Something most strong film directors have in common is that they can do all of it at a pro level - write, handle cameras, compose music, edit, create props, etc. It is only by getting into the details that you can develop deep enough taste to do great work. True in other work too
After having run a Nextcloud server for several years on a Droplet (using docker-compose), I ultimately realised that I was only using the file syncing capability, and wasn’t moving much data even then.
One of the things I found most exciting in the last couple of years was seeing as model qualities gotten better and and harnesses and tools have gotten better, how many people um that were directors or VPs or SVPs or any of these levels were actually rolling up their sleeves and trying things out.
However, if you are targeting full autonomy, and you're targeting superhuman, strongly superhuman performance, you find that weak sensing just leads to a safety curve that flattens out way too early.
And I like to say we we don't we haven't earned the right to innovate on the camera until we are the world's leading PhD on the best mobile cameras that already exist.
film was this high margin product where they had a bunch of unique intellectual property and digital cameras are a low margin um commodity where they were competing with the entire consumer electronics industry with no differentiation.
Identification of a Woman (Italy, 1982, CC) 3.8 Critics often point out various flaws in Antonioni films, but I’d rather focus what he does so well. He’s one of those directors that appeal to serious film buffs because the visuals are so brilliantly constructed. (Tarkovsky, Ozu, Kairostami, Hou Hsiao-hsien, and Wes Anderson are some other examples.)
And oftentimes it's more important to them to have the public perception that they're good directors so they get the next best deal. If they have a reputation for taking on management too aggressively, word will get out in the small community of founders and they'll miss the next Google.
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