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    Home » DGA Five-Year Study of First-Time Directors in Episodic Television Shows Women and Minority Directors Face Significant Hiring Disadvantage at Entry Level

    DGA Five-Year Study of First-Time Directors in Episodic Television Shows Women and Minority Directors Face Significant Hiring Disadvantage at Entry Level

    By SPWThursday, January 8, 2015Updated:Tuesday, May 14, 2024No Comments2491 Views
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    82% of first-time Episodic Directors are Male; 87% are Caucasian

    LOS ANGELES -- (SPW) --

    The Directors Guild of America today issued the results of a five-year analysis of the gender and ethnic diversity of first-time directors on scripted series.

    In the five-year period studied (2009-2010 through 2013-2014 television seasons), 479 directors received their first assignment in episodic television. The study revealed that 82% of all first-time episodic directors during the five-year span examined were male and only 18% were female; 87% were Caucasian and only 13% were Minority directors.

    These figures indicate that, despite the fact that the hiring of first-time episodic directors is a significant area of opportunity to broaden the diversity of the directing hiring pool, those with responsibility for hiring are repeating old hiring patterns and perpetuating the status quo that overwhelmingly favors directors who are white males.

    “There’s a big opportunity here for those in charge of hiring to make a difference – but they’re not. Without change at the entry level – where women and minority directors get their first directing assignment – it’ll be status quo from here to eternity,” said DGA President Paris Barclay. “Every director needs a first shot to break into the business – and what this report reveals is that studios, networks and executive producers need to challenge their own hiring practices and offer talented women and minority directors the same opportunities they are giving white males.”

    Writers made up 28% of the first-time episodic director pool; actors made up 18%; assistant directors/unit production managers comprised 10%; cinematographers/camera operators were 8%; editors totaled 5%; other crew made up 5%; and non-writing producers were 1%. The remainder of the group was made up of people who had previously directed in other genres including independent film, new media, commercials, music videos, student films and documentaries.

    “Look, the data makes it clear. Even when hiring first-timers, the studios and executive producers are making choices that show they don’t actively support diversity hiring,” said Betty Thomas, DGA First Vice-President and Co-Chair of the DGA’s Diversity Task Force. “First-time TV directors are new to the game and come from all areas of the industry including film school – so why is a woman or minority any less qualified than anybody else? It seems clearer than ever that we need to see different points of view. Most of the industry claims to want a more diversified directing workforce – here’s their chance. It could all start here.”

    This is the first in a series of DGA reports analyzing multiple aspects of the hiring practices for first-time episodic directors.

    The DGA compiled the statistics for this report based on data from the 2009-2010 – 2013-2014 television seasons. The data excludes pilots. In cases where a first-time episodic director could have been assigned to more than one previous employment category, the DGA placed the director in the category for which he or she is most well-known. All figures were rounded to the nearest percentage. The DGA’s most recent annual report on overall episodic director hiring was issued in September 2014 for the 2013-14 season and can be found at http://www.dga.org/News/PressReleases/2014/140917-Episodic-Director-Diversity-Report.aspx.

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    SPW Category:Industry Research
    Tags:mentorship and diversity programDGADirectors Guild of America



    Boris FX Continuum Pairs AI Precision and Advanced Creative Controls

    Thursday, May 14, 2026
    Boris FX Continuum 2026.5

    Boris FX Continuum, the acclaimed visual effects plugin collection, introduces its 2026.5 release. The latest version of the Emmy Award-winning software delivers a new AI deinterlace tool, four updated AI models, a new compositing workflow in the FX Editor, overhauled warp and displacement effects, upgraded wipe transitions, and greater creative control in Particle Illusion. “As we continue to leverage internal AI technology to build new tools, we always keep the needs of Continuum’s editors, artists, and content creators at the forefront,” states Boris Yamnitsky, CEO and Founder of Boris FX. “We carefully choose which types of tasks benefit from AI workflows, such as image restoration and masking. Accordingly, the 2026.5 release adds a new deinterlace tool that uses AI to instantly transform archival, analog footage into progressive-scan frames and also includes more accurate models on our popular face segmentation and license plate masking tools, as well as our motion blur and up-res effects.” AI Tools Continuum’s AI-assisted capabilities grow with a new image restoration effect, updated masking, motion blur, and upres models, and additional flexibility.

    • BCC+ Deinterlace ML: Automatically, precisely converts interlaced video, including analog TV, VHS tapes, etc., into progressive-scan frames.
    • Updated AI Models: Improved accuracy on Face ML, License Plate ML, Motion Blur ML, and UpRes ML.
    • BCC+ Face ML: Adds new nose and neck segmentation.
    • BCC+ Motion Blur ML: Adds a prismatic colored blur trails feature.
    Continuum 2026.5 also features a new ML/AI model unload system. If an ML model isn’t... Read More

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