• Read e-mail messages and letters from co-workers, suppliers, clients and colleagues. For example, radio producers read e-mail messages from program directors about on-air guests and programming changes. Directors read e-mail messages from set designers about meeting times. Record producers and choreographers may read letters of application from potential students and letters from others in support of these applications. (2)
• Read reviews in newspapers and magazines. For example, directors, choreographers, technical directors, and film editors may read newspaper and magazine reviews about themselves, their productions and the organizations for which they work. (2)
• May read production meeting notes. For example, producers read meeting notes to learn about a variety of production matters such as changes to rehearsal schedules, set and costume designs, programming, and job tasks. (2)
• May read contracts. For example, artistic managing directors read actors' contracts to understand terms and conditions for matters such as film credits and special dietary requirements. (2)
• Read articles, editorials and features in trade magazines, newsletters and newspapers. For example, radio producers skim newspapers and news magazines to see what topics are being covered, absorb editorial viewpoints and identify new details and story angles to incorporate into programming. Technical directors read about set and lighting design and new construction techniques and technologies. Choreographers read dance and visual art magazines for dance news and inspiration for new works. Film editors read technical articles to learn about film editing techniques and new software. (3)
• May read literary works such as screenplays, novels, and diaries. For example, documentary producers may read histories and biographies to gain inspiration for new works, to develop new interpretations of important events, to understand scripts' production requirements and to learn about historical periods. (3)
• Read manuals and regulations. For example, film producer-directors read guidelines that govern tax credits for films to identify programs that apply to their projects. Choreographers may read fundraising manuals. Record producers may read software manuals to improve their sound recording and editing skills. Theatre technical directors read theatre set construction handbooks to learn about building sets and creating special effects. (4)

• Identify symbols and icons on signs and labels. For example, radio producers identify on-air signs at studio entrances. Film directors observe warnings for high-voltage lines on film sets. (1)
• Scan product and equipment labels for data such as dates, serial numbers, sizes and product names. For example, film editors scan labels on tapes for identification numbers and titles. (1)
• May enter data into lists and tables. For example, film directors and editors enter tape and scene numbers, scene start and end times and brief comments into tape logs. Technical directors in theatres complete call sheets to place orders for crew members such as lighting technicians. (2)
• Enter data into forms. For example, film directors complete grant applications forms. They complete tax credit applications and forms such as declarations of citizenship. (3)
• May interpret drawings of costumes and scale drawings of sets. For example, choreographers and artistic managing directors examine costume drawings to locate design features. Technical directors in theatres locate dimensions and other features in drawings for stage layouts. (3)
• May interpret specialized notations. For example, directors of musical theatres interpret musical scores. Choreographers interpret dance movement notations. (3)
• May interpret graphs. For example, producers and assistant program directors at radio stations interpret graphs that illustrate local market shares for various radio stations. Theatre technical directors interpret graphs that illustrate optical spectra for coloured lights. (3)
• Locate data in tables. For example, theatre technical directors locate rehearsal times in weekly calendars. Film and theatre directors and choreographers locate tour dates, times for rehearsals and deadlines in production schedules. (3)

• Write reminders and notes to co-workers. For example, directors write notes to remind themselves about changes to scripts and camera shots. Technical directors write notes on construction drawings to provide additional detail for set builders and lighting technicians. (1)
• May write e-mail messages to co-workers, colleagues and clients. For example, technical directors may write to colleagues for opinions on stage flooring materials. Directors may write e-mail messages in which they ask assistants to order copies of new plays. Record producers write e-mail messages to remind clients of studio bookings. (2)
• May write brief reports and summaries. For example, choreographers may write summaries to describe themes and concepts and how to interpret them into movements. Film directors write conceptual plans to organize large amounts of film and video recordings. Directors may write summaries and opinions of scripts. (3)
• May write letters. For example, assistant program directors of radio stations may write letters to respond to listeners' complaints about inaccurate news reports and political bias. Film directors may write to musicians to request free use of musicians' compositions. (3)
• May write proposals to secure funding for projects. For example, film producers may write proposals in which they outline storylines, justify the value of projects, demonstrate their capacities to complete projects and describe work plans and costs. (4)
• May write promotional pieces to promote their productions. For example, radio producers write promos for upcoming shows, choreographers write press releases and artistic managing directors compose introductions to plays for inclusion in programs. (4)
• May write scripts. For example, radio producers write scripts for talk shows that provide background, facts, issues, and questions for interviewers and show hosts. Independent film director-producers may write documentary scripts based on diaries, letters and interviews. (5)

• May take cash and make change. For example, choreographers and directors in small theatre and dance companies may sell tickets at box offices. (1)
• Calculate expense claim amounts. They calculate reimbursement for travel and meal expenses using per diems for meals and incidentals and per kilometre rates for the use of personal vehicles. (2)
• May calculate and verify invoice amounts. For example, independent television producer-directors prepare invoices for their professional services using daily and hourly billing rates. They add amounts for materials, supplies and equipment and apply sales taxes. (3)

• May create and monitor budgets. For example, record producers and independent film and television producer-directors create and monitor operating budgets. They consider factors such as costs of overhead, labour, equipment, materials and supplies. They forecast production expenses and income from funding sources and ticket sales. They monitor these budgets to accommodate variations in costs and revenue. (4)
• May create and modify production schedules to ensure projects are completed on time and within budget. For example, technical directors in theatres create schedules for the construction and installation of sets and lighting and sound systems. They consider the numbers, complexities and sequences of job tasks, intervals between activities and availabilities of workers and materials. They factor in times for changes to set designs and for disruptions such as illnesses of crew members and performers, equipment breakdowns and delivery delays. (4)

• May take measurements with common measuring tools. For example, technical directors in theatres use protractors to measure sight line angles. Record producers use measuring tapes to measure distances between microphones and instruments. Film and television directors and editors use audible time codes to measure the lengths of video and audio recordings. Technical directors in theatres use dividers and scaled rulers to determine the dimensions of props, ramps and stairs. (1)
• May calculate quantities of materials for set construction and staging for performances. For example, technical directors in theatres calculate the areas of walls and floors to determine quantities of construction materials such as wood, metal trim and fabric. (3)

• May interpret data on audiences, ticket sales, productions and demographics. For example, radio program directors interpret statistics that describe the composition of audiences to identify trends in listenership. They use their analyses to determine the popularity of programs and calculate potential advertising revenues. (3)

• May estimate distances. For example, record producers estimate lengths of cable needed to connect musical instruments to studio equipment. (1)
• Estimate times to complete job tasks. For example, choreographers estimate times needed to complete choreography for productions and to teach complex dance movements to new dancers. Artistic managing directors estimate times needed to rehearse productions. Film editors estimate times required to edit films. (2)

• May discuss products and services with suppliers. For example, choreographers, record producers and technical directors in theatres discuss prices and properties of materials needed for construction of sets. Film producer-directors discuss actors' availabilities with theatrical agents. (2)
• May negotiate contract terms and conditions with clients. For example, producer-directors may negotiate timelines and budgets for documentary films with clients. They may negotiate fees with actors' agents. (2)
• Discuss the technical and aesthetic aspects of productions with co-workers, colleagues and subject matter experts. For example, choreographers discuss fight choreography with dancers and dance specialists. Technical directors in theatres discuss materials for sets and costumes with colleagues. They discuss theatrical productions with supervisors to keep them abreast of progress, to defend additional costs and to seek advice about project delays. (2)
• Provide instructions and give direction to workers they supervise. For example, movie directors coach actors on interpretations of scripts. They give directions to camera crews, actors and other workers on movie sets. Technical directors in theatres provide instructions to carpenters, lighting and sound technicians, wardrobe staff and stage crews. Record producers give editing instructions to sound engineers. (3)
• May discuss policies, programs and regulatory decisions with representatives of funding agencies, government departments and regulatory bodies. For example, assistant program directors at radio stations discuss regulations and laws governing hate speech and obscenity with workers at the Canadian broadcast standards council. (3)
• Promote productions and discuss them during live interviews with journalists and appearances on talk shows and news programs. For example, directors and choreographers give interviews to journalists, reviewers and entertainment editors in order to promote their productions. (3)
• Give presentations and lead meetings. For example, artistic directors of theatres and dance companies make presentations about programming and finances to boards of directors. Assistant program directors in radio stations lead daily production meetings with announcers and technicians. Technical directors in theatres report at weekly production planning meetings. (3)

• Encounter equipment malfunctions that slow and stop production. For example, radio producers may experience sound interference during live feeds. They inform technical workers and switch to other guests and news items until the interference is eliminated. Television producer-directors find they have insufficient power for lights when shooting in remote locations. They arrange for additional generators and find alternative locations for shoots. (2)
• Experience lower than expected funding and revenue. For example, artistic directors experience low attendance at plays. They identify weaknesses in promotional activities and develop strategies such as issuing complimentary tickets to stimulate sales. They may begin preparations for the new productions in case plays currently running are forced to close early. Film and television producer-directors find they have insufficient funding to complete their films. They try to raise additional funds from new sources, continue without staff and put projects on hold. (3)
• Find that interview subjects, actors, musicians and dancers are unavailable. For example, when scheduled guests are unavailable, radio and television producers may find substitutes, use alternative information sources such as film clips and change programming themes. When cast members are ill and understudies are unavailable, artistic managing directors find replacement actors. They book additional rehearsals and have cue cards made to assist replacement actors during performances. (3)
• May find that performers and interview subjects are not meeting expectations. For example, directors and choreographers find that actors and dancers are not interpreting their artistic visions correctly. Television producer-directors find that interviewees become inarticulate before cameras. They experiment with alternative approaches to relay ideas to performers and to animate interview subjects. (3)

• Select equipment and materials. For example, film directors select cameras. They consider the atmosphere and effect they want to achieve and the formats in which films will be shown. Technical directors in theatres select construction materials for sets. They consider the visual effects directors have requested and the prices and availabilities of various materials. (2)
• May choose projects to undertake. For example, artistic managing directors select plays for upcoming seasons. They consider local audiences, potential sales, funding requirements and the reputations of their theatres. They take into account failures and successes with similar productions. Assistant program directors at radio stations choose news stories for features and themes for programs. They consider audiences' interests, similar programming shown recently and the coverage of news stories by competing stations. (3)
• May select performers and production workers. For example, artistic directors, film directors and choreographers may choose performers, technical directors and set designers. They consider workers' technical abilities, artistic approaches, reputations, fees, attitudes, artistic styles and availabilities. (3)
• Choose presentation methods and strategies. For example, choreographers choose music, movements, costumes and sets that reflect their artistic visions. Film editors refine and shape films by selecting scenes that are technically sound and align with directors' styles. (3)

• May assess the suitability and effectiveness of sets, locations, music, lighting and costumes. For example, directors assess the suitability of props such as books, pictures and telephones. They check to see that props fit targeted historical periods. They confirm that props do not impede actors' movements. (2)
• May evaluate the suitability of venues for productions. For example, choreographers assess the suitability of stages for dance performances. They measure stages to confirm there will be enough room for the numbers of dancers involved. (2)
• Assess the quality of productions. For example, record producers assess the quality of music recordings. They listen to recordings to confirm the richness and clarity of sound, the success of the mixing process, the absence of ambient noise and the accuracy of performances by musicians and vocalists. (3)
• May assess the abilities of performers. For example, choreographers evaluate the abilities of dancers. They view video recordings to observe dancers' technical strengths and weaknesses and interview them to become familiar with their goals and ambitions. Record producers assess the ability and suitability of studio musicians before recommending them to clients. They review past experiences working with them and read resumes and biographies to find out about musicians' training, experience, skills and reputations. (3)

Own Job Planning and Organizing

Producers, directors, choreographers and related workers plan job tasks to meet production deadlines. They organize their daily job tasks to prepare for new projects and manage current ones. They schedule time to attend to administrative tasks, plan and monitor production schedules, meet with collaborators and complete work on current projects. They adjust their work plans to accommodate events such as bad weather, faulty equipment and illnesses. (4)

Planning and Organizing for Others

Producers, directors, choreographers and related workers may direct the work of actors, dancers, production workers and various technicians. They may participate in creating artistic visions and operational plans for their organizations. (4)

• Remember workers' names and areas of expertise. For example, choreographers and directors remember names and skills of technical and artistic colleagues when looking for collaborators and performers for new productions. Radio producers remember names and areas of expertise of past guests on newsmagazines and talk shows.
• Remember technical details such as camera angles and dance movement sequences.

• Find information about funding sources. For example, feature film producers read news releases from governments and private foundations. They speak to professional contacts, civil servants, politicians and private donors to locate and clarify requirements for funding. (3)
• Find information about news stories, historical events and other topics important to theatre, television and film productions. They may read novels, documents from archives and articles in magazines. They may interview people with knowledge about historical events, review films and photographs, and watch and listen to recordings. (4)

• Use word processing. For example, they use word processing software to write letters, scripts and promotional items and to prepare funding applications. They edit and format text, create tables and columns, and use features such as spell check. (2)
• May use databases. For example, radio producers and film editors may search databases for audio clips and sound effects. Technical directors may use database programs such as Lightwright to manage professional lighting design paperwork. (2)
• May use spreadsheets. For example, they may create spreadsheets to manage payroll, budgets and cash flows and to prepare schedules. They may add columns and rows and create formulas. (2)
• Use communications software. For example, they may send and receive e-mail and attachments, collect contact information, maintain distribution lists, use spell check, and organize and control mail. (2)
• Use the Internet. For example, they may use Internet browsers to create lists of favourite websites, search for current news items, carry out research for productions, and find collaborators and funding for projects. They may access e-mail accounts via the Internet when travelling. (2)
• May use other software applications. For example, record producers use sound recording and editing software to create multi-track digital audio recordings. (2)
• May use graphics software. For example, film editors may use advanced functions video editing software to produce rough and final cuts, format still images and create graphics. They may use compositing software to layer multiple still and moving images. (3)
• May use computer-aided design software. For example, technical directors may use CAD software create scale drawings of stages and sets. (3)

Producers, directors, choreographers and related workers lead teams that produce plays, movies, musical performances and other works. They coordinate and integrate job tasks with large multi-disciplinary teams. (3)

Producers, directors, choreographers and related workers learn continuously in order to stimulate their creativity, to maintain awareness of current events and new technologies and to refine their skills. They learn through daily work experiences and through discussions with co-workers and colleagues. They read trade magazines, watch films and attend live performances. (4)