Jobs

production operations & scheduling

• Own the media production calendar across all active client projects, balancing shoot dates, post-production capacity, and delivery deadlines.
• Assign and schedule the media team (field producer, shooters, editors) to shoots and post-production work.
• Set post-production timelines and deadlines in consultation with the Post-Production Supervisor, then keep post-production on schedule against them.
• Manage studio bookings, including scheduling, conflicts, and availability.
• Own pre-production: locations, travel, crew call times, interview scheduling, call sheets, production schedules, and talent and location releases.
• Receive the post-production brief from the Post-Production Supervisor and pass it to the field producer and any freelance producer before each shoot.
• Write and maintain the standard on-set request responses used by all field producers, staff and freelance.
• Coordinate with the Director of Photography on equipment needs and rentals for scheduled shoots.
• Track every media project against its timeline, flagging risks early and resolving scheduling conflicts before they become missed deadlines.
• Keep media production workflows documented and consistent so projects run the same way regardless of who is on them.
• Send a weekly project status report, including post-production status and budget-to-actual for each project, to the Heads of Operations for both Creative and TechOps.

client communication

• Serve as the primary day-to-day client contact on media projects, covering schedules, logistics, approvals, and revision rounds.
• Bring in the Client Experience Manager at key milestones and in special circumstances.
• Keep clients proactively informed on project status so they’re never left wondering where things stand.
• Prepare clients and interview subjects for shoots, including what to expect, who will be there, and how to get ready.
• Route scope and budget concerns to the account team.
• Represent Infomedia’s voice in every interaction: honest, collaborative, and detail-oriented.

freelance & vendor management

• Build and maintain a bench of vetted freelance producers and crew in Birmingham and across the Southeast.
• Decide when a project needs a full freelance producer, then source, book, and onboard them.
• Book freelance editors and finishing specialists recommended by the Post-Production Supervisor, and handle their agreements.
• Manage freelancers day-to-day, covering briefs, schedules, deliverables, and expectations.
• Vet freelance producers for fit with both the story and the client, with Creative Director approval on high-profile projects.
• Manage freelancer agreements, and coordinate with billing on freelancer invoicing.
• Manage production vendors, including rentals, locations, and other production services.
• Evaluate freelancer performance after each project to keep the bench strong.

estimating & budget

• Partner with sales and account management to scope media projects and build estimates covering crew days, freelance producers, rentals, travel, and post-production hours.
• Keep current knowledge of freelance rates, rental costs, and internal production costs so estimates are accurate.
• Own each media project’s budget once sold, tracking budget-to-actual from kickoff through delivery.
• Manage freelance and vendor spending against project budgets.
• Identify scope creep early and flag it to the account team for change orders.
• Report on project profitability at close-out.

field production

• Lead the shoot on set as the producer in charge, executing the shoot plan built in pre-production. When a full producer is attached, support the full producer’s lead.
• Review the post-production brief before each shoot, and make sure every must-have in it gets captured.
• Conduct on-camera interviews, following the story plan shaped in pre-production.
• Serve as the client’s point person on set.
• Direct the crew to keep the shoot on schedule and on the shot list.
• Track story beats and the shot list in real time, and adapt within the plan when conditions change.
• Collect signed talent and location releases on set.
• When a client requests something new on set, assess it against the day’s schedule, then use the Studio Manager’s standard responses:
  • If the schedule allows: capture it, and let the client know the assets will be delivered separately once the details are worked out with the Studio Manager.
  • If it doesn’t: let the client know the day’s schedule won’t allow it, and that the Studio Manager will follow up to schedule another time to capture the request

shoot report

• Deliver a full write-up of each shoot day to the Studio Manager within 24 hours, who shares it with the team. It covers notes about the day, how the crew operated, how the client interaction went, story beats that hit or missed, additions to the shot list, and any planned coverage that couldn’t be captured

working with infomedia

• Work from the shoot plan, post-production brief, and call sheet provided by the Studio Manager.
• Attend pre-production meetings when requested. Attendance isn’t required unless the freelance agreement states otherwise.
• Follow Infomedia’s on-set standards and processes, including the shoot report format and the 24-hour deadline.
• Represent Infomedia on set. The client relationship belongs to Infomedia, so all follow-up and client correspondence after the shoot go through the Studio Manager.
• Coordinate booking, agreements, and invoicing through the Studio Manager and billing.