Producer (Film/TV/Digital/Live)

What you'll do

You turn production experience into test material. Each task simulates a real production-office problem: a budget that no longer reconciles, a schedule that has to move, a vendor or crew conflict that has to be resolved under several constraints at once. You source or build the artifacts that make it feel real (budgets, contracts, call sheets, delivery schedules, crew assignments) and define the correct decisions and solution.

Then you write the grading rubric, and the ad is specific that these run to 35 or more criteria. That is the heavy lifting: a rubric at that depth has to capture whether the model got the right answer and also whether it weighed the right trade-offs between time, cost and people. Everything is documented in precise written English so it can stand up to technical review.

The project team iterates with you on task design, and your judgment on what real productions actually struggle with is what keeps the benchmark honest.

Who fits

• 5+ years of credited experience producing film, television, digital or live events
• Direct responsibility for production budgets, call sheets and contracts
• A record of coordinating vendors and crew under tight time, cost and resource limits
• Strong written documentation skills
• Experience writing or using multi-criteria rubrics or assessment tools
• Comfort working alone in a remote, asynchronous setup

Line producers, production managers and UPMs will recognise the work more readily than creative producers whose focus is development.

What it pays

$45–85/hour, but compensation is output-based: you are paid per task that meets the project specifications, with a weekly minimum number of submissions (the ad does not say how many). The hourly band is an equivalent, so a slow first rubric costs you. No acceptance rate is published.

Start timeline

micro1 says it typically fills these roles within 48 hours and expects selected producers to start their first tasks within 24–48 hours of finishing onboarding.

Worth knowing

Good:

• Fifty openings, flagged high demand
• Uses the unglamorous core of production (budgets, paperwork, logistics) that rarely gets valued outside the industry
• Remote and asynchronous, which fits between shoots
• Covers film, TV, digital and live events alike

Less good:

• Per-task pay: unaccepted work is unpaid
• A weekly submission minimum, number unpublished
• 35-criterion rubrics are slow, exacting work
• Building authentic artifacts may tempt you to reuse real documents; keep anything confidential from past productions out of it
• Contractor engagement: no benefits, no notice period, your own tax to manage

About this listing

Posted by micro1 on its own jobs portal and read on 24 September 2026, nine days after it went up. The $45–85/hour band, the compensation and start paragraphs, fifty openings and the qualifications above are its published text. The ad mentions default screening questions but does not list them. No country restriction is stated. See micro1.