New Avid, same existential dread.

In this episode, we complain (productively!) about everything from imposter syndrome on a new gig to the mild panic of walking into a job and realizing the Avid version is not the one you know. We talk adaptation, hesitation, and that weird sense of vertigo when your keyboard shortcuts betray you.

But we don’t stop at grumbling — we dig into what it actually means to be an editor in a film industry that’s evolving faster than your last export crashed.

A listener email from the UK sparks a reflection on the state of work on both sides of the pond. We ask: Who are you if you’re not editing? And can you unplug without completely unraveling?

Then it’s time to wrestle with the AI elephant in the room. From documentary ethics and VFX temp comps to authorship debates, Google’s VEO 3, and whether these generative tools are collaborators… or chaos agents. Plus: the role of editors in challenging a director’s vision, and how to stay curious even when you're feeling cranky.

If you’ve ever stared into the timeline and wondered, “Is this me or is this the algorithm?” then you’re in the right place.

Pull up a seat at The Render Bar.

This week on The Render Bar, we check in on the pulse of the industry. Who's working, who's still waiting, and how Hollywood’s production engine is (or isn't) revving back up.

We break down the role of a VFX Editor. What we actually do versus what people think we do and how that contrasts with the work of VFX artists.

We also shine a light on Post PAs. How to work with them, support them, and not turn into the horror stories we once lived through ourselves.

Lastly, we unpack the real benefits of union life. From pensions to protections to the big question: should the union help get you a job?

Pull up a seat at the bar. It’s a good one.

In today's episode, Richard and Steve dive into listener feedback and share valuable networking tips (00:40). Later, they discuss filmmaker Sean Baker’s historic four-time win at the Academy Awards and the controversy it sparked in some editing circles for not thanking his assistant editor (15:52).

Baker’s Best Picture acceptance speech leads to a broader conversation about the state of movie theaters and their role in an evolving industry (25:59). The discussion then shifts to the impact of streaming services and the traditional studio system, questioning the sustainability of big-budget films like Mickey 17 and how spectacle translates differently on the big screen versus at home. They also touch on Wicked and its place among this year’s Oscar contenders (29:23).

Later, they highlight the importance of keeping your profile updated on Contract Services (43:27) and respond to message board backlash over a YouTube video testing "The World's Hardest Editing System"—Avid (49:00).

Finally, they check in on the latest Avid Media Composer 2024.12 updates, including improvements to Titler, Rosetta Mode, OTIO, and the long-awaited addition of visible waveforms in the source monitor (59:46).

Thanks for listening!

Notes:

📌 Patrick Caliguiri – @producer.patrick

📌 Share Films – @share_films

📌 Contract Services – csatf.org

📌 YouTube – "I Tested The World's Hardest Editing Software" – Watch Here

📌 Avid 2024.12 Updates – Read More

🎙 Steve Jacks – @the_stevejacks | www.stevejacks.com

📩 Richard Sanchez – renderbarpod@gmail.com