AI exposure: Producers and Directors
Produce or direct stage, television, radio, video, or film productions for entertainment, information, or instruction. Responsible for creative decisions, such as interpretation of script, choice of actors or guests, set design, sound, special effects, and choreography.
Reading this score
computed44.7% of this occupation's weighted task load is exposed, which puts Producers and Directors at the 81th percentile of 923 occupations. The capability is largely there. Its average task scores 2.5 out of 4 on what a current system can produce, and the frictions that hold other jobs in place are comparatively weak here.
What holds the line here is context. Across this occupation's 30 tasks it averages 1.97 out of 3, the highest of the five friction dimensions. In plain terms, the work depends on knowledge the model cannot hold. Much of this job runs on things that were never written down: what this particular organisation does, what happened last week, what the person across the table actually meant. That context is the barrier, and it erodes as systems are given more access.
The most exposed thing this job does is Write and edit news stories from information collected by reporters and other sources, at 90.0%. The least is Coordinate the activities of writers, directors, managers, and other personnel throughout the..., at 10.0%. A gap of 80.0% between two parts of the same job is the reason this index publishes at task level. An occupation-wide number would have hidden both.
Within arts, design, entertainment, sports and media occupations, this one is more exposed than most. The median across the 40 roles in the group is 36.4%, and only 13 of them score higher than this. Occupational families are not uniform, and the spread inside them is often wider than the gap between them.
What would move this score. Of 30 tasks, 21 are currently banded exposed, 3 assisted and 6 untouched. For that distribution to shift materially would take systems being given deeper access to the organisation's own records and history, which is already happening. The score is re-computed every quarter against a fresh capability reference, and the change is published rather than quietly applied.
Task by task
30 tasks, O*NET 31.0| Task | Exposed | Assisted | Untouched | Importance | Band |
|---|---|---|---|---|---|
| Write and edit news stories from information collected by reporters and other sources. | 90.0% | 10.0% | 0.0% | 3.81 | exposed |
| Research production topics using the internet, video archives, and other informational sources. | 86.7% | 13.3% | 0.0% | 4.27 | exposed |
| Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written. | 78.8% | 8.8% | 12.5% | 3.91 | exposed |
| Compile scripts, program notes, and other material related to productions. | 73.3% | 26.7% | 0.0% | 3.79 | exposed |
| Write and submit proposals to bid on contracts for projects. | 73.3% | 26.7% | 0.0% | 3.98 | exposed |
| Cut and edit film or tape to integrate component parts into desired sequences. | 60.0% | 15.0% | 25.0% | 3.82 | exposed |
| Develop marketing plans for finished products, collaborating with sales associates to supervise product distribution. | 60.0% | 15.0% | 25.0% | 3.09 | exposed |
| Select plays, scripts, books, news content, or ideas to be produced. | 60.0% | 15.0% | 25.0% | – | exposed |
| Choose settings and locations for films and determine how scenes will be shot in these settings. | 57.5% | 17.5% | 25.0% | 3.79 | exposed |
| Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene. | 55.0% | 20.0% | 25.0% | 4.40 | exposed |
| Study and research scripts to determine how they should be directed. | 55.0% | 20.0% | 25.0% | 4.20 | exposed |
| Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility. | 55.0% | 20.0% | 25.0% | 3.85 | exposed |
| Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards. | 50.0% | 25.0% | 25.0% | 4.20 | exposed |
| Conduct meetings with staff to discuss production progress and to ensure production objectives are attained. | 50.0% | 25.0% | 25.0% | 3.82 | exposed |
| Review film daily to check on work in progress and to plan for future filming. | 50.0% | 25.0% | 25.0% | 3.71 | exposed |
| Confer with technical directors, managers, crew members, and writers to discuss details of production, such as photography, script, music, sets, and costumes. | 45.0% | 30.0% | 25.0% | 4.10 | exposed |
| Obtain rights to scripts or to such items as existing video footage. | 45.0% | 30.0% | 25.0% | 3.20 | exposed |
| Identify and approve equipment and elements required for productions, such as scenery, lights, props, costumes, choreography, and music. | 33.3% | 16.7% | 50.0% | 3.89 | exposed |
| Communicate to actors the approach, characterization, and movement needed for each scene in such a way that rehearsals and takes are minimized. | 30.0% | 20.0% | 50.0% | 4.39 | exposed |
| Negotiate with parties, including independent producers and the distributors and broadcasters who will be handling completed productions. | 30.0% | 20.0% | 50.0% | 3.60 | exposed |
| Arrange financing for productions. | 26.7% | 23.3% | 50.0% | 2.93 | exposed |
| Resolve personnel problems that arise during the production process by acting as liaisons between dissenting parties when necessary. | 23.3% | 26.7% | 50.0% | 3.65 | assisted |
| Perform administrative duties, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal quarters. | 23.3% | 26.7% | 50.0% | 3.50 | assisted |
| Perform management activities, such as budgeting, scheduling, planning, and marketing. | 18.8% | 18.8% | 62.5% | 3.95 | untouched |
| Hold auditions for parts or negotiate contracts with actors determined suitable for specific roles. | 18.8% | 18.8% | 62.5% | – | untouched |
| Hire principal cast members and crew members, such as art directors, cinematographers, and costume designers. | 16.7% | 33.3% | 50.0% | – | assisted |
| Consult with writers, producers, or actors about script changes or "workshop" scripts, through rehearsal with writers and actors to create final drafts. | 11.7% | 13.3% | 75.0% | 3.94 | untouched |
| Direct live broadcasts, films and recordings, or non-broadcast programming for public entertainment or education. | 10.0% | 15.0% | 75.0% | 4.30 | untouched |
| Supervise and coordinate the work of camera, lighting, design, and sound crew members. | 10.0% | 15.0% | 75.0% | 4.15 | untouched |
| Coordinate the activities of writers, directors, managers, and other personnel throughout the production process. | 10.0% | 15.0% | 75.0% | 3.53 | untouched |
Task text and importance ratings sourced from O*NET 31.0. Shares computed. The occupation score is the importance-weighted mean. 3 task(s) lacked a usable O*NET weight and are shown but excluded from the weighting.
Where the score comes from
judgedEvery task is scored through the standardised work activities it maps to. These are this occupation’s averages on the six rubric dimensions. Capability is what AI can do; the other five are what stands in the way.
| Dimension | Mean | Scale |
|---|---|---|
| Capability | 2.55 | 0-4 |
| Embodiment | 0.57 | 0-3 |
| Presence | 1.23 | 0-3 |
| Accountability | 0.60 | 0-3 |
| Context | 1.97 | 0-3 |
| Verification cost | 1.12 | 0-3 |
What this means in practice
Where most of a role's weighted task load is exposed, the work that survives is usually the part of the job nobody wrote into the job description: deciding what should be produced rather than producing it, and being answerable for the result. The tasks lowest on this page are a better guide to where to spend your time than any general advice about the future of work.
Occupations either side of this one
The four closest scores in the same occupational family, then the four closest anywhere in the index.
Read this carefully. Exposure is not displacement. A high score means current AI systems can produce this work, not that anyone will stop paying a person to do it. Adoption depends on economics, regulation and inertia that this index deliberately does not model. How the score is built.