Producer. Executive. Builder.
John K. Corser
Emmy-winning producer, Co-Producer of Most (2003, an Academy Award-nominated short film), and Co-Founder & Chief Product Officer of FilmIQ.ai. Former Senior Vice President, Production & Production Technology at NBCUniversal / Universal Content Productions.Emmy-winning producer. Co-Producer of Most, an Academy Award-nominated short film. Former studio executive, now building the production intelligence layer the industry has always been missing.
Currently
Three decades producing, eight inside the studio. Now building what the studio needs.
At NBCUniversal / Universal Content Productions I was a production executive from 2016 and SVP of Production & Production Technology from 2020 to September 2024. I oversaw physical production across a simultaneous slate of scripted series, including Happy!, Nightflyers, Treadstone, The Resort, Queer As Folk, and Joe vs. Carole: budgeting, risk, safety, vendor selection, and the endless, invisible work of keeping quality on the screen when the numbers say everything is fine.
Before that, I built and ran Corser, Inc. from 1991, producing Verses & Flow on TV One, the BET 365Black Awards specials, and the Daytime Emmy-winning ABC web series What If…, plus features for Paramount, DreamWorks, Lionsgate and others. Thailand. Hungary. Colombia. Greece. The places where budgets actually meet the page.
Now I’m Co-Founder and Chief Product Officer of FilmIQ.ai, the production intelligence layer I wish I’d had every day of the last twenty years. I write, I speak, and I wrote Vertical Cinema, a book on the grammar of 9:16 filmmaking, published in August 2026. The through-line: operational clarity in service of better stories.
The build
Production Intelligence for film & television.
The way F1 has it for racing. FilmIQ ingests call sheets, DPRs, budgets and scripts in real time and gives producers, executives, bond companies and film commissions visibility they’ve never had. Operational drift is surfaced early, when something can still be done about it.
The premise is simple and, for the industry, new: shows rarely blow the budget. They quietly reduce the creative product to protect the budget. Everyone finishes “on schedule”; the show loses the version it was supposed to be. That’s the gap we close.
The work
The full credits live on IMDb.
Three decades of credits, from feature films for Paramount, DreamWorks, Universal and Lionsgate, to the scripted series slate at UCP / NBCUniversal. It’s better kept in one place, updated in real time.
Writing
Thought Leadership.
A running argument, published on Substack, about where stories actually leak value in the production pipeline, and what to do about it. New pieces most weeks.
The book · Out now
A new grammar for the screen in your hand.
9:16 is not a rotated 16:9. It’s a different medium with different rules: hooks in the first three seconds, intimacy over spectacle, stories built in 60–90 second segments that function as complete emotional units.
Vertical Cinema is a working field manual for producers, writers, directors and executives who want to treat 9:16 as craft rather than afterthought. Drawing on three decades in scripted production and fresh-from-the-field analysis of what actually works on ReelShort, DramaBox and YouTube Shorts, it’s the book I wanted on my desk five years ago and couldn’t find.
Speaking
On stage.
Keynotes, panels and roundtables on production technology, AI adoption, data-driven operations, and the economics of the modern slate. Booking open for 2026.
Recognition