By Frank Macek
Walk into any newsroom today like WKYC, and you’ll likely find a familiar scene: a news producer juggling scripts, timing out live elements, coordinating with reporters in the field, updating rundowns—and, increasingly, triggering automation commands, punching live shots, cueing graphics, and managing tech workflows in real-time. In many markets, the days of a dedicated director or technical director operating behind the glass are becoming rare, replaced by a one-size-fits-all philosophy: if the system can be automated, the producer can run it.
But just because the technology can allow producers to control more of the technical process doesn't mean they should. We’re reaching a critical moment in broadcast news where we need to seriously re-evaluate the role of the producer. If the future of news is going to be faster, smarter, and more responsive, producers must be freed to focus on what they were hired to do: produce.
Let’s be clear—producing is not just “stacking a show.” A strong producer is part journalist, part strategist, and part conductor. They’re responsible for the editorial direction, the story flow, the pacing, the writing, and the tone of a newscast. They make minute-by-minute calls about what leads, what gets dropped, what quote moves the story, and how breaking news gets folded in without losing the viewer’s trust or attention. It’s a role that demands constant awareness, strong news judgment, and fast reflexes.
Yet many newsrooms today have allowed—or in some cases, forced—the producer role to absorb duties that were once delegated to other trained professionals. As broadcast workflows evolved to incorporate systems like Sony ELC, Ross OverDrive, and Grass Valley Ignite, the operational logic shifted from collaboration to consolidation. These systems are designed for efficiency, but efficiency at the cost of creative and editorial depth is a dangerous trade-off.
When we require producers to trigger automation cues, operate robotic cameras, set up IFB channels, and essentially direct the show from their chair, we rob them of their core mission: to produce compelling, clear, and meaningful content. It’s difficult to concentrate on crafting a powerful news tease or responding quickly to a developing story when you’re also monitoring whether the font on a lower-third graphic is rendering correctly or if a robotic camera hit its mark.
The argument in favor of consolidation is often budgetary: fewer people, more automation, lower costs. But what does it cost in quality? What does it cost in retention? The truth is, we’re burning out some of our most talented newsroom leaders by stretching them too thin. Producers are leaving the business—not because they don’t love storytelling, but because the job they signed up for has morphed into something completely different, something untenable.
And let’s talk about what we lose creatively.
When producers have room to breathe, they elevate the broadcast. They work more closely with anchors on tone and delivery. They finesse transitions between segments. They build thematic structure across A, B, and C blocks. They have time to pre-interview guests or give feedback on VO/SOT packages. These details matter. A technically flawless show that lacks editorial finesse is forgettable. A show with sharp writing, seamless transitions, and strong narrative vision is what keeps viewers engaged—and coming back.
The solution isn't to swing the pendulum back to old-school production models with bloated staffing. The solution is to redefine the division of labor in a way that maximizes both human creativity and technological advancement. Let automation handle repetitive tasks. Let trained directors and operators manage the control room. And let producers focus on the content.
Some stations get this. They’re reinvesting in director positions or hiring hybrid TDs who can manage automation systems while still offering the support and backup producers need. Others are empowering producers by giving them editorial support staff—associate producers, digital producers, writers—so they can focus on bigger picture elements. These moves aren’t just about comfort; they’re about quality control.
It’s also about building a sustainable newsroom culture. When producers are set up to succeed, the newsroom runs better. Anchors are more confident because they’re supported. Reporters get better placement and promotion for their stories. Directors can focus on execution rather than last-minute improvisation. And newsroom morale improves because the product improves. It becomes a place where people feel proud of what goes on the air.
Furthermore, as the media landscape becomes more complex—with streaming platforms, OTT programming, and social-first content strategies—producers must now think across platforms. That means understanding not just the rundown, but how a story will live on digital, how it can be teased on social, how it might be expanded into a web article, or clipped for a vertical video post. This kind of strategic thinking is impossible if they’re too busy trying to troubleshoot why Camera 3 is stuck in preview.
The broadcast of the future must be lean—but smartly lean. Producers should not be IT specialists, robotic camera operators, or technical directors. Their role should be sacred, and we need to protect it accordingly.
There’s a reason we don’t ask reporters to edit their own video while they’re live in the field. There’s a reason we don’t ask anchors to format Chyron graphics between blocks. We recognize that those are distractions from their core job. So why do we treat producers differently?
Let’s be bold enough to design workflows that respect expertise. Let’s create automation systems that support—not replace—the artistry and instinct of a good producer. Let’s train support staff to handle the tech so producers can dive deeper into the editorial. And let’s stop telling ourselves that because we can consolidate jobs, we should.
Because if we don’t, we risk losing something bigger than just staff. We risk losing the soul of our storytelling. And in a world flooded with information, the value of thoughtful, well-produced news has never been more important.
Let producers produce. It’s not just a slogan—it’s a blueprint for the kind of newsroom the future deserves.
SOURCES AND ACKNOWLEDGMENTS
This commentary reflects personal industry insight and widely recognized trends in broadcast newsrooms. The following sources and tools provided contextual background for this editorial:
– Sony ELC, Ross OverDrive, Grass Valley Ignite: Examples of broadcast automation systems referenced for their impact on newsroom workflows.
– RTDNA Newsroom Surveys and Reports: Informing trends on producer workload, burnout, and editorial responsibilities.
– Industry coverage from TVNewsCheck, Broadcasting+Cable, and NewsTECHForum: Documenting evolving newsroom structures and the adoption of automation.
– NAB Show panel discussions and Bitcentral/Dalet white papers: Discussing the future of integrated, automated, and digital-first news production.
– Anecdotal experience from broadcast professionals across small to major market stations.
No proprietary data or internal documents were used in the creation of this piece. The views expressed are those of the author and reflect industry observations rather than direct attribution to any single source.
I welcome your feedback at fmacek@wkyc.com
