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

ABOUT FLIGHTSTORY

We are a media and investment company, and we are on a mission to elevate the stories, build the communities, and support the founders that inspire a happier, healthier humanity. We scale creator-led media, ventures and communities.

MISSION

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.