UK AI Exposure · Associate professional occupations
Arts officers, producers and directors
Arts officers, producers and directors assume creative, financial and organisational responsibilities in the production and direction of television and radio programmes, films, stage presentations, content for other media, and the promotion and exhibition of other creative activities.
- Employees (UK)
- 23k
- Median annual pay
- £39,643
- Exposure score ?
- 0.9/10 Minimal 8.9/10 Very high strict reading · with tools is 8.9/10 with-tools reading · strict is 0.9/10
- Wage exposure
- £82m £811m
Higher exposure than 50% of the 379 UK occupations we scored.
What this score means
Most of this role's work is still genuinely hard for AI to do. Physical presence, bodily skill, high-context judgment, direct human care - the things that don't translate to text.
If you're in this role, here's what to do now
You're not in the firing line today. But the frontier moves. Build enough AI fluency now that you can direct it for the parts of your work that could benefit. People in unexposed roles who understand AI become unusually valuable inside their organisations.
Almost every routine task in this role is within reach of today's language models. Roles at this level are getting rebuilt - often not by disappearing, but by one person using AI to do three or five people's output.
If you're in this role, here's what to do now
You don't need to be afraid. You need to be the person doing the rebuilding. The operators who learn to direct AI at scale in this kind of work become hugely valuable. The ones who wait to be told what to do get told what to do - and that thing is often 'we don't need as many of you anymore.'
Where a project with Alex usually starts for this role
These are the highest-importance tasks a language model can already handle directly today. In a typical engagement the first wins come from building workflows around these, so they stop eating your team's time.
-
Write and submit proposals to bid on contracts for projects.
-
Consult with writers, producers, or actors about script changes or "workshop" scripts, through rehearsal with writers and actors to create final drafts.
-
Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written.
These are the highest-importance tasks AI can already handle when paired with the right tools and context. In a typical engagement the first wins come from building workflows around these — usually the difference between an LLM that can technically do the job and one that actually does it inside your business.
-
Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene.
-
Research production topics using the internet, video archives, and other informational sources.
-
Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards.
Every role has three or four wedges like these. Finding them takes an hour. Turning them into a workflow your team actually uses takes a few days. Talk to Alex about a project →
The full task breakdown
Every O*NET task for this occupation, split by what AI can already do unaided versus what still needs a human. Importance is O*NET's 1–5 rating of how central each task is to the role.
Tasks via O*NET "Producers and Directors" (27-2012.00).
What AI can already do
6 of 30 tasks · unaided
Write and submit proposals to bid on contracts for projects.
Consult with writers, producers, or actors about script changes or "workshop" scripts, through rehearsal with writers and actors to create final drafts.
Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written.
Write and edit news stories from information collected by reporters and other sources.
Compile scripts, program notes, and other material related to productions.
Perform administrative duties, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal quarters.
Where humans still hold the line
24 of 30 tasks
Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene.
Communicate to actors the approach, characterization, and movement needed for each scene in such a way that rehearsals and takes are minimized.
Direct live broadcasts, films and recordings, or non-broadcast programming for public entertainment or education.
Research production topics using the internet, video archives, and other informational sources.
Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards.
Study and research scripts to determine how they should be directed.
Supervise and coordinate the work of camera, lighting, design, and sound crew members.
Confer with technical directors, managers, crew members, and writers to discuss details of production, such as photography, script, music, sets, and costumes.
Perform management activities, such as budgeting, scheduling, planning, and marketing.
Identify and approve equipment and elements required for productions, such as scenery, lights, props, costumes, choreography, and music.
Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility.
Conduct meetings with staff to discuss production progress and to ensure production objectives are attained.
Cut and edit film or tape to integrate component parts into desired sequences.
Choose settings and locations for films and determine how scenes will be shot in these settings.
Review film daily to check on work in progress and to plan for future filming.
Resolve personnel problems that arise during the production process by acting as liaisons between dissenting parties when necessary.
Negotiate with parties, including independent producers and the distributors and broadcasters who will be handling completed productions.
Coordinate the activities of writers, directors, managers, and other personnel throughout the production process.
Obtain rights to scripts or to such items as existing video footage.
Develop marketing plans for finished products, collaborating with sales associates to supervise product distribution.
Arrange financing for productions.
Hire principal cast members and crew members, such as art directors, cinematographers, and costume designers.
Hold auditions for parts or negotiate contracts with actors determined suitable for specific roles.
Select plays, scripts, books, news content, or ideas to be produced.
Tasks via O*NET "Producers and Directors" (27-2012.00).
What AI can already do
24 of 30 tasks · with tools
Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene.
Research production topics using the internet, video archives, and other informational sources.
Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards.
Study and research scripts to determine how they should be directed.
Confer with technical directors, managers, crew members, and writers to discuss details of production, such as photography, script, music, sets, and costumes.
Write and submit proposals to bid on contracts for projects.
Perform management activities, such as budgeting, scheduling, planning, and marketing.
Consult with writers, producers, or actors about script changes or "workshop" scripts, through rehearsal with writers and actors to create final drafts.
Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written.
Identify and approve equipment and elements required for productions, such as scenery, lights, props, costumes, choreography, and music.
Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility.
Cut and edit film or tape to integrate component parts into desired sequences.
Write and edit news stories from information collected by reporters and other sources.
Compile scripts, program notes, and other material related to productions.
Choose settings and locations for films and determine how scenes will be shot in these settings.
Review film daily to check on work in progress and to plan for future filming.
Negotiate with parties, including independent producers and the distributors and broadcasters who will be handling completed productions.
Coordinate the activities of writers, directors, managers, and other personnel throughout the production process.
Perform administrative duties, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal quarters.
Obtain rights to scripts or to such items as existing video footage.
Develop marketing plans for finished products, collaborating with sales associates to supervise product distribution.
Arrange financing for productions.
Hire principal cast members and crew members, such as art directors, cinematographers, and costume designers.
Select plays, scripts, books, news content, or ideas to be produced.
Where humans still hold the line
6 of 30 tasks
Communicate to actors the approach, characterization, and movement needed for each scene in such a way that rehearsals and takes are minimized.
Direct live broadcasts, films and recordings, or non-broadcast programming for public entertainment or education.
Supervise and coordinate the work of camera, lighting, design, and sound crew members.
Conduct meetings with staff to discuss production progress and to ensure production objectives are attained.
Resolve personnel problems that arise during the production process by acting as liaisons between dissenting parties when necessary.
Hold auditions for parts or negotiate contracts with actors determined suitable for specific roles.
Stay on top of this
One email a week, written for people who aren't AI nerds. What's actually real, what's hype, and what smart operators are doing about it.
Get the weekly note
One email a week from Alex on how AI is changing UK work, how to get ahead of it, and what smart operators are actually doing. Written for people who aren't AI nerds.
Free. Unsubscribe any time.
Or go deeper:
Methodology
This role's exposure score comes from Eloundou et al's 2023 GPT task labels, aggregated by O*NET importance within each O*NET-SOC code, then bridged to UK SOC 2020 via ISCO-08 (ONS Vol 2 coding index) and US SOC 2010 (BLS crosswalk). Employment and median pay come from ONS ASHE Table 14.7a, 2025 provisional. ASHE covers employees only, so self-employed workers are not counted.
Get the weekly note. One email on how AI is changing UK work.