LINE PRODUCER, THE DIARY OF A CEO
COMPANY: FLIGHTSTORY
THE SHOW: THE DIARY OF A CEO
REPORTS TO: HEAD OF PRODUCTION OPERATIONS
DIRECT REPORTS: PRODUCTION MANAGER (AND PRODUCTION ASSISTANT, WHERE APPLICABLE); DAY-OF CREW

The Line Producer owns the craft and cost of every DOAC production worldwide - holding the quality bar on crew and vendors, owning shoot-level budgets, and resolving day-to-day production problems independently across markets - so that the Head of Production Operations is freed from the production floor to build and scale the team and lead the show's creative development.

The role sits between the Head of Production Operations and the Production Manager. It carries a high level of operational responsibility and exercises taste and judgment on matters of quality and spend, while the Production Manager executes logistics and coordination beneath it.

DOAC is a global production - recent shoots span Los Angeles, New York, Miami, Washington D.C., San Francisco, London, Cairo, and Singapore - and the Line Producer is accountable for production quality, budget, and crew across every location, whether running a shoot personally or directing local crews remotely.

The position is primarily engaged in non-manual work directly related to general business operations, including production strategy, budgeting, vendor and crew selection, and process design. The role requires the exercise of discretion and independent judgment on matters of significance, including financial approvals, hiring and termination of crew and vendors, and production decision-making.
RESPONSIBILITY

1. Crew & Vendor Quality Bar

Select, book, and manage production crew including DPs/cam ops, Technical Directors set builders, sound mixers, prop masters, and one-off specialists, holding the craft standard on who works on DOAC
Maintain and evolve a high-quality crew and vendor roster, and exercise the taste to judge an unknown one cold
Enforce vendor cost transparency as a non-negotiable - no multi-layer markup without a clear breakdown in writing
Hold crew and vendors accountable for delivery against DOAC's technical and editorial standards

2. Production Budgeting & Financial Management

Build, manage, and approve per-shoot production budgets within agreed authority limits
Forecast spend and flag overruns before they land, not after
Make decisions on cost allocation, trade-offs, and resource prioritisation at the production level
Partner with Finance on reconciliation, forecasting, and cost optimisation

3. Day-to-Day Production Problem-Solving

Act as the first and usually final escalation point for anything that breaks on a production
Resolve complex production challenges - studio build snags, domestic and international shoot logistics, guest curveballs, time-zone and travel complications - by balancing cost, schedule, and quality, without routine escalation to the Head of Production Operations
Own contingency planning so that productions absorb problems without missing delivery

4. Global Production Oversight

Own production quality, budget, and crew across all DOAC locations - recent shoots include Los Angeles, New York, Miami, Washington D.C., San Francisco, London, Cairo, and Singapore
Build and direct local crews and vendors in unfamiliar markets - source, vet, and hold the DOAC bar with talent the team has not worked with before
Maintain consistency of the show across geographies - ensure every shoot, wherever it happens, meets the same technical and editorial standard
Manage the realities of international production - time-zone coordination, travel and freight, local permits and compliance, equipment logistics, and currency and rate negotiation across markets

5. Floor Leadership & In-Studio Execution

Run the shoot day end-to-end across DOAC's technical setup (multi-camera, switcher, multi-format delivery)
Enforce the "neither seen nor heard" on-set operating doctrine
Ensure every guest's in-studio experience meets DOAC's elite bar, from arrival through wrap

6. Team Development & Mentorship

Manage and develop the Production Team - growing judgment, not just output - along a clear development path
Oversee delegation of coordination, scheduling, and administrative tasks to the Production Manager and PA

7. Process Design & Continuous Improvement

Own the design and evolution of production systems, tools, and infrastructure at the shoot level
Identify inefficiencies and implement workflow improvements that scale into repeatable playbooks
Introduce and evaluate new technologies, including AI tools, to enhance production performance
Contribute to DOAC's production experimentation engine - structured tests, metrics, decision gates

SCOPE BOUNDARY

A simple test governs the line between this role and the Production Manager: if a decision requires judgment about quality or money, it belongs to the Line Producer. If it is execution against a decision already made, it belongs to the Production Manager.

Department FlightStory Locations LA Studio Remote status Hybrid

FlightStory

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Line Producer, The Diary of a CEO