Will AI replace Arts officers, producers and directors?

Not as a job, but it is already doing parts of the work. Across the 135 official task statements scored for Arts officers, producers and directors (United Kingdom, SOC 3416), 33% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 45 out of 100 (range 39–51, band: partial). That is a statement about tasks, not about headcount: this measures what AI could do, not whether any employer adopts it, whether the law allows it, or whether doing the routine parts faster creates more demand for the human parts. Figures are from release 2026-q4.1.

Which tasks in “Arts officers, producers and directors” can AI already do?

The highest-scoring tasks in release 2026-q4.1 are: “Maintain records related to retail and sales transactions” (93/100, very high); “Trim film segments to specified lengths” (93/100, very high); “Synchronise and store them into files on the computer” (93/100, very high). Each score comes from five published 0–4 ratings turned into a number by a published formula, and each carries the model's one-sentence reason on the page.

Which tasks in “Arts officers, producers and directors” stay human?

About 45% of this job's task weight sits in work that scores low for AI exposure. The lowest-scoring tasks in release 2026-q4.1 are: “Repair existing props for theatre productions” (0/100, minimal); “Set all areas for costuming of the production such as lorries, dressing rooms, costume tents or quick change areas” (0/100, minimal); “Attend rehearsals to prepare for productions” (1/100, minimal). Low scores usually mean the task needs a body in a room, a legally accountable human, or trust built in real time. Those are the three things the scoring rubric treats as gates rather than obstacles.

What should someone working in “Arts officers, producers and directors” do about AI?

Start from the ledger rather than the headline: 33% of this job's weighted core work is exposed, and roughly 45% is not. The practical move is to spend more of your week on the tasks that score low, the ones above, and to get fluent at directing AI through the tasks that score high, because those are the parts that change whether or not you are ready for them. This page does not predict your job, and nothing here is career advice tailored to you: the score describes the occupation, not the person.

How is the AI exposure score for Arts officers, producers and directors calculated?

Each official task statement for the occupation is rated on five published 0–4 dimensions (output replicability, physical embodiment, licensed accountability, real-time human trust, and data availability) by claude-opus-5 using scoring prompt task_scoring_v1.0. The model never writes the score; a published formula turns the five ratings into a 0–100 number, so every score can be recomputed by hand. The occupation figure is the importance-weighted mean across 135 scored tasks. The prompt, the rubric, the formula and the full dataset are published at https://futureproof.collab365.com/method and https://futureproof.collab365.com/data/2026-q4.1 under CC BY 4.0.

UK dataswitch to US

Arts officers, producers and directors

editing videos using software to incorporate text and special effects, obtaining needed sounds from sound effects libraries and following a project brief and developing an outline of footage or a shot list. If that's your week, this page is about your job.

The honest answer

AI is already taking a real slice of the routine work here: conducting budgeting and scheduling as part of management activities. That is a slice of tasks, not of you.

Your move: what you can actually do about this ↓

Where the work sits, by task weight

shifting to AI: 33%
changing shape: 22%
staying human: 45%

These bars are tasks changing hands, not people being counted out. The ledger below shows which.

Whole-job exposure score 45 out of 100 (39–51 allowing for uncertainty): partial exposure, across 135 scored tasks. The number is the support for the sentence above it, not a headline about anyone’s future.

How we know this

What is measured: Every published task statement for arts officers, producers and directors is rated on five dimensions: can a model produce the output, does the work need a body in a room, does it need a legally accountable person, does it depend on a person being trusted in the moment, and how much data exists. A published formula turns those five ratings into the score; the model never writes the number.

How the bar is built: Each task’s share of the bar is its published importance weight, so a task you do all day counts for more than one you do twice a year.

Release: 2026-q4.1, scores computed 2026-08-05. Read the full method.

That slice is not coming back; the core of the job, coordinating sound and actor movement for film scenes, stays yours. The tools change hands, the accountability doesn't.

Your week, as this page understands it

Arts officers, producers and directors assume creative, financial and organisational responsibilities in the production and direction of television and radio programmes, films, stage presentations, content for other media, and the promotion and exhibition of other creative activities. The job title says “arts officers”, “producers” or “directors”: officially one job, several names. The real job is the part underneath: coordinating sound and actor movement for film scenes. That is the thing someone has to be right about.

The exposed part of this job is specific, and we won’t pretend it is coming back. But arts officers, producers and directors is not one task. It is 135 scored ones, and they are nowhere near equally exposed. The most durable of them, on this evidence, is coordinating sound and actor movement for film scenes, and the ledger below shows exactly why.

Where the work sits, by task weight

shifting to AI: 33%
changing shape: 22%
staying human: 45%

These bars are tasks changing hands, not people being counted out. The ledger below shows which.

How we know this

How the bar is built: Each task’s share of the bar is its published importance weight, so a task you do all day counts for more than one you do twice a year.

Release: 2026-q4.1, scores computed 2026-08-05. Read the full method.

Your job, task by task

These are the official task statements for this occupation, in plain English, sorted by what the evidence says is happening to each one. The official wording sits under every line so you can check the rewrite against it.

17 of this occupation's scored task statements carry a score that was measured under a different occupation's context, because the statement is shared between jobs and has only been scored once so far. Each one names the occupation it was measured under in the free routes below; none is presented as a measurement for this job.
Task clusters are not derived in this release, so the task-cluster field is empty and no Collab365 Space routing is attached to this occupation yet.

Shifting to AI

48 tasks

Tasks today’s tools can already do most of. This is the part we will not soften: where these rows are the bulk of your week, the week changes.

Conducting budgeting and scheduling as part of management activities
This is reading one thing and writing another: part of management activities in, a record out. That is the shape today's tools are built for.
importance 80 · 3416/02, 3416/04, 3416/05
Source: “Conduct budgeting and scheduling as part of management activities.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Budgets and schedules follow standard formats and are built well from the production's own requirements.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Compiling scripts, programme notes and other material related to productions
This is reading one thing and writing another: scripts, programme notes and other material in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/02, 3416/04, 3416/05
Source: “Compile scripts, programme notes, and other material related to productions.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Compiling scripts and programme notes is document assembly and writing, which software does quickly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Coordinating with writers, photographers, printers and designers to ensure timely progress
This is reading one thing and writing another: writers, photographers, printers and designers in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/02, 3416/04, 3416/05
Source: “Coordinate with writers, photographers, printers, and designers to ensure timely progress.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Chasing writers, printers and designers to a schedule is coordination admin that software tracks and drafts well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Researching production topics using various informational sources
This is reading one thing and writing another: production topics in, a record out. That is the shape today's tools are built for.
importance 65 · 3416/02, 3416/04, 3416/05
Source: “Research production topics using various informational sources.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Researching a topic across many sources is exactly what software does quickly, leaving checking to the producer.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.

Changing shape

32 tasks

Tasks where the machine takes the producing and a person keeps the checking, the deciding, or the answering-for-it. For most jobs this is the biggest group, and it is where "transformation, not termination" is literally visible.

Establishing pace of programmes according to time requirements
The software now makes the first pass at pace of programmes, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 65 · 3416/02, 3416/04, 3416/05
Source: “Establish pace of programmes according to time requirements.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Timing can be measured automatically, but judging the pace a programme should run at is an editorial call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Arranging films into sequences using editing equipment
The software now makes the first pass at films, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 90 · 3416/02, 3416/03
Source: “Arrange films into sequences using editing equipment.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Editing software can assemble sequences automatically, but deciding what works still means watching it back.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Carrying out administrative tasks, such as preparing operational reports
The software now makes the first pass at administrative tasks, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 65 · 3416/04, 3416/05
Source: “Carry out administrative tasks, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal spaces.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Reports, call sheets and script distribution are routine admin, though some copies and spaces are still handled physically.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.

Staying human

55 tasks

Tasks that stay with a person, because they happen in the physical world, because the rules need someone accountable, or because the value is that a specific person does them.

Coordinating sound and actor movement for film scenes
This work happens in the physical world: sound, in a real place. Software cannot follow it there.
importance 85 · 3416/02, 3416/04, 3416/05
Source: “Coordinate sound and actor movement for film scenes.” (UK task statement)
How this row was scored
Exposure score: 6 out of 100 (0–13 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Working out sound and actor movement happens on the set, with the space and people in front of you.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Coordinating the activities of directors and managers throughout the production process
The value here is that a specific person handles the activities of directors and stands behind it. That is earned, not computed.
importance 80 · 3416/02, 3416/04, 3416/05
Source: “Coordinate the activities of directors and managers throughout the production process.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Coordination can be scheduled automatically, but the work runs through directors and managers talking daily.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Determining desired effects for stage or motion pictures in consultation with officials and performers
The value here is that a specific person handles desired effects and stands behind it. That is earned, not computed.
importance 80 · 3416/02, 3416/04, 3416/05
Source: “Determine desired effects for stage or motion pictures in consultation with officials and performers.” (UK task statement)
How this row was scored
Exposure score: 26 out of 100 (19–33 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Deciding what effect a scene should have is worked out in conversation with the people performing and building it.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.

Show the other 125 tasks

Maintaining records related to retail and sales transactions
shifting to AI
This is reading one thing and writing another: records in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/01
Source: “Maintain records related to retail and sales transactions.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Sales records are captured automatically at the till and kept by the system without manual work.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Trimming film segments to specified lengths
shifting to AI
This is reading one thing and writing another: film segments in, a record out. That is the shape today's tools are built for.
importance 75 · 3416/03
Source: “Trim film segments to specified lengths.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Cutting clips to a stated length is a mechanical step software already performs automatically.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Synchronising and storing them into files on the computer
shifting to AI
This is reading one thing and writing another: them in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/03
Source: “Synchronise and store them into files on the computer.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Syncing by timecode and filing the results is an automatic function in every modern editing system.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Formatting and uploading video footage for online viewing
shifting to AI
This is reading one thing and writing another: video footage in, a record out. That is the shape today's tools are built for.
importance 65 · 3416/03
Source: “Format and upload video footage for online viewing.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Encoding and uploading video to a platform's specification is a fully automated step.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Typing and editing scripts
shifting to AI
This is reading one thing and writing another: scripts in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/04
Source: “Type and edit scripts.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Typing up and copy-editing a script is text work software does at least as well and far faster.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Completing daily activity reports for operational monitoring
shifting to AI
This is reading one thing and writing another: activity reports in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/04
Source: “Complete daily activity reports for operational monitoring.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Daily activity reports are a fixed template filled from records the operation already holds.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Preparing payments for guests and contributors
shifting to AI
This is reading one thing and writing another: payments in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/04
Source: “Prepare payments for guests and contributors.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Preparing payments from agreed fees is routine finance admin already handled by accounting systems.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Typing production schedules, known as 'call sheets', for film and television projects
shifting to AI
This is reading one thing and writing another: production schedules, known in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/04
Source: “Type production schedules, known as 'call sheets', for film and television projects.” (UK task statement)
How this row was scored
Exposure score: 93 out of 100 (89–97 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Call sheets are a fixed template filled from the schedule, contacts and locations already recorded.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Monitoring and recording project costs to ensure budget compliance
shifting to AI
This is reading one thing and writing another: project costs in, a record out. That is the shape today's tools are built for.
importance 65 · 3416/04
Source: “Monitor and record project costs to ensure budget compliance.” (UK task statement)
How this row was scored
Exposure score: 88 out of 100 (84–92 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking spend against a production budget is number work software does continuously and accurately.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Managing financial accounts and processing expense claims
shifting to AI
This is reading one thing and writing another: financial accounts in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/04
Source: “Manage financial accounts and process expense claims.” (UK task statement)
How this row was scored
Exposure score: 88 out of 100 (84–92 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Expense processing and account keeping are structured, rule-based tasks that finance software already handles end to end.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Preparing contracts for guest appearances
shifting to AI
This is reading one thing and writing another: contracts in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/04
Source: “Prepare contracts for guest appearances.” (UK task statement)
How this row was scored
Exposure score: 88 out of 100 (84–92 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Guest appearance contracts are standard templates with well-known terms, so a clean first draft comes out ready to check.
The five ratings: output a model can produce 4/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Monitoring and analysing sales records
shifting to AI
This is reading one thing and writing another: sales records in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/01
Source: “Monitor and analyse sales records, trends, or economic conditions to anticipate consumer buying patterns, company sales, and needed inventory.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Spotting sales trends and forecasting demand from records is standard analysis that software does quickly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Analysing scripts to understand character development and plot progression
shifting to AI
This is reading one thing and writing another: scripts in, a record out. That is the shape today's tools are built for.
importance 85 · 3416/02, 3416/04
Source: “Analyse scripts to understand character development and plot progression.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Reading a script and drawing out character arcs and plot structure is text analysis with abundant reference material.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Keeping up to date with industry developments and marketing trends
shifting to AI
This is reading one thing and writing another: to date in, a record out. That is the shape today's tools are built for.
importance 55 · 3416/02
Source: “Keep up to date with industry developments and market trends.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (76–90 allowing for uncertainty): very high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Keeping up with industry news is reading and summarising, which software does quickly and well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Digitallying enhance picture quality
shifting to AI
This is reading one thing and writing another: enhance picture quality in, a record out. That is the shape today's tools are built for.
importance 80 · 3416/03
Source: “Digitally enhance picture quality.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Cleaning up, sharpening and upscaling pictures is now a well-developed automatic process.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Obtaining needed sounds from sound effects libraries
shifting to AI
This is reading one thing and writing another: needed sounds in, a record out. That is the shape today's tools are built for.
importance 75 · 3416/03
Source: “Obtain needed sounds from sound effects libraries.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Searching a sound library for the right effect is a search task software does faster than a person.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Researching background information to prepare for interviews or programmes
shifting to AI
This is reading one thing and writing another: background information in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/04
Source: “Research background information to prepare for interviews or programmes.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Background research for an interview is broad reading and summarising, which software does quickly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Researching topics for programmes
shifting to AI
This is reading one thing and writing another: topics in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/04
Source: “Research topics for programmes.” (UK task statement)
How this row was scored
Exposure score: 83 out of 100 (79–87 allowing for uncertainty): very high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Researching programme topics across sources is fast, thorough work for software, with the producer checking it.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 4/4.
Determining and recommending specific mark-up and mark-down rates to optimise merchandise selling prices
shifting to AI
This is reading one thing and writing another: specific mark-up in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/01
Source: “Determine and recommend specific mark-up and mark-down rates to optimise merchandise selling prices.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Working out mark-ups and mark-downs from sales data is a pricing calculation software handles well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Researching scripts to determine directing approaches
shifting to AI
This is reading one thing and writing another: scripts in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/02, 3416/04
Source: “Research scripts to determine directing approaches.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Researching a script to work out how to approach it is reading and analysis with plenty of reference material.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Editing videos using software to incorporate text and special effects
shifting to AI
This is reading one thing and writing another: videos in, a record out. That is the shape today's tools are built for.
importance 90 · 3416/03
Source: “Edit videos using software to incorporate text and special effects.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Adding text and effects in editing software follows set recipes and is increasingly done automatically.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Controlling software use to balance sound
shifting to AI
This is reading one thing and writing another: software in, a record out. That is the shape today's tools are built for.
importance 85 · 3416/03
Source: “Control software use to balance sound, colour, visual effects, and transitions as per client's requirements.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Balancing sound, colour and transitions to a brief has strong automatic tools that get close first time.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Setting up and executing video transitions and special effects using computers to manipulate pictures
shifting to AI
This is reading one thing and writing another: and executing video transitions in, a record out. That is the shape today's tools are built for.
importance 85 · 3416/03
Source: “Set up and execute video transitions and special effects using computers to manipulate pictures as necessary.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Transitions and standard effects are built-in software functions applied to a set spec.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Marking frames where a particular shot or piece of sound is to begin or end
shifting to AI
This is reading one thing and writing another: frames in, a record out. That is the shape today's tools are built for.
importance 80 · 3416/03
Source: “Mark frames where a particular shot or piece of sound is to begin or end.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (68–82 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Marking where a shot or sound starts and ends is precise, rule-based work software handles well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Reviewing footage sequence by sequence to prepare for final product assembly
shifting to AI
This is reading one thing and writing another: footage sequence in, a record out. That is the shape today's tools are built for.
importance 80 · 3416/03
Source: “Review footage sequence by sequence to prepare for final product assembly.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (68–82 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Reviewing and logging footage sequence by sequence is checking work that software does quickly and tirelessly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Following a project brief and developing an outline of footage or a shot list
shifting to AI
This is reading one thing and writing another: a project brief in, a record out. That is the shape today's tools are built for.
importance 75 · 3416/03
Source: “Follow a project brief and develop an outline of footage or a shot list.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Turning a brief into a shot list or footage outline is structured writing software drafts well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Applying security protocols to protect client work
shifting to AI
This is reading one thing and writing another: security protocols in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/03
Source: “Apply security protocols to protect client work.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Applying set security procedures to files and access is standard, well-documented practice software handles well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Identifying funding sources for broadcasting and entertainment projects
shifting to AI
This is reading one thing and writing another: sources in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/04
Source: “Identify funding sources for broadcasting and entertainment projects.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Finding funds, schemes and backers to approach is research work software does quickly and widely.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Sequencing scenes based on cast and setting accessibility
shifting to AI
This is reading one thing and writing another: scenes in, a record out. That is the shape today's tools are built for.
importance 65 · 3416/04, 3416/05
Source: “Sequence scenes based on cast and set accessibility.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Ordering scenes around who and what is available is a scheduling puzzle software solves well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Coordinating travel logistics for production teams
shifting to AI
This is reading one thing and writing another: travel logistics in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/04
Source: “Coordinate travel logistics for production teams.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (68–82 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Travel and accommodation booking is largely automated already, though crew changes still need someone chasing.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Identifying need for initial or additional project resources
shifting to AI
This is reading one thing and writing another: need in, a record out. That is the shape today's tools are built for.
importance 55 · 3416/04
Source: “Identify need for initial or additional project resources.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Working out what extra resources a project needs is planning arithmetic done from the schedule and budget.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating programme logs to manage production schedules
shifting to AI
This is reading one thing and writing another: programme logs in, a record out. That is the shape today's tools are built for.
importance 50 · 3416/04
Source: “Create programme logs to manage production schedules.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Building programme logs from a schedule is structured record-keeping software produces quickly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Identifying the equipment, hardware and software required for the recording
shifting to AI
This is reading one thing and writing another: the equipment, hardware and software in, a record out. That is the shape today's tools are built for.
importance 65 · 3416/05
Source: “Identify the equipment, hardware and software required for the recording.” (UK task statement)
How this row was scored
Exposure score: 75 out of 100 (71–79 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Listing the kit and software a recording needs is a specification task with well-documented options.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Verifying key numbers and time codes on materials
shifting to AI
This is reading one thing and writing another: key numbers in, a record out. That is the shape today's tools are built for.
importance 55 · 3416/03
Source: “Verify key numbers and time codes on materials.” (UK task statement)
How this row was scored
Exposure score: 69 out of 100 (62–76 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Checking timecodes and key numbers is exact, rule-based verification that software does faster and more accurately.
The five ratings: output a model can produce 4/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Arranging meetings for sales representatives with potential customers
shifting to AI
This is reading one thing and writing another: meetings in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/01
Source: “Arrange meetings for sales representatives with potential customers.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (60–68 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Booking and confirming customer meetings is routine scheduling and outreach.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Making arrangements or issuing instructions for shipping and delivery of materials with carrier representatives
shifting to AI
This is reading one thing and writing another: arrangements in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/01
Source: “Make arrangements or issue instructions for shipping and delivery of materials with carrier representatives.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Booking shipments and issuing delivery instructions is routine admin that logistics systems already automate.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Be responsible for staying on budget and schedule
shifting to AI
This is reading one thing and writing another: responsible in, a record out. That is the shape today's tools are built for.
importance 80 · 3416/02, 3416/04
Source: “Be responsible for staying on budget and schedule.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking spend and schedule against plan is reporting work software does quickly from the production's own figures.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Communicating production requirements to team members
shifting to AI
This is reading one thing and writing another: production requirements in, a record out. That is the shape today's tools are built for.
importance 75 · 3416/02
Source: “Communicate production requirements to team members.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (60–68 allowing for uncertainty): high exposure, high confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Turning production requirements into clear written instructions for a team is document work software drafts well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Ensuring production deadlines are met by monitoring progress
shifting to AI
This is reading one thing and writing another: production deadlines are met in, a record out. That is the shape today's tools are built for.
importance 70 · 3416/02
Source: “Ensure production deadlines are met by monitoring progress.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking progress against deadlines is what project software does, with a nudge from a person when something slips.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Managing the production's budget and allocate resources
shifting to AI
This is reading one thing and writing another: the production's budget in, a record out. That is the shape today's tools are built for.
importance 80 · 3416/04
Source: “Manage the production's budget and allocate resources.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracking a budget and moving resources between lines is spreadsheet work software does quickly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Booking studio time and equipment for recording sessions
shifting to AI
This is reading one thing and writing another: studio time in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/04
Source: “Book studio time and equipment for recording sessions.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Booking studio time and kit is diary and availability admin that software handles quickly.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Developing and implementing marketing plans
shifting to AI
This is reading one thing and writing another: plans in, a record out. That is the shape today's tools are built for.
importance 60 · 3416/04
Source: “Develop and implement marketing plans, advertising strategies, direct marketing efforts, and campaigns.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Marketing plans and campaign strategies follow well-documented patterns software drafts well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Planning and scheduling rehearsals and performances to ensure smooth production operations
shifting to AI
This is reading one thing and writing another: rehearsals in, a record out. That is the shape today's tools are built for.
importance 90 · 3416/05
Source: “Plan and schedule rehearsals and performances to ensure smooth production operations.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Scheduling rehearsals and performances around people and spaces is a planning puzzle software solves well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Coordinating with theatre managers for event scheduling
shifting to AI
This is reading one thing and writing another: theatre managers in, a record out. That is the shape today's tools are built for.
importance 75 · 3416/05
Source: “Coordinate with theatre managers for event scheduling.” (UK task statement)
How this row was scored
Exposure score: 64 out of 100 (57–71 allowing for uncertainty): high exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Agreeing dates with a venue is diary admin that software drafts and tracks well.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Planning framing, composition and camera movement for each shot or scene
changing shape
The software now makes the first pass at composition, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3416/02
Source: “Plan framing, composition, and camera movement for each shot or scene.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Shot lists and framing ideas can be drafted well, but the choices that make a scene work come from the director.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Designing storyboards
changing shape
The software now makes the first pass at storyboards, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 3416/02
Source: “Design storyboards.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Storyboards can be roughed out by software, though the final sequencing is a designer's call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Selecting music for the final cut of films
changing shape
The software now makes the first pass at music, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 3416/02, 3416/03
Source: “Select music for the final cut of films.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Music can be suggested and matched automatically, but the final choice is a creative judgement about the film.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Cutting shot sequences to different angles at specific points in scenes
changing shape
The software now makes the first pass at shot sequences, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 90 · 3416/03
Source: “Cut shot sequences to different angles at specific points in scenes, ensuring fluidity and seamlessness.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Software can cut between angles automatically, but making a scene feel seamless is judged by watching it.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Creating a 'rough cut' of the programme/film to establish its preliminary edit
changing shape
The software now makes the first pass at a 'rough cut' of the programme/film, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3416/03
Source: “Create a 'rough cut' of the programme/film to establish its preliminary edit.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: A rough assembly can be produced automatically, but shaping it into something that works needs an editor.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Deciding which film sequences are usable
changing shape
The software now makes the first pass at film sequences are usable, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3416/03
Source: “Decide which film sequences are usable.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Technical faults can be flagged automatically, but deciding which takes are worth using is a judgement call.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Manipulating plot, score, sound and graphics to integrate them into a continuous whole
changing shape
The software now makes the first pass at plot, score, sound and graphics, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3416/03
Source: “Manipulate plot, score, sound, and graphics to integrate them into a continuous whole.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Bringing picture, score, sound and graphics together into one whole is craft judgement made by watching it back.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Reordering and fine-tune the content to ensure the logical sequencing and smooth running of the film/video
changing shape
The software now makes the first pass at fine-tune the content, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3416/03
Source: “Reorder and fine-tune the content to ensure the logical sequencing and smooth running of the film/video.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Reordering and fine-tuning a cut so it runs smoothly is judged by watching, not by rule.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Determining the exact cutting for the programme/film's next and final stages
changing shape
The software now makes the first pass at the exact, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3416/03
Source: “Determine the exact cutting for the programme/film's next and final stages.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Deciding the exact cut points for the next stage is an editorial judgement made in the suite.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Using current post-production techniques and technology in media production
changing shape
The software now makes the first pass at current post-production techniques, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3416/03
Source: “Use current post-production techniques and technology in media production.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Post-production technique is well documented, but applying it to a specific project still takes an experienced hand.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Determining the specific audio effects necessary to complete films
changing shape
The software now makes the first pass at this work, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 75 · 3416/03
Source: “Determine the specific audio effects necessary to complete films.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Deciding which audio effects a film needs is a creative judgement made by listening to the cut.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Maintaining a clear understanding of the storyline for creative consistency
changing shape
The software now makes the first pass at a clear understanding of the storyline, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3416/03
Source: “Maintain a clear understanding of the storyline for creative consistency.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Continuity can be tracked automatically, but holding the whole story in mind while working is the editor's job.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Piecing sounds together for film soundtracks
changing shape
The software now makes the first pass at sounds together, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 70 · 3416/03
Source: “Piece sounds together for film soundtracks.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Sound layers can be assembled with a lot of help, but making a soundtrack sit right is judged by ear.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Assessing the quality of their own work to ensure it meets organisational and client needs
changing shape
The software now makes the first pass at the quality of their own work, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 60 · 3416/03
Source: “Assess the quality of their own work to ensure it meets organisational and client needs.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Work can be checked against a written brief, but judging whether your own output is good enough stays with the person.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing ideas for programmes and features that a station could produce
changing shape
The software now makes the first pass at ideas, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 55 · 3416/04
Source: “Develop ideas for programmes and features that a station could produce.” (UK task statement)
How this row was scored
Exposure score: 58 out of 100 (51–65 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Programme ideas can be generated in bulk, but picking one a station could actually make takes editorial judgement.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Assembling raw footage, with camera shots
changing shape
The software now makes the first pass at raw footage, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 85 · 3416/03
Source: “Assemble raw footage, with camera shots, either recorded or transferred onto video tape in preparation for inputting into the computer.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Getting footage into the system is a mechanical ingest step, though older tape formats still need handling.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Correcting errors in films and video tapes using editing equipment
changing shape
The software now makes the first pass at errors, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3416/03
Source: “Correct errors in films and video tapes using editing equipment.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Fixing faults in footage has strong automatic tools, though older physical formats still need handling.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Inputting uncut rushes and sound into the computer
changing shape
The software now makes the first pass at uncut rushes, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 80 · 3416/03
Source: “Input uncut rushes and sound into the computer.” (UK task statement)
How this row was scored
Exposure score: 56 out of 100 (49–63 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Loading rushes and sound into the system is a routine ingest step, with cards and drives to handle.
The five ratings: output a model can produce 3/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Providing technical expertise to senior staff within the production organisation and to clients
changing shape
The software now makes the first pass at technical expertise, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 55 · 3416/03
Source: “Provide technical expertise to senior staff within the production organisation and to clients.” (UK task statement)
How this row was scored
Exposure score: 53 out of 100 (46–60 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Technical answers can be drafted well, but being the person others turn to depends on their trust in you.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Locating guests to appear on chat or interviewing shows
changing shape
The software now makes the first pass at guests, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 50 · 3416/04
Source: “Locate guests to appear on chat or interview shows.” (UK task statement)
How this row was scored
Exposure score: 53 out of 100 (46–60 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: reading one thing and writing another; the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Finding suitable guests is research software does fast, though booking them means persuading them and their agents.
The five ratings: output a model can produce 3/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Developing post-production models for films
changing shape
The software now makes the first pass at post-production models, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 65 · 3416/03
Source: “Develop post-production models for films.” (UK task statement)
How this row was scored
Exposure score: 50 out of 100 (43–57 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Post-production models depend on the specific film and studio, so software can only offer starting points.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Securing permissions to use copyrighted music or film clips
changing shape
The software now makes the first pass at permissions, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 55 · 3416/04
Source: “Secure permissions to use copyrighted music or film clips.” (UK task statement)
How this row was scored
Exposure score: 43 out of 100 (36–50 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Tracing rights holders and preparing clearance requests is admin software drafts well, though terms are agreed with people.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Determining customer needs by communicating with customers
changing shape
The software now makes the first pass at customer needs, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 70 · 3416/01
Source: “Determine customer needs by communicating with customers, sales staff, and marketing staff.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Customer needs are written up easily, but they emerge through conversation with several groups.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Supervising the editing process
changing shape
The software now makes the first pass at the editing process, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 75 · 3416/02
Source: “Supervise the editing process.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Progress on an edit can be tracked easily, but supervising it means working alongside the editor.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Collaborating with editors, producers and artists to synchronise audio with other mediums/productions
changing shape
The software now makes the first pass at editors, producers and artists, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 80 · 3416/03
Source: “Collaborate with editors, producers, and artists to synchronise audio with other mediums/productions.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Sync itself is automatic, but agreeing what the audio should do happens between editors, producers and artists.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Collaborating with clients to finalise the visual style of video footage
changing shape
The software now makes the first pass at clients, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 75 · 3416/03
Source: “Collaborate with clients to finalise the visual style of video footage.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Style options can be generated quickly, but settling on a look happens in conversation with the client.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Coordinating with sound effects editors to establish specific sound requirements for visual media
changing shape
The software now makes the first pass at sound effects editors, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 75 · 3416/03
Source: “Coordinate with sound effects editors to establish specific sound requirements for visual media.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Sound requirements are agreed between the editor and the sound team as they work through the material.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Selecting appropriate passages of music in collaboration with music editors
changing shape
The software now makes the first pass at appropriate passages of music, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 75 · 3416/03
Source: “Select appropriate passages of music in collaboration with music editors.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Music can be shortlisted automatically, but the final passages are chosen with the music editor.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Engaging with clients to understand their needs and requirements
changing shape
The software now makes the first pass at clients, but the part that matters is a person saying it and standing behind it. So the job becomes checking and deciding rather than producing.
importance 70 · 3416/03
Source: “Engage with clients to understand their needs and requirements.” (UK task statement)
How this row was scored
Exposure score: 40 out of 100 (33–47 allowing for uncertainty): partial exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Clients explain what they actually need in conversation with someone they trust.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Digitising film or video footage for editing and archiving
staying human
This work happens in the physical world: film, in a real place. Software cannot follow it there.
importance 85 · 3416/03
Source: “Digitise film or video footage for editing and archiving.” (UK task statement)
How this row was scored
Exposure score: 38 out of 100 (31–45 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Digitising is a machine process, but someone has to load and handle the physical film or tapes.
The five ratings: output a model can produce 3/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Producing DVDs from edited footage
staying human
This work happens in the physical world: dvds, in a real place. Software cannot follow it there.
importance 65 · 3416/03
Source: “Produce DVDs from edited footage.” (UK task statement)
How this row was scored
Exposure score: 38 out of 100 (31–45 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Authoring is a software step, but producing physical discs means handling equipment and media.
The five ratings: output a model can produce 3/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Advising on optimal scene shooting techniques and the visual impact of shots
staying human
The ratings behind this row put optimal scene shooting techniques well outside what today's tools can do on their own.
importance 80 · 3416/02
Source: “Advise on optimal scene shooting techniques and the visual impact of shots.” (UK task statement)
How this row was scored
Exposure score: 37 out of 100 (30–44 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch.
The rating behind it: Shooting technique is well documented and advice can be drafted, but the call depends on this location and this scene.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 3/4.
Recommending products based on customer needs and desires
staying human
This work happens in the physical world: products, in a real place. Software cannot follow it there.
importance 70 · 3416/01
Source: “Recommend products based on customer needs and desires.” (UK task statement)
How this row was scored
Exposure score: 35 out of 100 (28–42 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Recommending products from stated preferences is exactly what online recommendation tools already do well.
The five ratings: output a model can produce 3/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 4/4.
Collaborating with marketing firms to distribute products
staying human
The value here is that a specific person handles marketing firms and stands behind it. That is earned, not computed.
importance 60 · 3416/04
Source: “Collaborate with marketing firms to distribute products.” (UK task statement)
How this row was scored
Exposure score: 35 out of 100 (28–42 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Working with a distribution partner is a relationship between people.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Recruiting and hiring cast and crew for theatrical productions
staying human
The value here is that a specific person handles cast and stands behind it. That is earned, not computed.
importance 80 · 3416/02, 3416/04
Source: “Recruit and hire cast and crew for theatrical productions.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Advertising roles and sifting applications is easy to automate, but hiring cast and crew turns on meeting people.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Assessing or reviewing a broadcast with the production crew
staying human
The value here is that a specific person handles a broadcast and stands behind it. That is earned, not computed.
importance 75 · 3416/02, 3416/04, 3416/05
Source: “Assess or review a broadcast with the production crew.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Notes can be prepared automatically, but reviewing a broadcast with the crew is a discussion between them.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Meeting producers to plan filming schedules and resources
staying human
The value here is that a specific person handles producers and stands behind it. That is earned, not computed.
importance 70 · 3416/02, 3416/04
Source: “Meet producers to plan filming schedules and resources.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Schedule options can be produced automatically, but agreeing them happens in the meeting with the producer.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Supervising the work of junior staff to ensure quality and efficiency
staying human
The value here is that a specific person handles the work of junior staff and stands behind it. That is earned, not computed.
importance 65 · 3416/03
Source: “Supervise the work of junior staff to ensure quality and efficiency.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Supervising junior staff depends on knowing the individuals and their work.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Supervising and assigning duties to workers engaged in technical control and production of radio and television programmes
staying human
The value here is that a specific person handles duties and stands behind it. That is earned, not computed.
importance 60 · 3416/03
Source: “Supervise and assign duties to workers engaged in technical control and production of radio and television programmes.” (UK task statement)
How this row was scored
Exposure score: 30 out of 100 (23–37 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; the value is that a specific person does it.
The rating behind it: Rotas and duty lists are easy to produce, but supervising technical staff runs through the people doing the work.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Identifying and assessing potential studios and locations for film or television productions
staying human
This work happens in the physical world: potential studios, in a real place. Software cannot follow it there.
importance 60 · 3416/04
Source: “Identify and assess potential studios and locations for film or television productions.” (UK task statement)
How this row was scored
Exposure score: 29 out of 100 (22–36 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Options can be researched at a desk, but assessing a studio or location means visiting and seeing it.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Developing production scores in collaboration with music editors
staying human
The value here is that a specific person handles production scores and stands behind it. That is earned, not computed.
importance 70 · 3416/02
Source: “Develop production scores in collaboration with music editors.” (UK task statement)
How this row was scored
Exposure score: 26 out of 100 (19–33 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Building a production score is creative work settled in conversation with music editors.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Estimating audience laughter duration for comedy scenes to space them appropriately
staying human
The ratings behind this row put audience laughter duration well outside what today's tools can do on their own.
importance 50 · 3416/03
Source: “Estimate audience laughter duration for comedy scenes to space them appropriately.” (UK task statement)
How this row was scored
Exposure score: 25 out of 100 (18–32 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the five ratings behind the score, with no single dominant reason.
The rating behind it: Judging how long an audience will laugh is instinct built from live rooms, and little of it is written down.
The five ratings: output a model can produce 1/4 · needs a body in a room 0/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Negotiating contracts with customers and suppliers for art acquisitions
staying human
The value here is that a specific person handles contracts and stands behind it. That is earned, not computed.
importance 80 · 3416/01
Source: “Negotiate contracts with customers and suppliers for art acquisitions.” (UK task statement)
How this row was scored
Exposure score: 24 out of 100 (17–31 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Negotiating an acquisition depends on trust between buyer and seller, and terms are agreed person to person.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Negotiating contract agreements between performers and production companies
staying human
The value here is that a specific person handles contract agreements and stands behind it. That is earned, not computed.
importance 50 · 3416/02, 3416/04
Source: “Negotiate contract agreements between performers and production companies.” (UK task statement)
How this row was scored
Exposure score: 24 out of 100 (17–31 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Performer contracts are negotiated between agents and producers, and the terms turn on the relationship.
The five ratings: output a model can produce 2/4 · needs a body in a room 0/4 · needs an accountable person 1/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Pitching to television broadcasters for programme commissions
staying human
The value here is that a specific person handles television broadcasters and stands behind it. That is earned, not computed.
importance 55 · 3416/04
Source: “Pitch to television broadcasters for programme commissions.” (UK task statement)
How this row was scored
Exposure score: 21 out of 100 (14–28 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: A commissioning pitch succeeds on the commissioner's confidence in the person making it.
The five ratings: output a model can produce 2/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Producing films and other video products to create compelling visual content
staying human
This work happens in the physical world: films, in a real place. Software cannot follow it there.
importance 85 · 3416/02
Source: “Produce films and other video products to create compelling visual content.” (UK task statement)
How this row was scored
Exposure score: 20 out of 100 (13–27 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Producing a film covers everything from planning to shooting, and much of it happens on location with a crew.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Producing films and other video products to deliver engaging media experiences
staying human
This work happens in the physical world: films, in a real place. Software cannot follow it there.
importance 85 · 3416/04
Source: “Produce films and other video products to deliver engaging media experiences.” (UK task statement)
How this row was scored
Exposure score: 20 out of 100 (13–27 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Producing video content covers planning through to shooting, much of it done on location with a crew.
The five ratings: output a model can produce 2/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 3/4.
Collaborating with casting directors and producers during the actor selection process
staying human
The value here is that a specific person handles casting directors and stands behind it. That is earned, not computed.
importance 85 · 3416/02
Source: “Collaborate with casting directors and producers during the actor selection process.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Casting decisions are argued out between the director, casting director and producer as they watch auditions.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Collaborating with the editor to finalise and presenting the film
staying human
The value here is that a specific person handles the editor and stands behind it. That is earned, not computed.
importance 80 · 3416/02
Source: “Collaborate with the editor to finalise and present the film.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Finishing a film with the editor is a back-and-forth between two people watching the same cut.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Conducting meetings with staff to discuss production progress and to ensure production objectives
staying human
The value here is that a specific person handles meetings and stands behind it. That is earned, not computed.
importance 75 · 3416/02, 3416/04, 3416/05
Source: “Conduct meetings with staff to discuss production progress and to ensure production objectives are attained.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Progress meetings work because people are in the room reading each other and committing to actions.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Discussing music, sets and costumes of production with technical directors, managers, crew members and writers
staying human
The value here is that a specific person handles music, sets and costumes of production and stands behind it. That is earned, not computed.
importance 75 · 3416/02, 3416/04, 3416/05
Source: “Discuss music, sets, and costumes of production with technical directors, managers, crew members, and writers.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Agreeing how music, sets and costumes fit together happens through the heads of department talking it out.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Reviewing film footage collaboratively with the director for editing decisions
staying human
The value here is that a specific person handles film footage and stands behind it. That is earned, not computed.
importance 75 · 3416/02
Source: “Review film footage collaboratively with the director for editing decisions.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Watching footage with the director to agree cuts is two people responding to the same material together.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Consulting with producers about script workshops
staying human
The value here is that a specific person handles producers and stands behind it. That is earned, not computed.
importance 70 · 3416/02, 3416/04, 3416/05
Source: “Consult with producers about script workshops.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: A conversation with producers about a workshop is worked through between the people involved.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Receiving feedback from producers or script editors
staying human
The value here is that a specific person handles feedback and stands behind it. That is earned, not computed.
importance 70 · 3416/02, 3416/05
Source: “Receive feedback from producers or script editors.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Taking feedback from a producer or script editor is a person hearing and absorbing someone else's view.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Holding planning stage meetings with the art department
staying human
The value here is that a specific person handles stage meetings and stands behind it. That is earned, not computed.
importance 60 · 3416/02
Source: “Hold planning stage meetings with the art department.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: A planning meeting with the art department is the departments working the design through together.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Attending production meetings
staying human
The value here is that a specific person handles production meetings and stands behind it. That is earned, not computed.
importance 70 · 3416/04
Source: “Attend production meetings.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: A production meeting is the team working things through together, often in the same room.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Supervising and coordinating work of reporters and other editors
staying human
The value here is that a specific person handles work of reporters and stands behind it. That is earned, not computed.
importance 55 · 3416/04
Source: “Supervise and coordinate work of reporters and other editors.” (UK task statement)
How this row was scored
Exposure score: 17 out of 100 (10–24 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Running a newsroom team depends on knowing and directing individual reporters.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Selecting locations for filming
staying human
This work happens in the physical world: locations, in a real place. Software cannot follow it there.
importance 70 · 3416/02
Source: “Select locations for filming.” (UK task statement)
How this row was scored
Exposure score: 16 out of 100 (9–23 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Choosing a location involves visiting places and judging how they will look and work on the day.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Setting up and operating editing facilities in post-production suites
staying human
This work happens in the physical world: and operating editing facilities, in a real place. Software cannot follow it there.
importance 80 · 3416/03
Source: “Set up and operate editing facilities in post-production suites.” (UK task statement)
How this row was scored
Exposure score: 16 out of 100 (9–23 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Setting up an edit suite means plugging in and configuring real equipment in the room.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Operating lighting and visual effects in sync with music beats during performances
staying human
This work happens in the physical world: visual effects, in a real place. Software cannot follow it there.
importance 65 · 3416/05
Source: “Operate lighting and visual effects in sync with music beats during performances.” (UK task statement)
How this row was scored
Exposure score: 14 out of 100 (7–21 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the same decision, made over and over; mistakes that are cheap to catch; work that happens in the physical world.
The rating behind it: Lighting can be pre-programmed, but running it live to the music happens at the desk during the show.
The five ratings: output a model can produce 2/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 3/4.
Discussing photography details of production with technical directors
staying human
The value here is that a specific person handles photography details of production and stands behind it. That is earned, not computed.
importance 75 · 3416/02
Source: “Discuss photography details of production with technical directors, managers, crew members, and writers.” (UK task statement)
How this row was scored
Exposure score: 13 out of 100 (6–20 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Working out shoot details with the crew happens through live discussion and on-set knowledge that is not written down.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Building up contacts with film-makers
staying human
The value here is that a specific person handles contacts and stands behind it. That is earned, not computed.
importance 60 · 3416/02
Source: “Build up contacts with film-makers, agents and distributors.” (UK task statement)
How this row was scored
Exposure score: 13 out of 100 (6–20 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Contacts in the industry are built through people getting to know and trust each other over years.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Securing finance for a new production
staying human
The value here is that a specific person handles finance and stands behind it. That is earned, not computed.
importance 60 · 3416/04
Source: “Secure finance for a new production.” (UK task statement)
How this row was scored
Exposure score: 13 out of 100 (6–20 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Raising money for a production rests on backers trusting the individual asking.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Directing live broadcasts for public entertainment or education
staying human
This work happens in the physical world: live broadcasts, in a real place. Software cannot follow it there.
importance 85 · 3416/02, 3416/04
Source: “Direct live broadcasts for public entertainment or education.” (UK task statement)
How this row was scored
Exposure score: 11 out of 100 (4–18 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Calling a live broadcast is split-second decision-making in the gallery as the show happens.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Overseeing the technical and creative aspects of studio productions
staying human
This work happens in the physical world: the technical and creative aspects of studio productions, in a real place. Software cannot follow it there.
importance 85 · 3416/02
Source: “Oversee the technical and creative aspects of studio productions.” (UK task statement)
How this row was scored
Exposure score: 11 out of 100 (4–18 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Overseeing a studio production means being across the floor and the gallery while it is being made.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Selecting actors for roles
staying human
This work happens in the physical world: actors, in a real place. Software cannot follow it there.
importance 85 · 3416/02
Source: “Select actors for roles.” (UK task statement)
How this row was scored
Exposure score: 11 out of 100 (4–18 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Choosing an actor is a judgement made from seeing people perform in the room.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Collaborating with costume, lighting and sound departments to ensure technical quality
staying human
This work happens in the physical world: costume, lighting and sound departments, in a real place. Software cannot follow it there.
importance 85 · 3416/05
Source: “Collaborate with costume, lighting, and sound departments to ensure technical quality.” (UK task statement)
How this row was scored
Exposure score: 11 out of 100 (4–18 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Getting costume, lighting and sound working together happens between the departments as the show is built.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Developing effective working relationships with creative staff and other technical team members
staying human
The value here is that a specific person handles effective working relationships and stands behind it. That is earned, not computed.
importance 70 · 3416/03
Source: “Develop effective working relationships with creative staff and other technical team members.” (UK task statement)
How this row was scored
Exposure score: 10 out of 100 (3–17 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: the value is that a specific person does it.
The rating behind it: Good working relationships with a creative team are built between people over the course of a production.
The five ratings: output a model can produce 1/4 · needs a body in a room 1/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 1/4.
Presenting ideas to actors for character development
staying human
This work happens in the physical world: ideas, in a real place. Software cannot follow it there.
importance 75 · 3416/02, 3416/04
Source: “Present ideas to actors for character development.” (UK task statement)
How this row was scored
Exposure score: 9 out of 100 (2–16 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Talking an actor into a character works through the relationship between director and performer.
The five ratings: output a model can produce 1/4 · needs a body in a room 2/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Inspecting merchandise or products to determine quality
staying human
This work happens in the physical world: merchandise, in a real place. Software cannot follow it there.
importance 65 · 3416/01
Source: “Inspect merchandise or products to determine quality, value, or yield.” (UK task statement)
How this row was scored
Exposure score: 8 out of 100 (1–15 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Judging quality or value by inspecting goods means handling and looking at the actual items.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 2/4.
Conducting film screenings for directors and production staff
staying human
This work happens in the physical world: film screenings, in a real place. Software cannot follow it there.
importance 70 · 3416/03
Source: “Conduct film screenings for directors and production staff.” (UK task statement)
How this row was scored
Exposure score: 7 out of 100 (0–14 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: A screening means people sitting together in a room watching the film.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Supervising the setup of sets and equipment
staying human
This work happens in the physical world: the setup of sets, in a real place. Software cannot follow it there.
importance 80 · 3416/05
Source: “Supervise the setup of sets and equipment.” (UK task statement)
How this row was scored
Exposure score: 7 out of 100 (0–14 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Supervising a get-in means being there while sets and equipment are physically put in place.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 1/4 · how much data exists 2/4.
Supervising the camera crew and deciding on special camera moves
staying human
This work happens in the physical world: the camera crew, in a real place. Software cannot follow it there.
importance 80 · 3416/02
Source: “Supervise the camera crew and decide on special camera moves.” (UK task statement)
How this row was scored
Exposure score: 6 out of 100 (0–13 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Running the camera crew and calling moves happens on set while the shot is being taken.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Cuing performers during shows to ensure timely entrances and exits
staying human
This work happens in the physical world: performers during shows, in a real place. Software cannot follow it there.
importance 85 · 3416/05
Source: “Cue performers during shows to ensure timely entrances and exits.” (UK task statement)
How this row was scored
Exposure score: 6 out of 100 (0–13 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Cueing performers happens live at the desk, second by second, as the show runs.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 2/4.
Directing actors on set or location
staying human
This work happens in the physical world: actors, in a real place. Software cannot follow it there.
importance 90 · 3416/02
Source: “Direct actors on set or location.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–8 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Directing a performance happens with the actor in front of you, building on trust between the two of you.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Monitoring and providing feedback during rehearsal sessions
staying human
This work happens in the physical world: feedback during rehearsal sessions, in a real place. Software cannot follow it there.
importance 75 · 3416/02
Source: “Monitor and provide feedback during rehearsal sessions.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–8 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Giving notes in rehearsal depends on being in the room and on the performers trusting the person giving them.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 3/4 · how much data exists 2/4.
Supervising a team of 2nd and 3rd ADs and runners
staying human
This work happens in the physical world: a team of 2nd, in a real place. Software cannot follow it there.
importance 60 · 3416/02
Source: “Supervise a team of 2nd and 3rd ADs and runners.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–11 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Running assistant directors and runners happens on the floor while the shoot is under way.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Working in a team with 'front of house' staff
staying human
This work happens in the physical world: a team, in a real place. Software cannot follow it there.
importance 55 · 3416/05
Source: “Work in a team with 'front of house' staff.” (UK task statement)
How this row was scored
Exposure score: 4 out of 100 (0–11 allowing for uncertainty): minimal exposure, medium confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Working with front of house happens at the venue on show nights, alongside the people there.
The five ratings: output a model can produce 1/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Attending rehearsals to prepare for productions
staying human
This work happens in the physical world: rehearsals, in a real place. Software cannot follow it there.
importance 70 · 3416/02, 3416/04, 3416/05
Source: “Attend rehearsals to prepare for productions.” (UK task statement)
How this row was scored
Exposure score: 1 out of 100 (0–5 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Attending a rehearsal means being there in the room while it happens.
The five ratings: output a model can produce 0/4 · needs a body in a room 3/4 · needs an accountable person 0/4 · needs to be trusted in the moment 2/4 · how much data exists 1/4.
Setting all areas for costuming of the production
staying human
This work happens in the physical world: all areas, in a real place. Software cannot follow it there.
importance 65 · 3416/05
Source: “Set all areas for costuming of the production such as lorries, dressing rooms, costume tents or quick change areas.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Setting up dressing rooms, trucks and quick-change areas is physical work done in the venue.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.
Repairing existing props for theatre productions
staying human
This work happens in the physical world: props, in a real place. Software cannot follow it there.
importance 60 · 3416/05
Source: “Repair existing props for theatre productions.” (UK task statement)
How this row was scored
Exposure score: 0 out of 100 (0–4 allowing for uncertainty): minimal exposure, high confidence.
Why it sits in this group: work that happens in the physical world.
The rating behind it: Repairing a prop means working on the object itself with tools in hand.
The five ratings: output a model can produce 0/4 · needs a body in a room 4/4 · needs an accountable person 0/4 · needs to be trusted in the moment 0/4 · how much data exists 1/4.

What this job pays, and how many people do it

Median pay: £45,500a year, before tax, the middle of the range, so half earn more and half earn less.ashe-t14, 2025 · ASHE 2025 provisional (reference April 2025)Provisional, because the ONS revises this figure in the autumn.
How we know this
Source: ashe-t14
Reference period: ASHE 2025 provisional (reference April 2025)
Rounding: Shown to the nearest £100. The exact published figure is in the downloadable dataset. We do not render pounds the survey cannot support.
People doing this job: 113,500in the UK, 2026.nomis-aps · Apr 2025-Mar 2026 (latest APS 12-month period)This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.

What is deliberately not here: a forecast of how many of these jobs exist in ten years. Where an official projection exists for a market we publish it with its vintage; where it does not, we leave the space empty rather than borrow the other country’s number.

Why this is shifting

The reason is boringly specific. Most of what is shifting here is reading one thing and writing another: part of management activities in, a record out. The rows above are exactly that shape: conducting budgeting and scheduling as part of management activities and compiling scripts, programme notes and other material related to productions. What it cannot do is be there in the room, and that is still where sound gets done. Which is why this page talks about your tasks changing, not your job ending.

Your move

Over a pint: what I’d tell you if you were my friend

Your week is splitting in two, and which half fills it is the whole question. Conducting budgeting and scheduling as part of management activities is going; coordinating sound and actor movement for film scenes is not.

So, given all that: 33% of this job's task weight sits in rows the software is already learning, 22% in rows that change shape rather than disappear, and 45% in rows it is nowhere near. That is the position, measured across 135 scored tasks. It is not a forecast about you.

The occupation is an average and you are not, so the first job below is finding out where your own week actually sits.

This week: one thing

Print the task ledger above and put your own hours next to each row. Roughly, in pen, in one sitting. Then look at which group your hours actually pile up in. Twenty minutes, this week.

What you end up holding: your own week, on one page, sorted into what is shifting and what is not
How long it takes: about twenty minutes

If printing it isn’t practical: Read the rows off this page and write the same list on the back of an envelope. Same twenty minutes, same page, and it works just as well said out loud to someone who knows the job. The point is your hours next to the rows, not the paper it is on.

Over the next 90 days

Volunteer toward the durable end, visibly. Over the next ninety days put your hand up for the work in the bottom group (coordinating sound and actor movement for film scenes) and let people see you doing it. Not a new project: the same job, with your mix deliberately tilted. The point is that when the rota or the reorganisation comes, the version of you people picture is the one doing the part that stays.

Over the next 12 months

Claim a specialism at the durable end and let the other end go. Over a year, deliberately become the person who handles coordinating sound and actor movement for film scenes, and deliberately stop being the first choice for the rows in the top group. That trade costs something, because the exposed work is often the comfortable work. Decide it on purpose rather than by drift. Before you pay for anything, spend an hour with National Careers Service. It is free and government-funded, and it is listed below with the rest of the free routes.

The roads out of here, and why I am not sending you down them

I looked at the obvious moves out of this job, and here is what I found.

I checked the 12 nearest UK occupations to arts officers, producers and directors (nearest by the work that AI is not taking, not by job title), and none of them survived. The closest was managers and directors in the creative industries: only about 4% of its durable work is work you already do. Your own job splits about 33/67: that share of the list sits in the top exposure band and the rest does not. On this evidence the honest move is inside the job rather than out of it. Become the person who owns “carry out administrative tasks”, and let the exposed end go.

How that was checked: this job was compared against all 412 UK occupations in this release on their official task statements, and the 12 nearest were examined one by one. A move that turns on an industry, an employer or a qualification rather than on the work itself will not show up in a check like that. And this release carries no licence register, so anything you are weighing needs that looked up separately.

3 moves I checked and rejected

These are the obvious-looking jumps. They are here with their reasons rather than quietly dropped, because the ones that fail are worth knowing about. It is one less thing to turn over at night.

Managers and directors in the creative industries
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “collaborate with costume, lighting, and sound departments to ensure technical quality”. Across the whole of both lists that adds up to about 4% of the work in that job the software is not taking.
Why I am not recommending it: Almost none of it is work you already do: about 4% of the durable side of that job. That is a different job, not a next step.
Look at that job’s page anyway →
Actors, entertainers and presenters
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “attend rehearsals to prepare for productions”. Across the whole of both lists that adds up to about 3% of the work in that job the software is not taking.
Why I am not recommending it: Almost none of it is work you already do: about 3% of the durable side of that job. That is a different job, not a next step. This release publishes no median pay for that job, so I cannot show you what the move costs or pays. I do not recommend a move I cannot price.
Look at that job’s page anyway →
Photographers, audio-visual and broadcasting equipment operators
Why it looked obvious: It came up as a near neighbour because one of your tasks is on their list in the same words: “advise on optimal scene shooting techniques and the visual impact of shots”. Across the whole of both lists that adds up to about 2% of the work in that job the software is not taking.
Why I am not recommending it: Almost none of it is work you already do: about 2% of the durable side of that job. That is a different job, not a next step. It is a pay cut, in those words: £32,643 against your £45,534, 28.3% less (ASHE Table 14.7a, 2025 provisional (both)). Retraining to earn less is a decision, not advice.
Look at that job’s page anyway →

What I’d stop worrying about

A friend tells you what not to spend fear on. This is that list.

The headline number you read somewhere
The big “X% of jobs” figures are about the whole economy, not about you. The number that describes your job is on this page: 33% of its task weight, across 135 scored tasks. Every row behind it is printed above with the source. Check ours; ignore theirs.
The whole-job doom story
Nothing on this page says this job ends. It says the mix inside it moves. Half the rows above are unchanged or changing shape, and the plan is about which half your week sits in. That is a very different problem, and a solvable one.
Panic-buying a course
Do the twenty-minute sorting exercise first. Most people who buy a course before they have done it buy the wrong one, and the free services listed below will tell you the same thing without charging for it.
The “obvious” next job everyone suggests
I checked the obvious moves and most of them did not survive. The reasons are printed with the routes above, including the pay and the gate. A move that fails on the numbers is worth knowing about so you can stop turning it over at night.

If you run a team doing this job

If you run a team doing this job, the conversation you owe them is the one on this page, and sooner than feels comfortable. Show them the ledger rather than a reassurance: the rows moving toward the software are conducting budgeting and scheduling as part of management activities, and the rows that are not are where you want your people visible. Ask each of them to do the this-week move and bring the list to your next one-to-one. It turns a rumour into a piece of work, and it tells you which parts of your team's week are actually at stake. And say the thing out loud that a team lead usually leaves unsaid: a shrinking team is your exposure too, so do the move yourself as well.

You are reading the United Kingdom figures

The United States splits this work across more than one official group, of which Art Directors is the closest. The pay and employment figures are not directly comparable, and we do not average them together.

Switch to the United States page →partial match

The other groups this work is counted across:

In US official statistics this job is counted as Art Directors, Artists and Related Workers, All Other, Producers and Directors, Media and Communication Workers, All Other, Film and Video Editors, Costume Attendants and Entertainment Attendants and Related Workers, All Other. Pay is shown separately for each of those groups (medians cannot be averaged together), while the task list and the scores on this page are for this group only.

Your route through this

Where to go next, and what it costs

Free, and complete

The moves above cost nothing. These are the real services that go with them: public, government-funded, and free at the point of use. Nothing on this page is behind an email address or a payment.

In England:
National Careers Service
A free hour with a government-funded careers adviser is worth more than another evening of reading. In England that's the National Careers Service.
Free, government-funded
- Discover your skills and careers (the skills assessment)
In England:
National Careers Service - Find a course
Search what's actually running near you before you spend anything.
Free to search; individual courses vary
In England:
Free courses for jobs (Level 3 qualifications)
A free Level 3 qualification you already qualify for beats a paid course you don't need.
Free for eligible adults
In England:
Skills Bootcamps
Free, up to 16 weeks, and you get a job interview at the end. In England these are Skills Bootcamps - search what's running near you.
Free for eligible adults in England
- Skills Bootcamps - what they are and who can do them (DfE, Skills for Careers)
- Skills Bootcamps - JobHelp (DWP)
In Scotland:
My World of Work (Skills Development Scotland)
In Scotland it's My World of Work, from Skills Development Scotland.
Free, publicly funded
- Skills Development Scotland
In Wales:
Careers Wales
In Wales it's Careers Wales.
Free, Welsh Government-funded
In Northern Ireland:
Careers Service Northern Ireland
In Northern Ireland it's the Careers Service on nidirect.
Free, Department for the Economy-funded

No Space for this job, but one for what is happening to it

Nothing Collab365 runs is built for arts officers / producers / directors, and we are not going to point you at the nearest one and call it a fit.

There is one that is not about a job title at all. The AI Authority is about being the person who directs these tools at work rather than the person they get compared to. That is worth saying here, because 33% of the work on this page is already inside what they can do.

Try The AI Authority free →

7 days free, no card needed. Explore up to 2 Spaces before you choose a plan: you pick a plan later, not now.

The AI Authority is a general community about working with AI, not a course for arts officers / producers / directors. You do not need it to act on anything here: the moves above cost nothing and stand on their own. The data on this page is the same either way.

Noted, and thank you. We’ll email you if a Space for arts officers / producers / directors launches. Nothing else.

That did not look like an email address, so nothing was saved. Have another go below.

We could not save that. The fault is ours, not yours, and your address was not stored. Please try again later.

No Space for arts officers / producers / directors yet. Should there be one?

Collab365 Spaces is built by the same people as this site. We find the problems that AI and automation are creating inside one kind of work, then solve them as short courses, briefings and Blueprints. Each Space is the community too, so the research and the people doing your job are in the same place.

What a Space actually is, in full

Collab365 launches new communities where the need is real. If one for arts officers / producers / directors existed, with researched problems, courses and people in the same boat, would you want in?

Your email

We use your email address for one thing: to tell you if a Space for arts officers / producers / directors launches. We never sell it, never use it for unrelated marketing, and every email has a one-click unsubscribe. Our privacy policy has the full version.

This unlocks nothing. Every figure, every row and every step on this page is already yours, whether you fill this in or not.

No deadline on any of this. The page will still be here, and the data is refreshed on a published schedule rather than when someone wants a headline.

Questions people ask about this job

Will AI replace Arts officers, producers and directors?: Not as a job, but it is already doing parts of the work. Across the 135 official task statements scored for Arts officers, producers and directors (United Kingdom, SOC 3416), 33% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 45 out of 100 (range 39–51, band: partial). That is a statement about tasks, not about headcount: this measures what AI could do, not whether any employer adopts it, whether the law allows it, or whether doing the routine parts faster creates more demand for the human parts. Figures are from release 2026-q4.1.
Which tasks in “Arts officers, producers and directors” can AI already do?: The highest-scoring tasks in release 2026-q4.1 are: “Maintain records related to retail and sales transactions” (93/100, very high); “Trim film segments to specified lengths” (93/100, very high); “Synchronise and store them into files on the computer” (93/100, very high). Each score comes from five published 0–4 ratings turned into a number by a published formula, and each carries the model's one-sentence reason on the page.
Which tasks in “Arts officers, producers and directors” stay human?: About 45% of this job's task weight sits in work that scores low for AI exposure. The lowest-scoring tasks in release 2026-q4.1 are: “Repair existing props for theatre productions” (0/100, minimal); “Set all areas for costuming of the production such as lorries, dressing rooms, costume tents or quick change areas” (0/100, minimal); “Attend rehearsals to prepare for productions” (1/100, minimal). Low scores usually mean the task needs a body in a room, a legally accountable human, or trust built in real time. Those are the three things the scoring rubric treats as gates rather than obstacles.
What should someone working in “Arts officers, producers and directors” do about AI?: Start from the ledger rather than the headline: 33% of this job's weighted core work is exposed, and roughly 45% is not. The practical move is to spend more of your week on the tasks that score low, the ones above, and to get fluent at directing AI through the tasks that score high, because those are the parts that change whether or not you are ready for them. This page does not predict your job, and nothing here is career advice tailored to you: the score describes the occupation, not the person.
How is the AI exposure score for Arts officers, producers and directors calculated?: Each official task statement for the occupation is rated on five published 0–4 dimensions (output replicability, physical embodiment, licensed accountability, real-time human trust, and data availability) by claude-opus-5 using scoring prompt task_scoring_v1.0. The model never writes the score; a published formula turns the five ratings into a 0–100 number, so every score can be recomputed by hand. The occupation figure is the importance-weighted mean across 135 scored tasks. The prompt, the rubric, the formula and the full dataset are published at https://futureproof.collab365.com/method and https://futureproof.collab365.com/data/2026-q4.1 under CC BY 4.0.

Where these numbers come from

About the data on this page

Provisional, because the ONS revises this figure in the autumn.
This headcount comes from a survey, not a census, so treat it as a good estimate rather than an exact count.
The match between this job and its counterpart in the other country is partial, so the two pages count slightly different groups of people.
17 of this occupation's scored task statements carry a score that was measured under a different occupation's context, because the statement is shared between jobs and has only been scored once so far. Each one names the occupation it was measured under in the free routes below; none is presented as a measurement for this job.
Task clusters are not derived in this release, so the task-cluster field is empty and no Collab365 Space routing is attached to this occupation yet.

Task statements: gaisi-indexProcessing: catalogue-bridge → ssc-relatedness-weighting → task-scoring → score-aggregation
Task weights: gaisi-index (relatedness)
Scores: Rubric task_scoring_v1.0, model claude-opus-5, computed 2026-08-05.
Pay and employment: ashe-t14 (ASHE 2025 provisional (reference April 2025))nomis-aps (Apr 2025-Mar 2026 (latest APS 12-month period))

Figures on this page come from release 2026-q4.1, published 2026-08-05. Every release keeps its own permanent address, so a figure you cite in March is still there, unchanged, in November.

The plain-English wording on this page is assembled directly from the task statements and the published ratings, not written by hand for this occupation. That is why it is specific, and it is also why we say so.

The routes and free resources further up are today’s, not the release’s (last reviewed 2026-08-05). A route is an offer, not a historical fact, so it moves on its own clock.

How we score a job Download this release Look up another job

Using these figures?

Cite this

Everything on this site is published under CC BY 4.0. Quote it, chart it, sell something built on it. Just say where it came from, and cite the dated release rather than the site, so the figure you quote stays checkable.

Plain text

Collab365 (2026). Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1 (methodVersion 2.0.0, promptVersion task_scoring_v1.0). https://futureproof.collab365.com/data/2026-q4.1. Licensed CC BY 4.0. Built with O*NET data (USDOL/ETA, CC BY 4.0); ONS data (Open Government Licence v3.0); GAISI task framework (arXiv:2507.22748, MIT); BLS data (public domain).

BibTeX

@misc{collab365futureproof2026q41,
  title        = {Collab365 Futureproof: task-level AI exposure for US and UK occupations, release 2026-q4.1},
  author       = {{Collab365}},
  year         = {2026},
  url          = {https://futureproof.collab365.com/data/2026-q4.1},
  note         = {Release 2026-q4.1, methodVersion 2.0.0, promptVersion task_scoring_v1.0, CC BY 4.0}
}

Permalink

https://futureproof.collab365.com/data/2026-q4.1

Data as of release 2026-q4.1, published 2026-08-05. Releases never change after publication; when the figures move, a new dated release is published beside this one and this one stays exactly where it is.