Pillars, and a calendar you can actually staff
A small set of content themes tied to what you sell or serve, then a calendar sized to the people, the approval time and the hours that genuinely exist rather than the ones on the plan.
Fractional Teammates · Creative & Content
A producer who runs your content engine part-time
Pillars, a calendar sized to real capacity, batch capture days, briefs the makers can work from, and a review chain with named owners. A senior producer from the OlDevs studio takes a set share of your week.
A senior specialist, not a junior placement You own the work and the accounts Reply within one business day
Call sheet - shoot day 2
Crew confirmed07:00Crew callDone
08:30Setup - studio ADone
10:00Hero shotsOn set
13:30Talent - product demoNext
16:00Wrap and backupPlanned
Shot list
Studio A - 4 setups
0116:9
Wide - studio A
024:5
Product on stand
031:1
Close crop hands
049:16
Talent to camera
42
Shots planned
2
Shoot days
11
Crew on call
What a content producer is
OlDevs fractional content producers run the machinery behind a content programme rather than writing every piece.The producer agrees your pillars, holds the calendar, and turns a scattered request queue into batch capture days: one planned morning of filming, photography and interviews that can supply weeks of material. They write the briefs writers, editors and designers work from, chase the assets nobody has sent, and run the approval chain a reviewed organisation depends on, from subject-matter check to legal to accessibility. They work in your tools, sit in your standups, and report weekly on what shipped and what slipped. It is a defined ongoing slice, not a project.
Key facts
- 01Engagement
- Ongoing weekly slice, quote-based
- 02Based in
- Vancouver, BC, working remotely
- 03Languages
- English and French
- 04Rhythm
- Weekly demo, replies in one business day
- 05Typical commitment
- 1–2 days a week
- 06Judged on
- Weeks of content banked · Approval cycle time · Calendar fill rate
Creative & Content
What the producer runs
What this teammate takes off your plate
Capture days planned to the half hour
Shot list, interview questions, kit, location, who is free when, and release forms signed on the day. One well-run morning can supply several weeks of video, photography and quotes.
Briefs the makers can work from
Audience, claim, evidence, format, length, search terms, deadline and who signs off, written before anyone starts. Ambiguity gets settled on paper instead of in the third round of revisions.
An approval chain with names and dates
Subject-matter expert, compliance or legal, accessibility, publish: each step with an owner and an agreed turnaround, and a record of who approved what and when they approved it.
A board your whole team can read
Production tracked in your own tools, so every piece has a state, an owner and a date, and anyone can see what is filming, drafting, in review or live without asking the producer.
Assets that are accessible and reused
Captions, transcripts, alt text and readable structure treated as part of the deliverable to WCAG 2.2 AA, then each piece cut into the formats your channels need instead of published once.
Benefits
How a producer changes what you publish
01
Someone senior decides what gets made
The calls that shape a quarter, what to drop, whose story leads, when a deadline is not real, come from a producer who has run programmes before. A weekly calendar rarely keeps that seniority occupied full-time.
02
Other teams can plan around your dates
Sales, events and partnerships stop asking when the case study or the conference film will land, because publication dates sit far enough ahead to build a campaign, an email or an invitation around them.
03
One production day feeds the quarter
Crew, location and contributors are booked once against a planned list, so a single day yields the film, the photography and the written pieces, rather than three separate scrambles for people who are hard to get.
04
Internal requests stop jumping the queue
The chief executive's idea and the sales team's urgent one-pager land in the same visible list, are weighed against the agreed pillars, and get scheduled or declined with a reason, so priority stops tracking who asked loudest.
05
A back catalogue you can actually use
Footage, photography and interviews are catalogued with what they show and what they may be used for, so next year's campaign starts in the archive rather than with another shoot for material you already own.
06
The programme survives a change of hands
Pillars, briefs and the calendar live in your systems, and the footage, accounts and licences stay in your name throughout. If the producer changes, or you hire, the next person inherits a running programme rather than guesswork.
How it works
How the producer gets going
A call about where work stalls
What you publish now, who signs it off, and the point in the chain where things stop moving. If a fractional producer is the wrong answer to that, we say so on the call.
Scope and quote in writing
The slice of the week, the channels covered, the first ninety days, and what we need from your team. Every engagement is quoted against your situation, never templated.
A year of your content, then one working session
The producer reads what you published and what it did, then runs a single session with the people who hold sign-off to agree pillars, audiences and the review chain.
First calendar, first capture day
Inside the first month you get a dated calendar and one batch capture day, so there is finished material on the table rather than a second strategy document.
Chairing the weekly rhythm
The producer joins your standup, chairs the editorial meeting and demos what shipped, what slipped and why. Messages get a reply within one business day, on your channel.
Who it's for
Who this suits, and who it does not
This works when content demand is real and steady but does not yet justify a full-time producer, and when the bottleneck is planning and approvals rather than talent.
Organisations that publish under review
Health, finance, legal and public bodies where every claim is checked. You need somebody who treats sign-off as a scheduled step in production, not an obstacle to route around.
Teams sitting on raw material with no schedule
Hours of footage, a photo library, experts full of opinions, and nothing coming out on a date anyone can predict. The gap is production management, not more shooting.
Member associations with a fixed calendar
Newsletters, member stories, conference coverage and the annual report land on the same dates every year, currently spread across staff and volunteers who each have another job first.
Marketing teams of one to five
Already stretched across ads, email and events, with nobody whose actual job is deciding what gets made, briefing it, and getting it published on a schedule.
12+
Years of studio experience since 2014
1–2
Typical commitment — 1–2 days a week
EN/FR
Languages this engagement can be delivered in
Other fractional roles
Often paired with
01
Content Writer & Copywriter
Landing pages, product pages, ads, emails and long-form articles, written by one senior person who learns how your organisation actually talks.
Explore02Video Editor
One shoot becomes the website film, the vertical cuts, the ad variants and the internal version.
Explore03Social Media Manager
Content pillars, the calendar, publishing and community management, run to a rhythm your team can see.
ExploreFAQ
Questions buyers ask before they commit
They run the engine rather than write every word. A typical week: hold the calendar, brief the writers and editors due that week, chase the assets and approvals nobody has sent, prepare the next capture day, move pieces through review, publish what is cleared, and report at the weekly demo on what shipped, what slipped and why.
The producer briefs, directs and edits; specialists make the work. That can be writers, designers, video editors and motion designers from the OlDevs team, your own staff, or the freelancers you already use. The producer is the constant, so the schedule and the standard do not depend on who is holding the camera in a given month.
A run of day, a shot list, interview questions sent in advance, and a location booked. From you: the people, on time, and someone with the authority to make a call when the schedule slips. Release forms are signed before anyone is filmed, and consent is recorded against the footage so the archive stays usable later.
A second producer at the studio is briefed on your account and covers holidays, illness and peak weeks, so the calendar and the weekly demo continue. Because the pillars, briefs and review chain are written down in your systems, cover does not mean starting again. We work in English and French, including bilingual capture days and captions in both.
A hire gives you full-time presence and builds internal knowledge, and at high volume that is the better answer. An agency brings a campaign team but runs its own process in its own tools. A fractional producer puts senior judgement inside your rituals for a defined slice, and leaves the pillars, calendar and review chain behind as documents you own.
When you publish reactively every day and need somebody on site, hire. When the work is one launch film or one website, buy the project. And when nobody internally can approve anything, a producer will spend the slice chasing people rather than making work, so fix the approval owner first, whoever you engage.
Let’s connect
Let’s talk about the content producer gap.
Tell us what is not getting done and roughly how much of a week it needs. We’ll reply within one business day with who would cover it and a tailored quote — no obligation.