Go look at video editor job postings right now. Story-driven editing. Color grading. Motion graphics. Sound design and audio mixing. All in one role, all expected at a professional level, usually for one salary.
That's not a hiring trend. That's a methodology bleeding into a discipline it was never built for.
What's happening in these job posts is Agile logic applied to creative production. Cross-functional flexibility over deep specialization. Generalists who can flex across the whole stack instead of specialists who own one piece of it. Agile came out of a 2001 meeting of software developers trying to escape slow, documentation-heavy processes. In that world, the logic holds up. Code is modular, sprints ship incremental progress, and an engineer who can move across the stack keeps a small team unblocked.
Somewhere along the way, that logic got copied into creative production, and nobody checked if it actually fit.
Creative work doesn't compress the way code does. A generalist editor doing color, motion graphics, and audio isn't moving faster. They're doing all three at a "good enough" level instead of doing one thing at an expert level. Every discipline they're switching between has its own learned instincts, its own muscle memory, its own years of trained ear or eye. Task switching carries a real, measurable cost, and creative craft is one of the worst places to pay it, because the cost doesn't show up as a missed deadline. It shows up as work that's technically finished but quietly worse than it should be. Software can tolerate a generalist because most of what they're doing is logic, and logic transfers. Craft doesn't transfer the same way. Knowing how to color grade doesn't make you better at mixing dialogue, and being decent at motion graphics doesn't teach your ear what a de-essed vocal should sound like.
This is the same problem we've written about before, just at the team-structure level instead of the project level. When agencies build around Agile-style generalists rather than specialists, quality erodes in ways clients can feel but can't always name. And audio is usually the first thing that goes, because it's the discipline everyone assumes an editor can pick up on the side. Clients don't file a complaint that says "our editor is a generalist and it's costing us." They just start feeling like the work is fine but not great, and fine doesn't renew retainers.
Agile is the right tool for software. It's the wrong tool for craft. If you're producing creative work that needs to hold up against real scrutiny, build specialist teams instead of generalist flexibility. Let your editor own the cut. Let a colorist own the grade. Let someone who lives and breathes audio own the mix. Riot Anthem Studios exists because audio is one of the disciplines agencies keep trying to fold into a generalist role, and it's usually the first one that suffers for it. We handle audio post as a dedicated specialty so your editors can stay focused on the cut instead of being stretched across a discipline they were never meant to master.
Sprints and flexibility are great for shipping software. They're a bad fit for craft, because craft doesn't get better when it's split five ways across one person. If your creative team is structured like an engineering team, don't be surprised when the work starts feeling like it was built by one.