iampliny

Fugitive Wirecard ex-Mgr Marsalek allegedly behind Russian spy ring (German)

Other founder here.

Coming at this from another angle: people in film approach me with ideas for products, and always ask "where can I find a coder?"

The only answer I have for them is that they don't need a "coder". They need a co-founder.

Hi, other founder here. Does "SaaS" have to be synonymous with a subscription business model?

Hi, Indie Hacker here who also has some experience with politicized corporate environments. I’d like to encourage you to ignore some of the bad advice in this thread.

Sounds like you were in a gnarly situation and did well to get out. You are what you do, and those types of places can have a long-term corrupting influence on your professional habits and instincts.

The observation that “all companies have politics” is about as useful as the observation that both Venezuela and Denmark have imperfect governments. These statements are correct only in the narrowest sense.

Those pointing out that you never work for “yourself” are also technically correct. If you own a business, you have a responsibility toward your customers. The good news is that it’s possible to find a niche in which you actually like your customers and enjoy doing right by them. Running your own company also gives you the opportunity to optimize for what you think is important, both personally and professionally.

Best of luck.

3:1 would be an extremely low -- I've never seen a shooting ratio that low in my life. Shooting just 4.5 hours of footage for a 1.5 hour film, for example, is unheard of.

Even a 10:1 shooting ratio was pretty low for indie features in the 35mm days. Nowadays it's not uncommon to see shooting ratios upwards of 30:1 on digitally acquired productions. (Although that number varies a lot with the director.)

Archive-by-VM has been attempted from time to time. In the case of VFX there isn't a single server, but many different workstations, servers, render blades, etc. So preserving the entire pipeline in amber is a challenge.

Agree with this statement. Future-proofing was, however, a happy side-effect.

Most VFX shots loop through not one but several software packages. Sometimes even through multiple VFX vendors. Project files are proprietary and become inaccessible over time. And different VFX houses write their own add-ons that are not shared with a vendor like Netflix.

So collecting VFX shots in a pre-rendered state is notoriously difficult. Doesn't mean it's not worth trying. But you'll probably end up with various decomposed elements (models, rigs) and not something you can easily and quickly re-output in 4k, HDR, etc.

Saying that Medium needs to hire writers misses the point entirely. Medium is a platform--not a publisher or a content studio. SV doesn't like the "studio" business model because it doesn't scale: there is no such thing as a 100x writer, 100x animator, or 100x video editor. If you want more output, you have to hire more people.

(I used to run a post production boutique and learned this the hard way.)

Ev Williams' previous startups (Blogger, Twitter) along with other networks like FB all rely on users producing endless streams of content FOR FREE. This seems to be working when the "content" is 140-char witticisms, cat videos, or various forms of lifestyle/status/virtue signaling. The "content producers" seem to think that the tradeoff is worth it.

The math is very different when it comes to producing thoughtful, long-form, polished content. Ev Williams hoped that he could provide writers with enough incentive to do that sort of difficult work on the Medium platform.

But even assuming that there are enough writers willing produce high-end content gratis, it is still unclear what incentives Medium is offering in exchange for moving your operations into their walled garden. A better <TEXTAREA>, plus some hand-waving about the future, isn't cutting it.

Yep. Tricked-out gaming rigs catching up with the heavy-iron graphics workstations was hugely disruptive. Low-overhead boutiques could suddenly do the same work as high-overhead facilities. But then you blinked, and the same work was happening in no-overhead places like The Director's Living Room.

Pro was always a stepchild at Apple. Steve Jobs never stopped by NAB for the Final Cut Pro press events. And more than a decade ago I started seeing middle managers being "promoted" from Pro Apps to other divisions like iTunes.

The hard truth is that we pro folks aren't that lucrative. Pro users probably sit in the bottom of a smiling curve with high-volume consumer products on the one side, and high-revenue Enterprise on the other. To a company like Apple, pro users represent the worst of both worlds.

That's why you also see "media storage" companies like G-Technologies, who introduced pro products (like the late G-Speed) only to abandon that market for high-volume, low-touch consumer products like LaCie Rugged.

I want a new MBP with an nVidia GTX 1080 as much as the next guy, but I'm not holding my breath.

Small, but important distinction: Studios don't make content. Studios made deals.

Film production is a smiling curve: on the left you have "development"; on the right, distribution. Actual content creation is 100% farmed out to production companies and their vendors (like VFX houses, et al).