An Entertainment Industry Reset
Summary
TLDRThe video script discusses the changing landscape of entry-level positions in the film and video game industries, particularly in the context of Los Angeles. It highlights the impact of the pandemic, which accelerated the shift to remote work and the adoption of smart tools and AI, reducing the need for traditional entry-level roles. The script also touches on the challenges faced by aspiring professionals due to the industry's reset, the potential for new job creation, and the uncertainty about the future of work in these fields.
Takeaways
- 🎬 The traditional film and TV industry is facing challenges adapting to modern times, leading to a shift in work environments and opportunities.
- 🏢 Pre-pandemic, composer studio compounds were bustling with activity, offering valuable learning opportunities that have since diminished.
- 📉 The pandemic has accelerated the move to home studios and remote work, reducing the need for physical office spaces and in-person interactions.
- 🤖 The development of smart tools and AI is making certain tasks obsolete, reducing the need for entry-level positions and changing job requirements.
- 📚 The reduction in entry-level tasks has led to a decrease in internships and learning opportunities, impacting aspiring professionals' ability to gain on-the-job training.
- 💼 Budget constraints and the high cost of living in areas like Los Angeles have made it difficult for composers to justify full-time salaried employees.
- 📈 The demand for part-time freelance assistants has increased as a cost-effective alternative to full-time staff, reflecting a broader shift in the industry.
- 🚫 The industry is experiencing a reset, with many established professionals warning newcomers about the current lack of opportunities.
- 🌐 Remote work is becoming more common, but it also presents challenges for knowledge sharing and professional growth among team members.
- 🔄 The industry is in a state of flux, with many professionals leaving due to the uncertainty and changes, while others are adapting to new roles and technologies.
Q & A
What is the main concern expressed in the script about the film and video game industry?
-The main concern is that entry-level positions are disappearing due to industry changes, including the shift to remote work, automation, and the use of AI tools, which are making certain tasks obsolete.
How has the pandemic affected the traditional working environment in composer studios?
-The pandemic has led to the closure of office spaces, forcing composers to build home studios and work remotely. This has reduced the need for physical office spaces and limited the learning opportunities that were once available in traditional studio compounds.
What impact has the shift to remote work had on the hiring practices in the film and TV industry?
-With remote work becoming more prevalent, composers have become more selective about who they hire, often preferring part-time freelance assistants on a per-project basis rather than full-time employees, due to the need for trust and the reduced overhead costs.
What technological advancements are making certain roles in the industry obsolete?
-Advancements such as stem printing, copyist work automation, and the use of tablets for music parts are reducing the need for traditional roles like assistants, copyists, and librarians.
How have delivery services like UberEats affected the need for studio runners?
-The availability of delivery services has made it unnecessary to hire interns and runners for errands, as food and supplies can be ordered and delivered directly to the studio or home.
What is the current state of internships in the industry post-pandemic?
-Many places have not resumed regular internships due to the time and resource investment required, and the reduced need for on-site assistance with the shift to remote work.
How are living costs in cities like Los Angeles affecting the number of full-time positions available?
-The high cost of living in cities like Los Angeles means that many composers cannot afford to hire full-time assistants, leading to a preference for part-time or freelance workers.
What is the sentiment among industry veterans regarding the current job market for aspiring composers?
-Industry veterans are warning aspiring composers that the job market is particularly tough right now, with many experienced professionals also struggling to find work.
What long-term problem is the industry facing with the shift to remote work and automation?
-The industry is facing a potential loss of on-the-job training and mentorship opportunities for aspiring professionals, as remote work and automation reduce the need for in-person collaboration and learning.
What does the future hold for the film and TV industry according to the script?
-The script suggests that the industry is in a period of reset, with many jobs disappearing or becoming limited. However, it also implies that new jobs and opportunities may emerge as the industry adapts to new technologies and ways of working.
How is the current situation affecting those who have been in the industry for a long time?
-Even those who have been in the industry for 20-30 years are experiencing difficulties, with many being laid off or having reduced work due to the industry's struggles and the impact of the pandemic.
Outlines
🎬 The Changing Landscape of Entry-Level Positions in Film and Music Industries
The speaker contemplates the future of entry-level positions in the film and music industries, noting a shift in the traditional office environment. They recall the once bustling composer studio compounds in Los Angeles where learning opportunities were abundant. However, pre-pandemic changes saw these spaces becoming less populated with interns and assistants, as lead composers began to work remotely. The pandemic accelerated this trend, with composers opting for home studios and reducing overhead costs. This has limited the traditional learning opportunities and face-to-face interactions that were once common.
🚀 Automation and AI: The Impact on Entry-Level Jobs
The paragraph discusses how the development of automation tools and AI has made certain tasks obsolete, affecting entry-level positions. The speaker provides examples such as stem printing, which used to be a time-consuming task but is now streamlined with modern technology. Copyist work is also becoming less necessary as software can write parts automatically. The pandemic has expedited these changes, and even roles like studio runners are becoming less common due to delivery apps. The speaker notes that many studios have stopped offering internships post-pandemic, as they are no longer seen as necessary or cost-effective.
🏡 Remote Work and the Future of Full-Time Positions
This section delves into the impact of remote work on full-time positions, particularly for composers and their assistants. The speaker mentions that with rising living costs, fewer composers can afford full-time salaried employees. Instead, there's a shift towards part-time freelance assistants hired per project. The pandemic has made remote work more common, but it's often limited to trusted team members due to the sensitive nature of the work. The speaker also points out that many composers have become tech-savvy and no longer require full-time technical support, leading to a decrease in such positions.
🌐 The Industry Reset and the Challenge for Aspiring Professionals
The speaker reflects on the current state of the industry, describing it as a 'reset' with many established professionals facing reduced work opportunities. They express concern for aspiring composers and assistants, as the industry's struggles have led to fewer job openings and a more competitive environment. The speaker discusses the challenges of learning and networking in a remote work setting, suggesting that the traditional on-the-job training and mentorship are at risk. They also mention the potential long-term impact on the industry, with many experienced professionals considering leaving due to the current downturn.
🔄 Industry Shifts and the Unknown Future
In the final paragraph, the speaker contemplates the broader implications of the industry's current shifts. They acknowledge the uncertainty and the difficulty in predicting the future, especially for those just starting out. The speaker suggests that while the industry is facing challenges, it also presents an opportunity for innovation and the creation of new roles. They express hope for a resurgence of indie film studios and game developers and a new, more sustainable way of working in the industry. The speaker concludes by inviting thoughts and opinions from colleagues on the ongoing changes and the potential future of the industry.
Mindmap
Keywords
💡Entry Level Positions
💡Pandemic Impact
💡Automation Tools
💡Remote Work
💡Film and TV Industry
💡Music Industry
💡AI Tools
💡Smart Technology
💡On-Premises Work
💡Freelance Work
💡Industry Reset
Highlights
The film and video game industries are experiencing significant changes, particularly affecting entry-level positions.
Traditional office spaces in the film and TV industry are struggling to adapt to modern times.
The pandemic has accelerated the shift towards remote work and the use of smart tools, reducing the need for physical office spaces.
The film industry's shift from bustling composer studio compounds to remote work has limited learning opportunities for assistants and interns.
Automation and AI are making certain tasks obsolete, reducing the need for entry-level positions.
Offline bouncing and other technological advancements have streamlined processes, decreasing the time and manpower required for tasks.
The role of copyists and librarians is diminishing due to software advancements that automate part preparation and score adjustments.
The convenience of app-based services has reduced the need for studio runners and interns to perform errands.
Budget constraints and rising living costs have led to a decrease in full-time positions, with more reliance on part-time and freelance workers.
The pandemic has made studios more selective about who they hire, prioritizing trust and security in a remote work context.
The industry is in a state of reset, with many established professionals also facing unemployment.
Guilds and unions are warning aspiring professionals about the current lack of opportunities in the industry.
Remote work's rise might hinder on-the-job training and networking opportunities for aspiring professionals.
The industry's shift towards digital and smart technology is forcing professionals to adapt or risk being left behind.
The current industry downturn is leading to layoffs and a decrease in available work, affecting even established composers.
The industry is at a crossroads, with many professionals unsure of the future and the potential for new job creation.
The changes in the industry are creating a challenging atmosphere, with many professionals leaving due to the uncertainty and lack of work.
Transcripts
are entry level positions dying it's
something I've been asking myself for a
while now and something I've been
discussing with colleagues and we
haven't really reached a consensus but
it's
undeniable that the industry is changing
both film industry and video game
industry but film and TV a lot more so
because they are old mediums that have
not quite yet adapted to the modern
times and they kind of having a hard
time this isn't going to be some think
piece about AI because frankly I don't
think I'm qualified to talk about that I
I don't work in that industry and I
don't really know what's happening
behind closed doors there so I don't
really feel comfortable giving my
opinion on any of that cuz I genuinely
don't know but this doesn't necessarily
just have something to do with smart
tools and AI it's something that started
before the pandemic I want to say see
when I came to Los Angeles there were
all these composer Studio compounds that
were like bustling office spaces where
people from all kinds of departments
would go in and out there would be
recording sessions there would be busy
composers assistants interns it was a
whole system you would work together and
there would be you know next to
recording sessions also mixing sessions
and stuff like that you'd have lunch and
dinner together you would have drink
together you would have Christmas
parties together it would very much be
like a traditional office space in that
sense with lots of learning
opportunities by looking other people
over the shoulder for example um I would
in those types of spaces very often if
there was a mixing session going on I
would you know sit down and just ask
them if I can watch for a bit and ask
questions you know or I would ask my
colleagues hey could you when you go
home tonight
leave your doors unlocked I'll lock them
when I leave i' just love to look at
your templates because I'm struggling
with something over here and I'd love to
see how you're doing it you know you
would just help each other out and fill
in each other's knowledge and skill gaps
but already pre pandemic I want to say
2016
2017 I noticed a shift that was
happening where a lot of those uh
compounds and a lot of those larger
Studios where a lot of different
composers were renting out spaces were
largely filled with assistants and
interns while the lead composer would
work elsewhere and just come in for
sessions or for important meetings and
such so this already kind of limited the
learning opportunities but it was still
there um you just got less face- tof
face time with your boss but then during
the pandemic a lot of composers could
not go into into those spaces their
assistants could not go into those
spaces because office spaces were closed
and
so they had no choice but to build their
home Studios and they built really nice
home Studios and obviously they saw all
the benefits of work from home that we
all saw so now they would either have
their team on their own premises at home
or they would still keep an outside
space for just you know one or two
people to work from because film studios
have regulations about security if you
don't work directly on the film studio
lot but you work from an outside
third-party space it has to have certain
security so some composers working on on
the really big stuff they would still
keep you know an outside space for their
assistants to work from but not a lot of
them because Studio rent is really
expensive in La people are paying paying
thousands per month for a small dark
room and so they realized you know what
we could build something way cheaper
somewhere else and subsidize a different
workspace and then we don't have to pay
for this really expensive space just
because it's in a compound that is you
know treated and that has all these
other amenities we could just have that
elsewhere um for cheap because a lot of
those composer Studios have massive
overhead so this would reduce the
overhead by quite a lot and it would be
more convenient for everybody but as a
result a lot of those formerly
bustling uh composer compounds have been
left pretty dead at this point but with
composers working more and more from
home they've also become a little
pickier about who they hire and who they
let in because effectively you're now
visiting the composer's home so H there
has to be a basis of TR rust but what I
also think is that the pandemic has sped
up the development of automation tools
Smart Tools AI tools that now make a lot
of tasks for assistance obsolete for
example stem printing um on older setups
it used to be that cuas would be
hardwired into Protools and it would be
a completely different rig and then you
would print stems in real time directly
into protos it was a really slow process
there was a reason for it I mean
computer processing power sample
libraries offline bouncing not being
reliable at the time but this was 15 20
years ago I was still doing it for some
composers that still had this old setup
but modern composers don't do that
anymore um at this point offline
bouncing is very reliable and you don't
have to like have a separate computer
playing picture anymore and all this
stuff it's it's just not necessary with
the kinds of computers that we have
available so now a job that used to take
say a
week um or where multiple people would
have to do shift work to print stems
around the clock that same process now
takes at best a day if not less another
example is copyist work it used to be
back in the day you needed a ton of
people to hand copy parts then software
already came in and is writing the parts
in the background so now you just need
people you know double-checking the page
breaks and transpositions and stuff like
that but we're just one step away from
uh there being a tool that does that
automatically I mean it's it's not going
to be that hard to make that little jump
and then copyists will become obsolete
it's already a lot less than it used
used to be I mean you used to need way
more people and way more time now you
can do it with one person in a day or
two the same goes for librarians for
example we already had the first
sessions where the players were using
iPads or other tablets which a makes
page turns way
easier because you don't have to
physically turn a page you just swipe
but also um if the conductor or composer
want to make any changes they can do it
right in the score and then it
automatically appears in all the parts
in real time so that's going to be the
process in the future which means all
the printing and librarian work the
taping the you making the books and
doing all that printing on physical
medium it's going to go away but so
overall you just need less people in a
lot of areas already to do the same
amount of work likewise when I got into
town I don't think Uber andyt were a
thing and all those delivery services
weren't a thing um so a lot of Studios
still had interns and Runners to run
errands but now especially again
accelerated by the pandemic we have so
many apps that can deliver food you can
order things overnight that you need for
the
studio there isn't really a need for
runners anymore it's actually more
expensive to have someone
to pay someone fulltime to run errands
for you and do menial tasks than it is
to just use an app and just pay for the
service when you need it what I'm seeing
is that a lot of the entrylevel tasks
are going away and with it entry level
positions I've just checked in with a
bunch of places that had regular
internships going that would just you
know rotate interns every 6 weeks or
every 3 months I just checked in and
they all said they after the pandemic
they never started those internships
back up because it's a Time suck for the
studio and kind of a waste if you don't
need the people I mean what are you
going to do just have them sit around
you know it's kind of they just didn't
see the need to have that again and so
they just never started any of those
internships back up also remember that
budgets aren't necessarily getting
higher so the amount of full-time
positions is already dwindling most
working film composers live in expensive
areas like Los Angeles and London and
here in La the average rent for a
one-bedroom apartment is I think at this
point $2,000 a month plus utilities plus
food plus everything that's quite a lot
of money so if you want a full-time
assistant with Rising living costs and
you want to compensate them
appropriately that's a pretty big chunk
of money so there's a very small amount
of composers that can still justify
having full-time salaried employees that
are there all year round and um that are
on payroll what you have a lot more
these days are part-time freelance
assistants that are hired on a per
project basis but in general um things
are looking pretty dire because first we
had the pandemic slowing things down
then things started picking up again
then we had massive strikes last year
and to this day things have not really
picked up again add to that all the
video game layoffs and cancellations and
then you have a lot of established
composers who still might have work but
who don't have so much work that they
need full-time assistance now has remote
work gotten more popular a little bit um
mostly for trusted team members because
we handle a lot of sensitive information
so a lot of composers won't just
willy-nilly
um hire remote workers in other
locations or um hire people they don't
know but if it's a trusted long-term
team member then yes there might be a
lot more leeway for remote work but you
definitely need trust you need to know
that the person who is receiving files
sending files storing files especially
picture files is responsible and they
know how to do things they know how to
be secure so that is usually reserved
for people that you already know now if
you're a tech or someone else who does
something that needs to be done on the
premises then of course remote work is
not really an option but I also have to
say that there aren't that many
composers that need a full-time tech on
site um first of all because a lot of
them have given up their outside spaces
but also because the modern more modern
younger composers have really
streamlined their setups they have
simplified things and they're Tech savey
enough to solve a lot of problems
themselves so there isn't really a need
for full-time tech for most
composers um I mean techs are also
expensive to begin with but there isn't
really a reason like you could hire
someone to set things up for you
once but then after that you don't
really need someone all the time now one
of the problems here is of course that
there's an increasing number of aspiring
composers who want to be full-time
assistants but those positions are
actually decreasing where you used to
need three assistants now you only need
one to get the same amount of work done
because so much of the process can now
be automated and it's only going to get
worse with a AI tools coming up I
already mentioned printing stems for
example I mean cuas now has all these
batch functions where basically if your
routing is good you only have to press a
button um the only reason why you still
need to sit there is because you need to
close the session and open the next
session select the tracks and hit the
button but how hard is it going to be to
create some AI assistant tool that can
do that for you while you're asleep
long-term problem that I've also
discussed with colleagues that we might
be facing and this might be across
Industries as well as remote work
becomes more popular um is that if
you're not on the premises in a sort of
office space with your colleagues then
how do you learn from them this might
become a big issue in a lot of areas
going forward because a lot of aspiring
professionals are not going to get the
same uh on the job training that we got
there's something invaluable about
being in the same building as your
colleagues being able to look over their
shoulder ask questions really get to
know them also on a personal level you
know really Network
properly uh and not superficially
getting recommended by those colleagues
over time to work at other places as
well or um generally just getting a foot
in the door like it's so much harder to
have your team grow with you as well if
I change something in my template then
that doesn't automatically get
translated to other people's templates
if you're an in-house assistant working
from the same rig then you can you know
see all the changes that your boss is
making you can see how they improve you
can see how they grow and how they do
things when I learn something new my
other team members don't learn that same
thing because they're not on my rig in
my template if I'm learning new mixing
techniques they don't automatically
learn that either if I use different
sample libraries all of a sudden they
don't know that nothing really
translates unless you go through the
trouble of really cloning the setup I
think talking to Executives and also
composer colleagues it feels like the
entire industry is in a reset right now
which is unfortunate for those just
starting out and trying to get a foot in
the door I mean the guilds and unions
are saying that even among their
veterans only 20% I think they said last
time were working and they were actually
warning uh aspiring people across
departments they were warning them not
to come here at the moment because
there's there's nothing for them here
here and I don't really know what to
tell aspiring composers either that are
coming here right now because I'm like
it's such a different environment now
than it was when I started out
and the past two years have been
particularly rough for this industry I
I'm one of the few lucky ones that had
consistent work um and that has not been
impacted by the video game layoffs but
so many of my friends and colleagues
have been impacted by that but anybody
who's been here for 20 30 years and has
been consistently working in the
industry is saying it's never ever been
this bad before and maybe this will
result in um indie film studios and
indie game developers popping up left
and right uh I certainly hope so but
right now it is so hard to get anything
made especially while the big guys are
kind of struggling and also pausing
I'm not entirely sure what they're
waiting for but it seems like they're
waiting out something here probably the
recession that we're in that nobody
wants to admit that we're in obviously
the cheap Co money is gone you know a
lot of places had over hired a lot of
places Studios over produced content and
are just scaling back massively things
are changing so much currently in the
way that we do things and also in the
way that we will be doing things going
forward so much so that a lot of people
are actually leaving the industry now
because they haven't been working since
March last year which is now what one
and a half years and so they just can't
sustain themselves anymore and wait this
thing out whatever this thing is I do
think it's safe to say that a lot of
jobs will no longer exist or will only
exist in limited numbers the only good
thing of of course is whenever an
industry changes so much it does create
new jobs different jobs that previously
did not exist so I guess it's going to
be a question of who can pivot into that
new era who can wait this thing out and
who on the other hand is going to get
left behind I suppose much like it
happened in the early 2000s when the
world went digital which forced a lot of
people out of being active in this
industry because they just really wanted
to stick to the old way of doing things
and they were essentially pushed
out um because they didn't adapt to the
new way of doing things where am I going
with this I don't
know it's just something that's been on
my mind um because it's been weird here
I will say that I mean it's also been
weird in the video game industry it's
been weird in the film and TV industry
you can feel it all over town cuz la is
built around the film and television
industry very much the entire
infrastructure is built around this
industry and when that industry is
hurting a lot of adjacent Industries are
hurting as well
so it's been a strange
atmosphere with all the layoffs or
Freelancers being out of work um even
you know established composers not
really having anything to do their teams
being laid off or you know just being
put on leave basically their usual
additional writers you know not having
anything to do the orchestrator music
prep services not being busy it's quite
depressing to basically hear everybody
say the same thing like I I remember
someone from uh one of the music prep
Services said it's not even been this
bad during
Co
so I don't know I don't know where we're
going with this it very much feels like
the studios or this entire industry is
trying to figure
out how to adapt to the new times how to
implement smart
technology and figuring out who they're
going to need in the future who they're
not going to need in the future what
kinds of new jobs are there who needs to
be trained for those new jobs it just
feels like everything is Shifting right
now and nobody really knows what to to
do about it nobody really knows how to
move forward nobody nobody knows where
we're going with this so it's going to
be interesting to see where we're going
to come out because something's
happening something's changing right now
and I hope it's going to be exciting
when things pick up again and we figure
out a new way of doing things cuz the
way it has been over the past 5 to 10
years was not really sustainable to
begin with so uh something has to change
anyway that's all I wanted to say um I
would love to hear from my colleagues as
well I would love to hear uh their
thoughts on uh on what's going on and
what they think where we're going cuz
it's going to be interesting
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