The bloke behind it.
I'm Mate, in Brisbane, Australia. Twenty-five years between IT and the business, as a consultant, a manager, a delivery manager, finding the solution to whatever the problem actually was. With AI I finally get to help people solve their own, without needing me there every time. That is the part I enjoy.
What I did before this
Twenty-five years of delivering the thing that worked.
I spent twenty-five years in business, working out what a company actually needed and delivering it, for Fortune 500 names and one-person shops alike. The job was never really the technology. It was getting to the real problem and making the person on the other side happy with what they got.
AI changed what one person can do on their own. Work that used to need a team and a budget, somebody can now do for themselves in an afternoon. There is a concept people use for it, ten times the work from the same person, and on the show I get to watch it happen. So instead of delivering the solution for you, I help you build your own.
I have never stopped learning. Whatever the tool is that year, I go and learn it, and that is most of why this works: I am usually a few months ahead of the person sitting next to me, not ten years. Hungarian originally, in Brisbane now by way of New Zealand, with my wife and three kids.
Where the idea came from
I love it. People sit down and talk about how they actually built the thing. That's the format I wanted: a conversation, not a lesson.
I'm old enough to have read it, an old Shadowrun novel. The title stuck with me more than the story ever did. Find your own truth: that is the whole job, and it took AI to make it possible.
The show so far
Every session, in order
/ The video
Jacob Steingroot cuts it
The show goes up unedited, and when there is something to cut, Jacob is the New York editor who cuts it. Two decades of it. The documentaries: the Academy Award nominated The Barber of Birmingham, the Emmy nominated Secret Life of Muslims for Vox and Secret Life of Scientists for NOVA, the trailer for Brooklyn Castle, and a run of shorts for the Smithsonian. The television: season after season for Magnolia, HGTV, Bravo, A&E, Discovery and TLC. If you have footage that needs a real editor, his is worth a look.
Television Documentary Social and branded Education All of it