Podcast-Produzenten
Kunst, Design, Unterhaltung und MedienKI-Exposition
- Datenquelle: BLSVeröffentlicht: 2026-08
Hoch· relativ
NiedrigVier relative BänderSehr hochWert auf Berufsgruppenebene
Skala, Bezugsmenge und Quelle
Vier relative Bänder (Niedrig / Mittel / Hoch / Sehr hoch)
831 detaillierte Berufe in der BLS-Beschäftigungsprojektionstabelle. Der Wert wird je Code der National Employment Matrix (NEM) vergeben, daher erhalten Berufe mit demselben NEM-Code dasselbe Band
- Datenquelle: AnthropicVeröffentlicht: 2026-03
0.092
0.000Spannweite der hier geführten Werte0.745Skala, Bezugsmenge und Quelle
Index der beobachteten Exposition, 0–1 wie veröffentlicht
Auf O*NET-Aufgaben abgebildet
- Datenquelle: ILOVeröffentlicht: 2025
0.37
0.09Spannweite der hier geführten Werte0.70Wert auf Berufsgruppenebene
Skala, Bezugsmenge und Quelle
Index der Exposition gegenüber generativer KI, 0–1 wie veröffentlicht
ISCO-08-Berufsgattung — alle Berufe mit demselben Code erhalten diesen Wert
Von dieser Website berechnet, nicht von der IAO veröffentlicht: Von den 1.012 Berufen, die diese Website mit dem IAO-Datensatz verknüpft, erreichen oder übertreffen 53% diesen Wert.
Welche Art von Wert diese Quelle veröffentlicht
Die Kategorie von BLS ist ein relativer Rang und kein absolutes Niveau, und sie ist keine eigene Messung: Sie fasst die Perzentilränge des Berufs aus mehreren veröffentlichten Studien in vier Bänder zusammen. Sie ist weder eine Beschäftigungs- oder Lohnprognose noch eine Einführungswahrscheinlichkeit und unterscheidet nicht zwischen Automatisierung und Augmentierung.
Task-level exposure
Nur exponierte Aufgaben| Task | Claude.aiRaw / share % | APIRaw / share % |
|---|---|---|
Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written.27-2012 | 0.060046.2 | 0.010011.1 |
Choose settings and locations for films and determine how scenes will be shot in these settings.27-2012 | 0.040030.8 | 0.030033.3 |
Develop promotions for current programs and specials.27-2012 | 0.020015.4 | 0.010011.1 |
Develop ideas for programs and features that a station could produce.27-2012 | 0.01007.7 | 0.00000.0 |
Write and edit news stories from information collected by reporters and other sources.27-2012 | 0.00000.0 | 0.020022.2 |
Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene.27-2012 | 0.00000.0 | 0.010011.1 |
Compile scripts, program notes, and other material related to productions.27-2012 | 0.00000.0 | 0.010011.1 |
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.27-2012 | 0.00000.0 | 0.00000.0 |
Evaluate new and existing programming to assess suitability and the need for changes, using information such as audience surveys and feedback.27-2012 | 0.00000.0 | 0.00000.0 |
Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility.27-2012 | 0.00000.0 | 0.00000.0 |
Prepare actors for auditions by providing scripts and information about roles and casting requirements.27-2012 | 0.00000.0 | —0 |
Research production topics using the internet, video archives, and other informational sources.27-2012 | 0.00000.0 | —0 |
Cut and edit film or tape to integrate component parts into desired sequences.27-2012 | 0.00000.0 | —0 |
Write and submit proposals to bid on contracts for projects.27-2012 | 0.00000.0 | —0 |
Perform personnel duties, such as hiring staff and evaluating work performance. | —0 | 0.00000.0 |
Select performers for roles or submit lists of suitable performers to producers or directors for final selection. | —0 | 0.00000.0 |
Audition and interview performers to match their attributes to specific roles or to increase the pool of available acting talent. | —0 | 0.00000.0 |
Conduct meetings with staff to discuss production progress and to ensure production objectives are attained. | —0 | 0.00000.0 |
Select plays, scripts, books, news content, or ideas to be produced. | —0 | 0.00000.0 |
| Not observed on any surface — 49 task(s) — These tasks have no row in the source for this release. The 0 in the share row is a display-stage composition ratio; absence is what the — in the raw row states. | ||
Communicate to actors the approach, characterization, and movement needed for each scene in such a way that rehearsals and takes are minimized. | —0 | —0 |
Direct live broadcasts, films and recordings, or non-broadcast programming for public entertainment or education. | —0 | —0 |
Coordinate the activities of writers, directors, managers, and other personnel throughout the production process. | —0 | —0 |
Study and research scripts to determine how they should be directed. | —0 | —0 |
Supervise and coordinate the work of camera, lighting, design, and sound crew members. | —0 | —0 |
Confer with technical directors, managers, crew members, and writers to discuss details of production, such as photography, script, music, sets, and costumes. | —0 | —0 |
Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards. | —0 | —0 |
Consult with writers, producers, or actors about script changes or "workshop" scripts, through rehearsal with writers and actors to create final drafts. | —0 | —0 |
Identify and approve equipment and elements required for productions, such as scenery, lights, props, costumes, choreography, and music. | —0 | —0 |
Resolve personnel problems that arise during the production process by acting as liaisons between dissenting parties when necessary. | —0 | —0 |
Perform management activities, such as budgeting, scheduling, planning, and marketing. | —0 | —0 |
Obtain rights to scripts or to such items as existing video footage. | —0 | —0 |
Perform administrative duties, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal quarters. | —0 | —0 |
Arrange financing for productions. | —0 | —0 |
Negotiate with parties, including independent producers and the distributors and broadcasters who will be handling completed productions. | —0 | —0 |
Review film daily to check on work in progress and to plan for future filming. | —0 | —0 |
Develop marketing plans for finished products, collaborating with sales associates to supervise product distribution. | —0 | —0 |
Hire principal cast members and crew members, such as art directors, cinematographers, and costume designers. | —0 | —0 |
Hold auditions for parts or negotiate contracts with actors determined suitable for specific roles. | —0 | —0 |
Monitor and review programming to ensure that schedules are met, guidelines are adhered to, and performances are of adequate quality. | —0 | —0 |
Direct and coordinate activities of personnel engaged in broadcast news, sports, or programming. | —0 | —0 |
Check completed program logs for accuracy and conformance with Federal Communications Commission (FCC) rules and regulations and resolve program log inaccuracies. | —0 | —0 |
Establish work schedules and assign work to staff members. | —0 | —0 |
Coordinate activities between departments, such as news and programming. | —0 | —0 |
Confer with directors and production staff to discuss issues, such as production and casting problems, budgets, policies, and news coverage. | —0 | —0 |
Select, acquire, and maintain programs, music, films, and other needed materials and obtain legal clearances for their use as necessary. | —0 | —0 |
Monitor network transmissions for advisories concerning daily program schedules, program content, special feeds, or program changes. | —0 | —0 |
Prepare copy and edit tape so that material is ready for broadcasting. | —0 | —0 |
Review information about programs and schedules to ensure accuracy and provide such information to local media outlets. | —0 | —0 |
Read news, read or record public service and promotional announcements, or perform other on-air duties. | —0 | —0 |
Operate and maintain on-air and production audio equipment. | —0 | —0 |
Direct setup of remote facilities and install or cancel programs at remote stations. | —0 | —0 |
Conduct interviews for broadcasts. | —0 | —0 |
Develop budgets for programming and broadcasting activities and monitor expenditures to ensure that they remain within budgetary limits. | —0 | —0 |
Participate in the planning and execution of fundraising activities. | —0 | —0 |
Cue announcers, actors, performers, and guests. | —0 | —0 |
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. | —0 | —0 |
Review performer information, such as photos, resumes, voice tapes, videos, and union membership, to decide whom to audition for parts. | —0 | —0 |
Read scripts and confer with producers to determine the types and numbers of performers required for a given production. | —0 | —0 |
Maintain talent files that include information such as performers' specialties, past performances, and availability. | —0 | —0 |
Serve as liaisons between directors, actors, and agents. | —0 | —0 |
Attend or view productions to maintain knowledge of available actors. | —0 | —0 |
Negotiate contract agreements with performers, with agents, or between performers and agents or production companies. | —0 | —0 |
Contact agents and actors to provide notification of audition and performance opportunities and to set up audition times. | —0 | —0 |
Arrange for or design screen tests or auditions for prospective performers. | —0 | —0 |
Hire and supervise workers who help locate people with specified attributes and talents. | —0 | —0 |
Locate performers or extras for crowd and background scenes, and stand-ins or photo doubles for actors, by direct contact or through agents. | —0 | —0 |
Direct shows, productions, and plays. | —0 | —0 |
Teach acting classes. | —0 | —0 |
Values in this tab are predicted labels, not observations. Eloundou et al. (2023) published two rating regimes — human raters and GPT-4 — and the β shown here is derived from the GPT-4 rater basis alone; the same task can take a different value under the other regime. The unit and the meaning differ from the observed shares (%) in the other tabs, so do not place them on the same axis.
| Task | βE1 + 0.5 × E2 |
|---|---|
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 ID 3894 | 0.5 |
Monitor broadcasts to ensure that programs conform to station or network policies and regulations.O*NET Task ID 3896 | 0.5 |
Observe pictures through monitors and direct camera and video staff concerning shading and composition.O*NET Task ID 3897 | 0.5 |
Act as liaisons between engineering and production departments.O*NET Task ID 3898 | 0.5 |
Supervise and assign duties to workers engaged in technical control and production of radio and television programs.O*NET Task ID 3899 | 0.5 |
Schedule use of studio and editing facilities for producers and engineering and maintenance staff.O*NET Task ID 3900 | 0.5 |
Confer with operations directors to formulate and maintain fair and attainable technical policies for programs.O*NET Task ID 3901 | 0.5 |
Operate equipment to produce programs or broadcast live programs from remote locations.O*NET Task ID 3902 | 0.5 |
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 ID 3904 | 0.5 |
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 ID 3905 | 0.5 |
Test equipment to ensure proper operation.O*NET Task ID 3895 | 0.0 |
Train workers in use of equipment, such as switchers, cameras, monitors, microphones, and lights.O*NET Task ID 3903 | 0.0 |
β = E1 + 0.5 × E2 · E1 = tasks where direct LLM access alone cuts time by at least 50%, E2 = tasks where software built on top of an LLM cuts time by at least 50%. Values take only 0 / 0.5 / 1.0.
Data sources & licenses — O*NET®, Anthropic Economic Index, Eloundou et al. (2023): see full notices on the Credits page
Berufsinformationen
Aktuelle Veränderungen mit Bezug zu diesem Beruf
März 2026: Published evergreen blog post analyzing AI impact on podcast producers: 52% exposure, 38% automation risk.
[Quelle: AI Changing Work Blog]