Will AI replace Producers and Directors?

Not as a job, but it is already doing parts of the work. Across the 83 official task statements scored for Producers and Directors (United States, SOC 27-2012), 32% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 41 out of 100 (range 35–47, 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 “Producers and Directors” can AI already do?

The highest-scoring tasks in release 2026-q4.1 are: “Schedule use of studio and editing facilities for producers and engineering and maintenance staff” (93/100, very high); “Monitor network transmissions for advisories concerning daily program schedules, program content, special feeds, or program changes” (93/100, very high); “Review information about programs and schedules to ensure accuracy and provide such information to local media outlets” (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 “Producers and Directors” stay human?

About 58% 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: “Operate and maintain on-air and production audio equipment” (0/100, minimal); “Switch between video sources in a studio or on multi-camera remotes, using equipment such as switchers, video slide projectors, and video effects generators” (0/100, minimal); “Operate equipment to produce programs or broadcast live programs from remote locations” (0/100, 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 “Producers and Directors” do about AI?

Start from the ledger rather than the headline: 32% of this job's weighted core work is exposed, and roughly 58% 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 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 83 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.

US dataswitch to UK

Producers and Directors

directing technical aspects of newscasts and other productions, monitoring and reviewing programming to ensure that schedules are met and reviewing performer information, such as photos. 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: researching production topics using the internet. 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: 32%
changing shape: 10%
staying human: 58%

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

Whole-job exposure score 41 out of 100 (35–47 allowing for uncertainty): partial exposure, across 83 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 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 2026-08-04. Read the full method.

That slice is not coming back; the core of the job, auditioning and interviewing performers to match their attributes to specific roles or to increase the pool of available acting talent, stays yours. The tools change hands, the accountability doesn't.

Your week, as this page understands it

Produce or direct stage, television, radio, video, or film productions for entertainment, information, or instruction. Responsible for creative decisions, such as interpretation of script, choice of actors or guests, set design, sound, special effects, and choreography. The job title says “producers” or “directors”: officially one job, two names. The real job is the part underneath: auditioning and interviewing performers to match their attributes to specific roles or to increase the pool of available acting talent. 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 producers and directors is not one task. It is 83 scored ones, and they are nowhere near equally exposed. The most durable of them, on this evidence, is auditioning and interviewing performers to match their attributes to specific roles or to increase the pool of available acting talent, and the ledger below shows exactly why.

Where the work sits, by task weight

shifting to AI: 32%
changing shape: 10%
staying human: 58%

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 2026-08-04. 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.

2 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

25 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.

Preparing actors for auditions by providing scripts and information about roles and casting requirements
This is reading one thing and writing another: actors in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Prepare actors for auditions by providing scripts and information about roles and casting requirements.” (O*NET 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: Sending actors scripts, role notes and casting requirements is routine information packaging.
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 the internet
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 4 · Core
Source: “Research production topics using the internet, video archives, and other informational sources.” (O*NET 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: Researching a production topic across the internet and archives is fast, thorough work for software.
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 reviewing programming to ensure that schedules are met
This is reading one thing and writing another: ensure in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Monitor and review programming to ensure that schedules are met, guidelines are adhered to, and performances are of adequate quality.” (O*NET 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: Monitoring output against schedules, guidelines and quality standards is systematic checking work.
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.
Maintaining talent files that include information
This is reading one thing and writing another: talent files in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Maintain talent files that include information such as performers' specialties, past performances, and availability.” (O*NET 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: Maintaining talent files of specialties, credits and availability is database 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.

Changing shape

9 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.

Selecting performers for roles or submitting lists of suitable performers to producers or directors for final selection
The software now makes the first pass at performers, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 4 · Core
Source: “Select performers for roles or submit lists of suitable performers to producers or directors for final selection.” (O*NET task statement)
How this row was scored
Exposure score: 49 out of 100 (42–56 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: Shortlists can be drawn from records, but choosing who fits a role is a taste judgment.
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 1/4 · how much data exists 3/4.
Studying and researching scripts to determine how they
The software now makes the first pass at scripts, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 4 · Core
Source: “Study and research scripts to determine how they should be directed.” (O*NET 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: Script analysis produces useful notes, but the directing vision behind them is still a person’s.
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.
Reviewing film, recordings or rehearsals to ensure conformance to production and broadcast standards
The software now makes the first pass at film, recordings or rehearsals, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 4 · Core
Source: “Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards.” (O*NET 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: Checking footage and rehearsals against broadcast standards is largely a rules-checking job.
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

49 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.

Auditioning and interviewing performers to match their attributes to specific roles or to increase the pool of available acting talent
This work happens in the physical world: performers, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Audition and interview performers to match their attributes to specific roles or to increase the pool of available acting talent.” (O*NET 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: Judging whether a performer fits a role happens by watching them in person.
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.
Supervising and assigning duties to workers engaged in technical control and production of radio and television programs
This work happens in the physical world: duties, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Supervise and assign duties to workers engaged in technical control and production of radio and television programs.” (O*NET task statement)
How this row was scored
Exposure score: 18 out of 100 (11–25 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: Assigning duties to technical staff during a production means being with the 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 2/4.
Serving as liaisons between directors
The value here is that a specific person handles liaisons and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Serve as liaisons between directors, actors, and agents.” (O*NET task statement)
How this row was scored
Exposure score: 18 out of 100 (11–25 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: Sitting between directors, actors and agents works because all three trust you personally.
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 3/4 · how much data exists 2/4.

Show the other 73 tasks

Scheduling use of studio and editing facilities for producers and engineering and maintenance staff
shifting to AI
This is reading one thing and writing another: use of studio in, a record out. That is the shape today's tools are built for.
importance 3 · Core
Source: “Schedule use of studio and editing facilities for producers and engineering and maintenance staff.” (O*NET 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: Booking studio and edit suite time around competing demands is a scheduling problem software solves well.
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 network transmissions for advisories concerning daily program schedules
shifting to AI
This is reading one thing and writing another: network transmissions in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Monitor network transmissions for advisories concerning daily program schedules, program content, special feeds, or program changes.” (O*NET 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: Watching network feeds for schedule and content advisories is continuous monitoring software never misses.
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.
Reviewing information about programs and schedules to ensure accuracy and provide such information to local media outlets
shifting to AI
This is reading one thing and writing another: information in, a record out. That is the shape today's tools are built for.
importance 3 · Core
Source: “Review information about programs and schedules to ensure accuracy and provide such information to local media outlets.” (O*NET 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: Checking schedule details and passing them to local outlets is routine information handling.
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.
Compiling scripts, program notes and other material related to productions
shifting to AI
This is reading one thing and writing another: scripts, program notes and other material in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Compile scripts, program notes, and other material related to productions.” (O*NET 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: Compiling scripts, program notes and production paperwork is document assembly software does quickly.
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.
Writing and editing news stories from information collected by reporters and other sources
shifting to AI
This is reading one thing and writing another: news stories in, a record out. That is the shape today's tools are built for.
importance 4 · Supplemental
Source: “Write and edit news stories from information collected by reporters and other sources.” (O*NET 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: Turning reporters’ material into a finished news story is well-trodden writing that 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 4/4.
Checking completed program logs for accuracy and conformance with Federal Communications Commission
shifting to AI
This is reading one thing and writing another: completed program logs in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Check completed program logs for accuracy and conformance with Federal Communications Commission (FCC) rules and regulations and resolve program log inaccuracies.” (O*NET task statement)
How this row was scored
Exposure score: 81 out of 100 (77–85 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: Checking program logs against broadcast rules is exactly the kind of comparison software does reliably.
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 3/4.
Establishing work schedules and assigning work to staff members
shifting to AI
This is reading one thing and writing another: work schedules in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Establish work schedules and assign work to staff members.” (O*NET task statement)
How this row was scored
Exposure score: 79 out of 100 (75–83 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 work schedules and assigning shifts is a planning problem software solves quickly.
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 1/4 · how much data exists 3/4.
Contacting agents and actors to provide notification of audition and performance opportunities and to set up audition times
shifting to AI
This is reading one thing and writing another: agents in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Contact agents and actors to provide notification of audition and performance opportunities and to set up audition times.” (O*NET task statement)
How this row was scored
Exposure score: 79 out of 100 (75–83 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: Notifying agents and actors and booking audition slots is scheduling and messaging work software does well.
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 1/4 · how much data exists 3/4.
Monitoring broadcasts to ensure that programs conform to station or network policies and regulations
shifting to AI
This is reading one thing and writing another: broadcasts in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Monitor broadcasts to ensure that programs conform to station or network policies and regulations.” (O*NET 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: Monitoring broadcast output against station policies and regulations is systematic checking work.
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.
Planning and scheduling programming and event coverage
shifting to AI
This is reading one thing and writing another: event coverage in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Plan and schedule programming and event coverage, based on broadcast length, time availability, and other factors, such as community needs, ratings data, and viewer demographics.” (O*NET 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: Scheduling programming against ratings, demographics and airtime is data-driven planning software does 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.
Evaluating new and existing programming to assess suitability
shifting to AI
This is reading one thing and writing another: this work in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Evaluate new and existing programming to assess suitability and the need for changes, using information such as audience surveys and feedback.” (O*NET 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: Assessing programming against audience surveys and feedback is data analysis 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.
Developing budgets for programming and broadcasting activities and monitoring expenditures to ensure that they remain within budgetary limits
shifting to AI
This is reading one thing and writing another: budgets in, a record out. That is the shape today's tools are built for.
importance 3 · Supplemental
Source: “Develop budgets for programming and broadcasting activities and monitor expenditures to ensure that they remain within budgetary limits.” (O*NET 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: Building and tracking programming budgets is structured financial 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 0/4 · how much data exists 3/4.
Developing promotions for current programs and specials
shifting to AI
This is reading one thing and writing another: promotions in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Develop promotions for current programs and specials.” (O*NET 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: Writing promotional material for programs and specials is standard creative copy work.
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.
Preparing copy and editing tape so that material is ready for broadcasting
shifting to AI
This is reading one thing and writing another: copy in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Prepare copy and edit tape so that material is ready for broadcasting.” (O*NET 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: Preparing broadcast copy and trimming tape to length is routine production work software supports 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 performer information, such as photos, resumes, voice tapes, videos and union membership
shifting to AI
This is reading one thing and writing another: performer information in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Review performer information, such as photos, resumes, voice tapes, videos, and union membership, to decide whom to audition for parts.” (O*NET 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: Screening headshots, resumes, tapes and union status against role requirements is sorting work software does fast.
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.
Performing administrative duties, such as preparing operational reports
shifting to AI
This is reading one thing and writing another: administrative duties in, a record out. That is the shape today's tools are built for.
importance 4 · Supplemental
Source: “Perform administrative duties, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal quarters.” (O*NET task statement)
How this row was scored
Exposure score: 69 out of 100 (65–73 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: Operational reports, call sheets and script distribution are administrative jobs software handles easily.
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.
Composing and editing scripts or providing screenwriters with story outlines from which scripts can be written
shifting to AI
It is the same call made over and over on scripts, with a right answer to check it against. That is what a model is trained on.
importance 4 · Supplemental
Source: “Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written.” (O*NET task statement)
How this row was scored
Exposure score: 65 out of 100 (58–72 allowing for uncertainty): high 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: Story outlines and script passages come out usable roughly half the time and need real rewriting.
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 4/4.
Reading scripts and conferring with producers to determine the types and numbers of performers required for a given production
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 4 · Core
Source: “Read scripts and confer with producers to determine the types and numbers of performers required for a given production.” (O*NET 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: Reading a script to work out how many performers of what type are needed is structured analysis.
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.
Performing management activities, such as budgeting, scheduling, planning and marketing
shifting to AI
This is reading one thing and writing another: management activities in, a record out. That is the shape today's tools are built for.
importance 4 · Core
Source: “Perform management activities, such as budgeting, scheduling, planning, and marketing.” (O*NET 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: Budgeting, scheduling and marketing planning are structured management tasks 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.
Writing and submitting proposals to bid on contracts for projects
shifting to AI
This is reading one thing and writing another: proposals in, a record out. That is the shape today's tools are built for.
importance 4 · Supplemental
Source: “Write and submit proposals to bid on contracts for projects.” (O*NET 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: Writing and submitting a project bid is structured proposal work software drafts strongly.
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 marketing plans for finished products
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 3 · Supplemental
Source: “Develop marketing plans for finished products, collaborating with sales associates to supervise product distribution.” (O*NET 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 for a finished production follow familiar structures 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.
Developing ideas for programs 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 4 · Core
Source: “Develop ideas for programs and features that a station could produce.” (O*NET 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: Program ideas come out usable about half the time; the ones that get made still need a person’s taste.
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 and editing film or tape to integrate component parts into desired sequences
changing shape
The software now makes the first pass at film, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 4 · Supplemental
Source: “Cut and edit film or tape to integrate component parts into desired sequences.” (O*NET 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 tools now assemble rough cuts, but shaping the final sequence remains a judgment 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 plays, scripts, books, news content or ideas
changing shape
The software now makes the first pass at plays, scripts, books, news content or ideas, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance not published
O*NET hasn't yet published importance ratings for this occupation's tasks, so the ordering here is ours, not theirs.
Source: “Select plays, scripts, books, news content, or ideas to be produced.” (O*NET task statement)
How this row was scored
Exposure score: 49 out of 100 (42–56 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: Shortlisting scripts and ideas is doable at a screen, but the green light is a taste 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 1/4 · how much data exists 3/4.
Locating performers or extras for crowd and background scenes
changing shape
The software now makes the first pass at performers, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 3 · Supplemental
Source: “Locate performers or extras for crowd and background scenes, and stand-ins or photo doubles for actors, by direct contact or through agents.” (O*NET task statement)
How this row was scored
Exposure score: 48 out of 100 (41–55 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: Finding extras, stand-ins and doubles to a set of attributes is largely database and agency searching.
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 1/4 · how much data exists 3/4.
Selecting acquire and maintaining programs, music, films and other needed materials and obtaining legal clearances
changing shape
The software now makes the first pass at acquire, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 4 · Core
Source: “Select, acquire, and maintain programs, music, films, and other needed materials and obtain legal clearances for their use as necessary.” (O*NET 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: Finding and clearing material is searchable work, but selection and rights terms need human decisions.
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.
Choosing settings and locations for films and determining how scenes will be shot in these settings
changing shape
The software now makes the first pass at settings, but the deciding part still needs a person. So the job becomes checking and deciding rather than producing.
importance 4 · Supplemental
Source: “Choose settings and locations for films and determine how scenes will be shot in these settings.” (O*NET 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: Location options can be researched at a screen, but choosing one usually means seeing 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 0/4 · how much data exists 3/4.
Setting up and executing video transitions and special effects
staying human
This work happens in the physical world: and executing video transitions, in a real place. Software cannot follow it there.
importance 4 · Supplemental
Source: “Set up and execute video transitions and special effects, such as fades, dissolves, cuts, keys, and supers, using computers to manipulate pictures as necessary.” (O*NET 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: Transitions and effects are software operations, though live execution happens at the gallery desk.
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.
Establishing pace of programs and sequences of scenes according to time requirements and cast and setting accessibility
staying human
The ratings behind this row put pace of programs well outside what today's tools can do on their own.
importance 4 · Core
Source: “Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility.” (O*NET 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: mistakes that are cheap to catch.
The rating behind it: Pacing a program against time and set availability is part scheduling, part creative rhythm.
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 0/4 · how much data exists 2/4.
Collaborating with promotions directors to produce on-air station promotions
staying human
The ratings behind this row put promotions directors well outside what today's tools can do on their own.
importance 3 · Core
Source: “Collaborate with promotions directors to produce on-air station promotions.” (O*NET 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: Station promos draft easily, but the ones that land come from working with the promotions team.
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.
Planning details, framing, composition, camera movement, sound and actor movement for each shot or scene
staying human
The ratings behind this row put details, framing, composition, camera movement well outside what today's tools can do on their own.
importance 4 · Core
Source: “Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene.” (O*NET 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: Shot lists and blocking can be drafted convincingly, but the workable plan comes from the actual set.
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.
Identifying and approving equipment and elements
staying human
The ratings behind this row put equipment well outside what today's tools can do on their own.
importance 4 · Core
Source: “Identify and approve equipment and elements required for productions, such as scenery, lights, props, costumes, choreography, and music.” (O*NET 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: Lists of needed sets, props and music are easy to draft; approving them is a creative call.
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.
Conferring with operations directors to formulate and maintaining fair and attainable technical policies for programs
staying human
The value here is that a specific person handles operations directors and stands behind it. That is earned, not computed.
importance 3 · Core
Source: “Confer with operations directors to formulate and maintain fair and attainable technical policies for programs.” (O*NET 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: Agreeing technical policy with operations directors is a negotiation between colleagues.
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.
Coordinating activities between departments, such as news and programming
staying human
The value here is that a specific person handles activities and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Coordinate activities between departments, such as news and programming.” (O*NET 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: Coordinating between news and programming departments runs on working relationships.
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.
Hiring and supervising workers who help locate people with specified attributes and talents
staying human
The value here is that a specific person handles workers who help locate people and stands behind it. That is earned, not computed.
importance 4 · Supplemental
Source: “Hire and supervise workers who help locate people with specified attributes and talents.” (O*NET 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: Hiring and supervising talent scouts depends on judging and managing 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.
Obtaining rights to scripts or to such items as existing video footage
staying human
The value here is that a specific person handles rights and stands behind it. That is earned, not computed.
importance 3 · Core
Source: “Obtain rights to scripts or to such items as existing video footage.” (O*NET 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; the value is that a specific person does it.
The rating behind it: Tracing who owns footage is searchable, but agreeing terms is a negotiation between 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 2/4 · how much data exists 3/4.
Reading news, read or recording public service and promotional announcements or performing other on-air duties
staying human
This work happens in the physical world: news, read or recording public service and promotional, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Read news, read or record public service and promotional announcements, or perform other on-air duties.” (O*NET task statement)
How this row was scored
Exposure score: 32 out of 100 (25–39 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: Synthetic voices now handle announcements well, but live on-air reading still puts a person in the booth.
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 3/4.
Arranging for or designing screen tests or auditions for prospective performers
staying human
The ratings behind this row put or designing screen tests well outside what today's tools can do on their own.
importance 4 · Core
Source: “Arrange for or design screen tests or auditions for prospective performers.” (O*NET task statement)
How this row was scored
Exposure score: 32 out of 100 (25–39 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Arranging screen tests is organizable, but designing what they should reveal is a casting judgment.
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 2/4.
Reviewing film daily to check on work in progress and to plan for future filming
staying human
The ratings behind this row put film well outside what today's tools can do on their own.
importance 4 · Supplemental
Source: “Review film daily to check on work in progress and to plan for future filming.” (O*NET task statement)
How this row was scored
Exposure score: 32 out of 100 (25–39 allowing for uncertainty): low exposure, medium confidence.
Why it sits in this group: mistakes that are cheap to catch.
The rating behind it: Reviewing dailies produces useful notes, but planning the next day is a creative decision on set.
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 2/4.
Performing personnel duties, such as hiring staff and evaluating work performance
staying human
The value here is that a specific person handles personnel duties and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Perform personnel duties, such as hiring staff and evaluating work performance.” (O*NET task statement)
How this row was scored
Exposure score: 31 out of 100 (24–38 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: Hiring and appraising staff is a judgment about people that they expect from a 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 2/4 · how much data exists 2/4.
Acting as liaisons between engineering and production departments
staying human
The value here is that a specific person handles liaisons and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Act as liaisons between engineering and production departments.” (O*NET 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: Bridging engineering and production depends on relationships on both sides.
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.
Discussing filter options, lens choices and the visual effects of objects being filmed with photography directors and video operators
staying human
The value here is that a specific person handles filter options and stands behind it. That is earned, not computed.
importance 3 · Supplemental
Source: “Discuss filter options, lens choices, and the visual effects of objects being filmed with photography directors and video operators.” (O*NET 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: Discussing lens and filter choices with the camera team is a creative conversation on set.
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.
Directing and coordinating activities of personnel engaged in broadcast news
staying human
The value here is that a specific person handles activities of personnel and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Direct and coordinate activities of personnel engaged in broadcast news, sports, or programming.” (O*NET 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: Running news and programming teams depends on day-to-day relationships with staff.
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.
Conferring with directors and production staff to discuss issues
staying human
The value here is that a specific person handles directors and stands behind it. That is earned, not computed.
importance 3 · Core
Source: “Confer with directors and production staff to discuss issues, such as production and casting problems, budgets, policies, and news coverage.” (O*NET 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: Talking through casting, budget and coverage problems with staff is a working conversation.
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.
Acting as a liaison between talent and directors
staying human
The value here is that a specific person handles a liaison and stands behind it. That is earned, not computed.
importance 3 · Supplemental
Source: “Act as a liaison between talent and directors, providing information that performers or guests need to prepare for appearances and communicating relevant information from guests, performers, or staff to directors.” (O*NET 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: Being the go-between for talent and directors depends on the trust each side has in you.
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.
Coordinating the activities of writers
staying human
The value here is that a specific person handles the activities of writers and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Coordinate the activities of writers, directors, managers, and other personnel throughout the production process.” (O*NET 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: Coordinating writers, directors and managers runs on ongoing working relationships.
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.
Conferring with technical directors, managers, crew members and writers to discuss details of production
staying human
The value here is that a specific person handles technical directors, managers, crew members and writers and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Confer with technical directors, managers, crew members, and writers to discuss details of production, such as photography, script, music, sets, and costumes.” (O*NET 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: Production discussions can be prepared for, but the decisions come out of the room.
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.
Training workers in use of equipment
staying human
This work happens in the physical world: workers, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Train workers in use of equipment, such as switchers, cameras, monitors, microphones, and lights.” (O*NET 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: Training people on switchers and cameras means standing beside them at the gear.
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.
Participating in the planning and execution of fundraising activities
staying human
This work happens in the physical world: the planning and execution of fundraising activities, in a real place. Software cannot follow it there.
importance 3 · Supplemental
Source: “Participate in the planning and execution of fundraising activities.” (O*NET task statement)
How this row was scored
Exposure score: 18 out of 100 (11–25 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: Fundraising planning drafts easily, but the events themselves need people in the room.
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 2/4.
Arranging financing for productions
staying human
The value here is that a specific person handles productions and stands behind it. That is earned, not computed.
importance 3 · Supplemental
Source: “Arrange financing for productions.” (O*NET task statement)
How this row was scored
Exposure score: 18 out of 100 (11–25 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 depends on who backs you personally.
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 3/4 · 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 4 · Core
Source: “Conduct meetings with staff to discuss production progress and to ensure production objectives are attained.” (O*NET 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.
Attending or viewing productions to maintain knowledge of available actors
staying human
This work happens in the physical world: productions, in a real place. Software cannot follow it there.
importance 3 · Core
Source: “Attend or view productions to maintain knowledge of available actors.” (O*NET 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: Keeping up with available actors means going to see them perform.
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.
Negotiating contract agreements with performers
staying human
The value here is that a specific person handles contract agreements and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Negotiate contract agreements with performers, with agents, or between performers and agents or production companies.” (O*NET 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: the value is that a specific person does it.
The rating behind it: Contract talks with agents and performers turn on relationships and leverage.
The five ratings: output a model can produce 1/4 · 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.
Consulting with writers, producers or actors about script changes or "workshop" scripts
staying human
This work happens in the physical world: writers, producers or actors, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Consult with writers, producers, or actors about script changes or "workshop" scripts, through rehearsal with writers and actors to create final drafts.” (O*NET 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: work that happens in the physical world; the value is that a specific person does it.
The rating behind it: Workshopping a script with writers and actors depends on the room and the relationships in 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 3/4 · how much data exists 2/4.
Negotiating with parties, including independent producers and the distributors and broadcasters who will be handling completed productions
staying human
The value here is that a specific person handles parties and stands behind it. That is earned, not computed.
importance 4 · Supplemental
Source: “Negotiate with parties, including independent producers and the distributors and broadcasters who will be handling completed productions.” (O*NET 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 value is that a specific person does it.
The rating behind it: Negotiating with distributors and broadcasters turns on relationships and leverage between people.
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 3/4 · how much data exists 1/4.
Hiring principal cast members and crew members
staying human
The value here is that a specific person handles principal cast members and stands behind it. That is earned, not computed.
importance not published
O*NET hasn't yet published importance ratings for this occupation's tasks, so the ordering here is ours, not theirs.
Source: “Hire principal cast members and crew members, such as art directors, cinematographers, and costume designers.” (O*NET 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: Hiring lead cast and department heads is a judgment about people made face to face.
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.
Resolving personnel problems that arise during the production process by acting as liaisons between dissenting parties
staying human
The value here is that a specific person handles personnel problems and stands behind it. That is earned, not computed.
importance 4 · Core
Source: “Resolve personnel problems that arise during the production process by acting as liaisons between dissenting parties when necessary.” (O*NET 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: Settling a fallout between people on a production depends on who trusts you.
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.
Conducting interviews for broadcasts
staying human
This work happens in the physical world: interviews, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Conduct interviews for broadcasts.” (O*NET 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: Questions can be drafted in advance, but a real interview depends on listening and reacting to the person answering.
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.
Holding auditions for parts or negotiating contracts with actors determined suitable for specific roles
staying human
This work happens in the physical world: auditions, in a real place. Software cannot follow it there.
importance not published
O*NET hasn't yet published importance ratings for this occupation's tasks, so the ordering here is ours, not theirs.
Source: “Hold auditions for parts or negotiate contracts with actors determined suitable for specific roles.” (O*NET 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: Auditions and actor contract talks happen in the room with the 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.
Testing equipment to ensure proper operation
staying human
This work happens in the physical world: equipment, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Test equipment to ensure proper operation.” (O*NET 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: Testing equipment properly means having it in front of you and running it.
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.
Directing technical aspects of newscasts and other productions
staying human
This work happens in the physical world: technical aspects of newscasts, in a real place. Software cannot follow it there.
importance 5 · Supplemental
Source: “Direct technical aspects of newscasts and other productions, checking and switching between video sources and taking responsibility for the on-air product, including camera shots and graphics.” (O*NET 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: Taking responsibility for a live newscast means making calls in the gallery as it airs.
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.
Following instructions from production managers and directors during productions
staying human
This work happens in the physical world: instructions, in a real place. Software cannot follow it there.
importance 5 · Supplemental
Source: “Follow instructions from production managers and directors during productions, such as commands for camera cuts, effects, graphics, and takes.” (O*NET 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: Following live cut and effect commands during a production happens at the desk in real time.
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.
Directing setup of remote facilities and installing or cancel programs at remote stations
staying human
This work happens in the physical world: setup of remote facilities, in a real place. Software cannot follow it there.
importance 3 · Core
Source: “Direct setup of remote facilities and install or cancel programs at remote stations.” (O*NET 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: Setting up remote broadcast facilities means people and equipment on location.
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.
Observing pictures through monitors and directing camera and video staff concerning shading and composition
staying human
This work happens in the physical world: pictures, in a real place. Software cannot follow it there.
importance 5 · Core
Source: “Observe pictures through monitors and direct camera and video staff concerning shading and composition.” (O*NET 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: Calling shading and framing to camera operators happens live in the gallery.
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 announcers, actors, performers and guests
staying human
This work happens in the physical world: announcers, actors, performers and guests, in a real place. Software cannot follow it there.
importance 3 · Supplemental
Source: “Cue announcers, actors, performers, and guests.” (O*NET 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 and guests happens live in the studio, moment by moment.
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 live broadcasts, films and recordings or non-broadcast programming for public entertainment or education
staying human
This work happens in the physical world: live broadcasts, films and recordings or non-broadcast, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Direct live broadcasts, films and recordings, or non-broadcast programming for public entertainment or education.” (O*NET 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: Directing a live show means calling decisions in the room as they unfold.
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.
Supervising and coordinating the work of camera
staying human
This work happens in the physical world: the work of camera, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Supervise and coordinate the work of camera, lighting, design, and sound crew members.” (O*NET 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 camera, lighting and sound crews happens live on the floor with the people involved.
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 shows, productions and plays
staying human
This work happens in the physical world: shows, productions and plays, in a real place. Software cannot follow it there.
importance 4 · Supplemental
Source: “Direct shows, productions, and plays.” (O*NET 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: Directing a show is built on live work with a company of performers.
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.
Teaching acting classes
staying human
This work happens in the physical world: classes, in a real place. Software cannot follow it there.
importance 3 · Supplemental
Source: “Teach acting classes.” (O*NET 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: Teaching acting works through live response to a student in the room.
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.
Communicating to actors the approach
staying human
This work happens in the physical world: actors the approach, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Communicate to actors the approach, characterization, and movement needed for each scene in such a way that rehearsals and takes are minimized.” (O*NET 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: Getting a performance out of an actor depends on trust built face to face in rehearsal.
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.
Operating equipment to produce programs or broadcast live programs from remote locations
staying human
This work happens in the physical world: equipment, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Operate equipment to produce programs or broadcast live programs from remote locations.” (O*NET 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: Operating broadcast equipment from a remote location is physical work with the kit.
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 2/4.
Switching between video sources in a studio or on multi-camera remotes
staying human
This work happens in the physical world: video sources, in a real place. Software cannot follow it there.
importance 5 · Core
Source: “Switch between video sources in a studio or on multi-camera remotes, using equipment such as switchers, video slide projectors, and video effects generators.” (O*NET 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: Working a vision mixer live between camera sources is hands-on operation of the desk.
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 2/4.
Operating and maintaining on-air and production audio equipment
staying human
This work happens in the physical world: on-air, in a real place. Software cannot follow it there.
importance 4 · Core
Source: “Operate and maintain on-air and production audio equipment.” (O*NET 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: Operating and maintaining studio audio gear means hands on the equipment.
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 2/4.

What this job pays, and how many people do it

Median pay: $90,360a year, the middle of the range, so half earn more and half earn less.bls-oews, 2025 · May 2025 estimates (national_M2025_dl.xlsx)
How we know this
Source: bls-oews
Reference period: May 2025 estimates (national_M2025_dl.xlsx)
Rounding: Shown as published.
People doing this job: 143,120in the US, 2025.bls-oews · May 2025 estimates (national_M2025_dl.xlsx)

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: production topics in, a record out. The rows above are exactly that shape: researching production topics using the internet and preparing actors for auditions by providing scripts and information about roles and casting requirements. What it cannot do is be there in the room, and that is still where performers get 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. Researching production topics using the internet is going; auditioning and interviewing performers to match their attributes to specific roles or to increase the pool of available acting talent is not.

So, given all that: 32% of this job's task weight sits in rows the software is already learning, 10% in rows that change shape rather than disappear, and 58% in rows it is nowhere near. That is the position, measured across 83 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 (auditioning and interviewing performers to match their attributes to specific roles or to increase the pool of available acting talent) 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 auditioning and interviewing performers to match their attributes to specific roles or to increase the pool of available acting talent, 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, use CareerOneStop - Find local training. It is free, it is the Labor Department's own service, 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 US occupations to producers and directors (nearest by the work that AI is not taking, not by job title), and none of them survived. The closest was camera operators, television, video, and film: only about 3% of its durable work is work you already do, it pays 17.0% less and there are far fewer of those jobs than of yours. Your own job splits about 32/68: 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 “audition and interview performers to match their attributes to specific roles or…”, and let the exposed end go.

How that was checked: this job was compared against all 830 US 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.

Camera Operators, Television, Video, and Film
Why it looked obvious: It came up as a near neighbour on the work AI is not taking: you already test equipment to ensure proper operation, and their equivalent is to test, clean, maintain, and repair broadcast equipment. Across both published task lists that is about 3% of the durable work in that job.
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. It is a pay cut, in those words: $74,990 against your $90,360, 17.0% less (OEWS May 2025 (both)). Retraining to earn less is a decision, not advice. And it is a narrow door: about 21,550 of those jobs against 143,120 of yours (OEWS May 2025), 15% as many seats.
Look at that job’s page anyway →
News Analysts, Reporters, and Journalists
Why it looked obvious: It came up as a near neighbour on the work AI is not taking: you already operate equipment to produce programs or broadcast live programs from remote locations, and their equivalent is to present live or recorded commentary via broadcast media. Across both published task lists that is about 3% of the durable work in that job.
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. It is a pay cut, in those words: $62,200 against your $90,360, 31.2% less (OEWS May 2025 (both)). Retraining to earn less is a decision, not advice.
Look at that job’s page anyway →
Audio and Video Technicians
Why it looked obvious: It came up as a near neighbour on the work AI is not taking: you already direct and coordinate activities of personnel engaged in broadcast news, sports, or programming, and their equivalent is to direct and coordinate activities of assistants and other personnel during production. Across both published task lists that is about 2% of the durable work in that job.
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: $58,100 against your $90,360, 35.7% less (OEWS May 2025 (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: 32% of its task weight, across 83 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 researching production topics using the internet, 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 States figures

The United Kingdom splits this work across more than one official group, of which Arts officers, producers and directors is the closest. The pay and employment figures are not directly comparable, and we do not average them together.

Switch to the United Kingdom page →partial match

In UK official statistics this job is counted as Arts officers, producers and directors. Pay and employment stay on this page’s own group; the task list and the scores do not cross over.

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.

Anywhere in the US:
CareerOneStop - Find local training
Search what's running near you, from the Labor Department's own database, before anyone sells you a course.
Free to search; individual programs vary, and some are funded
Anywhere in the US:
American Job Center locator
An American Job Center will sit down with you for free. Find yours by ZIP code.
Free
- CareerOneStop local help hub
Anywhere in the US:
CareerOneStop - Licensed occupations finder
Check what your state actually requires before you pay for anything.
Free
Anywhere in the US:
CareerOneStop
Free

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

Nothing Collab365 runs is built for 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 32% 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 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 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 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 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 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 Producers and Directors?: Not as a job, but it is already doing parts of the work. Across the 83 official task statements scored for Producers and Directors (United States, SOC 27-2012), 32% of the importance-weighted core work is made of tasks today's AI could already do most of. The overall exposure score is 41 out of 100 (range 35–47, 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 “Producers and Directors” can AI already do?: The highest-scoring tasks in release 2026-q4.1 are: “Schedule use of studio and editing facilities for producers and engineering and maintenance staff” (93/100, very high); “Monitor network transmissions for advisories concerning daily program schedules, program content, special feeds, or program changes” (93/100, very high); “Review information about programs and schedules to ensure accuracy and provide such information to local media outlets” (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 “Producers and Directors” stay human?: About 58% 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: “Operate and maintain on-air and production audio equipment” (0/100, minimal); “Switch between video sources in a studio or on multi-camera remotes, using equipment such as switchers, video slide projectors, and video effects generators” (0/100, minimal); “Operate equipment to produce programs or broadcast live programs from remote locations” (0/100, 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 “Producers and Directors” do about AI?: Start from the ledger rather than the headline: 32% of this job's weighted core work is exposed, and roughly 58% 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 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 83 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

Worth knowing about these figures

The match between this job and its counterpart in the other country is partial, so the two pages count slightly different groups of people.
2 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: onet-dbProcessing: catalogue-bridge → onet-im-rt-weighting → task-scoring → score-aggregation
Task weights: onet-db (im-rt-with-imputed)
Scores: Rubric task_scoring_v1.0, model claude-opus-5, computed 2026-08-04.
Pay and employment: bls-oews (May 2025 estimates (national_M2025_dl.xlsx))bls-oews (May 2025 estimates (national_M2025_dl.xlsx))

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.

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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.