The Offset Podcast - The Offset Podcast EP033: Is A Career In Post Production Still Worth It?

Episode Date: June 2, 2025

It’s no secret that the post production (and production) industry is in a bit of tumultuous period resulting in a lot of people wondering if they should stay in the industry and for young people who are drawn to postproduction, if they’re making the right move trying to pursue editing, color, mixing etc.In this episode, we’ll explore these issues and more.  While we don’t have the fixes for the macro issues at play in our industry, we discus many ways to battle the current downturn in post including:The current challenges in post production are multi-faceted and no single way to solve themPost production requires a massive amount of effort other industries can be more appealing (and more lucrative)Jobs at post facilities are few and far between but its hard to recommend to young folks starting out to just start their own business or go freelance - there are significant challenges in doing soMedium and small size post production companies can be doing a better job with training, mentorship and recruitment.Better understanding were postproduction work has gone - social content, corporate communications etcDeveloping adjacent stills are absolute necessity for the modern post worker - programing, AI , IT workflowsUnderstanding not all work is art, but all work is commerceThe product of ‘production companies’ has changed drastically and leverages more than just traditional post skillsContent creation really only works with a purpose and a goalMoving from an operator role to other roles in the industry - even ones you might think of like software creation/managementSkills learned in post are highly desirable and portable in a wide swath of industriesIf you liked this show, checkout our library of past episodes and please like and subscribe to the show where ever you find it!

Hey there, and welcome back to another installment of the Offset podcast, and today we're talking about whether a career in post-production is still worth it. Stay tuned. This podcast is sponsored by Flanders Scientific, leaders in color-accurate display solutions for professional video. Whether you're a colorist, an editor, a DIT, or a broadcast engineer, Flanders Scientific has a professional display solution to meet your needs. Learn more at flanderscientific.com. Hey everybody, welcome back to another episode of The Offset Podcast. I'm one of your host, Robbie Carmen. And with me, as always, is Joey Deanna.

Hey, Joey, how are you, man? Hey, Joey, I want to talk about today about something that I've been thinking about a lot. And I want to kind of preface this by saying why I've been thinking about this a lot. But the idea is, you know, is a career in post-production still a viable thing, still a worthwhile thing? Is it something that we should be suggesting to people, given the current state of the industry, which we'll dive into in short order here? But I want to explain why kind of this was on my mind, because I have a daughter who's about to go to college, and on that mind, her mind is, well, what am I going to focus on? What am I going to do? Now it's like, now it's not just high school

stuff. It's, you know, this is life stuff now. And she has to start focusing on what she wants to do. but also a couple weeks ago I worked with a whole bunch a group of filmmakers that were college students doing a student film and I like to do those every once in a while because it made me feel good about myself and you know this idea came up too

like what are you guys doing like you know and they were asking me questions like what should we be looking at what should we be focused on so I wanted to spend some time in this episode to kind of explore that and I want to just put this out there ahead of time this is not meant to be a doom and gloom kind of the sky is falling, even if it is, type podcast.

I think in this show we want to kind of explore a little bit of the state of affairs and post-production right now and ways to kind of navigate that for those who are just getting into the industry, those that are in the industry and maybe looking for ways to kind of mix it up and change things up a little bit and stuff like that, you know? So does that sound like a plan to you? Yeah, I think I'm going to fall, unfortunately, maybe more on the doom and gloom side. because I don't tend to be as optimistic as others, and I do see a lot of challenges on the horizon.

But I think it's important to look at these challenges as just that challenges that can be overcome and how do we kind of re-adapt to the new world that we're in? Because one of the things we're going to talk about, and I think it's really important, is the idea of training and mentorship and coming up in the industry has completely changed and now looks completely different. And we might not be experts on the current state of affairs, but we were there for kind of like the last generation of that.

And it's, I'll tell you, everything in the industry is drastically different now. So it's a huge, important topic to discuss. Cool. But before we dive in, just a reminder everybody, if you are on Instagram and Facebook, you can follow the show. That's where we post a new episode in from,

We're of course also on YouTube. You can follow us there. Leave comments on YouTube videos. If you're more of a listener type, you can find us on all major podcasting platforms, including Spotify and Apple Music. And you can always head over to offsetpodcast.com to find the episodes, and sometimes with some additional content, notes, transcripts, things of that nature. So, yeah, let's dive into it.

So as I said, like my, you know, my situation is, you know, maybe like some of our audience members who have, they have kids that are getting older and thinking about, you know, careers and that kind of stuff. And, you know, and my daughter has asked me from time to time, like, what should I do? And, you know, it's one of those things where I think 10, 15 years ago, I had dreams of my kids following in my footsteps, right? Like, okay, I can hand off the family business to the kids and they're going to be colorist and whatever, because they're both very creative kids, my son and my daughter. They're very artistic.

My son especially is a really good artist and very creative in that front. But at the same time, it gives me pause, right? And I'll tell you why it gives me pause. One, the current state of affairs, which we'll get back to in a second. Two, I have always felt over the course of my career that I work incredibly, incredibly hard with countless hours for, how should I say this? Not the amount of return that I would hope to get in return for the amount of hours that I put in. And it drives me crazy when I see people in other industries, and there's lots of them that are like this. But let's just say the financial industry, for example, or something like that, who are making considerable sums.

And I'm like, I work my ass off 10 times harder than these people, yet they're making hundreds of millions of dollars. Like what's going on there? So it's a little hard to recommend this career path. But the other thing I think that I worry about with young kids, college, kids entering the workforce is that I flash back to how I was as that age, 21, 22. You were even a little earlier than that, you know, 16, 17, working in, you know, the family post house for you. And I think to myself all the time of like, I wouldn't do that way again.

And the reason I wouldn't do it that way again was because I thought at the time, you know, we were actually in the late 90s, early 2000s, there was actually a big transition period then, too, that I think gets forgotten about, right? Where things, right around that time, it was things were transitioning from out of the posthouse into the ability to do it on commodity hardware. This is around the time that Final Cut Pro launched, the Avid was becoming more affordable and so on, color correction tools a little bit later, you know, tools like Apple Color and stuff like that. And so at that time, I found the post-production, like, facility industry a little hard to

get into as a kid if I didn't want to be the low man on the totem pole. Nowadays, I feel like it's the same thing, right? Like, very few people are hiring. Very few people, you have to have a lot of skills. You have to have clients a lot of times if you want to join a facility. And so what does that give you? It gives kids the option to go freelance or to start their own business. And that's a hard thing for a lot of to recommend to somebody. Hey, I know you're only 21 with zero experience. Why don't you start a business or go freelance? Like that can be a recipe for disaster. Yeah. And I kind of firmly think that's not the good way to go. Right. For most people coming out of college or just coming into the post-production workforce because yeah, it's easy to look at the

freelance market and say, hey, there's a lot of quick money here. There's a good amount. of opportunity here because you aren't tied to a single employment, right? You can kind of spread yourself thin. But if you don't have the experience and if you don't have the client base, it's never going to be sustainable, right? The great thing about starting in a facility, and to be clear, I don't think today the definition of facility is the same as it was when we started. But when we started, it was a big post house, right? And you would come in there, like you said, as the low man on the totem pole. But the lowest person in that posthouse was still getting exposed to and interacting with the highest-end clients that post-house had.

Their name was getting out there. They were building a reputation for themselves, for better or for worse, from the beginning with the clients in the region and in the industry that they were going to end up working with down the road. road in their career. Now, if you just come out of the gate and say, hey, I'm going to freelance, and I'm going to start advertising my services, nobody knows who you are. Nobody has any existing body of work to look at. And you might be setting yourself up for a little bit of failure there, and you might give up prematurely. Yeah, and even more so than that, besides the hard road, to slog when it comes to that, I do think that, and I'm not, I'm clearly, really not a signing blame because these people are trying to make a living, trying to eat, whatever.

But like these are inter, like the state of the industry also is a little interdependent on this problem, right? And what I mean by that is that, you know, us as the old fogies of post-production, right, like to go, oh, well, we're getting undercut by, you know, these kids doing, you know, videos for, you know, $25 in their bedroom. Well, guess what? They're doing $25 in their bedroom because, A, they don't know better and it's, hey, $25 a lot better than zero. And B, They're not, there's no other offerings for them. They're interested in this stuff. They want to make content.

They want to do post work, color audio, whatever. But there's no outlet for them. So they start their own business. They do freelance or whatever. And then they charge everybody really super low rates just so they can, you know, eat and make a buck. And then it's like a cyclical problem, right? And also it wouldn't be fair for them to charge full rates at that level of experience.

No, no, of course. But I'm just saying that like it's, it is an interdependent, commingled problem and state of affairs of our industry right now is that those who are interested in doing this work don't have the trajectory that we once had and that worked your way up through the facility or whatever. So they are they are turning to freelance, they're turning to, you know, small collectives of people doing work, et cetera, and charging really low rates. And that is thus, you know, affecting the entire industry. And again, old Voguees like us complain about it. Right. So, like, I think it's, you know, to those, those kids that are in that situation,

I think it is a hard choice and it's a hard, it's a hard thing to face because, like, I don't, I really don't blame them. A lot of people want to bash on people like undercutting the market. Well, like at a certain point, like people, that's just the way that the economic We need to present a value that's more valuable than that anyway. Absolutely. Absolutely. Absolutely.

And so I think, you know, part of, part of this thing, too, is, you know, I think that more of the small and mid-sized companies, right? I'm talking about the two to ten person companies. I think, in my opinion, and we are in that demographic, should be doing a better job to kind of help some of those young folks out a little bit, right? Even if it doesn't turn into a full-time job, I just think that we owe it to the younger generation, we also owe it to sort of stop the cycle of lower, lower rates,

undercutting, undercutting, undercutting, you know, we found some dude to do it, by, you know, properly training and educating people, as you said, right? That mentorship part of it. And I think it's really interesting because I think never coming back are the days of you as a 21-year-old sitting on a million-dollar piece of equipment and learning from the guru, right? Yeah. But with that said, I think that there is a whole lot of things that those who are about to enter the workforce can and should be doing, right? the communities, the social media communities out there for production and posts are thriving to a certain degree, right?

There's a lot of bad information in them, don't get me wrong, but the community themselves are thriving. I'm thinking of groups on Discord and Slack and, you know, Facebook and, you know, X and whatever, right? Like, there are places that that exists. And I think that's good. I also think that there's plenty of people who are also dialed into this dearth of mentorship and what it means to these young people. I'm thinking of people like our buddy Colin Kelly, who's done a really good job kind of digitally mentoring people and kind of bringing them into the fold. I think we as an industry need more of that to replace what we had as well at one point.

Yeah. And, you know, another thing kind of in that same general ecosystem of, you know, it might not be the same area of mentorship where we started, but that mentorship is still out there the jobs themselves, the post work itself, is now in different places than it used to be. And you might think of it as kind of finding post-production work in non-traditional or less traditional places. That I think is what a lot of young people trying to get in the industry can really put a lot of focus into when they are looking for a job or looking for an opportunity. if they don't want to try to jump into owning a business on day one, which like we both said is probably not the best idea, there are companies that do nothing but social media marketing

and have massive post houses that are built into their companies. There are large Fortune 500 companies, you know, big store chains, food chains that have lots of marketing and internal media production. And because Post is, you know, from a hardware, software, and cost perspective really been completely democratized, they don't see any reason to hire an agency who then is going to hire a post-production facility to handle anything but their top, top, top level tier work.

Yes, Walmart and Apple are still going to very expensive agencies for their Super Bowl ads. Right. But all of those companies have a thousand times more quantity of media creation work that still needs to get done that they handle internally to various degrees.

I was really surprised to learn, well, from my son who is a, he just loves, what's the guy's name, Mr. Beast, right? Who does, you know, silly challenges. Oh, I'll give you a million dollars if you can, you know, sit in this room for two hours by yourself or whatever he does, right?

I was really surprised to learn that, like, dude, has a massive post-production team because they're producing so much content that, you know, it just gets, and it's high-end, like, high-end cameras, high-in workflows, you know, like that kind of stuff. Same goes, like, you know, I listen to, I watch a lot of, like, you know, guitar, because I'm a guitar head, I watch a lot of things like, one of my favorite channels is this company in the UK called Andertans, which is a famous music store. They have an awesome social media channel

that has, like, kind of like magazine style shows, right, where they're like, oh, today on the acoustic corner or whatever, you know, we're diving into, like, and that, you're right, I think that there's a lot of that content. You know, I think about it as like the great middle. And I think there's a lot of that content. Sure, it is not the Avengers. It's not the next big, big tent pole film. And I still think that, you know, if that's something you want to do, like go after your dreams.

But if you're looking for stability and gainful employment and that kind of stuff, like, that's something at least in the first part of your career to consider is that kind of corporate work, policy. you know, people doing policy videos or corporate communications or whatever. And you know what's interesting is, just from having worked at a major post house in this region that was huge for a very long time, employed a lot of top level editors, audio mixers, etc. And having stayed in contact with them since that post house closed, you know, about 15 years ago, guess where a lot of the older, maybe closer to retirement, don't want to hustle and freelance, but still have a lot of huge amount of industry experience,

editors, mixers, et cetera are going into as their post houses kind of close and go away. A lot of them are going into big corporate media departments as leadership, as management, or as kind of a one-man band handling their section of the department. That's where I think there could be a little bit of mentorship that we're not really even realizing is there. A lot of these corporate departments or even social,

companies probably have one or two old guys that came from the old school days of post houses that are kind of running those departments because they can't just, you know, if some company wants to spool up a post-production department, they're going to bring people in with experience, right, to start it and to manage it. That's a great place to find some mentorship while you're starting out your career and still get the security of a job not trying to start your own freelance thing. I think, you know, my my advice also to that young person looking to enter the workforce is that I think we used to kind of say that, or I used to think about it as diversity of skills is kind of diluting any single single skill, right? So like if you're, you know,

it's hard to be everything to everybody, editor, shooter, you know, whatever, right? It's hard to do all those things really, really well. But at the same time, no other point in the industry has the the importance of being at least disciplinary and like conversant, right, been more important, right, knowing a little bit about audio, knowing a little bit about visual effects, knowing a little bit about, you know, IT, knowing a little bit about, you know, those kind of things, been more important. And I think so, a lot of the skill that I, you know, if somebody comes to me and there, hey, I'm a rising senior in college, I'm looking into the workforce next year, what would you,

what would you tell me? It would be one of the things I would say is to learn some additional. skills other than just the one that you're interested in. And there's a lot of stuff that is, I think, um, adjacent to traditional post-production skills, right? So, for example, coding is the first thing that comes to mind with this right now, right? I think that the ability to, you mean programming?

Yes, let's put it that. Well, well, well, well, I hate the word coding. I know, I know, I know. And I hate the word content. Okay. Programming, uh, with a parentheses, coding in there just to suit my taste.

And advanced computer usage in general. Yeah. And that could include things like simply just like workflow set up. Okay, I'm going to build a NAS with a backup system and here's all the computers to everything from that to, hey, look, we're going to, I'm an expert in, you know, using AI tools like, you know, chat GPT or whatever to improve workflows to, hey, I'm going to create custom coded or custom programmed tools to accomplish certain tasks. And I think those kind of skills, like, you know, I think are the next generation of post-production

workflows. You have to, like, you have to be conversant. I mean, and we see it all the time. Like, we're, Joey and I are members of a community where I am constantly floored by people being like, oh, I just wrote this program to do X, Y, Z. And I'm like, what? Huh? What?

And like, it's becoming a little, I think, you know, the younger generation takes out a little bit as like a little bit of an innate thing, especially now with, you know, AI powered coding tools where you can kind of just talk to it rather than, you know, learning in the particular language. But you know what? That's not a problem and there's nothing wrong with that. The idea is, you know, if you're, especially for the kind of junior in the industry, if you understand computing enough that you can conceptualize the workflow and figure out this is the most efficient way to get from point A to point B, and making a custom tool is the way to do that. You're now ahead of a lot of the old folks like us who might not think that way.

Yeah, and there's a lot of other tangential skills, I think, that are, you know, on the surface of it don't seem like they're related at all, but have a lot of real value to that, right? So, for example, let's say that you're like, hey, I view social media production as like, that's something I'm interested. I love making these short 20 minute, you know, 20 second, 30 second videos. Great. Well, guess what's a really important factor of social media? Data science, right?

Like, understanding like analytics, the data science, how the web works, how marketing on the web works. Like, all of us kind of. So if you came into it and you're like, hey, not only am I an editor, but I'm an expert in, you know, analytical stuff about how to push content out to these various platforms, best time, how to monetize it, etc. you are so much further ahead than the middle-aged man who's like, I color grade, right? Like, you know what I'm saying? Like having those additional skills and combining them. So I think it's like, you know, if you can focus on your passion, let's just assume for that sake that's creative post-production somehow, but couple that with a tangential skill,

you know, whatever, some of the ones we mentioned or others, you have a dramatic leg up than our generation. And then even those people who just, you know, what I call them, the Boree film, who walk around like this going, you know, I'm going to make content, right? Like, kudos to the people. I admire it on a certain level. But at the end of the day, like, it's harder now than ever to get paid for art. And I don't think it's, you know, I think a lot of people will look at that, what I'm saying

as like selling out. And I don't really look at it that way. I think about it is like to be competitive in this market, we now have to absorb other skills that we didn't once think about as related to our industry. Yes. And on the subject of art, possibly selling out, et cetera, if you're just getting into the business and you know you want to do creative post production, like you said, that's your dream. You want to focus there. You're not going to get to the point where you're only doing the dream projects all the time. quickly if ever. So my one piece of advice is that not all work is art, but all work is commerce, right? Yeah, yeah.

And as long as, you know, you do the best work you can, don't turn away work because you don't think it's necessarily what you want to be doing, right? The early part of your career is the time to diversify, like you mentioned, skill sets, not completely hone in on one particular skill, but also types and varieties of actual work. You might think that, hey, I want to do this exact type of work for the rest of my life. But if you haven't experienced all of the other clients, subjects, formats, whatever, that are out there in the world, one, you might be pigeonholing yourself into something. that you don't want to completely do. But also, you're not letting yourself have the opportunity to kind of build a foundation of clients and work that will take you to that next level down the road. Completely.

I completely agree with that. And I also think it's, you know, something to pay attention to is that I think 15, 20 years ago you talk to people, you know, and they said, we're a production company. that really meant we're producing stuff for TV, right? Like we're making shows, ads, et cetera. Now when you look at just the general landscape of a production company, in air quotes, it's, hey, one day we're making an ad for TV, another day we're making banner ads for a website,

another day we're producing content for a live event. We're so old. Are banner ads still a thing? I don't think banner ads are still a thing. You know, let's go with it, right? you know, web-embedded video, I don't know, right? So I think the other thing to think about, too, about just the general state of production companies out there

is that I think that they are a lot of things in a lot of different markets. They've spread their tentacles really wide. So it is actually pretty exciting now to think about this, you know, the college kid getting out there because that's the path that would be like, listen, if you go work for a production company, not a post facility,

the other advantage is that you're going to be exposed to a lot of other potential different industries. You know, and we can lump those into general categories, marketing, you know, sales or whatever, but the idea is that you might bounce from TV to the web to a live event to whatever, utilizing that plethora of skills. And I still think that that's a good creative outlet. It's just not the same as it once was. And I think being different is fine. Yeah, I think the days of kind of the TV people looking down,

everything that wasn't TV and the movie people looking down at TV and everything below it, I think are gone and I welcome them being gone because there's really good work being done in a lot of non-traditional formats, places, etc. And one, it's a good opportunity for people to get on the ground floor. Two, all it does is diversify the media landscape in general, which might save us from my initial doom and glune outlook. on the industry. Well, you know, the other thing here, too, and this is, I'm not, I want to, there's a,

there's a demarcate, line in the sand, a demarcation point that I can't fully articulate, I don't think. But I do, what I'm about to say is that I do think that, you know, the act of creation is important too, right? And so I do think that those who have this bug to create, there's been no other time the availability of creation is possible for you, right? something that you're interested to, you can talk. I mean, this podcast is an example, right?

We're sitting in our homes, you know, making, you know, blabbing on about post-production. Well, like, you know, that possibility to create has never been more accessible. And so I do think that there's a worthy, it's worth a look to a lot of people to see if there is something that they can create out there. And I'm surprised, actually, when I talk to college kids and go speak at, you know, universities and stuff, how many of these kids are already doing that? they're already making their own content putting out there,

whether it's gear reviews, whether it's movie reviews, whether it's whatever. And the demarcation point is that I think that if you're going to create, you have to have a purpose. This whole idea of just like, here's some cool stuff and like, here's my bro. And like, I don't care.

That's not like, that's just whatever. Like that's like a terrible version of like cinema verite, right? Like I'm not into that kind of stuff. But, you know, if you have thought and purpose behind a channel on YouTube, If you, you know, you focus on doing a certain thing, you polish that and refine that. You know, we've seen, I mean, there's thousands of people out there who are making good livings just by making content on YouTube.

Now, does that mean that you're going to be the one in a million and be Mr. Beast? Probably not, right? You're probably not going to, you know, every video get 95 million views or whatever. But that possibility is there for creation. And I think about that creation market, too, that creator market as something that doesn't have to be separate from the stuff that we've talked about so far, right? You could be working for a corporate video department or working for, you know, a small production company and still be creating content your own. Yeah, that can inform whatever other personal art that you want to make

while you're climbing the ladder of the industry as a whole. So another thing that we haven't talked about yet, but I think it's worth mentioning in this context is, you know, I think there's a lot of people who are about our age, you know, mid-40s, you know, getting to be about 50 or whatever, and are thinking, like, man, like this just isn't worth it anymore. Like this, this sucks. Like, you know, gone are the golden days, you know, of, you know, catered lunches and, you know, boozy lunches or whatever and, you know, making a lot of money. Like, where do I go from here? And to me, I think there's a lot of room for, again, that you kind of hinted at it earlier, but let's just say that kind of horizontal or,

kind of vertical movements for people who are already in posts like us, right? And I think one thing you mentioned, I didn't think about actually before we got on this record was the idea of moving from like, you know, operator to management level, especially kind of like in that corporate world. I think that's a big move. I think that's a move that a lot of people are, you know, if I come into a fledgling production department at a corporation and go, look, I was an editor. I was a colorist.

I did some deep. Like I have all of these skills. Oh, I built a facility myself. I know all the gear and all the technical stuff. Like that's a move that can get you out from behind the machine into more of a management role, but still one that's focused on making content and making stuff, which I think is a viable thing too. Yeah. And honestly, that does become, you know, more and more attractive to a lot of people at the kind of more

the end of their career because like you said the beginning, sometimes it feels like we're putting in a lot of hours. And the one thing that you need to be prepared for, whether you're starting at the very bottom and your first job in post-production, or you've been doing it for 30 years,

is that at the end of the day, when you are in an artistic technical role, whether it's editing, mixing, finishing, whatever, you've got to be in the chair to do the job. right there is no like i'm going to take a break for a while because well then the job doesn't get done right somebody still has to go through every shot in that sequence and color graded it's not going to do

itself you can't just manage that as a manager and have it magically happen uh eventually i i think for some people that does get tiring and just the hours in the chair get to be too much and yeah that's when you start thinking about that got a horizontal move into a different role but there's also I mean, there's also other avenues that I don't think a lot of people look at, right? Like, so, I mean, I'm just going to take you, for example, and this is totally hypothetical. Nobody's any ideas, Joey's not going anywhere. But, like, you know, somebody with your skill set who knows a lot about programming, knows a lot about workflows, obviously knows a lot about color.

Like, let's just say tomorrow you go, I cannot deal with these people anymore, this clients, and whatever, like a vertical move for somebody like you is into like product management with software companies, right? Like that's a, like, so if you're like, hey, you're a power user and you really know computers, like, dude, there's so much value that you could, you know, one could offer to a company like Black Magic or, you know, film light or whoever that has, you know, has some of these skills. So, I mean, that's another thing is, you know, don't necessarily think about it as, like, doing the art. Like, there's also avenues for people to approach jobs that are about helping people create the art, you know? And that's, that's a really interesting avenue for a lot of people. Like, you know, you're really super into, I don't know, pick something out of a hat.

Calibration, right? Like working at, you know, a company like portrait or color space or for a meter company. Like all of those avenues can utilize knowledge that you already have, but you might be, you might be not thinking that way because you're like, oh, that's, that's nothing related, but it is related, you know? Yeah. There's so many different facets in the industry. And if I can sum it all up in one general concept, it's that we use. to be pretty laser-focused. Post house, inside the post house, you have various roles.

You have your editors, you have your colorist, you have your audio mixers. Now, with the post house kind of in for most markets, having gone away or changed dramatically what its footprint is, the specialization is still there, but it's less. And diversification of both skill sets and work has gotten. much bigger. And I think no matter where you are in your career, whether you're just starting out or you're an old foge, you need to be able to embrace that change. And you need to be able, I think that's a good thing for the industry. I think that having people be more generic, but still kind of specialized means more opportunity for the young kids getting in. And it means

more opportunity for the existing artists to stay in business and stay making a living doing what they want. Yeah. And I just, again, I wouldn't undercut the amount of tangential skills that is learned by working in post-production, even if you decide to change things up later, right? I mean, everything from client management, project management, time management, I can think of no other group that is more aptly suited with some education and some training to plug into a lot of of different industries really, really quickly, right? And we've lamented on other episodes that there's a certain type of person that treats post-production as like, you know, open heart surgery, right? And somebody's going to die kind of thing. Well, guess what? The good part

about that is that you've been in stressful situations with people breathing down your neck to perform, right? Guess what other industries are craving for? People who can perform under pressure and do a solid job. If you have that ability, which is probably home nowhere better than maybe, like, you could argue like the military in post production or something, you know, like, or being a doctor in post production. I don't know. I'm, I'm making, it might be a bit grandios. I might be embellishing that a little bit, right. I might be embellishing that a little bit. But my point is, is that I think that post-production, uh, is uniquely positioned more so than a lot of under other industries to really train people to perform under pressure and time sensitivity.

right? And those skills alone are portable to so many other things. You'd be surprised if you go out there in the world and you start looking at other industries and you're like, really? Like, you get paid, you know, 150 grand to do this and like you're still leaving the office every day at 3 o'clock? Like what? Like, you know, it is a little shocking in that regard. But I think you're, right. And I think, you know, to those kids that are, you know, college kids that are getting bound, like none of this is meant to scare you. I mean, the beauty of the beauty of, about being a young person entering the industry is that you're not committed to it yet. There's, you know, I think I read something a couple weeks ago that like, you know,

they used to say the average person changed careers like twice. Well, like, I think that's like up to like five or six now, right? Where like people are trying different things and, you know, giving different things a taste. And I think that if you have a passion for creating post-production is always going to be, in production too, of course, are always going to be places where you can experiment. that was to experiment with that and get that taste for it. And those skills that you learn there, I think are going to be portable to anything that you decide down the road as well.

Agreed. Yeah. Awesome. All right, well, cool, fun little discussion. I do hope all of those who are recording this in the middle to end of May of 2025, I hope for those college students who are just graduating or just walked across the stage thinking about post-production, I wish you guys the best of luck. And for those of you who are still in the industry and going,

oh, man, the industry is having a hard time right now. yeah, it's true, but the industry has also had hard times in the past. And I think being flexible, never stop the desire to learn, grow, and, you know, kind of diversify your skill sets is as important as it has always been, right? And I think that that's true now as it was 20 years ago, too. So, yeah, good little chat here, Joey. I hope our audience enjoyed it. Just as a reminder, you can find us on YouTube or any of the major streaming platforms. And if you like the show, wherever you find it, please do us a favor and like and subscribe to the show a little.

bit goes a long way. And we'll be back in about two weeks for another episode. All right. So for the Offset podcast, I'm Robbie Carman. And I'm Joey Deanna. Thanks for listening.