding your
hammer so we’re on wall foursquare of 600 rpm I’m going to use my shirt as an apron
because my Eastwood summer classic shirt is awesome no no I’ve got shirts that are ruined
from that yeah you can throw in the laundry but
but you know why not just to just protect yourself we get audio ok we’ll get there here welcome to our technically dazzling show
Joe can you hear this I tell that’s Joe up there in the top in
the wings coincidentally probably about 90 degrees
in here about a hundred and two up there give it up for Joe he’s working his butt
off the the eastwood video team and I want to take a second to talk about
hands on cars east with video team we have a ridiculous amount of fun we
should have in Brian’s in here we shouldn’t be getting paid for doing it
but we are but the hands on cars is a web show I don’t have any of you guys have seen a
roadkill from Hot Rod Magazine we looked at road kill that man what can
we do what we do where we can still do some how to some DIY stuff and go out
into the industry and have some fun you know I’ve spent the last 13 years of
my life doing automotive television shows on cable and i love it i love the
format i love the the expression and the the ability to to take techniques and
pass them on when we can do that plus you know driving 1,100 horsepower pickup
trucks not such a bad gig so I like TV but the internet oh my god the internet relieves so much
of the rules of television and we’re having a lot of fun so I urge you hands
on cars it’s a great new show we just uploaded
our second episode we’ve got a bunch more coming this year we just went up
the AC means museum and her she had made fun of all kinds of stuff and at the
same time is respecting the craftsmanship and the survivors and and
american muscle they’re good friends of ours and they
hand I don’t know why they handed me the keys to a prep 2014 coyote powered
mustang and and you’ll see what what what happened I think we had a traction problem at one
point but anyway where were also doing an F body camaro is a non long-term
project on the show hands on cars it’s free it’s about a 15 minute show you’re
going to see you sweat products represented but we don’t beat you up
over it it’s just a fun show to watch so you know I like us on Facebook hands on
cars get the views up get the numbers up so so we can keep doing this but it’s
it’s a big time you know we get to come to car shows we
went two wheels in motion and a blast from the past couple of days ago and
just did you know just what do you guys got going on and just go into a walk and
talk interview it’s fun stuff anyway hands on cars is one of the cool things
that we’re doing at Eastwood so let’s let’s book with the lid closed
as we saw it separates a little bit the reason that separates a little bit
is that there are no Kara scenes in this compound it’s a water based compound one of the
reasons i like it a lot is because you don’t have to get lacquer thinner on a
tooth brush and scrub it out of your crevices and cracks as it gets driven
down in there is everybody had a chance to find all the pads ok I’m sorry I’m trying I’m trying to
remain PG what’s that like it’s all three it’s all for you can take
this and use it as a hand glazed it’s really neat stuff it won’t scratch
the panel this is a it’s a single step compound that breaks down with friction
and heat so but it does separate because its water based the flip side of that
yeah you gotta shake it up a little bit and make sure it’s intermixed when it
comes out as a pace and I’m gonna try not block the scene alright so about a quarter is up there a
dime size i’m making a heck of a mess here my pad is dry the I want friction its
liquid sand paper let’s face it but I don’t know what’s on this pad so again i
leave the you straight water or this detail spray works really good it’s just a pad loop so i give it a
spritz it just gives that little bit of pre lubrication on the pad so you’re not
going to try and dry contact especially since we’re going to have revolutions so
i’ll start off with a low speed and typically this panel is going to be flat
it’s not flat which is good because i’m not going to swing compound all over you
guys so I’m just going to be like this I’m
just going to gently rub it in and I’m 600 rip I’m not fighting this technology I’m not
fighting the equipment I’m floating the pad on the panel i
don’t even have to look at it and i know i’m not going to put a job one hand and it’s not jumping all over
the place the reason is it’s not completely flat I’ve got one edge
slightly lifted and it just sort of floats over the panel this thing’s heavy the you know let the
equipment to the job that’s my point let the liquid sand paper and the
equipment do the work for you even on a side surface I’m not hammering
into it just like dry on dry is bad in the
initial cut the initial application rubbing all of your compound off we don’t have a point and shoot
thermometer here hey Randy do we have a point shoot thermometer cool cool cool cool i’m not going to let
that get dry before my next application of compound some guys put the compound on the pads
and that’s put on the panel I just used to putting on the panel six of one half-dozen together like I
said there’s more than one correct way to do this so I’m still got a haze of
compound on there I’m 600 what was your airspeed so we’re
gonna go to 14 it’s faster yeah it’s more than cool
thank you very much yeah so 14 is still not annoying is not
chattering all over the place and it’s kind of getting the job done so what I said earlier i’ll read the panel
i’ll figure it out if I want to get a little more action out of it build a
little more needed to the surface I’ll step up a little bit ok so now it’s dry i’m still not done
bluffing but here’s what i wanted to show you this is a point to thermometer
these aren’t particularly perfectly accurate it’s a really nice tool to have around
can pull the trailer shoot your tires on your fuel stops figure out whether
you’re you know need to deepen whatever it’s a good tool to have in your tool
kit we are at 90 degrees 90.3 I need a
volunteer because some help what I want you to do that spot right
there you can’t come up on the stage yeah so
he’s got the dog on it what does it read anymore . soon as I pulled the ball for
off i want you to shoot it again we went up we went up 12 degrees in
about four seconds I saw that panel pucker I saw a dome up
here in that panel it’s warm to the touch compared to
what’s around it if you drive off yes this is an exaggerated demo if you drive
off your panels already a hundred degrees are you can you can do some
damage and you can peel that paint right off of there you can if you pick up an
edge you can roll it right off and it’s going to break your heart so thank you
very much what’s your name bro this is ralph say thanks to help so anyway like I said that’s it’s just a
good way to read your panel and can you kind of feeling hello that’s sorry I probably ran him off what’s that no I don’t think it’s too quick again
it’s what’s working for you if you’re jumping all over the panel and slow down you know if you need a little more heat
that’s the beauty of a variable speed buffer you know I was a 35-foot car for you
yeah that’s too quick but 14-under 1600 depends what you’re doing so even though there’s still 400 grit
scratches in there that just further proves my point about about a finishing
one step before the other we’re going to switch pads I’m done with
wall and the next step in the liquid I system is blue again locating nub what’s that you know you’re done with the great
question he says how do you know you’re done with the wall if I’m looking at the
panel and I’m looking at it from the side and i’m reading that surface and I
can’t see any more scratches then i’m done with the wall if it’s ghosting if
it’s hazy like in these edges i’m not i’m going to do another
application of compound and one another thing that one alejandra taught me is
that when it looks like you’re done give it one more pass on your first initial
compounding stage give it one more application of compound one more pass is just insurance yes sir yeah yeah I know what you’re talking
about he was talking about the smaller buffers are they r ya are the rotary
buffers are the orbital ok now that I’ve got a couple better
that our rotary I’ve got a little pistol grip buffer with a 3 inch pad hook and
loop velcro pad I’ve got one on a long handle with with a pad on Jeff Green
from greeting auto company they just picked up the Riddler award last year
for a beautiful beautiful vehicle that was a a t-bird the day that they won
with and just outstanding car he has created a one-inch buffing wheel they cut and rub every surface like the
student pick up outside everything has been cut and rub so
sometimes you got to make the tools email Eastwood if you’ve done something
like that hey hey guys come on you know come up
with something better than this but he’s got a one-inch pad so again you know
they’re cutting the insides of frame rails and reliefs and the bottom looks
as good as the top so it’s there’s no end to which they’ll stop to get a
perfect finish because that’s what it takes because that separates you from
the Mako guy right so I’m so the way you know you’re done
is is read the surface and give it one more so moving on to the blue pad which is
obviously more aggressive and where’s my details for here yet it’s
a little pre lube everything’s better with a little loop
yes sir yeah yeah absolutely the question was if
i’m doing an initial cut in a wool pad and this applies for everything if
you’re nervous about your edges about your style lines and you don’t want to
roll that paint off you got fresh paint or even if you’re just flirting with an
edge there’s a couple of different things i
use fine line tape sometimes i use masking tape if I don’t
have any fine line let’s talk about this tie line here we got a peak edge on this
edge here so I’m taking my fine line tack it and stretch it and and there we
are so what I’ve done is covered that edge
I’ve covered that edge up and honestly at a thousand rpm 1500 rpm that buffer
hits that it’s going to rub it right off there this is a reminder it’s a reminder more
than protection that I’m getting too close to that edge so i can reapply my
tape so this is a really nice idea who knows what surface tension is surface
tension is what keeps a mosquito on the water without sinking so surface tension applies with our with our pay jobs ok surface tension
paint kind of stretches around the corner here’s your substrate this is going to
simulate a paint job and I’m sorry for standing right in front of you so we got a clear coat layer here when
it gets to this corner its kind of stretches out it still covers it you’ve
still got milk like this there because it’s still shiny but but it kind of gets
stretched around that corner same with your peak edges it kind of gets
stretched around where it becomes thinner just because of that surface tension
pulling the other edges down it’s like a kind of like a balloon it just gets
stretched over top so the way that affects us when we’re
doing a rub out is it’s thinner on that corner so not only is it thinner on that corner
is more susceptible to the pad grabbing it off so that makes that’s the best
technique that I know to protect my edges the other one this is not a reversible
buffer to me it’s going in a clockwise motion if I’m bumping this I’m not going well here I’m not going to
buff like that because i’m cutting into that Star Line not good I flip my buffer and all of a sudden I’m
bluffing off of that Star Line same way with the edges of the hood just move your equipment around change
your body position and now I’m bluffing off of the panel instead of on to it
it’s very simple but sometimes we forget sometimes we get caught up in it if it’s
a tight spot like like you know transition from the sail panel into the
top of the quarter sometimes it’s hard to find that
position but it’s very important to step back and just kind of figure out your
equipment this is clockwise where does it sit the
panel where can I place a great question thank you so we got a little bit of surface lube
on here now we’re going to go back and this is the cool thing same compound the
liquid ice and just like polishing aluminum the
shinier it gets the less it takes to make it even shinier than that so now Robyn a little bit yeah same drill there I’ve got a little bit
of haze over top of that i’m ready for the next doll above compound i’m probably going to do three
applications just because with this one just for this demo I’m going to move on
to the next step just to demonstrate the system so yeah what kind of there so we’re done with the intermediate step
in the next one which is a much softer foam pad the white foam my locating noob what’s that yeah liquid is only has
three but you can go with the black waffle pad that’s even finer if you need
to with this system i haven’t found is that
necessary sometimes on blacks black shows everything black reflects
everything it absorbs every color that’s why it’s black so you got to
spend a little bit more time on scratches and halos so I did not pre loop put it on the pad this time give that a
shot that took it off relatively quickly so
let’s just pretend i’m satisfied with that I’ve done the whole side of the
hood it’s still hazy I don’t buff it to a
perfect complete loss because i want a little bit of lube on that panel then
I’ll take a brand new clean microfiber and anybody’s detail spray really works spritz the pad spritz the panel and then
I’ll buff to my final gloss by hand and essentially like a quarter size right in
the center we’ve got a beautiful we’ve got a
beautiful finish but you get the idea it’s a neat system single compound three
pads that gets you there to get you there quick buffing single stage it’s it’s about the
same thing I’ve found it to be more of a challenge to get the same class with
single stage just because it seems like the pigments
in the binders they just kind of hang on to the compound of the pad a little bit
more but a trick that I use is what i’m doing a solid color with a single stage
I’ll intermix clear coat after I’ve got my hiding for instance I’ll get two
coats of a single stage to get my hiding out in turn makes a compatible clear
code makes clear mixed single-stage blend them together that’s my third coat then I go
twenty-five percent color seventy-five percent clear as my fourth
code then I go a hundred percent clear over all of it it’s got to be compatible clear you can
intermix then catalyzed but you mix your batch you mix your batch then you
intermix what that does you know what’s the difference between
reflection and refraction is anybody know exactly that’s precisely it refraction is how much light passes through that’s the reason that a
clear coat system is more brilliant that’s why I candy makes us feel nice
when we look into it a candy is of course a gold or silver
base coat a true candy translucent mid code whether it be silver blue aqua
whatever and then a clear coat over top of it here’s your substrate let’s see there’s
our silver ground code here’s are translucent mid code then
there’s are clear coat which is beautiful your son light refraction is
light like a basketball in a room you slam it down the light comes in it bounces around here comes back up
here and meats are Dave Roth flying already bedrock flying eyeball it’s the way the light bounces around in
the panel and hits our eyes and if it’s soft and it looks like the Bermuda you
know they on your on your cruise that you went on that makes us feel good
that’s why we like beautiful candy jobs reflection is purely the light bouncing
off the top of the surface and ne ne hitting our eyes back yes we see a shine but we don’t see the
depth the depth is because of the reflection refraction and that’s why
there’s a distinctly different look on most colors between a clear coat and a
base clear our and a single-stage irritate so I don’t even know where I
was going with that but that’s that’s it’s kind of a subliminal thing why we
like candies why they look better to some people so we’ve done this I want to talk about
you eliminating runs in the paint got the runs never fun no one likes the runs it’s a necessary
evil it’s like it’s like traction you go up to the flirting that the living and
breathing edge of traction with your car on the track with your break traction
you lose control but you want to ride that edge that’s
when you get the best performance it’s the same with painting you gotta
paint and spray with your technique up until the point where you’re you’re
you’re putting our wet enough to where you’re flirting with that disaster area
of almost running the paint you got to get enough on there so you got a nice
flow out nice do I nice my self leveling and
great gloss and enough material on there so you’re flirting with that edge you’re going to have runs we everybody
does you you you sneeze a bug bite your arm and you slip you your technique
relaxes for a second and you get a paint run what happens we talk about surface
tension to what happens when you go to hang around the side of a car gravity
meter a flow indicator whatever you want to call it is the bulbs out and it
actually gets thinner on one or both sides of that run so if you take sand paper and just sand
that run your contact patch is all the way around it and technically you can
you can cut through and bust through that paint on either side of the run
without having to remove the run so that’s why I like surfacing from the
top down focusing on the run and essentially planning that run down until
we’ve achieved flatness then I can go through my steps here and get up to
gloss so there’s lots of techniques to do that
this is nothing new nothing new Under the Sun that’s where the NIP files come
in handy and that’s where the run razors come in
handy what I want to show you is a really cool technique that my dad shall
be a long time ago my dad’s a paint-and-body guy that’s kind of how I
fell into this stuff and he had this this guy that was a think he was a
prepper in one of the body shops that he worked at are managed and and it’s a
single edge razor blade he had a sharp eye keep them around like
a drawer full of them it’s the best tool ever and I’m not going to talk about the
eighties and what we use these for the coffee tables we’re not going to go
there but so we got a single edge razor blade and technically yes you scrape the
run out here’s a way to get a very very nice tool for a very little
amount of money what you’re doing with your single-edged blade is uh I like to
use this well let’s go let’s go 1,500 I’m taking
this on on my table top which is actually in eastwood welding table and
this is their new plasma cutting table that ships in a box it doesn’t start truck parade or
anything like that you assemble it at home and you got a beautiful plasma
table with replaceable slats if you got a plasma cutter you need a project area nice piece of gear what I’m doing with
my single edge razor blade and I’m gonna make this easy on myself because guys
have asked me in the past how do you remember which side you will
understand that question is second so I’m drawing with one side on my razor
blades so I understand what’s the difference between one side of the other alright so now with the dark side down
like this I’m simply dragging this razor blade
over the top like this it’s important to do this before you bend the blade then
i’ll tell you why I’m betting the blade in a second I’m just drag it into one direction if
you’ve ever sharpen the knife you understand what I mean you with the
whetstone you go one direction you don’t saw it back and forth are you
ruin the the blade so now what I’ve done is I’ve created a burr going this way on
the bottom of that blade so now i know that my birds in the
opposite direction of the side that I’ve colored so now my burger is pointing up now what I’m doing is bending it just a
slight slight bit and what that does when I flip it over
and i put it down flat here it takes these corners and lift them off
the panel now I’ve got a work surface it’s very subtle but I’m not digging the
edges in so that’s the technique there create the burr bend it slightly and now
we’ve got a awesome tool and it costs about four cents because they come in a
box of a hundred so now we’ve got our little rivulets of tragedy right here
and we’re just going to I don’t know how to treat it like a run we’ve got heavy
stuff here we don’t have a traditional run but we
got enough to to show the point now what I’m doing I’m dragging it very subtly I show this
technique in the color sanding and buffing DVD and I’m not putting hardly any pressure
on it at all and you can see what’s happening and this ties into John
Sloan’s question a while ago about i’m confused in your official cut I can see perfectly what’s high and what
slow what I’ve got there just clear coat this is this is painted
yesterday so it’s pretty fresh of course I’m about 30 degrees thirty to
forty-five and I’m just dragging the top it’s how they used to make wooden spokes
they just play them the bird is facing down yes because remember the black part was
down my Birds going up I flipped it over putting the distant
corners up now my brother is facing down which further refines that that is a
really really really precise stainless steel blade and i just made it even
better because I’m corrected it with thousand grid or 1500 in this case and
you know and I don’t even really have to be careful i’ve done this open a
thousand times but well on my face it’s it’s different but
um no no as you can see no I don’t get a very
good closed shape the reason that i have facial hair is not vanity when I started doing TV they didn’t know
what to do with me because let’s face it I’m a gringo I was born and raised in Canada I have
the complexion connection i’m as white as they come and I’m difficult to light in a studio
environment whatever that you know whatever that means they would scratch
their heads and try and be you know they sent me to the tanning salon I did the
spray tan thing to get a little bit of color in my dermis to where we they
could like me on television so it’s like they hated to see me coming when we had
a long time ago I did a show called classic rides we did an Airstream
traveler 24-foot travel trailer polish the whole outside of the thing but we’re
not standing for that trailer it’s it’s a giant egg that reflects light so it
John remembers this we will take them 20 30 minutes to set up a lighting set when
I walk into a scene ago okay i’m an idiot we’re gonna put curtains on the
same level or and then we’ll put a trailer hitch on and then I walk out 15
seconds took 20 minutes to light and then I walk in and another 45 minutes
later we can shoot the scene so anyway I’m a white guy Mike galley on the
horsepower TV show he’s a white guy – we had a white off we
we pulled our pant legs up to the knee and i won he’s a long pants guy like me and is so
anyway whatever I don’t even know why I’m talking about this is just stupid
stupid TV series i told him forever i said we got five TV studios in one
building at the powerblock follow us knuckleheads around with the camera crew
you will have the best reality show that you would ever have but they won’t do it
they won’t listen to me yes yes you can do it on the single
stage and the difference is and I have to clean the surface off at
all what it does it gives you the ability to not even have to tip to
perfect the imperfection get it flat and level before you even start sanding you
know if you tried sandy run out you know sometimes you can dig in you
can create the effects like that yes this works on any finish yeah absolutely this question was can t
be used on single stage of course it can yes sir interesting question he said how long do
i wait before i scrape a run before i start the buffing process if I’m doing a
show car I’m going to cut it I’m gonna leave it
for a week two weeks then I’m going to come back and rub the reason being is
that what you’re doing when you open up the top skin of a panel and this really
relates to this demo and two color sanding and buffing in in a big big way your ear it’s Kim’s over it drives from
the top down paint cures from the bottom up but it
dries from the top down so what that does what does that do you
get to action is happening at once you’ve got a layer in here with solvents
whether its water whether its traditional solvent you got a layer that’s trapped solvent
is the necessary evil of a paint system it has nothing to do with the page
system it’s a transfer vehicle it takes the
paint from your gun to the panel then it gets out of Dodge the success or failure of your paint job
sometimes depends completely on how well you allow that evacuation of that
solvent so what you’re doing here is you’re
opening up the top you’re facilitating that that solvent loss have how many
people have ever let clear coat dry in a cup and then looked at it it shrinks
from the sides and it shrinks that’s your solvent evacuated out of it
you know and sometimes the solvent if your skin is over on the top if it’s
evil it’s bad it will find its way out you know what
solvent pop is solvent craters are at that little micro pop on the top of the
panels have it skims over too much salt is coming out it is it’s the necessary evil of
painting the solvent is coming out whether it comes out on its own or
whether you facilitate a nice even evacuation that’s part of the equation so you see
I’ve seen solvent craters that looks like you can put a stick pin into it is
horrible that goes right down to the base code and you have no protection how many people have ever buffed a black
car with a light colored compound and seen the specs in at the don’t go away chances are that’s compound getting
jammed down in to these solvent craters so cutting and rubbing in collision work
the systems are designed to be painted on and and buffed and evacuated and
sometimes the next day sometimes same day deliveries but you can have a zero come back ratio if you’re a like a flat
rate painter you got one chance to do it right
otherwise you pay three times for it you pay for the first time to come back
at the car that it displays while it was in there and you pay a third time
because now you just misplaced the third car because the two times that you just
wasted you could have done another car in there
you got one shot baby and it should really it’s just how it is you know and you get paid for that job
one time now some chops even charge back the technicians when they make a mistake
when they got a customer come back so it’s critical that you you do this right
the first time you know our East with slogans do the
job right this helps you do the job right so you’re cutting the top and I’m
be laboring this for a reason you cut the top and allow that solvent
evacuation out let everything calm down just like it does in your cup on a
microscopic level it calms down it becomes very happy now
we can come back and cut and rub for gloss so give it a transitional period give it
a bit of time especially if you’re dealing with it with a like a show car
like the Studebaker you know how long did you wait before you rub that thing
you let it cure right a week exactly oh yeah you gotta rewatch it you know
and that said that the glass cleaner it’s it’s a nice to a whore we wash the
car that’s a small price to pay it’s a small price to pay and sometimes
you have that surface can harden a little bit more ok what you’ve done it the little extra
effort that is going to take you a little bit extra time that’s going to
take you to kind of cut through that hardness and get get your gloss up a
small price to pay is really going to help you yes sir oh absolutely yeah no no I do this with
primer surfaces as well and it all is because remember this say it with me solvent is the necessary
evil of a paint job solvent is a necessary evil of a paint
job it’s the truest thing that I can tell you today so yes epoxy maybe that’s an exception
because you’ve got a recount window there that sometimes you want to take
advantage of what i’m using hi Bill Polly’s or 2k urethanes yes sand it let it evacuate let it sit and
cure let it do what it’s going to do remember that that solvents coming out
of there one way or the other so when I block a panel I’ve got a 34 packaging my shop right
now between all this media stuff and and and it’s a beautiful car and i’m a i’m
privileged to have my hands on this vehicle that’s one of 30 that were ever
made it’s got a handbill Dietrich body on it it’s it’s an amazing amazing
vehicle and I get the privilege of doing a paint job on this car and I use these
to its high build Polly on it and it because it doesn’t shrink there’s almost no solvent in it and it’s
truly spray filler I’m not gonna say bono because Wanda was
a branding i use the pollies all that how many people use hi Bill Polly’s 44 it’s a beautiful beautiful tool if
you’ve never gone to a polyester surfacer i urge you to try it get its
part of the body work process it’s not even part of priming it’s part of the
shaping process and it’s a wonderful tool a lot of people that make different
varieties of it i particularly like he swings because I’m cheap it’s inexpensive and it has not let me
down I built a car a couple of years ago I call it jaded it’s a 66 mustang coupe we had an
interesting experiment we went from the bare metal up all these weird stuff it was a new page system so I said yeah
okay I have a theory no bad paint only uneducated painters so
it doesn’t matter his paint I’m using i know i could probably get a pretty good
results we see yeah let’s roll device that’s used to stuff from them from you
know so we have the car debuted 2012 SEMA we got shot for popular hot rodding it
was one of the 12 best cars that cement PHR and and I I don’t say this because
I’m bragging on myself i had the help of some wonderful friends that actually
rescued my ass and got me out of trouble with our timeline that we had my point
is not to brag about the car but to brag about the fact that i don’t really
particular to care for the yeah take care of the car as well as i should
it sits in the corner of the shop I’m cutting floor pans out on the sled
project in the hands on car show the dust is going over its falling on
the car I use my techniques with detailers of stuff i took it the Mustang
week last week and it sat out in the open I drove 11 hours with that car in an
open car hauler and the other little the only reason I didn’t drive it is because
it only got 700 miles on it and the air condition is not hooked up it’s
summertime i’m lazy so anyway i use the car i’m not
afraid of the car that paint job has not shrunk it has not shrunk back there is
ZERO scratch swelling I did flow coats on clear so I’ve got
enough material on that but I i believe in polyester and and
again i use the eastwood products and I’ve had great results with them there’s there’s more expensive paints
it’s about technique it’s about technique and you talked to
the top of the heap guys the greening guys you know it’s about technique in
the end and respecting the chemicals the tools and the solvents for what they are
allowing them to do what they do and then you step in and do what you do
better so that was a long-winded answer based on your question about letting
things evacuate between coats I can’t remember which rod shop it was
he’s added Arizona rod shop and they would they would bodywork they would get
up the surface ER and they would let the car sit a couple of months / tracked a
timeline like crazy but that allows everything to leach out of it everything
to evacuate to where they knew they could build upon it and this was back in
the times where you do stupid is crazy layers with candies and stuff like that
and those things kind of stick with me where are we going next so we’ve got
this surface down we’re talking about that we’ve done razor is there is there
is there any questions by the way what’s your name and where you at circus ok this is jean i was a great question
happy birthday ok cadet let’s see yeah great question his question was after
scraping the runs can you just go right at it with compound or can you do you
have to sand it I’m just gonna say yes you have to sand
it because even though you got a very finely tuned edge on your razor blade
it’s still not perfect it’s not two thousand grid and that’s kind of where I
land is 2000 grit than above for gloss so good question yeah you got to follow through with your
steps you’re correcting the surface where you got an even playing field for
gloss and then you bring it back up to full gloss yes sir where did you say you’re way too
we go back and do anything else and i’ll send this flat and then I wait a week yeah sometimes you just don’t have the
time to wait a week you know if you if you’ve done your job
probably a you can cheat that but if I’m doing a restoration job that that I
wanted to look as good in five years as it does the day at least my shop I’m gonna I’m gonna wait I’m just gonna
wait and you know this Packard I’ve had in my shop in different pieces in the
different stages for almost a year and a half I’m the guy that owns the car is very
patient with me he understands that i’m doing other things that working in the
shop so we got a great relationship like that he just wants it done right so lead
going up to Eastwood in PA for a weekend i live in tennessee just south of
Nashville for me to do that it allows that stuff to happen so I don’t have to
think about it i just put it um ok good question he said if it was a
TV show we would tell people I would well I
would tell you the thing about TV is that you’ve got the luck sure you’ve got
the the ability to stop shut the camera down and then come back
in a week for instance on the set of trucks or
truck tech is what is now called because the lawyers got involved anyway tom we won’t go there yeah yeah yeah oh yeah cool so we did
that the matte black supersport stripes on there yeah and we’re gonna talk that’s what I
wanted to talk about is matte finishes thank you for reminding me is uh is that
they were all cut I thought you should say Weiner it says
remember anyone I’m sorry huh how we doing for time Joe ok what was I talking about I’m sorry I went blue okay yeah matte
finish and the stripes are typically we’ve got two projects going on at any
given time our studios are 360 degrees which means
it’s technically a workshop with a bunch of TV gear in it we can shoot in any
direction which is not typical television the DIY shows that i did
there was a facade it was a false set with an open ceiling and it very
expensive production lights in the top and you know to third shot at best with
fake walls because the studio that I worked at they would break the sets down
between seasons typical season is 10 shows maybe 12 shows then they would
wipe the slate clean build another set for another show and you know and they
would rotate the studio space like that because it’s precious because the
lighting gear and the equipment is so so expensive they have to utilize it

10 Replies to “How To Buff Clear Coat & Polishing Your Car Part 2 of 3 – Kevin Tetz Demonstration – Eastwood”

  1. Thanks for watching! There are LINKS TO BUY the products mentioned in this video, in the description above. Here is a link to watch part 3 – 

  2. Holy crap dude you talk too much and are all over the place. All 3 parts could have been done in 1 with commercials if you just gave the presentation

  3. Wow great videos. Eastwood what ever you are paying Kevin you need to double it. He has such personality and he makes learning so much fun. Great information presented in a delightful way. I love it, keep the vids coming.

  4. Buff the f ing panel already… my god after 13min of 2nd episode and your talking about everything but how to do the job….

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