Square

Square

I'm an engineering manager for the popular payments service.

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A creative technologist who designs and develops websites.

Over ten years of experience for a lot of cool companies: Square, Gucci, Pocket and more.

Pocket

Pocket

I was the platform lead for this widely used save for later service.

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General Assembly

General Assembly

I taught front end web development and a self-designed responsive web design workshop to future developers, entrepreneurs and designers.

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Gucci

Gucci

I was the front end lead for all design and development on gucci.com, a global e-commerce fashion site.

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Latest Blog Posts

Give Microsoft Edge a chance

After almost two decades of avoiding Microsoft-based web products whenever possible, I’ve come full circle: the new Microsoft Edge is my browser of choice. It has excellent privacy options, a large extension community, and developer support that makes it a reliable option on macOS over Chrome, Firefox, and Safari.

Admittedly, when I first started using the new Chromium-based Edge a few months ago, I was skeptical about its potential. Microsoft’s Internet Explorer left a bad taste in my mouth, thanks to the struggles I had developing against IE6 and IE7 in the early 2000s. But the more time I spent with this fresh iteration of Edge, the more I was left impressed.

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Conveying intimacy in Portrait of a Lady on Fire

All stills are property of their respective owners and are used here strictly for educational purposes only. Many shots are combined into a grid format – click or tap to enlarge.

Portrait of a Lady on Fire was the last movie I saw in theaters before COVID-19 landed stateside. While I’m sad that watching movies on the big screen won’t be an option for a while, at least it ended on a high note. Portrait is an astounding film with unimpeachable craftsmanship, from acting to script and cinematography. And now, with the film’s availability on Hulu, it’s also a great film to enjoy at home. For this post, we’ll look at how the camera — its distance from subjects, characters in the frame, where, and for how long — can convey growing intimacy between characters.

What follows is light on spoilers. We’re only covering content from the first thirty or so minutes of the film, glossing over dialogue and plot developments. That said, some setup is in order: Marianne (Noémie Merlant) is commissioned to paint a portrait of a young woman Héloïse (Adèle Haenel) on an island in Brittany during the late 1700s.

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Recommended podcasts, pandemic edition

As I write this, NYC is a hotspot amid a global pandemic. I spend my days jumping between work, family, and too much coronavirus-related social media, almost exclusively within the confines of a one bedroom apartment in downtown Manhattan. I’m aware this level of stability is, in many ways, a privilege, but it’s nevertheless a stressful time.

I find solace in podcasts covering subject matter removed from chaotic world events: film, gaming, and technology. COVID-19 is a big enough story that some virus talk per episode is inevitable. Still, hearing it from familiar voices, especially when they share the same feelings of anxiousness and isolation I have, is comforting. Podcasts are also easy to squeeze into my day, be it going on a late-night stroll outside, taking care of chores, or unwinding before bed.

What follows are a few of my favorites, grouped by subject. I purposely prioritized podcasts with smaller followings, though I note several more popular options at the end. Subscribe in your podcast app of choice or through the links I provide below.

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Tot: opinionated app design matters

Tot, a scratchpad app for macOS and iOS, has graduated from a side experiment to an essential part of my workflow in a matter of weeks. I highly recommend giving the app a try on Mac (it’s free), and if the design works for you, buy it on iOS.

Admittedly, when I first saw Tot pop up on social media and sites like MacStories, I was skeptical. There are already hundreds of note taking apps available on the App Store. Given several options like Bear and iA Writer nail the basics so thoroughly, with strong aesthetic design and years of iteration, it’s hard to see how any new competitor can stand out. But I’ve always had longstanding respect for The Iconfactory in terms of their attention to visual design. $20 later (more on that price in a bit), equipped with Tot’s iOS and Mac apps, I dove in to give it a try.

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Subscriptions and games as a service will dominate console gaming’s future

I expect the gaming landscape for console games will be radically reshaped in a few years. The existing $60 AAA game market will mostly collapse. Indies, stifled by saturation across every market, will turn to subscription services as their only viable path forward. Everyone will still chase Fortnite (or its successor) to become the next free-to-play hit.

Gaming trends today portend significant changes on the horizon. For years we’ve seen the same $60 titles — mostly first person shooters (Call of Duty, Destiny) and big sports franchises (FIFA, Madden, NBA2K) — dominate NPD and digital sales charts. But more recently, these perennial best sellers have shifted into effectively “games as a service” platforms. Studios increasingly focus on new functionality at a core fan base that readily laps up micro-transactions. This ensures revenue stays flowing in well past the upfront sticker price. Look at FIFA and how so many improvements lead back to Ultimate Team. The Call of Duty: Modern Warfare reboot added a Fortnite-inspired battle pass and a prominent shop rotating in and out costly cosmetic gear. This is rampant speculation, but I could see the anticipated Halo Infinite moving in a similar DLC-heavy direction, reliant on a narrowing core base to push the game’s initial investment into the black.

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Maximizing long term impact as an engineering manager

Smart engineering managers foresee what actions maximize long term impact and prioritize those actions accordingly. That is challenging to pull off in practice. The linkage between an EM’s immediate action today and its ripple effect a week, a month, or year from now can have little connection to time spent on the act itself. It also commonly lacks a paper trail or concrete “proof” of action taken. And managerial outcomes often depend on the fickle influences of human psychology and plain luck.

I’d argue individual contributors, a.k.a. developers have an easier time making the connection between action today and impact tomorrow. Most engineers deep in code have clean artifacts of their work to show progress. Developers edit files, merge pull requests, close Jira tickets, and pass automated tests. When they ship features, there’s often a tangible outcome, be it a new set of UI, a performance boost, or a database migration. Past performance across similar technical challenges becomes a predictor for future velocity. This factor is why more experienced engineers become more accurate at making estimates for their work, and why task estimation is such a core tenet of software development.

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Subverting genre conventions in Drive

All stills are property of their respective owners and are used here strictly for educational purposes only. Click or tap to enlarge.

A great opening scene grabs the audience’s attention while establishing setting, tone, and key characters in the story. Nicolas Winding Refn’s Drive does all of this while memorably defying our expectations of the action genre. When I reflect on my favorite films from the 2010s, Drive ranks high, and its opener is a significant reason why.

However, eight years removed from Drive’s debut, subverting action conventions isn’t the film’s legacy. What lingers for many is Cliff Martinez’s electronic score and Refn’s 80s visual pastiche punctuated by bursts of graphic violence. So while the general critical consensus on Drive is positive, many critics write the film off (if not Refn’s whole filmography) as self-suffocating style over substance. It’s an unfair rap because beyond the synth-heavy music and neon-drenched L.A. setting, Drive has superb craftsmanship that makes it unique and compelling today.

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Games, not hardware, matter most in 2020

Stadia looks like a flop out of the gate, and its meager, overpriced game selection is a significant factor why. Google overestimated the console market’s appetite for experimental moonshots. Most gamers aren’t making purchasing decisions based on streaming quality, teraflops, 4K, or fast SSDs. Instead, as I wrote about earlier this year, it’s the games themselves — both selection and quality — that matter most. It was a crucial differentiator in the battle between PS4 and Xbox One, essential to the Nintendo Switch’s breakout success, and it will continue to be important for next generation hardware.

Games matter more for reasons beyond their historically strong track record. It’s also because across other facets — hardware, marketing, third party integrations — Sony and Microsoft will be on similar footing next generation, at least to your average consumer. I don’t foresee the major stumbles that marked previous console generations. Price and power, two factors that solidified PS4 as the clear victor this generation, I expect to be a moot point in 2020. Microsoft learned its lesson launching a console $100 more expensive and less powerful than Sony’s. Sony hopefully still remembers the $600 launch PS3 debacle and how undercutting on price helped secure their win for the PS4. Speculation from Digital Foundry and other sources posit the PS5 and Xbox Series X will rely on similar internal components. The result for consumers should be two boxes with similar specs and no more than a $50 gap in price differential.

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Breaking the 180 degree rule in The Souvenir

All stills are property of their respective owners and are used here strictly for educational purposes only. Click or tap to enlarge.

The 180 degree rule is one of the most fundamental tenants in cinematography. It’s commonplace across every genre and filmmaking style. Once you understand the basics, it’s easy to spot where it’s used and intentionally broken. This year’s excellent drama The Souvenir breaks the 180 rule in one pivotal scene we will examine here.

At its most essential, the 180 degree rule states if you were to draw an imaginary line between the two characters, the camera stays on only one side of the line for the length of the scene. The camera’s placement limitations to a 180 degree arc give the rule its name.

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Modern Warfare’s regressive politics

Call of Duty: Modern Warfare (MW) has the look and mechanics of a modern AAA game from 2019. So why does its politics (or lack thereof) feel like a relic from decades earlier?

MW developer Infinity Ward invites this questioning given how hard they pushed realism as both a selling point and a differentiator from previous Call of Duty games. Its first press event earlier this year had presentations on the game’s authenticity and moral complexity. The official marketing boasts how the game “engulfs fans in an incredibly raw, gritty, provocative narrative.”

Infinity Ward also made the “Clean House” mission from the campaign a centerpiece demo of their preview event. Now having played the campaign, I understand why; the audio and visual design is uncomfortable and tense in a way that stands out from the rest of the campaign, not to mention other first-person shooters. The mission centers on a British SAS team that raids a building housing terrorists at night. You assume the role of one of the SAS agents, bursting through doors and making split-second decisions to “clear” threats with civilians thrown into the mix. Given your usage of night goggles, the mission has an eerie visual palette of stark greens and blacks.

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