Interview with A Founder: Conor McLaughlin (Co-founder of 99.co)
By David Wu (AppWorks Associate)
Conor McLaughlin was previously the Co-founder and CTO of 99.co, the real estate marketplace in Singapore and Indonesia. He spent six and a half years at the startup, whose backers include Sequoia Capital, 500 Startups, and Facebook co-founder Eduardo Saverin, helping to grow it into a $100 million company. As a member of AppWorks Accelerator #21, he is currently working on his next big project, a yet-to-be-named language learning startup.
【What advice do you have for first-time founders?】
First, you need to decide: do I want to run a sprint or a marathon? For a sprint, you may be open to acquisition from the beginning, delay non-startup aspects of your life, give yourself two years where you drop everything to test an idea, choose to raise more money earlier on and thus be more diluted, or do anything else that implies a shorter time horizon. Typically 1-5 years - this can lead to a major boon in a short period of time if executed well. If you decide you are in the sprinting business, you will most likely be pushed toward binary outcomes because of how many investors and employees you have on your cap table. As a first-time founder, you need to be clear with yourself on what you are willing to put on the line. As Reid Hoffman says, it’s like jumping off a cliff and building a plane on the way down… hopefully you build a plane in time.
If you are running a marathon, you are deciding that your competitive advantage is consistency over intensity. You are in this for 10, 15 years. With this time horizon, you will realize you need ways to metabolize stress and maintain emotional, spiritual, and mental health. You need to maintain relationships with friends, family, and romantic partners. When you are looking at this 10 year period, you realize the people around you can only put up with so much. Unfortunately, while work is something people can generally bounce back from, there are many things in life where you cannot - an example is your relationship with your partner. If you’re going to run a marathon, you need to be clear with yourself about what time you have for other aspects of your life and what time you have for your company. Eventually you need to learn what the right speed is where you can run as long as possible. It’s amazing how often it is that those people that keep going, assuming you have chosen the right problem to solve, eventually find daylight. Part of that is just lasting long enough.
Second, you need to revisit and continually ask yourself: should I still be running a sprint or a marathon? Circumstances change. Maybe you sprinted for the first two years to secure interesting results and funding; now it's time to transition to a marathon and clean up the life debt a bit. Or inversely, maybe you're finally leaving the trough of sorrow and it's time to sprint for a bit. Most founders will be in a long distance race with periodic sprinting. From my observation, founders most often stop because of two reasons: They either A) run out of money or B) run out of energy. There’s plenty of advice out there for scenario A (hint: don’t). But in my experience, scenario B is far more pernicious and dangerous to would-be successful founders. If you are in a marathon but fail to pace yourself and run it like one long sprint, you are unlikely to make it to the end.
Much founder advice speaks to this: Don’t let your startup make you fat. Exercise 5-10% of the time. Pick up a hobby outside of your startup. Go home for holidays. All of it leads back to one thing: You need to take care of yourself. Because injury will be far worse for your progress than being a little slower. “Slow is smooth, smooth is fast”, as the US Navy Seals say. This is surprisingly difficult advice for intrinsically motivated founders to follow, because in the event of failure, it makes them vulnerable to the thought, “Well, you didn’t work hard enough.” But for those that already have the hustle, your job is to avoid the moment of epiphany where you look in the mirror and think, “This isn’t worth it.”
All founders will have to sacrifice some things. The point is to not sacrifice everything. It will make you more resilient. Not less. It will give you the space to see situations more objectively and make better decisions. And most importantly, it will let you love what you do because it will remind you that the work isn’t just in service of yourself, it’s in the service of others. I do not think you can judge hard work over a day, or even a year, but I do think you can judge hard work over 5-10 years. Hard work is not just about the next 1-2 months. There will be times when you need to run as fast as possible, but if that is happening all the time you are probably not being smart about the situation. So don’t hurt yourself, be consistent, keep disciplined, and keep going.
Lastly, focus on your metaskills. Public speaking, reading, writing - skills applied in every aspect of your life. Generally what they reflect is learning how to think better. As a founder you need to think about - how can I think more clearly, be more creative, rigorous, analytical? As Warren Buffett and others have said: I have never seen a successful person that did not read as often as they could. Actual books and long form scare a lot of people. That’s your competitive advantage. Read blog posts from smart people, follow smart people on Twitter, listen to podcasts. Always be focused on how you can develop yourself to think better. Fostering the habit of improving your thinking will foster discipline in yourself. And discipline will let you turn that rigorous thinking into action.
【I imagine running the “race” has been especially tough this year. How have you gotten through 2020?】
I have leaned on routine and community. I’ve spent a lot of time trying to foster discipline in myself. I make my bed every morning, meditate every morning, make sure that I go to the gym 3-4 times a week. There’s so much uncertainty in both the world and the entrepreneurial space. Keeping certain things consistent gives me a spine to my life that I can fall back on. If I’m not feeling well, my discipline takes over and I’ll go to the gym. That helps me relieve stress - falling back to routine and having some mainstays of consistency and structure.
And community - it’s been the big mental health zeitgeist of this year. Everyone is recognizing that without the people around us, our mental health diminishes. Joining AppWorks was very intentional so I could surround myself with like-minded people who could question me, hold me accountable, and inspire me. And also just forming personal connections where I felt that I was still taking care of my mental health by connecting with others. Being a founder is an incredibly lonely journey. In the early days, there’s not a lot of people around. Later, when you do hire lots of people, you need to be the boss, the leader - for certain things, you can’t tell the employees everything, and even if you do, there will always be a bit of distance. You need people to relate to - people want to be seen for who they are, and appreciated for what they give. When you are a founder, sometimes it’s hard to feel that you are seen. So I intentionally put myself in situations where I can be inspired, be held accountable, and more importantly connect with others, and feel that I’m not alone. And that me and my co-founders are part of a communal journey with those around us.
【When you talk about how to run the race, I get the sense that you’re drawing from previous experiences and, perhaps, mistakes. What are the mistakes you’ve made in your founder journey and the takeaways?】
I think you could take a calendar, point to a random week, and we could list out all the mistakes from that week (laughs). I do subscribe to Steve Jobs’ philosophy: mistakes will happen, but mistakes happening means we are making decisions. Not making decisions is perhaps the biggest mistake. It’s often the reason for frustration, loss of speed, loss of momentum - so many of the issues you encounter in startups. Not making enough mistakes is probably the #1 mistake that I’ve made.
Second, going back to my advice to first-time founders, is not understanding what game I’m playing. Not understanding that all the money in the world is not going to be worth it if your spouse or partner decides to leave you because you have relegated them to a second-class citizen in your life. I think I forgot that at points. There is more to life than just the company.
Third, be careful about who you choose to work with. At minimum, if you’re doing a standard 8-9 hours at the office five times a week, that’s a lot of time with those people. You want to like the people that you work with - you want to know they’re high integrity, you want to respect their values, and you want to have common values. Choosing the right people that give you energy rather than take it away just makes running the marathon so much easier.
【We welcome all AI, Blockchain, or Southeast Asia founders to join AppWorks Accelerator: https://bit.ly/3r4lLR8 】
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standard leads 在 Milton Goh Blog and Sermon Notes Facebook 的精選貼文
When God Shows you a Vision, Pray!
“Thus the Lord Yahweh showed me: and behold, he formed locusts in the beginning of the shooting up of the latter growth; and behold, it was the latter growth after the king’s harvest. When they finished eating the grass of the land, then I said, “Lord Yahweh, forgive, I beg you! How could Jacob stand? For he is small.” Yahweh relented concerning this. “It shall not be,” says Yahweh. Thus the Lord Yahweh showed me and behold, the Lord Yahweh called for judgment by fire; and it dried up the great deep, and would have devoured the land. Then I said, “Lord Yahweh, stop, I beg you! How could Jacob stand? For he is small.” Yahweh relented concerning this. “This also shall not be,” says the Lord Yahweh.” (Amos 7:1-6 WEB)
Some of you have been receiving visions or dreams from God.
When God shows you something, it’s not just for fun. He is inviting you to intercede and to pray about the matter.
In the passage above, if prophet Amos had not interceded for Israel, Israel would have perished from a terrible famine.
If he did not continue to pray, Israel would have been devoured by raging fire.
God loves to deal with man mercifully. When we pray for the welfare of those who ought to be punished, God has a righteous basis to spare them and transform them instead of striking them down.
“You shall make your prayer to him, and he will hear you. You shall pay your vows. You shall also decree a thing, and it shall be established to you. Light shall shine on your ways. When they cast down, you shall say, ‘be lifted up.’ He will save the humble person. He will even deliver him who is not innocent. Yes, he shall be delivered through the cleanness of your hands.”” (Job 22:27-30 WEB)
Because God has given man the gift of free will, He cannot infringe it—someone has to pray and consent to receiving God’s intervention.
God is looking for believers who are willing to pray His perfect will.
God is love, but He is also righteousness. If He wants to express His love for us, He must do so in a righteous way, without compromising on the perfect standard of holiness in any way.
As a royal priest to God, you have the authority to pray for others and see them delivered because of your prayers.
God will invite you to pray for people so that His plans can come to pass.
Sometimes believers forget to pray and this is when God leads intercessors to stand in the gap to pray for them.
What about the good things that happened to you when you didn’t pray?
It’s because someone else prayed for you, whether by name, or when praying in tongues.
Remember, for God’s kingdom to grow on earth, it is a partnership between God and His people.
It is an honor and privilege to serve God—one of the easiest ways available to every believer is to pray.
Through the Holy Spirit, we receive the blueprint of what to pray for, and when we pray, we see it manifested as a reality.
The next time you receive a vision or dream from God, don’t just marvel—pray!
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#Prayer #Intercession
standard leads 在 喜劇演員 Facebook 的最讚貼文
Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share
The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris
Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.
According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.
According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.
When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.
Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.
Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.
‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.
This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article
Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.
During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”
Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.
In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.
In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.
"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."
The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.
At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.
The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.
Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.
The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened
From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.
standard leads 在 一二三渡辺 Youtube 的最佳貼文
Still came to buy a snack from Mie; is characteristic,
I call it 150 kilos cake,
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TEL & FAX072-361 ー 3171
http://www.kurocco.com/cgi-bin/mach3/
It is the compact car which covered a chassis of Vitz (the first generation) with a wheel and five door hatchback bodies of 15 inches. It was exhibited by Tokyo mortor show of 2001, and I just boiled a style like the concept car, and it was marketed in 2002, the following day.
It was a car for exclusive use of Japanese soil at first, but it is "sold xD as xA the first generation in rhinoceros on a cool brand in the のちに North America for youths the second generation".
In May, 2002, it is the first release. It was 併売 in Toyopet shop and Nets shop in those days.
I plan differentiation with Vitz in comparison with Vitz not only I contribute to improvement of the livability slightly by making body size big by putting a cool, stylish design for a sharp line of the body by an overfender of the SUV style. In addition, I adopt a center meter like Vitz.
[1] that are produced by so-called "fully digital design" that does not produce a prototype in development. In other words it leads to the speed of reduction in cost / the development speed without examining the run by true car.
As for the engine, the transmission adopts four all cars speed AT with two kinds of 2NZ-FE type 1300cc(87ps) and 1NZ-FE type 1500cc(109ps) (there are the MT specifications for the North America, too). As for 2NZ-FE type 1,300cc, 1NZ-FE type 1,500cc achieve exhaust standard 50% reduction level at exhaust standard 75% reduction level in 2005 in 2005.
In May, 2005, I performed the first minor change and became the Nets shop monopoly car model, and the front emblem was changed to the thing that adoption modelled "N" which began in a monopoly car model of Nets shop than Vitz for the second generation. At this chance I planned differentiation of normal grade and the sporty grade.
![post-title](https://i.ytimg.com/vi/7px01NIsqYU/hqdefault.jpg)