Why agency employees leave and how to understand why
Creatives, planners and account teams leave for reasons beyond pay. How to run an exit conversation in an agency, spot patterns by account and act on them.
7 min readRead articleAn OTT content studio makes series and films for streaming platforms, and every episode is a chain of hand-offs from script to edit to delivery. Most people are on short engagements, so HR is about contracts, credits, crew welfare and keeping a core team between shows.

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Share your requirementsAn OTT content studio develops and produces series, films and short formats for streaming platforms. A small permanent core of creative producers, line producers, editors and accounts staff sits at the office, while writers, directors, camera and sound crews, art teams and actors join per project. Each episode has a platform-set delivery date, a technical specification and a round of notes, so schedules slip in the edit and delivery stage rather than on set. Shoot days run long, travel is common and show budgets are tight. Between shows the studio must keep the core team paid and busy. The wider HR for marketing and creative agencies page covers what creative businesses share.
These are the places the people side of this kind of business tends to give way. The rest of this page works through them.
HR here has to work for each of these groups, not only the office. The set-up below is written with all of them in mind.
GullyHR runs talent acquisition for permanent roles in OTT content studios. For each role we agree the job description with you, find and screen candidates against it, and support the offer through to joining. Tell us the role and the number of people, and we start there.
We recruit permanent employees. We do not supply contract or temporary staff.
Every business interviews, but few have a written process that works the same way for every role and every interviewer. GullyHR designs yours, from the role brief to the offer, trains your managers to run it, and can run it for you on the roles you hand us.
We agree what the role must deliver, the must-have and nice-to-have skills, and how each will be scored.
Screening call, assessment, interview rounds and decision points, sized to the role and the number of people you hire.
Structured questions for each role family and a rating guide, so two interviewers judge the same answer the same way.
A short briefing for your managers on what to ask, what to avoid and how to give a clear yes or no.
Who approves, how the offer is made, and how candidates are kept informed from first call to joining.
The studio rebuilds a team for every series, so lessons and working habits are lost between projects and the best freelancers get snapped up by others.
Overruns are paid unevenly, rest between calls is thin, and unhappy crew talk about it across a small industry.
Who wrote, directed or edited what, and who owns the result, is agreed by message in a hurry and argued about after release.
Late rounds of change keep editors and sound staff on long hours with no extra pay, and the core team burns out.
A gap between a wrap and the next green light leaves permanent staff unsure about their jobs and tempts them away.
Unreleased episodes pass through many laptops and drives, and people leave without handing back files or confirming confidentiality.
Long waits, night shoots and emotional scenes need rest, a trusted contact and records that guardians can see.
Platform instalments arrive late, so crew invoices wait, and good people refuse the next offer from a studio known to pay slowly.
Start with the topics that matter most here: Employee Administration; Retention and Attrition Management; Policies, Compliance and Governance. Then work through the rest. Each topic is written for marketing, advertising and creative, not in general.
Records, attendance, leave and the day-to-day HR that must simply work.
Who leaves, when, why — and which of them mattered.
Policies a manager can apply, and obligations with owners and dates.
How many people, in which roles, by when — and what they will cost.
Structure, reporting lines and who is allowed to decide what.
Requisition to joining, the same way every time.
A first day that is the same for the fifth joiner as the first.
Salary structure, payroll inputs and a month that closes on time.
Goals, reviews and ratings that hold up in a conversation.
Training planned from need rather than from the calendar.
Named backups for the roles that cannot be vacant.
Communication, recognition and the conditions people actually work in.
Two routes — one for complaints, one for conduct — kept separate.
Induction, records, incident reporting and follow-through.
Resignation to relieving letter, in a defined order.
Records that survive people, and approvals that do not queue.
A short monthly pack management actually reads.
An HR function that runs the same way every month.
The pieces a OTT content studios business puts in place, in an order that makes each easier. Open any card for the detail.
Writers, directors, crew and actors each get a plain letter with scope, dates, working hours, overtime rule, credit and payment dates, kept in the HR documentation process.
Writers, directors, crew and actors each get a plain letter with scope, dates, working hours, overtime rule, credit and payment dates, kept in the HR documentation process.
Decide which roles stay on the payroll between shows and what they do in the gap, such as development, pitching and archive work.
Decide which roles stay on the payroll between shows and what they do in the gap, such as development, pitching and archive work.
A simple daily sheet records call, meal breaks and wrap for every crew member, so overtime and rest are visible.
A simple daily sheet records call, meal breaks and wrap for every crew member, so overtime and rest are visible. The attendance and shift process shows the layout.
Each episode ends with a checklist of files, music licences, credits and sign-offs, so the next show does not start from zero.
Each episode ends with a checklist of files, music licences, credits and sign-offs, so the next show does not start from zero.
A short confidentiality undertaking at joining and a return-and-wipe check at exit, supported by the exit and offboarding process.
A short confidentiality undertaking at joining and a return-and-wipe check at exit, supported by the exit and offboarding process.
Payment dates are fixed per show and told at hiring, so crew know when the money comes and the producer sees cash needs early.
Payment dates are fixed per show and told at hiring, so crew know when the money comes and the producer sees cash needs early.
Before changing anything, find out what is true today. These checks take an afternoon and tell you which of the topics above to start with.
Share your requirementsConfirm with a qualified professional. What applies to you depends on your business, your state and your arrangements, and it changes. This page describes practice. It does not state a legal position.
The services below fit this kind of business best. Each starts by recording where you stand, and every later report compares against that. We do not promise outcomes.
Clear engagement letters and credit records so rights and pay are not argued after release.
Call and wrap logs that make overtime, rest days and travel visible on every shoot.
A bench of trusted crew and editors per department, so each new show starts with known names.
A handback routine for files, drives and access so unreleased work stays safe.
Start with a free conversation, or see the paid HR Diagnostic.
Understand the business, its workforce, current processes and HR challenges.
Find the missing, weak, inconsistent or person-dependent processes.
Create the structure, processes, policies, SOPs, dashboards and systems needed.
Help HR and department managers actually adopt the new system.
Digitise repetitive and approval-based workflows where it is worth doing.
Track hiring, attendance, employee cost, performance, training and attrition.
Strengthen the people-management system continuously, not once.
From the GullyHR blog: one on HR in marketing, advertising and creative, and one on each of the topics this page points to.

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It depends on how the person works, how long they stay and how much control you have. Decide role by role and confirm the classification with a qualified professional.
Offer a steady core role with development or archive work in the gap, and tell people early when the next greenlight is expected.
Role, dates, daily hours, overtime rule, credit, payment dates, confidentiality and what happens if the schedule changes.
Limit who holds files, log copies, ask for a signed undertaking and run a return-and-wipe check when anyone leaves.
Yes. Call and wrap logs, planned rest between calls and a named welfare contact on set reduce complaints and make overtime easy to pay.
We would ask how crew are engaged, how many days overran on your last shoot and what the core team does between shows. A good first project is the engagement letters plus call and wrap logs. Scope is written down for you to accept or change.
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