> I'm not really sure that contemporary CGI will really age as well.
Because today the film is subordinate to the CGI. In the early days, as is apparent in this oral history, CGI usage was deliberate and each shot received unusual scrutiny, time, and senior talent. And the technology simply wasn't used when the illusion didn't work; the imagery really had to blend with the physical footage. Today, obviously, the same considerations don't apply.
Sneakers are fashion, and Allbirds underestimated how quickly trends shift. They made other mistakes, but none more fatal than selling a product that still looks like 2016.
LaserDiscs are not quite a digital medium. The video is an FM analog signal (composite). Digital PCM audio was introduced about half a decade into the format's life.
> How were they able to achieve such perfect recreation from monkey
Because the macaque study didn't decode faces from fMRI. They first used fMRI to locate the face patches, then used tungsten microelectrodes for single-unit electrophysiology to record spikes from individual face-selective neurons in ML/MF and AM. [0]
Single-unit recordings capture individual spike patterns at a resolution fMRI, which averages across hundreds of thousands of neurons per voxel, simply cannot provide.
Digital video editing was slow to gain adoption, but digital video mastering (i.e. video transfers) was pretty much standard for home video by the early 90s. Telecine setups (even analog) had smart controls, nothing I'd call 'barbaric'. [0]
Granted it's often easy to tell on your own, but when I'm uncertain I use GPTZero's Chrome extension for this. Eventually I'll stop doing that and assume most of what I read outside of select trusted forums is genAI.
And in all manner of regulated industries. People simply cannot resist throwing anything and everything at the magic text machine. A company can control its IT assets, but if the content is displayable on a screen, rest assured users will just take photos and upload to their personal LLM accounts to get the generative answers they endlessly desire.
Before all the third-wave shops came along? D'Amico, Sahadi's, Porto Rico, Zabar's, Gillies, and that's about it. You'd have to have been a coffee buff to seek those places out as a consumer, as they mostly served as suppliers to hospitality.
You’re doing it again. You’re taking a descriptive proxy he used and treating it as dispositive evidence of motive, instead of engaging the underlying claim about what happens when a historically dominant, locally rooted culture ceases to be a majority.
DHH’s argument was about rapid demographic change and loss of a majority culture, grounded (rightly or wrongly) in concerns about social cohesion. An argument you can disagree with, but not reduce to racial preference without distortion.
Had Redford passed some 30 years ago, your remarks would have been true. By the early 2000s, Sundance became nothing more than a marketplace for a formulaic film type (quirky dramedies with offbeat characters) that big studios (a.k.a. Hollywood) would bid over. Sundance ultimately commodified "independent film".
Do any SOC2 Type II auditors truly audit the businesses they’re making an attestation for? Like do they go onsite, physically and virtually, to probe and determine what’s true? Typically the client of an assessor provides compliance evidence in the form of screenshots of configuration details. Clearly this kind of evidence can be fabricated or adulterated.