Producers and Directors
Arts, Design, Entertainment, Sports, and Media Occupations- O*NET-SOC コード
- 27-2012.00
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.
- データ出典: BLS公表時点: 2026-08
高い· 相対
低い4段階の相対区分非常に高い職業群単位の値
尺度・母数・出典
4段階の相対区分（低い / 中程度 / 高い / 非常に高い）
BLS雇用見通し表の詳細職業831件が母数。値は NEM(全国雇用マトリクス)コード単位で付与されるため、同じ NEM コードの職業は同じバンドになります
- データ出典: Anthropic公表時点: 2026-03
0.092
0.000ここに掲載された値の範囲0.745職業群単位の値
尺度・母数・出典
観測エクスポージャー指数、公開されたまま0–1
O*NETタスクへの対応づけが基準
SOC 2018の職業単位で公表された値で、同じSOC 2018コードを持つO*NET職業はすべてこの値になります
- データ出典: ILO公表時点: 2025
0.37
0.09ここに掲載された値の範囲0.70職業群単位の値
尺度・母数・出典
生成AI露出度指数、公開されたまま0–1
ISCO-08の細分類（4桁）単位で公表された値です。米国労働統計局（BLS）の公式対応表（ISCO-08→2010 SOC、2010 SOC→2018 SOC）を公表どおり適用してこの職業に結び付けており、対応は全部または一部です
この出典がどのような性格の値か
BLSの区分は絶対水準ではなく相対順位であり、一次測定でもありません。複数の既存研究が付けた職業別パーセンタイル順位を4段階にまとめた値です。雇用や賃金の予測でもなく、導入確率でもなく、自動化と増強を区別しません。
Task-level exposure
露出のある作業のみ評価済みタスク 30 件 · β ≥ 0.5 のタスク 24 件（80.0%）
β = 直接的な露出（E1）+ 0.5 × ツール利用時の露出（E2）。原典リポジトリの定義に従います。
- 原典の単位：O*NET 27.2 のタスク → O*NET 31.0 の職業コード
- 評価済みタスクはすべて O*NET 31.0 のタスク一覧にあります。
- 出典
- OpenAI "GPTs are GPTs" exposure rubric
- 版
- gh-main-0471612
- ライセンス
- MIT License, Copyright (c) 2024 OpenAI
| Task (O*NET 30.2) | Claude.aiRaw / share % | APIRaw / share % |
|---|---|---|
Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written.27-2012.00 | 0.060060.0 | 0.010012.5 |
Choose settings and locations for films and determine how scenes will be shot in these settings.27-2012.00 | 0.040040.0 | 0.030037.5 |
Write and edit news stories from information collected by reporters and other sources.27-2012.00 | 0.00000.0 | 0.020025.0 |
Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene.27-2012.00 | 0.00000.0 | 0.010012.5 |
Compile scripts, program notes, and other material related to productions.27-2012.00 | 0.00000.0 | 0.010012.5 |
Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility.27-2012.00 | 0.00000.0 | 0.00000.0 |
Research production topics using the internet, video archives, and other informational sources.27-2012.00 | 0.00000.0 | —0 |
Cut and edit film or tape to integrate component parts into desired sequences.27-2012.00 | 0.00000.0 | —0 |
Write and submit proposals to bid on contracts for projects.27-2012.00 | 0.00000.0 | —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 — 19 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 |
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 (O*NET 27.2) | βE1 + 0.5 × E2 |
|---|---|
Write and edit news stories from information collected by reporters and other sources.O*NET Task ID 22514 | 1.0 |
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 ID 22524 | 1.0 |
Compile scripts, program notes, and other material related to productions.O*NET Task ID 22528 | 1.0 |
Perform administrative duties, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal quarters.O*NET Task ID 22529 | 1.0 |
Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written.O*NET Task ID 22533 | 1.0 |
Write and submit proposals to bid on contracts for projects.O*NET Task ID 22539 | 1.0 |
Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene.O*NET Task ID 22515 | 0.5 |
Coordinate the activities of writers, directors, managers, and other personnel throughout the production process.O*NET Task ID 22518 | 0.5 |
Study and research scripts to determine how they should be directed.O*NET Task ID 22519 | 0.5 |
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 ID 22521 | 0.5 |
Research production topics using the internet, video archives, and other informational sources.O*NET Task ID 22522 | 0.5 |
Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards.O*NET Task ID 22523 | 0.5 |
Identify and approve equipment and elements required for productions, such as scenery, lights, props, costumes, choreography, and music.O*NET Task ID 22525 | 0.5 |
Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility.O*NET Task ID 22526 | 0.5 |
Arrange financing for productions.O*NET Task ID 22531 | 0.5 |
Perform management activities, such as budgeting, scheduling, planning, and marketing.O*NET Task ID 22532 | 0.5 |
Negotiate with parties, including independent producers and the distributors and broadcasters who will be handling completed productions.O*NET Task ID 22534 | 0.5 |
Cut and edit film or tape to integrate component parts into desired sequences.O*NET Task ID 22535 | 0.5 |
Choose settings and locations for films and determine how scenes will be shot in these settings.O*NET Task ID 22536 | 0.5 |
Review film daily to check on work in progress and to plan for future filming.O*NET Task ID 22537 | 0.5 |
Obtain rights to scripts or to such items as existing video footage.O*NET Task ID 22538 | 0.5 |
Develop marketing plans for finished products, collaborating with sales associates to supervise product distribution.O*NET Task ID 22540 | 0.5 |
Hire principal cast members and crew members, such as art directors, cinematographers, and costume designers.O*NET Task ID 22541 | 0.5 |
Select plays, scripts, books, news content, or ideas to be produced.O*NET Task ID 22543 | 0.5 |
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 ID 22516 | 0.0 |
Direct live broadcasts, films and recordings, or non-broadcast programming for public entertainment or education.O*NET Task ID 22517 | 0.0 |
Supervise and coordinate the work of camera, lighting, design, and sound crew members.O*NET Task ID 22520 | 0.0 |
Conduct meetings with staff to discuss production progress and to ensure production objectives are attained.O*NET Task ID 22527 | 0.0 |
Resolve personnel problems that arise during the production process by acting as liaisons between dissenting parties when necessary.O*NET Task ID 22530 | 0.0 |
Hold auditions for parts or negotiate contracts with actors determined suitable for specific roles.O*NET Task ID 22542 | 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
O*NET 31.0 のタスク全件（30件）
この職業の O*NET 31.0 のタスク全件（英語原文、種別はコア・補足）。露出値はこの一覧には載せず、上の表で各出典が用いた O*NET 版の文言の横にあります。
| タスク（O*NET 31.0） | 種類 |
|---|---|
| Plan details such as framing, composition, camera movement, sound, and actor movement for each shot or scene. | コア |
| Communicate to actors the approach, characterization, and movement needed for each scene in such a way that rehearsals and takes are minimized. | コア |
| Direct live broadcasts, films and recordings, or non-broadcast programming for public entertainment or education. | コア |
| Coordinate the activities of writers, directors, managers, and other personnel throughout the production process. | コア |
| Study and research scripts to determine how they should be directed. | コア |
| Supervise and coordinate the work of camera, lighting, design, and sound crew members. | コア |
| Confer with technical directors, managers, crew members, and writers to discuss details of production, such as photography, script, music, sets, and costumes. | コア |
| Research production topics using the internet, video archives, and other informational sources. | コア |
| Review film, recordings, or rehearsals to ensure conformance to production and broadcast standards. | コア |
| Consult with writers, producers, or actors about script changes or "workshop" scripts, through rehearsal with writers and actors to create final drafts. | コア |
| Identify and approve equipment and elements required for productions, such as scenery, lights, props, costumes, choreography, and music. | コア |
| Establish pace of programs and sequences of scenes according to time requirements and cast and set accessibility. | コア |
| Conduct meetings with staff to discuss production progress and to ensure production objectives are attained. | コア |
| Compile scripts, program notes, and other material related to productions. | コア |
| Resolve personnel problems that arise during the production process by acting as liaisons between dissenting parties when necessary. | コア |
| Perform management activities, such as budgeting, scheduling, planning, and marketing. | コア |
| Obtain rights to scripts or to such items as existing video footage. | コア |
| Write and edit news stories from information collected by reporters and other sources. | 補足 |
| Perform administrative duties, such as preparing operational reports, distributing rehearsal call sheets and script copies, and arranging for rehearsal quarters. | 補足 |
| Arrange financing for productions. | 補足 |
| Compose and edit scripts or provide screenwriters with story outlines from which scripts can be written. | 補足 |
| Negotiate with parties, including independent producers and the distributors and broadcasters who will be handling completed productions. | 補足 |
| Cut and edit film or tape to integrate component parts into desired sequences. | 補足 |
| Choose settings and locations for films and determine how scenes will be shot in these settings. | 補足 |
| Review film daily to check on work in progress and to plan for future filming. | 補足 |
| Write and submit proposals to bid on contracts for projects. | 補足 |
| Develop marketing plans for finished products, collaborating with sales associates to supervise product distribution. | 補足 |
| 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. | — |
0.00/ 3· ロボット露出指数
尺度・母数・出典
身体的なタスクそれぞれに、実際に導入・販売・実演されたロボットがこなせる環境に応じて 0–3 の等級を付け（0 不可 · 1 フェンスで囲われた機械セルや瓶詰めラインのようなロボット専用設備 · 2 病院の薬剤部やコンテナ港のような管理された施設 · 3 一般家庭や建設現場のような非定型の環境）、勤務時間に占める割合で平均した値
この職業の O*NET 29.3 タスクのうち身体的なタスクが対象
等級と時間の割合は Anthropic が Claude Opus 5（ウェブ検索）で推定しました（2026年時点）。
ロボット露出指数は、このサイトの AI 露出度とは別の指標であり、足し合わせたり比べたりすることはできません。実際の導入やコスト競争力を示すものではなく、0 には身体的なタスクのない職業も含まれます。
身体的なタスクごとの等級
この職業の O*NET 29.3 タスクのうち、身体的なタスクに分類されたものはありません。
職業情報
雇用見通し（BLS）
この O*NET 職業だけの値ではなく、SOC 27-2012 グループ（Producers and directors）全体の値です。
- 雇用者数、2025
- 181K
- 雇用者数見通し、2035
- 188K
- 変化率 (2025–35)
- +4%
- 年間賃金の中央値、2025
- $90,360
- 入職時に通常必要な学歴
- Bachelor's degree
韓国職業分類との対応（KSCO）
AI Changing Work が作成した Korea Occupation Direct Crosswalk v1.1 現行版の対応です。関係の値は O*NET-SOC 職業の側から読みます。
| KSCO コード | KSCO 名称 | 関係 | 状態 |
|---|---|---|---|
| 29311 | 감독 및 연출가 | この職業のほうが広い | 確定 |
| 29319 | 그 외 감독 및 연출가 | この職業のほうが広い | 確定 |
| 29380 | 미디어 콘텐츠 창작자 | 重なるが同じではない | 確定 |
| 29810 | 공연 및 시각예술 기획자 | 重なるが同じではない | 確定 |
| 29820 | 영화 및 음반 기획자 | 重なるが同じではない | 確定 |
| 29391 | 스크립터 | 関連（対応ではない） | 確定 |
関係と状態の定義(kr-direct v1.1)
ILO（国際労働機関）の職業説明
以下のISCO-08職業群は、AI Changing Workが米国労働統計局（BLS）の発行するクロスウォーク（2018 SOC→2010 SOC、2010 SOC→ISCO-08）を個別の選択なしにそのまま適用して、この職業に結び付けたものです。結び付きは全体的な対応の場合も部分的な対応の場合もあります。
- ISCO-08 2654Film, Stage and Related Directors and Producers
映画・舞台等の監督、プロデューサー
出典: 総務省「国際標準職業分類（ISCO）2008年改定版（仮訳）分類項目名一覧（和英対照）」— 原著：ILO ISCO-08 © International Labour Organization（日本語訳は総務省がILOの許可を得て作成）
以下の定義・作業・職業例は、この職業ではなく、当該ISCO-08職業群についてのILOによる説明です。
Film, stage and related directors and producers oversee and control the technical and artistic aspects of motion pictures, television or radio productions and stage shows.
作業
- (a) choosing writers, studying scripts to determine artistic interpretation, and instructing actors on acting methods;
- (b) directing all aspects of dramatic productions on stage, television, radio or in motion pictures, including choice of actors, and final decisions concerning costumes, set designs, sound or lighting effects;
- (c) planning, organizing and controlling the various stages and scheduling involved in the production of presentations, motion pictures, television shows and radio programmes;
- (d) engaging and supervising all technical personnel, and determining the treatment, scope and scheduling of production;
- (e) maintaining production archives and negotiating royalties;
- (f) creating, planning, writing scripts for recording, videotaping and editing programmes;
- (g) supervising the positioning of scenery, props and lighting and sound equipment.
職業例
Documentary director · Film editor · Motion picture director · Photography director · Stage director · Technical director · Technical television or radio director · Theatre producer
Sources: ILO ISCO-08 — details: Credits
ESCO 職業語彙
以下の各項目は、公開されているESCO-O*NET Crosswalk（バージョン1、2022年）で、この職業と一つずつ対応付けられたものです。対応の種類はそのクロスウォークによるもので、表現はAI Changing Workによるものです。
- assistant video and motion picture directorESCO 3435.2この職業のほうが広い
Assistant video and motion picture directors are responsible for the organisation, scheduling and planning of the cast, crew and activities on a set. They assist the video and motion picture directors, maintain budgets and ensure that all production activities go according to schedule.
- broadcasting programme directorESCO 3435.5この職業のほうが広い
Broadcasting programme directors make the programme schedule. They decide how much broadcast time a programme gets and when it is aired, based on a few factors like, ratings, viewer demographics, etc.
- fight directorESCO 3435.8この職業のほうが広い
Fight directors coach performers to safely execute fight sequences. They direct fights for performances such as dance, movies and television, circus, variety, and others. Fight directors may have a background in sports such as fencing, shooting or boxing, martial arts such as judo, wushu or karate, or military training.
- producerESCO 2654.2この職業のほうが広い
Producers are responsible for managing the production of music, motion pictures or series. They plan and coordinate all aspects of the production such as the direction, publication and financing. Producers oversee the production and manage all technical and logistic aspects of recording and editing.
- radio producerESCO 2654.3この職業のほうが広い
Radio producers are responsible for organising the making of radio shows. They oversee aspects of radio shows such as content, audio production, resource planning and personnel supervision.
- stage directorESCO 2166.4.6この職業のほうが広い
Stage directors oversee and orchestrate the mounting of a performance production by unifying various endeavours and aspects of a theatrical production. They ensure the quality and completeness of the theatrical production and lead the members of the creative team into realising their artistic vision for it.
- video and motion picture directorESCO 2166.4.8この職業のほうが広い
Video and motion picture directors are responsible for the overall production of a movie or television program. They edit and translate the script into audiovisual images. Video and motion picture directors supervise and manage the film crew. They convey their creative vision on the actors, audio and video equipment operators, lighting technicians, etc and direct them. Video and motion picture directors also supervise the editing of the footage.
- video and motion picture producerESCO 2654.2.2この職業のほうが広い
Video and motion picture producers supervise the entire production of a movie or television programme. They select the scripts that will be turned into motion pictures or series. Video and motion picture producers find the financial means to make a movie or television series. They have the final decision on the whole project, from development and editing to distribution. During large-scale productions, video and motion picture producers can be part of a team of producers and may be responsible for some of these tasks.
- assistant stage directorESCO 3435.1重なるが同じではない
Assistant stage directors support the needs of the stage director and the production for each assigned stage production, and serve as a liaison between performers, theatre staff and stage directors. They take notes, provide feedback, coordinate the rehearsal schedule, take blocking, rehearse or review scenes, prepare or distribute actor notes, and facilitate communication between designers, production staff, and stage director.
出典: European Commission, DG EMPL — ESCO API 2026-08-08 (bridge v1.2.1)
ライセンス: CC BY 4.0 (EU Reuse Notice)
ESCO reuse terms and the modification notice are in Credits.
フランス職業分類との対応（ROME）
この職業と ROME 4.0 の職業票（fiche）との対応で、AI Changing Work が AI モデルを用いて判定したものです。関係はこの職業の側から読みます。「暫定」と表示した対応は、同じモデル系列（Claude）の二人の判定者による判定のみ、またはその判定に運営者の規則を適用して採用したものであり、確定した対応より根拠が弱くなります。
| ROME コード | ROME 名称（フランス語） | 関係 |
|---|---|---|
| L1301 | Metteur / Metteuse en scène | この職業のほうが広い |
| L1302 | Producteur / Productrice audiovisuel et cinéma | この職業のほうが広い |
| L1304 | Assistant réalisateur / Assistante réalisatrice | この職業のほうが広い |
| L1305 | Directeur / Directrice artistique spectacle | この職業のほうが広い |
| L1306 | Réalisateur / Réalisatrice audiovisuel | この職業のほうが広い |
| L1308 | Directeur / Directrice de production audiovisuelle et cinéma | この職業のほうが広い |
| L1311 | Chargé / Chargée de production de spectacles | この職業のほうが広い |
| L1315 | Documentariste | この職業のほうが広い |
| L1512 | Régisseur / Régisseuse de spectacles | この職業のほうが広い |
| L1307 | Assistant / Assistante mise en scène | この職業のほうが広い暫定 |
| L1309 | Coordinateur / Coordinatrice d'intimité | この職業のほうが広い暫定 |
| L1318 | Scripte de programmes audiovisuels | この職業のほうが広い暫定 |
| E1415 | Directeur / Directrice de la production publicitaire | 関連（対応ではない） |
| L1526 | Régisseur / Régisseuse de scène | 関連（対応ではない） |
| L1310 | Directeur / Directrice de salle de spectacles | 関連（対応ではない）暫定 |
| L1319 | Directeur / Directrice artistique éditions de musique et phonographique | 関連（対応ではない）暫定 |
Source: France Travail — Répertoire Opérationnel des Métiers et des Emplois (ROME 4.0), version 61, last updated 15 June 2026 (https://www.data.gouv.fr/datasets/repertoire-operationnel-des-metiers-et-des-emplois-rome). Licence Ouverte 2.0.
ROME codes and titles are reproduced unchanged; the links to O*NET-SOC occupations are AI Changing Work's own judgment and are not a France Travail correspondence.
(AI Changing Work link release: fr-direct v1)
スペイン職業分類との対応（CNO-11）
この職業と CNO-11 の職業との対応で、AI Changing Work が AI モデルを用いて判定したものです。関係はこの職業の側から読みます。
| CNO-11 コード | CNO-11 名称（スペイン語） | 関係 |
|---|---|---|
| 2934 | Directores de cine, de teatro y afines | 範囲が同じ |
Source: Instituto Nacional de Estadística (INE), National Classification of Occupations 2011 (CNO-11, Royal Decree 1591/2010) — www.ine.es · Licensed CC BY 4.0. CNO-11 codes and Spanish titles are reproduced unchanged; the links to O*NET occupations are AI Changing Work's own judgment and are not an INE correspondence.
(AI Changing Work link release: es-direct v1)
ドイツ職業分類との対応（KldB）
この職業と KldB の職業との対応で、AI Changing Work が AI モデルを用いて判定したものです。関係はこの職業の側から読みます。
| KldB コード | KldB 名称（ドイツ語） | 関係 |
|---|---|---|
| 94403 | Berufe in der Theater-, Film- und Fernsehproduktion (ohne Spezialisierung) - komplexe Spezialistentätigkeiten | この職業のほうが広い |
| 94414 | Berufe in der Regie - hoch komplexe Tätigkeiten | この職業のほうが広い |
| 94413 | Berufe in der Regie - komplexe Spezialistentätigkeiten | この職業のほうが広い暫定 |
| 94493 | Aufsichtskräfte - Theater-, Film- und Fernsehproduktion | この職業のほうが広い暫定 |
| 94404 | Berufe in der Theater-, Film- und Fernsehproduktion (ohne Spezialisierung) - hoch komplexe Tätigkeiten | 重なるが同じではない |
| 92303 | Verlags- und Medienkaufleute (ohne Spezialisierung) - komplexe Spezialistentätigkeiten | 関連（対応ではない）暫定 |
| 92304 | Verlags- und Medienkaufleute (ohne Spezialisierung) - hoch komplexe Tätigkeiten | 関連（対応ではない）暫定 |
| 94402 | Berufe in der Theater-, Film- und Fernsehproduktion (ohne Spezialisierung) - fachlich ausgerichtete Tätigkeiten | 関連（対応ではない）暫定 |
| 94494 | Führungskräfte - Theater-, Film- und Fernsehproduktion | 関連（対応ではない）暫定 |
Source: © Statistik der Bundesagentur für Arbeit — Klassifikation der Berufe 2010 – überarbeitete Fassung 2020, https://statistik.arbeitsagentur.de. KldB codes and titles are reproduced unchanged; the links to O*NET occupations are AI Changing Work's own mapping (eigene Zuordnung) and are not a Bundesagentur für Arbeit correspondence.
(AI Changing Work link release: de-direct v1)
日本職業分類との対応（JSCO）
この職業と JSCO の職業との対応で、AI Changing Work が AI モデルを用いて判定したものです。関係はこの職業の側から読みます。
| JSCO コード | JSCO 名称（日本語） | 関係 |
|---|---|---|
| 234 | 演出家 | この職業のほうが狭い |
Source: Ministry of Internal Affairs and Communications (MIC), Japan Standard Occupational Classification (Dec. 2009, MIC Notification No. 555). JSCO codes and Japanese titles are reproduced unchanged; the links to O*NET occupations are AI Changing Work's own judgment and are not a MIC correspondence.
(AI Changing Work link release: jp-direct v1)
このページのデータの出典・ライセンスと AI Changing Work による改変・翻訳の告知：クレジットと出典