I've been on product launches many times, so can drive the design side appropriately and keep things focused. Has been a wonderful addition to my workflow.

As usual with any agent-driven tool - GIGO. If the human driving has no product experience and is blindly accepting designs, well, that's... a choice.

1. Not all sensors are CMOS/Bayer. Fuji's APS C series uses X-Trans filters, which are similar to Bayer, but a very different overlay. And there's RYYB, Nonacell, EXR, Quad Bayer, and others. 2. Building your own crude demosaicing and LUT (look up table) process is ok, but important to mention that every sensor is different and requires its own demosaicing and debayering algorithms that are fine-tuned to that particular sensor. 3. Pro photogs and color graders have been doing this work for a long time, and there are much more well-defined processes for getting to a good image. Most color grading software (Resolve, SCRATCH, Baselight) have a wide variety of LUT stacking options to build proper color chains. 4. etc.

Having a discussion about RAW processing that talks about human perception w/o talking about CIE, color spaces, input and output LUTs, ACES, and several other acronyms feels unintentionally misleading to someone who really wants to dig into the core of digital capture and post-processing.

(side note - I've always found it one of the industry's great ironies that Kodak IP - Bruce Bayer's original 1976 patent - is the single biggest thing that killed Kodak in the industry.)

I do a fair amount of hiring. In the past 5 yrs-ish, I've seen a new level of arrogance in interviews. People can (and do) think very highly of themselves. That's ok. But the outright person-to-person rudeness and breakdown of simple courtesy is new. My suspicion is the prevalence of social media as a primary comms method for many, and its tendency to stoke open conflict, has lowered the bar on what is considered "acceptable" in interpersonal contact.

I'm a pretty kind and forgiving soul. But folks like that go on a special list. I don't want to make the mistake of letting that particular person pass through in future hiring rounds. That kind of naked toxicity can kill a team, or at the very least, create a giant management and HR headache.

"Adam" will eventually figure out that everybody you pass on the way up, you meet on the way down. Experience is what you get just after you need it.

Good musicians can adapt to low-latency group playback, but it's difficult, and at that point, it isn't true realtime collaboration. The band/musicians are more focused on staying in time and fighting the latency versus really listening to each other and being a band.

One great tool for doing long-distance collaboration is Endlesss. (yes, three "s"s). Loop-based work that allows for real collaboration, and getting around the latency issue.

As a small bit of trivia for those who wonder - it has been diligently maintained as a listserv, and a very simple website, because it is actively used by filmmaking crews in active production, which frequently takes place in god-forsaken corners of the earth with extremely limited connectivity. If it's 2am in the desert in Morocco, and you need help on alternate solutions for the the gimbal rig that just crapped out... you need a low-bandwidth way to tap into the collective wisdom. And that sort of active community happens regularly.

1. A surprising amount of emotional communication is possible with these avatars. The combination of arm/hand/finger articulation and movement + head nod/move/position + hearing someone's voice... that is synthesized at a much higher level than you might anticipate. I was truly surprised at the level of nuance we were all able to glean from fairly minor, almost involuntary movements people make, how that is represented through avatars, and then translates effectively to accurate social communication.

2. The physical representation of space and the avatars around that space carry the same "tribal" rules that exist in RealSpace. Certain groups tend to gravitate to each other. Side conversations can occur in a way that can actually be helpful to the overall gestalt. Leaders position as leaders, subordinates as subordinates. (Avatar group interaction is a fascinating, evolving sociology.)

3. Most importantly - all participants across multiple meetings and multiple clients agree it was far more effective then Zoom/Meet/Teams/etc. Latency is rarely perceived as an issue, the brain adapts and adjusts amazingly quickly to the new representation of space and human interaction, and decisions are made quickly because of the interactions, not in spite of them.

Of course it is in its infancy. But once you have done real business and interaction in these environments, it's disappointing (and counter-productive) to return to the endless talking squares on a monitor.

YMMV, but I doubt it. ;)

For instance, with Glass - there are 171 albums on Idagio. And it breaks them down with works, instrumentation, ensembles, soloists, genres (piano solo, chamber, secular vocal. etc.), conductors, and recording date.

If you want to compare the 22 piano solo albums that Jeroen van Veen has recorded of Glass's music - easy to pull all of them up quickly.

Their encoding is also vastly superior to Spotify or (yikes) YouTube Music. If you have a decent signal-chain for listening, high-quality components, and enjoy Classical... Idagio is head-and-shoulders above the rest.

He's 11 now, is in a neurotypical classroom with no formal support and thriving. He (and we) still work hard at his challenges... but we all have challenges. Neuroplasticity is a very real thing, and strong early intervention is sooooo important.

Some of my favorites: Steve Reich - Music for 18 Musicians & New York Counterpoint Phillip Glass - North Star Morton Subotnick - A Triumph of Reason Iannis Xenakis - Pleiades, Musique Concrete 1959

...

Listen to Portrait of Tracy (or any great harmonic jazz) and you hear the same open chord structures of Impressionist works like Debussy's Preludes or Ravel's Valse Nobles.

Listen to the impressionists and you go many places...

Ravel and Debussy's piano music is barely one step removed from jazz. Makes sense, because the early jazz greats lived and played around the same time. There's a famous picture of Ravel at a birthday party when he was in his 50s, with George Gershwin standing beside him. The early 1900s was an amazing time in music... classical was mixing with early jazz was mixing with vaudeville was mixing with the first stirrings of delta blues was mixing with gospel was mixing with african folks songs...

(I can do this all night... ;)

But this particular combination is like saying, "Listen to Billy Joel and you hear piano." ;) House and techno really are direct lineage from the minimalists in many ways. This is not a blind cross-reference. Any artist learns and borrows from what has come before. Some borrow more heavily than others. (As an aside, check out the 2006 album "Reich Remixed" for some really cool interpretations... )

Listen to Glass, Reich, and Riley - and you hear the deconstruction of symphonic structure.

Listen to Beethoven's symphonies and you hear the struggle of form from Mozart's classical era construction to what would become Beethoven's pure romanticism.

Listen to the interplay of an Alberti Bass and melody in Mozart's Piano Sonatas, and you hear the beauty in the evolution of counterpoint as written by Bach, Scarlatti, and their band of powdered wigs.

Listen to Bach and Scarlatti, and you hear the echoes of Gregorian Chant and the Diabolus in Musica (and why Black Sabbath sounds like Black Sabbath.)

Those who forget the past are doomed to be Miley Cyrus.