CUF01 Film, TV, Radio and Multimedia Training Package · CUFANM04A Produce layout drawings for animation..... 37 CUFANM05A Produce key drawings for animation ... CUFANM06A Produce

CUF01 Film, TV, Radio and MultimediaTraining Package

Volume 3 of 6

Version Number: 3Review Date: 30 May 2004

CUF01Film, TV, Radio and Multimedia Training Package

Competency Standards

Volume 3 of 6Film, Television, Radio, Multimedia Industry Training Package (Volume 3)

Volume 1 Overview, Qualifications Framework, Assessment Guidelines and CompetencyStandards

Volume 2 Competency Standards




This volume should not be used in isolation but in the context of the complete film, television,radio and multimedia training package.

The material contained within this volume is part of the endorsed component of the film,television, radio and multimedia training package endorsed by the National Training QualityCommittee in May 2001 and agreed by Ministers. This training package is to be reviewed by30 May 2004.

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004Title Page

Volume 3 of 6 Page 1 of 464©Commonwealth of Australia, 2003 Date Acquired from NTIS: 11 April 2007

CUF01 Film, TV, Radio and Multimedia Training Package© , 2003

This work has been produced with the assistance of funding provided by the CommonwealthGovernment through the Department of Education, Science and Training (DEST).

An individual may make a photocopy of all or part of the work for their personal use.

A Registered Training Organisation may make photocopies of all or part of the work for the teachingpurposes of that organisation, including for supply to its students provided that any consideration doesnot exceed the marginal cost of preparation, reproduction, assembly and delivery.

Except as permitted under the Copyright Act 1968, all other rights are reserved. Requests forpermission may be directed to:Department of Education, Science and Training16 Mort StreetCanberra ACT 2600Phone: (02) 6240 8111Website: www.dest.gov.au

This work is the result of wide consultations with Australian industry participants. It is a collaborativeview and does not necessarily represent the view of DEST or any specific body. For the sake ofbrevity it may omit factors which could be pertinent in particular cases.

While care has been taken in the preparation of this Training Package, DEST and the originaldeveloper do not warrant that any licensing or registration requirements specified here are eithercomplete or up-to-date for your State or Territory. DEST and the original developer do not accept anyliability for any damage or loss (including indirect and consequential loss) incurred by any person as aresult of relying on the information contained in this Training Package.

This Training Package should not be regarded as professional advice and it should not be relied uponin any important matter without obtaining appropriate advice relevant to your circumstances.Published by:

First published: 2001-05-01ISBN: 0 642 80075 8

Printed by:

AEShareNet Code: PPrint Version No: 3Release Date: 10/10/2005

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004Imprint Page


http://www.dest.gov.au

TABLE OF CONTENTS

Version Modification History............................................................................................................................... 5

Qualifications Framework.................................................................................................................................... 6

The Australian Qualifications Framework............................................................................................................6The qualifications at a glance ...........................................................................................................................10

Assessment Guidelines......................................................................................................................................13

Introduction........................................................................................................................................................13Assessment System Overview..........................................................................................................................13Australian Quality Training Framework Assessment Requirement................................................................... 13Pathways...........................................................................................................................................................14

Designing Assessment Tools............................................................................................................................ 17

Use of Assessment Tools..................................................................................................................................17Using Prepared Assessment Tools................................................................................................................... 17Developing Assessment Tools.......................................................................................................................... 17Conducting Assessment....................................................................................................................................17Access and Equity.............................................................................................................................................19Futher Sources of Information...........................................................................................................................20General Resources........................................................................................................................................... 20Assessment Resources.....................................................................................................................................20Assessment Tool Design and Conducting Assessment....................................................................................21Assessor Training..............................................................................................................................................21Assessment System Design and Management.................................................................................................21

Units

CUFANM01A Develop and implement designs for animation...........................................................................22CUFANM02A Coordinate the production of animation......................................................................................28CUFANM03A Produce storyboard for animation.............................................................................................. 33CUFANM04A Produce layout drawings for animation...................................................................................... 37CUFANM05A Produce key drawings for animation.......................................................................................... 41CUFANM06A Produce cleaned-up and in-betweened drawings...................................................................... 45CUFANM07A Produce traced, photocopied or scanned cels/frames............................................................... 50CUFANM08A Prepare and produce coloured cels/frames................................................................................54CUFANM09A Produce stop-motion animation (flat plane)................................................................................58CUFANM10A Produce stop-motion animation (modelling)............................................................................... 62CUFANM11A Produce artwork from live action reference................................................................................ 66CUFANM12A Prepare camera-ready animation............................................................................................... 70CUFANM13A Produce line image recordings for animation............................................................................. 74CUFBRD01A Communicate using a two way system.......................................................................................78CUFBRD02A Operate a telecine.......................................................................................................................81CUFBRD03A Capture broadcast material on tape for television transmission................................................. 85CUFBRD04A Dub video material for television transmission............................................................................90CUFBRD05A Compile material for broadcast transmission..............................................................................95CUFBRD06A Control the transmission of television material........................................................................... 99CUFBRD07A Operate transmission control.................................................................................................... 104CUFBRD08A Operate master control............................................................................................................. 108CUFBRD09A Call shots and cue sources for a television production.............................................................113CUFBRD10A Vision mix a multisource television production to tape or air.................................................... 118CUFCAM01A Set up and operate a basic video camera................................................................................ 122CUFCAM02A Develop and implement a camera plan.................................................................................... 127CUFCAM03A Compose camera shots and operate a camera....................................................................... 133CUFCAM04A Operate a camera under special conditions............................................................................. 143CUFCAM05A Pull focus.................................................................................................................................. 152CUFCAM06A Shoot television material in a multicamera environment.......................................................... 156CUFCAM07A Maintain battery power and video stocks for a shoot............................................................... 161CUFCAM08A Coordinate and load film stocks............................................................................................... 166CUFCAM09A Perform pre-shoot camera tests............................................................................................... 172CUFCAM10A Operate the clapperboard.........................................................................................................176CUFCAM11A Set up a camera....................................................................................................................... 179CUFCAM12A Rig camera cables....................................................................................................................186

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004Table of Contents


CUFCAM13A Rig camera supports and dollies.............................................................................................. 191CUFCAM14A Rig camera cranes................................................................................................................... 198CUFCAM15A Operate a moving camera support........................................................................................... 203CUFCOS01A Develop and implement costume designs................................................................................ 208CUFCOS02A Coordinate costume manufacture.............................................................................................215CUFCOS03A Realise costumes..................................................................................................................... 222CUFCOS05A Operate an off site wardrobe department................................................................................. 229CUFCOS06A Dress performers...................................................................................................................... 234CUFCOS07A Make character and period costumes.......................................................................................239CUFCOS08A Maintain costume continuity..................................................................................................... 251CUFCOS09A Make costumes.........................................................................................................................256CUFCOS4A Modify, repair and maintain costumes........................................................................................ 262CUFDRT01A Read and interpret the script.....................................................................................................266CUFDRT02A Conduct selection of the performers......................................................................................... 272CUFDRT03A Conduct rehearsals of the performers.......................................................................................276CUFDRT04A Direct the performers................................................................................................................ 282CUFDRT05A Direct the crew.......................................................................................................................... 288CUFDRT06A Collaborate with the editor to finalise the production................................................................ 293CUFDRT07A Devise camera coverage.......................................................................................................... 298CUFPRP01A Develop and implement props designs for the screen.............................................................. 303CUFPRP02A Coordinate props production.....................................................................................................312CUFPRP03A Make props for the screen........................................................................................................ 321CUFPRP04A Repair, maintain and alter props............................................................................................... 327CUFPRP05A Operate an off site props department....................................................................................... 332CUFPRP06A Dress the set and maintain props continuity............................................................................. 339CUFSCE01A Develop and implement scenic art designs for the screen........................................................345CUFSCE02A Coordinate scenic art production.............................................................................................. 354CUFSCE03A Prepare and prime scenic art cloths..........................................................................................362CUFSCE04A Produce scenic art for the screen............................................................................................. 367CUFSCE05A Repair, maintain and alter scenic art.........................................................................................374CUFSET01A Develop and implement set designs for the screen...................................................................379CUFSET02A Coordinate set production......................................................................................................... 387CUFSET03A Make sets for the screen........................................................................................................... 395CUFSET04A Repair, maintain and alter sets..................................................................................................401CUFSET05A Coordinate the transportation and assembly of sets................................................................. 407CUFSET06A Assemble and maintain the set during production.....................................................................414CUECOS2A Apply art finishing....................................................................................................................... 420CUECOS5A Make millinery.............................................................................................................................426CUECOS7A Construct hard and soft sculptured accessories, specialised costumes and costume jewellery431LMTPDCL03A Select and/or modify patterns or blocks.................................................................................. 444LMTPRCL11A Grade patterns........................................................................................................................ 450LMTPRCL12A Measure, lay-up and cut custom made garments................................................................... 455LMTPRCL14A Assemble/fit custom made/bespoke garments....................................................................... 460

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004Table of Contents


Version Modification HistoryThe version details of this endorsed Training Package are in the table below. The latest information isat the top of the table.

Version Release Date Comments

3 10/10/2005 CUSSOU24A Edit sound using computerised digitalequipment/systems replaces CUSSOU12A.

2.00 09/12/03 Changes made within Certificate IV and Diploma of Makeup,new unit added to replace unit in Group B and C respectively.

2.00 20/11/03 Changes made within unit CUFPOP09A

2.00 17/01/03 Introduction of Diploma of Broadcasting CUF50501, unitsadded to Diploma bank plus unit title & code corrections

1.00 01/05/01 Primary Release

Forms control: All endorsed training packages will have a version number displayed on theimprint page of every volume constituting that training package. Every training package willdisplay an up-to-date copy of this modification history form, to be placed immediately after thecontents page of the first volume of the training package. Comments on changes will onlyshow sufficient detail to enable a user to identify the nature and location of the change.Changes to training packages will generally be batched at quarterly intervals. Thismodification history form will be included within any displayed sample of that training packageand will constitute all detail available to identify changes.

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004Version Modification History


Qualifications Framework

The Australian Qualifications Framework

What is the Australian Qualifications Framework?

A brief overview of the Australian Qualifications Framework (AQF) follows. For a full explanation of theAQF see the AQF Implementation Handbook, 3rd Edition 2002. You can download it from theAustralian Qualifications Advisory Board (AQFAB) website (www.aqf.edu.au) or obtain a hard copy bycontacting AQFAB on phone 03 9639 1606 or by emailing AQFAB on [email protected]

The AQF provides a comprehensive, nationally consistent framework for all qualifications inpost-compulsory education and training in Australia. In the vocational education and training (VET)sector it assists national consistency for all trainees, learners, employers and providers by enablingnational recognition of qualifications and Statements of Attainment.

Training Package qualifications in the VET sector must comply with the titles and guidelines of theAQF. Endorsed Training Packages provide a unique title for each AQF qualification which must alwaysbe reproduced accurately.

Qualifications

Training Packages can incorporate the following eight AQF qualifications.

• Certificate I in …• Certificate II in …• Certificate III in …• Certificate IV in …• Diploma of …• Advanced Diploma of …• Vocational Graduate Certificate of …• Vocational Graduate Diploma of …

On completion of the requirements defined in the Training Package, a Registered TrainingOrganisation (RTO) may issue a nationally recognised AQF qualification. Issuance of AQFqualifications must comply with the advice provided in the AQF Implementation Handbook and theAustralian Quality Training Framework Standards for Registered Training Organisations, particularlyStandard 10.

Statement of Attainment

Where an AQF qualification is partially achieved through the achievement of one or more endorsedunits of competency, an RTO may issue a Statement of Attainment. Issuance of Statements ofAttainment must comply with the advice provided in the AQF Implementation Handbook and theAustralian Quality Training Framework Standards for Registered Training Organisations, particularlyStandard 10.

Under the Standards for Registered Training Organisations, RTOs must recognise the achievement ofcompetencies as recorded on a qualification or Statement of Attainment issued by other RTOs. Giventhis, recognised competencies can progressively build towards a full AQF qualification.

AQF Guidelines and Learning Outcomes

The AQF Implementation Handbook provides a comprehensive guideline for each AQF qualification. Asummary of the learning outcome characteristics and their distinguishing features for each VET relatedAQF qualification is provided below.

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004Qualifications Framework


http://www.aqf.edu.au

Certificate ICharacteristics of Learning Outcomes

Breadth, depth and complexity of knowledge and skills would prepare a person to perform a definedrange of activities most of which may be routine and predictable.

Applications may include a variety of employment related skills including preparatory access andparticipation skills, broad-based induction skills and/or specific workplace skills. They may alsoinclude participation in a team or work group.

Distinguishing Features of Learning Outcomes

Do the competencies enable an individual with this qualification to:

• demonstrate knowledge by recall in a narrow range of areas;• demonstrate basic practical skills, such as the use of relevant tools;• perform a sequence of routine tasks given clear direction• receive and pass on messages/information.

Certificate IICharacteristics of Learning Outcomes

Breadth, depth and complexity of knowledge and skills would prepare a person to perform in arange of varied activities or knowledge application where there is a clearly defined range of contextsin which the choice of actions required is usually clear and there is limited complexity in the range ofoperations to be applied.

Performance of a prescribed range of functions involving known routines and procedures and someaccountability for the quality of outcomes.

Applications may include some complex or non-routine activities involving individual responsibility orautonomy and/or collaboration with others as part of a group or team.



• demonstrate basic operational knowledge in a moderate range of areas;• apply a defined range of skills;• apply known solutions to a limited range of predictable problems;• perform a range of tasks where choice between a limited range of options is required;• assess and record information from varied sources;• take limited responsibility for own outputs in work and learning.



Certificate IIICharacteristics of Learning Outcomes

Breadth, depth and complexity of knowledge and competencies would cover selecting, adapting andtransferring skills and knowledge to new environments and providing technical advice and someleadership in resolution of specified problems. This would be applied across a range of roles in avariety of contexts with some complexity in the extent and choice of options available.

Performance of a defined range of skilled operations, usually within a range of broader relatedactivities involving known routines, methods and procedures, where some discretion and judgementis required in the section of equipment, services or contingency measures and within known timeconstraints.

Applications may involve some responsibility for others. Participation in teams including group orteam co-ordination may be involved.



• demonstrate some relevant theoretical knowledge• apply a range of well-developed skills• apply known solutions to a variety of predictable problems• perform processes that require a range of well-developed skills where some discretion and

judgement is required• interpret available information, using discretion and judgement• take responsibility for own outputs in work and learning• take limited responsibility for the output of others.

Certificate IVCharacteristics of Learning Outcomes

Breadth, depth and complexity of knowledge and competencies would cover a broad range of variedactivities or application in a wider variety of contexts most of which are complex and non-routine.Leadership and guidance are involved when organising activities of self and others as well ascontributing to technical solutions of a non-routine or contingency nature.

Performance of a broad range of skilled applications including the requirement to evaluate andanalyse current practices, develop new criteria and procedures for performing current practices andprovision of some leadership and guidance to others in the application and planning of the skills.Applications involve responsibility for, and limited organisation of, others.



• demonstrate understanding of a broad knowledge base incorporating some theoreticalconcepts

• apply solutions to a defined range of unpredictable problems• identify and apply skill and knowledge areas to a wide variety of contexts, with depth in some

areas• identify, analyse and evaluate information from a variety of sources• take responsibility for own outputs in relation to specified quality standards• take limited responsibility for the quantity and quality of the output of others.



DiplomaCharacteristics of Learning Outcomes

Breadth, depth and complexity covering planning and initiation of alternative approaches to skills orknowledge applications across a broad range of technical and/or management requirements,evaluation and co-ordination.

The self directed application of knowledge and skills, with substantial depth in some areas wherejudgement is required in planning and selecting appropriate equipment, services and techniques forself and others.

Applications involve participation in development of strategic initiatives as well as personalresponsibility and autonomy in performing complex technical operations or organising others. It mayinclude participation in teams including teams concerned with planning and evaluation functions.Group or team co-ordination may be involved.

The degree of emphasis on breadth as against depth of knowledge and skills may vary betweenqualifications granted at this level.


Do the competencies or learning outcomes enable an individual with this qualification to:

• demonstrate understanding of a broad knowledge base incorporating theoretical concepts, withsubstantial depth in some areas

• analyse and plan approaches to technical problems or management requirements• transfer and apply theoretical concepts and/or technical or creative skills to a range of

situations• evaluate information, using it to forecast for planning or research purposes• take responsibility for own outputs in relation to broad quantity and quality parameters• take some responsibility for the achievement of group outcomes.



Advanced DiplomaCharacteristics of Learning Outcomes

Breadth, depth and complexity involving analysis, design, planning, execution and evaluation acrossa range of technical and/or management functions including development of new criteria orapplications or knowledge or procedures.

The application of a significant range of fundamental principles and complex techniques across awide and often unpredictable variety of contexts in relation to either varied or highly specificfunctions. Contribution to the development of a broad plan, budget or strategy is involved andaccountability and responsibility for self and others in achieving the outcomes is involved.

Applications involve significant judgement in planning, design, technical or leadership/guidancefunctions related to products, services, operations or procedures.

The degree of emphasis on breadth as against depth of knowledge and skills may vary betweenqualifications granted at this level.


Do the competencies or learning outcomes enable an individual with this qualification to:

• demonstrate understanding of specialised knowledge with depth in some areas• analyse, diagnose, design and execute judgements across a broad range of technical or

management functions• generate ideas through the analysis of information and concepts at an abstract level• demonstrate a command of wide-ranging, highly specialised technical, creative or conceptual

skills• demonstrate accountability for personal outputs within broad parameters• demonstrate accountability for personal and group outcomes within broad parameters.

The qualifications at a glance

There is one industry wide qualification and four sets of specialist qualifications in the nationalfilm, television, radio and multimedia industry training package. The specialist screenqualifications include further specialisations.

Industry wide

Certificate I in Media allows learners to develop basic skills in radio, video and multimedia andprovides an avenue for study which will articulate into higher level qualifications.

Screen (film and television)

This group of qualifications consists of five specialist areas:

• Screen production and design (including animation, digital imaging, internet, informationtechnology, camera, editing, special effects, sound, production planning and operations,and broadcast and studio operations)

• Art and construction (sets, props and scenic art)• Costume (costume making, costume development, management and supervision)• Make-up (including the provision of make-up and specialist services)• Laboratory (including performing processing duties within film processing laboratories

and the provision of specialist laboratory services)

Broadcasting (radio and television)

These qualifications cover a range of broadcasting skills including production/sound



production, operating broadcast facilities in geographically remote locations and managerialand executive duties.

Broadcast Engineering

These qualifications include performing specialist technical engineering functions and thedesign, planning and coordination of broadcast facilities.

Multimedia

These qualifications cover the full range of skills needed in multimedia applications.

Unit banks

There are unit banks for qualifications at all levels except Certificate I. In most cases the'elective' units specified for each qualification can be selected from the unit banks. The unitbanks follow the complete set of qualifications.

INDUSTRY WIDE BROADCASTENGINEERING

MULTIMEDIA BROADCASTING

(RADIO ANDTELEVISION)

Advanced diploma ofbroadcast engineering

Advanced diploma ofmultimedia

Advanced diploma ofbroadcasting

Diploma of broadcastengineering

Diploma ofmultimedia

Diploma ofbroadcasting

Certificate IV inmultimedia

Certificate IV inbroadcasting (radio)

Certificate IV inbroadcasting(television)

Certificate III inmultimedia

Certificate III inbroadcasting (radio)

Certificate III inbroadcasting(television)

Certificate III inbroadcasting

(remote areaoperations)

Certificate II inmultimedia

Certificate II inbroadcasting (radio)

Certificate II inbroadcasting(television)

Certificate I inmedia



SCREEN (FILM AND TELEVISION)

Screenproduction anddesign

Art andconstruction

Costume Make-up Laboratory

Advanceddiploma of screen

Diploma of screen Diploma of screen

(art andconstruction)

Diploma ofcostume

Diploma ofmake-up

Certificate IV inscreen



Certificate IV incostume

Certificate IV inmake-up


(laboratory)

Certificate III inscreen

Certificate III inscreen(laboratory)

Certificate II inscreen

Certificate II inscreen


Certificate II incostume



Assessment Guidelines

IntroductionThese Assessment Guidelines provide the endorsed framework for assessment of units ofcompetency in this Training Package. They are designed to ensure that assessment is consistent withthe Australian Quality Training Framework (AQTF) Standards for Registered Training Organisations.Assessments against the units of competency in this Training Package must be carried out inaccordance with these Assessment Guidelines.

Assessment System OverviewThis section provides an overview of the requirements for assessment when using this TrainingPackage, including a summary of the AQTF requirements; licensing/registration requirements; andassessment pathways.

Benchmarks for Assessment

Assessment within the National Training Framework is the process of collecting evidence and makingjudgements about whether competency has been achieved to confirm whether an individual canperform to the standards expected in the workplace, as expressed in the relevant endorsed unit ofcompetency.

In the areas of work covered by this Training Package, the endorsed units of competency are thebenchmarks for assessment. As such, they provide the basis for nationally recognised AustralianQualifications Framework (AQF) qualifications and Statements of Attainment issued by RegisteredTraining Organisations (RTOs).

Australian Quality Training Framework Assessment Requirements

Assessment leading to nationally recognised AQF qualifications and Statements of Attainment in thevocational education and training sector must meet the requirements of the AQTF as expressed in theStandards for Registered Training Organisations.

The Standards for Registered Training Organisations can be downloaded from the DEST website atwww.dest.gov.au or can be obtained in hard copy from DEST. The following points summarise theassessment requirements under the AQTF.

Registration of Training Organisations

Assessment must be conducted by, or on behalf of, an RTO formally registered by a State or TerritoryRegistering/Course Accrediting Body in accordance with the Standards for Registered TrainingOrganisations. The RTO must have the specific units of competency and/or AQF qualifications on itsscope of registration. See Section 1 of the Standards for Registered Training Organisations.

Quality Training and Assessment

Each RTO must have systems in place to plan for and provide quality training and assessment acrossall its operations. See Standard 1 of the Standards for Registered Training Organisations.

Assessor Competency Requirements

Each person involved in training, assessment or client service must be competent for the functionsthey perform. See Standard 7 of the Standards for Registered Training Organisations for assessorcompetency requirements. Standard 7 also specifies the competencies that must be held by trainers.

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004Assessment Guidelines


Assessment Requirements

The RTO's assessments must meet the requirements of the endorsed components of TrainingPackages within its scope of registration. See Standard 8 of the Standards for Registered TrainingOrganisations.

Assessment Strategies

Each RTO must identify, negotiate, plan and implement appropriate learning and assessmentstrategies to meet the needs of each of its clients. See Standard 9 of the Standards for RegisteredTraining Organisations.

Mutual Recognition

Each RTO must recognise the AQF qualifications and Statements of Attainment issued by any otherRTO. See Standard 5 of the Standards for Registered Training Organisations.

Access and Equity and Client Services

Each RTO must apply access and equity principles, provide timely and appropriate information, adviceand support services that assist clients to identify and achieve desired outcomes. This may includereasonable adjustment in assessment. See Standard 6 of the Standards for Registered TrainingOrganisations.

Partnership Arrangements

RTOs must have, and comply with, written agreements with each organisation providing trainingand/or assessment on its behalf. See Standard 1.6 of Standards for Registered TrainingOrganisations.

Recording Assessment Outcomes

Each RTO must have effective administration and records management procedures in place, andmust record AQF qualifications and Statements of Attainment issued. See Standards 4 and 10.2 of theStandards for Registered Training.

Issuing AQF Qualifications and Statement of Attainment

Each RTO must issue AQF qualifications and Statements of Attainment that meet the requirements ofthe AQF Implementation Handbook and the endorsed Training Packages within the scope of itsregistration. An AQF qualification is issued once the full requirements for a qualification, as specified inthe nationally endorsed Training Package are met. A Statement of Attainment is issued where theindividual is assessed as competent against fewer units of competency than required for an AQFqualification. See Standard 10 and Section 2 of the Standards for Registered Training Organisations.

PathwaysThe competencies in this Training Package may be attained in a number of ways including through:

• formal or informal education and training• experiences in the workplace• general life experience, and/or• any combination of the above.

Assessment under this Training Package leading to an AQF qualification or Statement of Attainmentmay follow a learning and assessment pathway, an assessment-only or recognition pathway, or acombination of the two as illustrated in the following diagram.



Each of these assessment pathways leads to full recognition of competencies held - the critical issueis that the candidate is competent, not how the competency was acquired.

Assessment, by any pathway, must comply with the assessment requirements set out in theStandards for Registered Training Organisations.

Learning and Assessment Pathways

Usually, learning and assessment are integrated, with assessment evidence being collected andfeedback provided to the candidate at anytime throughout the learning and assessment process.

Learning and assessment pathways may include structured programs in a variety of contexts using arange of strategies to meet different learner needs. Structured learning and assessment programscould be: group-based, work-based, project-based, self-paced, action learning-based; conducted bydistance or e-learning; and/or involve practice and experience in the workplace.

Learning and assessment pathways to suit New Apprenticeships have a mix of formal structuredtraining and structured workplace experience with formative assessment activities through whichcandidates can acquire and demonstrate skills and knowledge from the relevant units of competency.

Assessment-Only or Recognition of Prior Learning Pathway

Competencies already held by individuals can be formally assessed against the units of competency inthis Training Package, and should be recognised regardless of how, when or where they wereachieved.

In an assessment-only or Recognition of Prior Learning (RPL) pathway, the candidate providescurrent, quality evidence of their competency against the relevant unit of competency. This processmay be directed by the candidate and verified by the assessor, such as in the compilation of portfolios;or directed by the assessor, such as through observation of workplace performance and skillsapplication, and oral and/or written assessment. Where the outcomes of this process indicate that thecandidate is competent, structured training is not required. The RPL requirements of Standard 8.2 ofthe Standards for Registered Training Organisations must be met.

As with all assessment, the assessor must be confident that the evidence indicates that the candidateis currently competent against the endorsed unit of competency. This evidence may take a variety offorms and might include certification, references from past employers, testimonials from clients, andwork samples. The onus is on candidates to provide sufficient evidence to satisfy assessors that theycurrently hold the relevant competencies. In judging evidence, the assessor must ensure that theevidence of prior learning is:

• authentic (the candidate's own work)• valid (directly related to the current version of the relevant endorsed unit of competency)



• reliable (shows that the candidate consistently meets the endorsed unit of competency)• current (reflects the candidate's current capacity to perform the aspect of the work covered by the

endorsed unit of competency), and• sufficient (covers the full range of elements in the relevant unit of competency and addresses the

four dimensions of competency, namely task skills, task management skills, contingencymanagement skills, and job/role environment skills).

The assessment only or recognition of prior learning pathway is likely to be most appropriate in thefollowing scenarios:

• candidates enrolling in qualifications who want recognition for prior learning or currentcompetencies

• existing workers• individuals with overseas qualifications• recent migrants with established work histories• people returning to the workplace, and• people with disabilities or injuries requiring a change in career.

Combination of Pathways

Where candidates for assessment have gained competencies through work and life experience andgaps in their competence are identified, or where they require training in new areas, a combination ofpathways may be appropriate.

In such situations, the candidate may undertake an initial assessment to determine their currentcompetency. Once current competency is identified, a structured learning and assessment programensures that the candidate acquires the required additional competencies identified as gaps.

Assessor Requirements

This section identifies the mandatory competencies for assessors, and clarifies how others maycontribute to the assessment process where one person alone does not hold all the requiredcompetencies.

Assessor Competencies

The Standards for Registered Training Organisations specify mandatory competency requirements forassessors. For information, Standard 7.3 from the Standards for Registered Training Organisationsfollows:

7.3 a The RTO must ensure that assessments are conducted by a person who has:

i the following compentecies1 from the Training Package for Assessment andWorkplace Training, or demonstrated equivalent competencies:

a TAAASS401A Plan and organise assessment;b TAAASS402A Assess competence;c TAAASS404A Participate in assessment validation;

ii relevant vocational competencies, at least to the level being assessed.

b However, if a person does not have all of the competencies in Standards 7.3 a (i) andthe vocational competencies as defined in 7.3 a (ii), one person with the competencieslisted in Standard 7.3 a (i), and one or more persons who have the competencies listedin Standard 7.3 a (ii) may work together to conduct assessments.

1 A person who holds the competencies BSZ401A Plan assessment, BSZ402A Conduct assessment, and BSZ403A Reviewassessment from the Training Package for Assessment and Workplace Training will be accepted for the purposes of this standard. Aperson who has demonstrated equivalent competencies to BSZ401A and BSZ402A and BSZ403A in the period up to 12 monthsfollowing publication of the Training and Assessment Training Package will also be accepted for the purposes of this standard.



Designing Assessment ToolsThis section provides an overview on the use and development of assessment tools.

Use of Assessment ToolsAssessment tools provide a means of collecting the evidence that assessors use in makingjudgements about whether candidates have achieved competency.

There is no set format or process for the design, production or development of assessment tools.Assessors may use prepared assessment tools, such as those specifically developed to support thisTraining Package, or they may develop their own.

Using Prepared Assessment ToolsIf using prepared assessment tools, assessors should ensure these are benchmarked, or mapped,against the current version of the relevant unit of competency. This can be done by checking that thematerials are listed on the National Training Information Service (http://www.ntis.gov.au). Materials onthe list have been noted by the National Training Quality Council as meeting their quality criteria forTraining Package support materials.

Developing Assessment ToolsWhen developing assessment tools, assessors must ensure that they:

• are benchmarked against the relevant unit or units of competency• are reviewed as part of the validation of assessment strategies as required under 9.2 (i) of the

Standards for Registered Training Organisations• meet the assessment requirements expressed in the Standards for Registered Training

Organisations, particularly Standards 8 and 9.

A key reference for assessors developing assessment tools is TAA04 Training and AssessmentTraining Package and the unit of competency TAAASS403A Develop assessment tools. There is noset format or process for the design, production or development of assessment materials.

Conducting AssessmentThis section details the mandatory assessment requirements and provides information on equity inassessment including reasonable adjustment.

Mandatory Assessment Requirements

Assessments must meet the criteria set out in Standard 8 from the Standards for Registered TrainingOrganisations. For information, Standard 8 from the Standards for Registered Training Organisationsis reproduced below.



8 RTO Assessments

The RTO's assessments meet the requirements of the endorsed components of TrainingPackages and the outcomes specified in accredited courses within the scope of itsregistration.

8.1 The RTO must ensure that assessments (including RPL):

i. comply with the assessment guidelines included in the applicable nationallyendorsed Training Packages or the assessment requirements specified inaccredited courses;

ii. lead to the issuing of a statement of attainment or qualification under the AQFwhen a person is assessed as competent against nationally endorsed unit(s) ofcompetency in the applicable Training Package or modules specified in theapplicable accredited course;

iii. are valid, reliable, fair and flexible;

iv. provide for applicants to be informed of the context and purpose of theassessment and the assessment process;

v. where relevant, focus on the application of knowledge and skill to standard ofperformance required in the workplace and cover all aspects workplaceperformance, including task skills, task management skills, contingencymanagement skills and job role environment skills;

vi. involve the evaluation of sufficient evidence to enable judgements to be madeabout whether competency has been attained;

vii. provide for feedback to the applicant about the outcomes of the assessmentprocess and guidance on future options in relation to those outcomes;

viii. are equitable for all persons, taking account of individual needs relevant to theassessment; and

ix. provide for reassessment on appeal.

8.2 a The RTO must ensure that RPL is offered to all applicants on enrolment

b The RTO must have an RPL process that:

i. is structured to minimise the time and cost to applicants; andii. provides adequate information, support and opportunities for participants toengage in the RPL process.



Access and EquityAn individual's access to the assessment process should not be adversely affected by restrictionsplaced on the location or context of assessment beyond the requirements specified in this TrainingPackage.

Reasonable adjustments can be made to ensure equity in assessment for people with disabilities.Adjustments include any changes to the assessment process or context that meet the individual needsof the person with a disability, but do not change competency outcomes. Such adjustments areconsidered 'reasonable' if they do not impose an unjustifiable hardship on a training provider oremployer. When assessing people with disabilities, assessors are encouraged to apply good practiceassessment methods with sensitivity and flexibility.

Review and maintenance

CREATE Australia is responsible for monitoring and evaluating its effectiveness. This processwill be incorporated in the general review and maintenance of the training package.

Any review will ensure that the guidelines:

• continue to meet the requirements of the industry• are consistent with the ARF standards for RTOs and the relevant policies and

procedures of state/territory training recognition authorities• promote confidence in the system and the assessment outcomes on the part of industry,

employers, enterprises, unions, employees, trainees, assessors and trainers• ensure assessment processes and outcomes are valid, reliable, fair and flexible• support RTOs to effectively carry out their responsibilities



Further Sources of InformationThe section provides a listing of useful contacts and resources to assist assessors in planning,designing, conducting and reviewing of assessments against this Training Package.

Contacts

TVET Australia LtdLevel 21, 390 St Kilda RoadMELBOURNE VIC 3000PO Box 12211A’Beckectt Street Post OfficeMELBOURNE VIC 8006Telephone: (03) 9832 8100Fax: (03) 9832 8199Web: www.atpl.net.auEmail: [email protected]

Innovation and Business Industry Skills CouncilBuilding B, Level 2192 Burwood RoadHAWTHORN VIC 3122Telephone: (03) 9815 7000Fax: (03) 9815 7001Email: [email protected]

General ResourcesRefer to http://antapubs.dest.gov.au/publications/search.asp to locate the following ANTA publications.

AQF Implementation Handbook, third Edition. Australian Qualifications Framework Advisory Board,2002, aqf.edu.au

Australian Quality Training Framework (AQTF) - for general information go to:www.dest.gov.au/sectors

Australian Quality Training Framework (AQTF) - for resources and information go to:www.dest.gov.au

Australian Quality Training Framework Standards for Registered Training Organisations, AustralianNational Training Authority, Melbourne, 2005. Available in hard copy from State and Territory TrainingAuthorities or can be downloaded from www.dest.gov.au

TAA04 Training and Assessment Training Package. This is available from the Innovation andBusiness Skills Australia (IBSA) Industry Skills Council and can be viewed, and componentsdownloaded, from the National Training Information Service (NTIS). National Training InformationService, an electronic database providing comprehensive information about RTOs, Training Packagesand accredited courses – www.ntis.gov.au Style Guide for Training Package Support Materials,Australian National Training Authority, Melbourne, 2003. Can be downloaded from the ANTA page atwww.dest.gov.au

Assessment ResourcesTraining Package Assessment Guides - a range of resources to assist RTOs in developing TrainingPackage assessment materials developed by DEST with funding from the Department of Education,Training and Youth Affairs. It is made up of 10 separate titles, as described at the ANTA publicationspage of www.dest.gov.au. Go to www.resourcegenerator.gov.au/loadpage.asp?TPAG.htm

Printed and/or CD ROM versions of the Guides can be purchased from Australian Training Products(ATP). The resource includes the following guides:

1 Training Package Assessment Materials Kit



http://antapubs.dest.gov.au/publications/search.asp

aqf.edu.au

www.dest.gov.au/sectors

www.dest.gov.au

www.dest.gov.au

www.ntis.gov.au

www.dest.gov.au

www.dest.gov.au

http://www.resourcegenerator.gov.au/loadpage.asp?TPAG.htm

2 Assessing Competencies in Higher Qualifications3 Recognition Resource4 Kit to Support Assessor Training5 Candidate's Kit: Guide to Assessment in New Apprenticeships6 Assessment Approaches for Small Workplaces7 Assessment Using Partnership Arrangements8 Strategies for ensuring Consistency in Assessment9 Networking for Assessors10 Quality Assurance Guide for Assessment

An additional guide "Delivery and Assessment Strategies" has been developed to complement theseresources.

Assessment Tool Design and Conducting AssessmentVETASSESS & Western Australian Department of Training and Employment 2000, Designing Tests -Guidelines for designing knowledge based tests for Training Packages. Vocational Education andAssessment Centre 1997, Designing Workplace Assessment Tools, A self-directed learning program,NSW TAFE.

Manufacturing Learning Australia 2000, Assessment Solutions, Australian Training Products,Melbourne.

Rumsey, David 1994, Assessment practical guide, Australian Government Publishing Service,Canberra.

Assessor TrainingAustralian Committee on Training Curriculum (ACTRAC) 1994, Assessor training program - learningmaterials, Australian Training Products, Melbourne.

Australian National Training Authority, A Guide for Professional Development, ANTA, Brisbane.

Australian Training Products Ltd Assessment and Workplace Training, Training Package - Toolbox,ATPL Melbourne.

Green, M, et al. 1997, Key competencies professional development Package, Department forEducation and Children's Services, South Australia.

Victorian TAFE Association 2000, The professional development CD: A learning tool, VTA, Melbourne.

Assessment System Design and ManagementOffice of Training and Further Education 1998, Demonstrating best practice in VET project -assessment systems and processes, OTFE Victoria.

Toop, L., Gibb, J. & Worsnop, P. Assessment system designs, Australian Government PublishingService, Canberra.

Western Australia Department of Training and VETASSESS 1998, Kit for Skills RecognitionOrganisations, WADOT, Perth.



CUFANM01A Develop and implement designs foranimation

Unit Descriptor This unit describes the skills and knowledge required to interpret thecreative brief, develop and implement animation designs forproductions within the cultural industries.

Unit Sector No sector assigned

ELEMENT PERFORMANCE CRITERIA

1. Receive and interpret thebrief for animation design

1.1 Liaise with the relevant personnel and interpret andconfirm the animation requirements so that technical,production or script (programming) requirements are met

1.2 Participate in preliminary concept meetings to discuss theanimation requirements of the production

1.3 Identify the available budget for the production1.4 Identify the deadline for production and implementation of

the animation design

2. Breakdown scripts toproduce animation plan

2.1 Produce and maintain master script (text)breakdown/production schedule breakdown

2.2 Determine and document the required number and typesof animated elements for the use of all relevant personnelduring the design development

3. Generate and assessideas

3.1 Generate a range of ideas for the animation design whichrespond sympathetically to the brief and provide creativesolutions to the design issues

3.2 Assess ideas and collaborate, as required, with relevantpersonnel to ensure contribution of ideas to the initialconcept

3.3 Continuously reflect on and appraise ideas for implicationson cost, technical feasibility, and suitability to meet thebrief

CUF01 Film, TV, Radio and Multimedia Training Package (Version 3) To be reviewed by: 30 May 2004

CUFANM01A Develop and implement designs for animation

Volume 3 of 6, Unit 1 of 71 Page 22 of 464©Commonwealth of Australia, 2003 Date Acquired from NTIS: 11 April 2007

4. Conduct research andexperimentation

4.1 Research the period, style and genre of the production4.2 Identify the historical and cultural factors that might

influence animation styles and production techniques4.3 Undertake research into the style and location of the

production, materials and human resources necessary tofulfil the production requirements and their cost

4.4 Trial various techniques to test the suitability of their use inthe final production of the animation elements, including:

4.5 colour mixes4.6 textures4.7 materials4.8 Organise research and experimentation material for ease

of use of all relevant personnel during the designdevelopment process

4.9 Analyse and document research and experimentationfindings for use during the development of the animationdesign

4.10 Evaluate the initial concepts generated, against theresearch and experimentation findings

5. Develop and documentthe animation design

5.1 Establish or maintain an accessible recording system forthe use of all relevant personnel, to include:5.1.1 specialist services available for production of the

animation5.1.2 reference/research materials5.1.3 draft and final animation designs5.1.4 production details and specifications

5.2 Hold ongoing discussions with relevant personnel so thatadditional or changed production requirements and newideas are considered and incorporated during thedevelopment of the design

5.3 Ensure that agreement is reached with relevant personnelon a consistent interpretation of characters, style andgraphic or visual details

5.4 Evaluate initial concepts and select the most appropriateidea, giving consideration to:5.4.1 the budget5.4.2 ongoing discussions5.4.3 research findings5.4.4 ongoing reflection on the design brief

5.5 Develop the animation designs from the initial conceptsensuring:5.5.1 consistency with the style requirements of the

script/production5.5.2 that research findings are incorporated5.5.3 that ideas are technically feasible and demonstrate

awareness of parameters and resource constraints5.5.4 that ideas demonstrate effective use of materials

5.6 Choose and incorporate the use of colour, texture andother materials

5.7 Prepare working technical production drawings,production specifications and samples

5.8 Label all designs accurately with scene/productionsequence numbers




6. Communicate designideas and makeamendments

6.1 Present the animation design using a range of visualmaterials including coloured design illustrations, technicalproduction drawings, material samples, productionrequirements and specifications to the relevant personnelfor acceptance

6.2 Participate in the initial and ongoing evaluation of thepresented designs

6.3 Negotiate and agree to additional requirements ormodifications to the design and undertake any necessaryamendments

6.4 Agree to the final designs and present final productionspecifications for the animation to all relevant personnel toensure that the animation meets design and otherproduction requirements

7. Liaise with others toimplement production ofthe animation

7.1 Discuss with relevant personnel to agree upon the futurerole of the designer in the realisation of the animationdesign

7.2 Liaise with relevant personnel to ensure that all animationproduction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand technical constraints

7.3 Participate in ongoing production meetings and participatein the evaluation of the animation elements produced

7.4 Ensure that any animation design modifications areagreed, noted and acted upon

7.5 Inform relevant personnel of animation design changes7.6 Update any required documentation and record and file

according to enterprise requirements

KEY COMPETENCIES

Key Competency Performance Level

Communicating ideas and information 3

Collecting analysing and organising information 3

Planning and organising activities 3

Working with others and in teams 2

Using mathematical ideas and techniques 2

Solving problems 3

Using technology 2

RANGE STATEMENT

• computer database• manual files• library




• models• material swatches• sketches• sample animation elements• technical drawings• colour illustrations

• talking and listening to experts• watching documentary films and videos• reading newspapers books and other references• use of the internet• contact with historical associations

• computer generated• manually written

• feature films• short films• commercials• music video• television productions

• production designer• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designer• floor manager

• characters• backgrounds• props eg furniture• models• sets




EVIDENCE GUIDE

Underpinning skills andknowledge

Assessment must include evidence of essential knowledge of,and skills in, the following areas:

• collecting and interpreting creative information, scriptsand images

• production scheduling• resource management including human resources• team leading skills• budget management• project management• report writing• principles of negotiation• information management• costing, budgeting, liaison• principles and techniques of design and script (text)

breakdown• research• visualisation and interpretation of creative concepts• preparation of design briefs• communication and presentation techniques• copyright legislation and regulations• understanding the capabilities of other collaborative

designers or contractors• understanding the artistic elements of a production• exercising a high level of creativity and ingenuity• maintaining design integrity• colour theory, line, dimension, depth and their application

on the screen• the behaviour of various materials, finishes, painting

techniques and colours under lighting• principles and techniques of animation, layout and

composition• ability to create style or look consistent with direction of

director• ability to select and style colours• ability to select colours for characters and match to

background colours• perspective and technical drawing

Linkages to other units This unit has linkages to the following units and combinedtraining delivery and/or assessment is recommended:

• CUFANM02A Coordinate the production of animation• CUEFIN2A Manage a budget• CUSGEN04A Participate in negotiations• CUFGEN05A Make presentations




Critical aspects ofevidence

The following evidence is critical to the judgement ofcompetence in this unit:

• the development of creative animation design conceptswhich meet practical requirements including type ofproduction and resource constraints, in particularbudgetary constraints

• effective verbal and written communication with a rangeof individuals/organisations

• knowledge and application of research techniques• presentation skills

Method and context ofassessment

Assessment may take place on the job, off the job or a mix ofboth of these. However, assessment of this unit would mosteffectively be undertaken on the job due to the specificworkplace environment requirements. Off the job assessmentmust be undertaken in a closely simulated workplaceenvironment.

Assessment may incorporate a range of methods to assessperformance and the application of essential underpinningknowledge, and might include:

• work samples or simulated workplace activities• oral questioning/interview aimed at evaluating the

processes used in developing and realising the creativeconcept

• projects/reports/logbooks• third party reports and authenticated prior achievements• portfolios of evidence which demonstrate the processes

used in developing and realising the creative concept

Resource requirements Assessment requires access to a range of equipment currentlyused by the cultural industries.




CUFANM02A Coordinate the production of animationUnit Descriptor This unit describes the skills and knowledge required to interpret the

design for animation and supervise the production of animationelements for productions within the cultural industries.



1. Interpret the design anddetermine productionrequirements

1.1 Liaise with the relevant personnel, interpret and confirmthe animation requirements so that design specifications,production or script requirements are met

1.2 Read and interpret pre-production paperwork including theanimation design and schedule/plan of animationelements to determine resource requirements

1.3 Make any insertions to the schedule/plan of animationelements, such as visual effect requirements, to ensure allelements meet the script or production requirements

1.4 Produce detailed production breakdown lists from thedocumented schedule

1.5 Review the budget allocated for production of allanimation elements

1.6 Identify solutions to any identified production problemsand communicate any difficulties promptly to relevantpersonnel

1.7 Seek and receive approval to amend design, if necessary,before proceeding with work

1.8 Develop an operational/project plan and productionschedules and specifications for producing animation inaccordance with the design and production requirements

2. Select and purchaseequipment, materials andstock

2.1 Check existing stocks of equipment and materials forsuitability of use for the production

2.2 Source and purchase or hire suitable equipment andmaterials to ensure that they can withstand the rigoursand demands of the production and meet the budgetaryrequirements

2.3 Ensure that materials are available in sufficient quantitiesto meet the animation requirements

2.4 Ensure that materials can undergo any necessary specialeffects requirements

3. Conduct ongoingexperimentation

3.1 Conduct or coordinate ongoing production technique trialsto establish the best results during the production of theanimation elements, including:3.1.1 colour mixes3.1.2 textures3.1.3 materials


CUFANM02A Coordinate the production of animation


4. Supervise animationproduction

4.1 Oversee relevant personnel to ensure that all animationproduction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand production constraints

4.2 Ensure that occupational health and safety requirementsare met and the production schedule is adhered to

4.3 Identify and communicate the methods and materials tobe used in production to the relevant personnel

4.4 Make design specifications available to production staffand assist in their interpretation

4.5 Track the progress of all scenes throughout the productionphase

4.6 Coordinate any manufacturers or hirers involved in theproduction of specialist items

4.7 Participate in ongoing production meetings and ensurethat any animation design modifications are agreed, notedand acted upon

4.8 Inform relevant personnel of animation design changes4.9 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT

• delivery dates necessary for the production• pre-production, production in each department (eg

animation, in-between, paint, camera)• starting and finishing dates for each department• contingency periods

• drawing• puppetry• digital imaging





• production designer• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager• animation production personnel

• characters• backgrounds• props, eg furniture

• commonwealth, state and territory occupational healthand safety regulations

• relevant national and international standards, guidelinesand codes of practice

• relevant local government construction legislation andregulation




EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• interpreting and communicating production specifications• principles and techniques of animation production• drawing to scale• development of operational plans and production

schedules• staff recruitment• resource management including human resources• team leading skills• budget management• project management• report writing• principles of negotiation• costing• communication principles and techniques• stock control• record keeping• relevant occupational health and safety legislation and

regulations• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• colour theory, line, dimension, depth and their application


techniques and colours under lighting• the use and properties of materials used in animation• working with specialised materials• accessing raw, part-processed and processed materials

and components from a range of sources and suppliersand ascertaining their suitability

• presenting information to internal and external customers


• CUFANM01A Develop and implement designs foranimation

• BSXFMI404A Participate in, lead and facilitate a team• THHGLE07A Recruit and select staff• CUEFIN2A Manage a budget• CUEOHS1A Implement workplace health, safety and• security procedures





This unit of competence applies to a range of industry sectors.The focus of assessment will depend on the industry sector.Assessment must be customised to meet the needs of theparticular sector in which performance is being assessed.Assessment should only address those variablecircumstances, listed in the range of variables statements,which apply to the chosen context.


• the interpretation of creative animation designdocumentation in order to meet practical requirementsincluding type of production and resource constraints, inparticular budgetary constraints



Assessment may take place on the job, off the job or a mix ofboth of these. However, assessment of this unit would mosteffectively be undertaken on the job due to the specificworkplace environment requirements.

Off the job assessment must be undertaken in a closelysimulated workplace environment.






Assessment must take place over a period of time in order todetermine competence in the ongoing implementation andmonitoring aspects of this unit.

Resource requirements Assessment requires access to a range of equipment andresources currently used by the cultural industries.




CUFANM03A Produce storyboard for animationUnit Descriptor This unit describes the skills and knowledge required to interpret the

creative brief, develop and produce storyboards for animatedproductions within the cultural industries.



1. Identify and establishstoryboard requirements

1.1 Liaise with the relevant personnel and interpret andconfirm the animation requirements so that technical,production or script/text requirements are reflected in thestoryboard

1.2 Participate in preliminary concept meetings to discuss theanimation requirements of the production

1.3 Identify the available budget for the production1.4 Identify the deadline for production of the storyboard1.5 Plan the inclusion of the storyboard to reflect the:

1.5.1 details outlined in the script1.5.2 graphic or visual details outlined in available briefs1.5.3 production constraints

1.6 Agree to the storyboard requirements and standards withappropriate personnel

2. Produce storyboard 2.1 Ensure that all relevant details are contained within thestoryboard and that the storyboard complies with theconstraints of the production

2.2 Reflect an accurate visual interpretation of the script/textin the storyboard

2.3 Gain approval, from relevant personnel, for any changesto the storyboard specifications and/or requirementsbefore production of the finished storyboard

2.4 Ensure that storyboard is clear and legible and showssufficient detail to allow the production of other animationelements based on the storyboard

2.5 Make the storyboard available to the relevant personnelwhen required

2.6 Clearly identify the storyboard, keep it safe and secure,and produce a back-up copy


CUFANM03A Produce storyboard for animation


KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• drawings• puppetry• digital imaging• broad range of graphic styles and techniques



• production designer• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager• animation production personnel





EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• interpreting and communicating production specifications• principles and techniques of animation production• drawing to scale• report writing• communication principles and techniques• principles and techniques of animation• composition and filmmaking• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• colour theory, line, dimension, depth and their application


techniques and colours under lighting• the use and properties of materials used in animation• working with specialised materials• presenting information to internal and external customers


• CUFANM01A Develop and implement designs foranimation



• the creative interpretation of animation design conceptswhich meet practical requirements including type ofproduction and resource constraints


• presentation skills





Assessment may take place on the job, off the job or a mix ofboth of these.











CUFANM04A Produce layout drawings for animationUnit Descriptor This unit describes the skills and knowledge required to interpret the

creative brief, establish and produce the layout drawing specificationsand produce layout drawings for animated productions within thecultural industries.



1. Identify layoutrequirements

1.1 Liaise with the relevant personnel and interpret andconfirm the graphic and visual requirements so that theyare met within the layout

1.2 Identify any production constraints which need to be takeninto account when producing the layout including availableresources and equipment

1.3 Agree, with relevant personnel, to the layout requirementsand standards prior to specifications being produced

2. Create the layoutspecifications

2.1 Ensure that comprehensive and accurate visual guidanceand information is available to relevant personnel

2.2 Reflect all production constraints in the layoutspecifications

2.3 Ensure that layout specifications are clear, legible andeasily accessible

2.4 Agree to the layout specifications, with appropriatepersonnel, prior to specifications being distributed andprior to layout drawings being produced

2.5 Store layout specifications safely and securely

3. Produce, review andpresent layout drawings

3.1 Produce layout drawings ensuring that they are:3.1.1 in compliance with the constraints of the

production3.1.2 of sufficient quantity and detail to establish the

action required for the animation3.1.3 of sufficient quantity and detail to establish the

directions needed for camera3.2 Present layouts as actual size scenes as depicted in the

approved storyboard to allow for the provision of a basisfor overlaying animation action

3.3 Distribute the layout drawings to the relevant personnelwhen required

3.4 Clearly identify the layout drawings and store safely andsecurely


CUFANM04A Produce layout drawings for animation


KEY COMPETENCIES






Using mathematical ideas and techniques -

Solving problems 2

Using technology 1

RANGE STATEMENT



• production designer• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager• animation production personnel• layout artist





EVIDENCE GUIDE



• interpreting scripts, specifications and instructions• interpreting and communicating production specifications• principles and techniques of animation production• communication principles and techniques• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• colour theory, line, dimension, depth and their application

on the screen• presenting information to internal and external customers

Linkages to other units This unit has linkages to the following units and combinedtraining delivery and/or assessment may be appropriate:

• CUFANM03A Produce storyboard for animation




• the interpretation of creative animation designdocumentation in order to meet practical requirementsincluding type of production and resource constraints

















CUFANM05A Produce key drawings for animationUnit Descriptor This unit describes the skills and knowledge required to interpret the

animation specifications and to produce key drawings for animationproductions within the cultural industries.



1. Identify animationrequirements

1.1 Identify all relevant animation requirements from thestoryboard, layouts and director's instructions or camerasheet

1.2 Identify all relevant animation requirements from thetimings and soundtrack breakdown

2. Produce key drawings 2.1 Produce key drawings which reflect the:2.1.1 details outlined in the storyboard and layout2.1.2 directors instructions2.1.3 camera sheet2.1.4 action as outlined in the available timings

2.2 Comply with any soundtrack breakdown when producingthe drawings

2.3 Produce sufficient quantity of key drawings to establishthe action and ensure that they are of the standard set bythe agreed design/model

2.4 Produce key drawings within the constraints of theproduction

3. Adjust and complete keydrawings

3.1 Make corrections to key drawings after review by relevantpersonnel

3.2 Clearly label key drawings with animation breakdowns,showing placement of in-between drawings

3.3 Clearly identify and safely and securely store keydrawings

KEY COMPETENCIES







Solving problems 1

Using technology 2


CUFANM05A Produce key drawings for animation


RANGE STATEMENT




• production designer• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager• animation production personnel• visual artist


• storyboard• layout drawings• director's instructions• camera sheet• soundtrack breakdown

• registered hand drawn images• computer-generated forms and actions

• the number of in-betweens required• path of action and pace




• produced in a variety of graphic styles• involve a broad range of graphic styles and techniques

EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• principles and techniques of animation production• drawing to scale• principles and techniques of animation• composition and filmmaking• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• life drawing and translation to animated characters• colour theory, line, dimension, depth and their application

on the screen• character drawing• cartoon drawing

Linkages to other units This unit has linkages to the range of animation units containedwithin this training package. Combined training delivery and/orassessment may be appropriate.



• the development of creative key animation drawingswhich meet practical requirements including type ofproduction and resource constraints, in particular timeconstraints
















CUFANM06A Produce cleaned-up and in-betweeneddrawings

Unit Descriptor This unit describes the skills and knowledge required to refine keydrawings and to produce in between drawings to ensure that thecreative brief is fully met for productions within the cultural industries.



1. Identify requirements forcleaned-up drawings

1.1 Identify all relevant clean up requirements from the modelsheets, key drawings and directors instructions or camerasheet

1.2 Collect all relevant model sheets for reference1.3 Check all key drawings referring any problems or errors to

appropriate personnel1.4 Check all animation breakdowns against the camera

sheet, referring any problems or errors to the relevantpersonnel

2. Produce cleaned-updrawings

2.1 Ensure that cleaned-up drawings are produced within theconstraints of the production

2.2 Match cleaned-up drawings to animators keys2.3 Ensure that the agreed design/model sheets are reflected

precisely in the cleaned-up drawings and that they are ofthe agreed standard

2.4 Accurately copy and number all animation breakdownsonto cleaned-up drawings

2.5 Clearly identify and safely and securely store cleaned-updrawings

2.6 Supply cleaned-up key drawings to the relevant personnelwhen required

2.7 Make any required corrections to cleaned-up drawingsafter consultation with the relevant personnel

3. Identify requirements forin-betweened drawings

3.1 Check all cleaned-up key drawings, referring anyproblems or errors to the appropriate personnel

3.2 Check all animation breakdowns against the camerasheet, referring any problems or errors to the relevantpersonnel


CUFANM06A Produce cleaned-up and in-betweened drawings


4. Produce in-betweeneddrawings

4.1 Ensure that in-betweened drawings are produced withinthe constraints of the production

4.2 Ensure that the in-betweened drawings precisely reflectthe:4.2.1 information contained in animation breakdowns4.2.2 agreed design/mode sheets4.2.3 agreed standard

4.3 Carefully and accurately interpret the cleaned-up keydrawings in the in-betweened drawings

4.4 Comply with any soundtrack breakdown supplied4.5 Supply in-betweened drawings to the relevant personnel

when required4.6 Make any required corrections to in-betweened drawings

after consultation with the relevant personnel

KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT












• be produced in a variety of graphic styles• involve a broad range of graphic styles and techniques




EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• principles and techniques of animation production• drawing to scale• principles and techniques of animation• composition and filmmaking• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• life drawing and translation to animated characters• colour theory, line, dimension, depth and their application

on the screen• character drawing• cartoon drawing




• the development of creative cleaned-up andin-betweened drawings which meet practicalrequirements including type of production and resourceconstraints, in particular budgetary constraints
















CUFANM07A Produce traced, photocopied or scannedcels/frames

Unit Descriptor This unit describes the skills and knowledge required to trace and copydrawings and other artwork for animated productions within the culturalindustries.



1. Assemble tracingmaterials

1.1 Identify the required tracing material requirements fromthe details outlined in available briefs

1.2 Check that tracing equipment is clean and in good workingorder

1.3 Ensure that images to be traced are available in sufficienttime for the tracing activities to proceed

1.4 Store materials safely and securely, and ensure that theyare easily accessed

2. Trace the image onto cel 2.1 Select appropriate cel size and type for the image to betraced

2.2 Match the tracing technique to that defined in thedetermined production standard

2.3 Report problems with reference drawings to relevantpersonnel before drawings are traced

2.4 Accurately reflect the reference drawings in the tracedcels

2.5 Accurately reflect the cleaned-up and in-betweeneddrawings in the traced cels

2.6 Clearly identify and catalogue traced cels into the correctorder

2.7 Deliver traced drawings to the appropriate personnel whenrequired

2.8 Ensure that traced and reference materials are clean andsafely and securely stored

3. Prepare to photocopy 3.1 Clean photocopying equipment and operate it to thetechnical standard required

3.2 Prime the photocopying equipment to contain the selectedcolours as defined in available reference materials

3.3 Ensure all relevant artwork is present and accounted for

4. Photocopy images ontocels

4.1 Photocopy all artwork cleanly and accurately and registerwith original drawings

4.2 Assemble resources in accordance with the detailsoutlined in available briefs

4.3 Clearly identify and catalogue cels into the correct order4.4 Ensure that cels and artwork are clean and safely and

securely stored


CUFANM07A Produce traced, photocopied or scanned cels/frames


5. Scan drawings for digitalink and paint

5.1 Ensure that all artwork to be scanned is available insufficient time for the scanning activities to proceed

5.2 Select suitable hardware and software to complete theprocess

5.3 Apply safe working practices in the computer environment5.4 Establish scanning technical criteria to ensure image

quality5.5 Ensure that specifications are appropriate for subsequent

processes and meet quality standards for the production5.6 Scan the artwork using specified technical criteria5.7 Manage the data to ensure accurate naming and filing of

files and accurate reporting of work completed5.8 Safely handle and collate artwork to ensure that artwork

remains clean and undamaged and is passed on in theorder required for the next stage of the production

5.9 Report equipment or software malfunctions to relevantpersonnel as soon as possible

KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT










• hand tracing• photocopying• digital scanning• size and quality of artwork (eg A3 or A4)• volume of artwork to be scheduled• technical requirements (file format, image resolution etc)

of paint, and camera software• volume of material scheduled to be kept on-line

• traditional or digital

• safe operation of equipment• secure use of software• suitable handling of artwork

• working practices with particular regard to posture and toprevention of eyestrain




EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting specifications and instructions• principles and techniques of animation production• principles and techniques of animation• understanding the artistic elements of a production• maintaining design integrity• basic character drawing• basic cartoon drawing• principles and techniques of basic electronic equipment

operation




• the development of traced drawings which meet practicalrequirements including type of production and resourceconstraints









Resource requirements • Assessment requires access to a range of equipmentcurrently used by the cultural industries.




CUFANM08A Prepare and produce coloured cels/framesUnit Descriptor This unit describes the skills and knowledge required to interpret the

animation specifications and design brief, and to produce colouredcels/frames for any animated production within the cultural industries.



1. Identify and selectproduction colours

1.1 Liaise with the relevant personnel and interpret andconfirm the visual and colour requirements so that theyare met

1.2 Select colours which reflect the details outlined in designbrief

1.3 Establish comprehensive colour models1.4 Check the selected colour models for suitability for the

recording medium1.5 Gain approval, from relevant personnel, for selected

colour models prior to their use1.6 Make any required changes to colour models after

consultation with relevant personnel1.7 Supply details of colour models to the relevant personnel

when required

2. Produce colour modelsand palettes

2.1 Colour the model sheets using the chosen productioncolours

2.2 Label all colours, organise into a clear and logical orderand assemble as a production palette

2.3 Ensure colour models and palettes are clearly identifiedand kept safe and secure

2.4 Supply colour models and palettes to the relevantpersonnel when required

3. Maintain production colourstocks for hand colouring

3.1 Maintain production materials in accordance with colourmodels agreed upon

3.2 Mix colours to exactly match the colour models3.3 Ensure that colours are constantly available in sufficient

quantities to meet production needs and that quantity ofstocks do not exceed the budgetary constraints

3.4 Store colour stocks safely, securely and ensure they areeasily accessed


CUFANM08A Prepare and produce coloured cels/frames


4. Colour cels 4.1 Use colouring techniques to produce the result describedin the design brief

4.2 Colour cels so that they precisely match colour models4.3 Refer any problems to the appropriate personnel before

cels are finished4.4 Ensure that colour cels are produced within the

constraints of the production and meet the standard set bythe established design

4.5 Make any required changes to colour cels afterconsultation with relevant personnel

4.6 Safely handle and collate artwork to ensure that artworkremains clean and undamaged and is passed on in theorder required for the next stages of production

4.7 Clearly identify the finished cels and keep safe and secure4.8 Supply finished cels to the relevant personnel when

required

KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT








• design brief• storyboard• layout drawings• director's instructions• camera sheet• soundtrack breakdown


• traditional cel• digital format

• traditional or digital• hand rendered• digital colouring• traditional hand-traced or photocopied cels• scanned cels in a digital format




EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• principles and techniques of animation production• principles and techniques of animation• composition and filmmaking• principles and techniques of colour for animation• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• colour theory, line, dimension, depth and their application

on the screen




• the ability to correctly interpret the colour requirementsand match colours to those outlined in the design brief













CUFANM09A Produce stop-motion animation (flat plane)Unit Descriptor This unit describes the skills and knowledge required to interpret the

animation specifications and to produce animation keys and animatedimages for productions within the cultural industries.




1.1 Liaise with the relevant personnel and interpret andconfirm the graphic and visual requirements so that theyare met within the animation produced

1.2 Identify any production constraints which need to be takeninto account including available resources and equipment

1.3 Agree, with relevant personnel, to the animationrequirements and standards to be produced

1.4 Identify the required resources, material, stock andnecessary equipment

1.5 Identify the type of animation keys necessary for theproduction

2. Produce animation keysand animated images

2.1 Produce animation keys and images which reflect the:2.1.1 graphic or visual details outlined in the design

briefs2.1.2 agreed materials and equipment required for the

production2.1.3 detail and intent of the storyboard2.1.4 detail and content of the layouts

2.2 Comply with any soundtrack breakdown supplied whenproducing the animation keys and images

2.3 Comply with the director's notes or camera sheets andensure that the timing of animation keys and imagesreflect the action

2.4 Produce sufficient quantity of animation images toestablish the action and ensure they are faithful to theanimation keys

2.5 Clearly identify animation keys and ensure they are of asufficient standard to allow the production of finishedanimation

2.6 Record animated images2.7 Clearly identify the recorded images, keep stored safely

and securely and supply to the relevant personnel whenrequired


CUFANM09A Produce stop-motion animation (flat plane)


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT













• cut outs• painting under camera with paint, pastel, sand• use of found objects• collage

EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• principles and techniques of animation production• composition and filmmaking• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity




• the development of animation keys and images whichmeet practical requirements and comply with briefsupplied
















CUFANM10A Produce stop-motion animation (modelling)Unit Descriptor This unit describes the skills and knowledge required to interpret the

animation specifications and creative brief, and to produce models, setsand animated images for productions within the cultural industries.




1.1 Liaise with the relevant personnel and interpret andconfirm the graphic and visual requirements so that theyare met within the animation produced

1.2 Identify any production constraints which need to be takeninto account including available resources and equipment

1.3 Agree, with relevant personnel, to the animationrequirements and standards to be produced

1.4 Identify the required resources, material, stock andnecessary equipment and deadlines for production

1.5 Identify the type, number and standard of models and setsto be produced

2. Construct animationmodels and sets

2.1 Determine and confirm production details with the relevantpersonnel including:2.1.1 the scale of models and sets to be produced2.1.2 specifications and movement required of

armatures for each model2.1.3 standard of sets and models2.1.4 number and type of models for each character

2.2 Identify and select all modelling, armature and castingmaterials to be used in the production of models and sets

2.3 Sculpt, cast and finish models to meet the design brief2.4 Construct and finish sets to meet the design brief2.5 Determine any required changes to be made to sets and

models and notify relevant personnel, allowing sufficienttime for execution of changes

2.6 Rig sets and models according to the production schedule2.7 Store all sets and models securely and safely when not in

use


CUFANM10A Produce stop-motion animation (modelling)


3. Produce animation 3.1 Check all key production elements such as storyboard,timing, dope sheets, sets and models before animationshoot begins

3.2 Identify and organise equipment and facilities required forshooting the animation and maintain and repair sets,models and rigging

3.3 Produce animated images which reflect the:3.3.1 graphic or visual details outlined in the design

briefs3.3.2 agreed materials and equipment required for the

production3.3.3 detail and intent of the storyboard

3.4 Comply with any soundtrack breakdown supplied whenproducing the animated images

3.5 Comply with the director's notes or camera sheets andensure that the timing of animated images reflects theaction

3.6 Record animated images on an appropriate format andcheck at regular intervals to ensure quality of production

3.7 Clearly identify the recorded images, keep stored safelyand securely and supply to the relevant personnel whenrequired

KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT













• claymation• plasticine or similar• puppets• pixilation• use of found objects• collage




EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• principles and techniques of animation production• composition and filmmaking• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• model construction• set design• lighting design• life drawing and translation to modelled animated

characters




• the development of creative animated models and setswhich meet practical requirements and comply with briefsupplied













CUFANM11A Produce artwork from live action referenceUnit Descriptor This unit describes the skills and knowledge required to assemble

source and artwork materials, and to copy and render artwork from alive action reference for productions within the cultural industries.



1. Assemble art materials 1.1 Liaise with relevant personnel to determine the sourcematerials and images

1.2 Assemble the identified materials based on the techniqueof roto-scoping previously agreed

1.3 Keep assembled and source materials clean, safe andsecure

2. Copy live action images 2.1 Copy images to comply with the details outlined in thebriefs

2.2 Produce accurate images based upon sequential liveaction images previously identified

2.3 Produce images in sufficient detail to meet the productionrequirements

3. Assemble renderingmaterials

3.1 Accurately identify required materials from productiondesign

3.2 Assemble the identified materials based on the techniquepreviously established and include additional referencematerial where appropriate

3.3 Keep assembled artwork to be rendered clean, safe andsecure

4. Render artwork 4.1 Render the artwork to comply with reference materialspreviously identified and to meet the technical and artisticstandards previously identified

4.2 Render the artwork to reflect the details outlined in thebrief and to incorporate suitable techniques within theconstraints of the production

4.3 Report any identified problems with the source material torelevant personnel

4.4 Keep rendered material safe, clean and in the correctorder


CUFANM11A Produce artwork from live action reference


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT











• tracing from live action reference• use of physical media, eg paper• use of digital media


EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• principles and techniques of animation production• composition and filmmaking• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity• life drawing and translation to animated characters




• the production of creative artwork which meets practicalrequirements and complies with brief supplied
















CUFANM12A Prepare camera-ready animationUnit Descriptor This unit describes the skills and knowledge required to check and

assemble all components of the animated product as a quality controlprocedure prior to filming.



1. Assemble animationmaterials

1.1 Keep assembled documentation safe and secure andcheck for relevance to the production

1.2 Ensure that assembled artwork is complete and in order1.3 Keep artwork stored safely and securely, and ensure it is

clean1.4 Report any identified problems to appropriate personnel

before further checking progresses

2. Check material 2.1 Complete a thorough check on all artwork anddocumentation and ensure that:2.1.1 it is present and clearly and accurately identified2.1.2 agreed production standards have been met by all

artwork2.1.3 agreed production models are matched by all

artwork2.1.4 all artwork is consistent2.1.5 it complies with the constraints of the production2.1.6 it is error free, clean and undamaged

2.2 Ensure that the method used to check material isappropriate to artistic medium

2.3 Report any identified problems to the relevant personneland take action to rectify any problems

2.4 Distribute checked material to relevant personnel2.5 Store checked material safely and securely

KEY COMPETENCIES







Solving problems 1

Using technology 2


CUFANM12A Prepare camera-ready animation


RANGE STATEMENT









• use of computer software




EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• principles and techniques of animation production• composition and filmmaking• understanding the artistic elements of a production• familiarity with current animation methods and techniques• maintaining design integrity


• CUFANM02A Coordinate production of animation




• the interpretation of creative animation designdocumentation in order to meet practical requirementsincluding type of production and resource constraints, inparticular budgetary constraints

















CUFANM13A Produce line image recordings for animationUnit Descriptor This unit describes the skills and knowledge required to record

animated scenes and to transfer recording to the digital realm for anyproduction within the cultural industries.



1. Record storyboard panelsfor animation

1.1 Identify and organise equipment required for recordingprocess

1.2 Collate and organise all materials required to be recordedand keep them safe, clean and secure

1.3 Operate technical equipment to a standard necessary forrecording

1.4 Record storyboard panels to an acceptable standard forviewing the images

1.5 Ensure that the recording complies with the instructionsoutlined in available briefs

1.6 Distribute the recordings to the relevant personnel whenrequired

2. Record animated andin-betweened scenes

2.1 Record line images to an acceptable standard for viewingthe images

2.2 Edit separate images to match brief and save for viewing2.3 Clearly identify edited scenes and store safely and

securely2.4 Distribute the finished recordings to the relevant personnel

when required

3. Transfer recordings todigital realm

3.1 Identify and organise equipment required for imagetransfer

3.2 Identify and organise stock and materials required forimage transfer

3.3 Operate the technical equipment to a standard necessaryfor correct transfer

3.4 Clearly identify finished transfer and store safely andsecurely

3.5 Distribute the finished transfer to the relevant personnelwhen required


CUFANM13A Produce line image recordings for animation


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT



• production designer• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager• animation production personnel• visual artist• sound recordist• sound editor• sound editing personnel





• storyboard• layout drawings• director's instructions• camera sheet• dope sheet

• video tape• disc• internet

• drawn animation• stop motion animation• flat plane• 3D• animation rendered from live action

• be produced in a variety of graphic styles• involve a broad range of graphic styles and techniques• be recorded on film• be recorded digitally

• use of computer software

EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• interpreting and communicating production specifications• principles and techniques of animation production• understanding the artistic elements of a production• familiarity with current animation methods and techniques• use of a range of recording equipment



















CUFBRD01A Communicate using a two way systemUnit Descriptor This unit describes the skills and knowledge required to effectively

communicate using two way communication devices on any productionwithin the cultural industries.



1. Maintain and adjustcommunication equipment

1.1 Ensure that all talk back communication equipment isavailable at correct location for use

1.2 Clean and undertake any required maintenance on theequipment and ensure that it is operational

1.3 Recognise faults and defects and take appropriateremedial action

1.4 Ensure power supply is appropriate and available and thatany battery powered equipment is charged in advance ofuse

1.5 Adjust equipment to personal requirements to ensureincoming communications can be heard

1.6 Adjust microphone to ensure that outgoingcommunications are clearly transmitted

1.7 Ensure that equipment can be used comfortably

2. Respond to incomingcommunications

2.1 Answer communications promptly, clearly and politely inaccordance with enterprise procedures and standards

2.2 Establish the purpose of the communication and repeatdetails to the caller to confirm understanding

2.3 Provide appropriate response to the caller, respond torequest for action and confirm that it has been actioned

2.4 Advise caller if there will be any delay in responding andrequest the caller to stand-by for further communication

3. Make outgoingcommunication

3.1 Obtain and select correct communication address3.2 Establish purpose for communication prior to contacting

the other party3.3 Use equipment correctly to establish contact3.4 Clearly communicate the intended message and request

confirmation that message has been understood andnecessary action has been taken

4. Use appropriate language,tone and volume

4.1 Speak at a volume and tone which allows other party toclearly hear the message

4.2 Ensure that other people are not disturbed by volume ofcommunications

4.3 Use language that will be understood by the other party


CUFBRD01A Communicate using a two way system


KEY COMPETENCIES




Planning and organising activities -



Solving problems -

Using technology 1

RANGE STATEMENT

• computer generated• manually written• in bar code format

• supervisor• head of department• technical director• other technical staff• other specialist staff• floor manager• station manager• transmission operators• presentation operators• tape library personnel• tape operators• master control• news editor• producer• editor• tape editor

• headsets• open speaker• intercom• table mounted microphones• microphone attached to headset




EVIDENCE GUIDE



• familiarity with specific two way communicationsequipment in use

• ability to check equipment is working to specifications• interpretation of specifications for equipment• sources of advice, information, and technical support• basic maintenance of equipment, eg cleaning• oral communication techniques and skills• correct terminology which is relevant to the situation• international radio call signs, alpha, bravo etc• vocal tone and volume control

Linkages to other units This unit underpins effective performance in a range of film,television and radio production and broadcasting skills, andcombined training delivery and/or assessment isrecommended.



• the correct use of equipment• clarity of oral communication


Assessment may take place on the job, off the job or a mix ofboth of these. Off the job assessment must be undertaken in aclosely simulated workplace environment.

Assessment methods must include observation of performanceduring a practical demonstration. Direct observation may needto occur on more than one occasion to establish consistency ofperformance. A range of methods to assess the application ofessential underpinning knowledge must support this and mightinclude:

• work samples or simulated workplace activities• oral questioning/interview• projects/reports/logbooks• third party reports and authenticated prior achievements• portfolios of evidence

Resource requirements Assessment requires access to a range of two waycommunications equipment listed in the range of variablesstatement, currently used by the cultural industries.




CUFBRD02A Operate a telecineUnit Descriptor This unit describes the skills and knowledge required to transfer film

footage into a format suitable for television transmission.Unit Sector No sector assigned


1. Prepare for transfer andrecording

1.1 Receive and interpret verbal or written instructions todetermine broadcast items to be transferred

1.2 Identify the deadline for transferring broadcast materialand ensure that material is processed promptly to meetdeadlines

1.3 Select the appropriate projector to meet the productionand transfer requirements

1.4 Select the appropriate gate for the film gauge being used1.5 Clear and clean the gate to ensure smooth film transport1.6 Handle the film with care to avoid damage throughout the

transfer process using appropriate protective gloves1.7 Lace the film into the telecine, according to manufacturer's

instructions, and check that the film is clean and free ofdirt

1.8 Align the signal destination to meet the requirements ofthe recording medium

1.9 Re-align the machine to meet correct aspect ratio oforiginal material

2. Perform transfer andrecording

2.1 Accurately and correctly transfer the film to the relevantrecording medium ensuring that the picture issynchronised to the sound

2.2 Colour grade the recorded material, if necessary,according to format requirements

2.3 Ensure that editing is frame accurate to the instructionsand requirements

3. Provide advice during thetransfer process

3.1 Advise relevant personnel about the print and formatrequirements of the machinery

3.2 Discuss the technical qualities and any perceived transferproblems with relevant personnel

4. Document and dispatchthe recorded material

4.1 Complete accurate labelling, logging of recorded materialand media, ensuring the media content corresponds tolabelling

4.2 Complete any fault reports in accordance with enterpriseprocedures

4.3 Complete recording reports and distribute with recordedmaterial to relevant personnel according to enterpriseprocedures

4.4 Return source film to the source location, in accordancewith enterprise procedures


CUFBRD02A Operate a telecine


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT



• tape• computer• digital• analog

• film of any gauge

• digital tape• analog tape• any digital media





EVIDENCE GUIDE



• familiarity with specific telecine equipment• ability to check equipment is working to specifications• interpretation of specifications for equipment• television standards PAL, NTSC, SECAM, CCIR 601, as

required• sources of advice, information and technical support• basic understanding of television broadcast systems and

transmission facilities• concept and judgement of image and audio broadcast

quality• film library procedures• tape documentation• tape handling and care• time-coding• ability to judge picture to sound synchronisation• basic maintenance of equipment, eg cleaning of film and

tape paths• communication - oral and written reports• time management techniques• colour grading


• CUSGEN01A Use and adapt to changes in technology



• the interpretation of production schedules/instructions• ability to judge picture to sound synchronisation• effective verbal and written communication with a range

of individuals








Resource requirements Assessment requires access to a range of equipment listed inthe range of variables statement, currently used by the culturalindustries.




CUFBRD03A Capture broadcast material on tape fortelevision transmission

Unit Descriptor This unit describes the skills and knowledge required to operate videorecording devices to capture television broadcast material from a rangeof sources in preparation for editing and re-transmission at a later date.



1. Receive and interpretproduction instructions

1.1 Receive and interpret verbal or written instructions todetermine broadcast items to be recorded

1.2 Identify the deadline for recording broadcast material andensure that material is processed promptly to meetdeadlines

1.3 Identify requirements to add time-codes and cue points

2. Monitor incoming pictureand sound feeds

2.1 Notify master control of required feeds in order to sourcethe correct broadcast materials

2.2 Check that the vision and audio feeds are correct and of asuitable quality to meet the required technical standards ofthe organisation

2.3 Ensure that incoming broadcast material is in a formatcompatible with recording equipment and makearrangements to have incoming sources adjusted ifrequired

2.4 Liaise with master control throughout the recordingprocess to request any feed switches and to advise of anyproblems with the quality of the feeds

3. Coordinate and preparerecord/destination tapes

3.1 Select all required stock and consumables and ensurethat it is present in sufficient quantity to meet the needs ofthe recording schedule

3.2 Complete any documentation and label record/destinationtapes, according to enterprise requirements

3.3 Handle all record/destination tapes with care to avoiddamage throughout the recording process and check thatthey are in suitable condition, of suitable length and in anappropriate format for recording

3.4 Select and set the time-code type to meet post-productionrequirements

3.5 Set the time-code to synchronise with other equipment, ifnecessary

4. Align video recorder andreplay parameters

4.1 Normalise machine controls for standard operation4.2 Ensure that the alignment of the record and replay

parameters meets the required engineering and facilitystandards

4.3 Use the appropriate heads and tracks4.4 Test that sources are appropriate to the input of the

machine, including standard converter parameters4.5 Check the reliability of the information from test equipment4.6 Check audio and vision levels meet broadcast standards


CUFBRD03A Capture broadcast material on tape for television transmission


5. Record and reviewimages

5.1 Set the colour balance and ensure test bars and tone arerepresentative of the recording that is to be made

5.2 Record colour bars for sufficient length of time, ensureend of recording has sufficient black, and check therecording for quality

5.3 Ensure that the picture is synchronised to the sound5.4 Line up recorder to record particular broadcast material

and conduct test recording, replay and check5.5 Record broadcast material as identified by the production

schedule, and as advised by relevant personnel, in therequired sequence onto the record/destination tape

5.6 Assess the quality of recording and ensure that it meetstechnical requirements and is carried out within therequired timeframe

5.7 Insert cue points, as required5.8 Record a duplicate tape for back up if required and

according to enterprise procedures


6.1 Complete accurate labelling, logging of recorded materialensuring the content corresponds to labelling


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT








• copying from tape to tape in the same format• copying from a source tape in one format to a destination

tape in another format, eg from analog to digital• copying from a tape to disk• copying from tape to computer hard drive

• exercising the tape by fast forwarding and rewinding

• live to air• live to tape• test viewing of source and recorded material




EVIDENCE GUIDE



• familiarity with specific recording equipment• ability to check equipment is working to specifications• interpretation of specifications for equipment• television standards PAL, NTSC, SECAM, CCIR 601, as

required• sources of advice, information, and technical support• basic understanding of television broadcast systems and

transmission facilities• correct broadcast terminology• concept and judgement of image and audio broadcast

quality• videotape library procedures• tape documentation• tape handling and care• time-coding• ability to judge picture to sound synchronisation• erasing tapes• basic maintenance of recording devices, eg cleaning of

tape path and functional testing• communication - oral and written reports• use of intercom and production talkback communication

devices• time management techniques


• CUFBRD04A Dub video material for televisiontransmission




of individuals





Assessment of this unit must be undertaken in the workplace,on the job, due to the specific workplace environmentrequirements.

Assessment methods must include observation of performanceduring a series of practical demonstrations to establishconsistency of performance.

A range of methods to assess the application of essentialunderpinning knowledge must support this and might include:

• role play• work samples• oral questioning/interview• projects/reports/logbooks• third party reports and authenticated prior achievements• portfolios of evidence

Resource requirements Assessment requires access to a range of equipment used inbroadcast facilities, currently used by the television industry.




CUFBRD04A Dub video material for televisiontransmission

Unit Descriptor This unit describes the skills and knowledge required to make qualityimage and audio copies of video material into a format suitable fortelevision transmission.



1. Receive source tapes andinterpret productioninstructions

1.1 Receive and interpret verbal or written instructions todetermine items to be copied

1.2 Identify the deadline for production of the copied materialand ensure that material is processed promptly to meetdeadlines

1.3 Ensure that source tapes are in good physical conditionand in a format compatible with equipment

1.4 Identify requirements to add or alter time-codes and cuepoints

1.5 Handle all source and record/destination tapes with careto avoid damage throughout the production process

2. Align video recorder andreplay parameters

2.1 Normalise machine controls for standard operation2.2 Ensure that alignment of the record and replay parameters

meets the required engineering and facility standards2.3 Use the appropriate heads and tracks2.4 Test that sources are appropriate to the input of the

machine, including standard converter parameters2.5 Check the reliability of the information from test equipment2.6 Check audio and vision levels meet broadcast standards

3. Play the source material 3.1 Align the machine to play back the source tape3.2 Check the quality of the source material by playing and

viewing and take any remedial action to deal with anyproblems identified


CUFBRD04A Dub video material for television transmission


4. Record and reviewimages

4.1 Check that the destination media is in suitable condition,of suitable length and on appropriate format for recording

4.2 If necessary, select, add or alter appropriate time-codeand cue points that meet technical and transmissionrequirements

4.3 Set time-codes to synchronise with other equipment, ifrequired

4.4 Set the colour balance and ensure test bars and tone arerepresentative of the recording that is to be made

4.5 Record colour bars for sufficient length of time, ensureend of recording has sufficient black and check therecording for quality

4.6 Ensure that the picture is synchronised to the sound4.7 Identify media, log shots and sequences, and cue to

precise sequences for review4.8 Line up recorder to record particular signal4.9 Conduct test recording, replay and check4.10 Document audio and visual deficiencies and take

necessary actions to adjust4.11 Transfer source material in the required sequence onto

the destination media in a format suitable for televisiontransmission

4.12 Assess the quality of recording and ensure that it meetstechnical requirements, and is carried out within therequired timeframe


5.1 Complete accurate labelling, logging of recorded materialand media, ensuring the media content corresponds tolabelling

5.2 Complete any fault reports in accordance with enterpriseprocedures


5.4 Return source materials to the source location, inaccordance with enterprise procedures

KEY COMPETENCIES







Solving problems 1

Using technology 2




RANGE STATEMENT





• copying from tape to tape in the same format• copying from a source tape in one format to a destination

tape in another format, eg from analog to digital• copying from a tape to disk• copying from tape to computer hard drive

• exercising the tape by fast forwarding and rewinding

• live to air• live to tape• test viewing of source and recorded material




EVIDENCE GUIDE



• familiarity with specific recording equipment• ability to check equipment is working to specifications• interpretation of specifications for equipment• television standards PAL, NTSC, SECAM, CCIR 601, as



quality• videotape library procedures• tape documentation• tape handling and care• time-coding• ability to judge picture to sound synchronisation• erasing tapes• basic maintenance of recording devices, eg cleaning of

tape path and functional testing• communication - oral and written reports• use of intercom and production talkback communication

devices• time management techniques


• CUFBRD03A Capture broadcast material on tape fortelevision transmission




of individuals





Assessment of this unit must be undertaken in the workplace,on the job, due to the specific workplace environmentrequirements.








CUFBRD05A Compile material for broadcast transmissionUnit Descriptor This unit describes the skills and knowledge required to accurately

compile transmission material to match a transmission schedule forbroadcast on radio or television.



1. Receive transmissionmaterial and interpretinstructions

1.1 Receive and interpret verbal or written instructions todetermine items to be compiled

1.2 Identify the deadline for production of the compiledmaterial and ensure that material is processed promptly tomeet deadlines

1.3 Receive transmission material, ensure that it is in goodphysical condition and in a format compatible withtransmission requirements

1.4 Produce any required documentation to report on thereceipt of, quality and condition of the transmissionmaterial

1.5 Identify requirements to add or alter time-codes and cuepoints

1.6 Handle all transmission materials with care to avoiddamage throughout the compilation process

2. Load transmission data tocompile transmissionmaterial

2.1 Check and verify that the transmission schedules areaccurate and free of errors prior to compiling transmissionmaterials

2.2 Resolve any discrepancies between transmissionmaterials and schedules prior to transmission

2.3 Load all transmission details in sequence to match therequirements of the transmission schedule

2.4 Check time-codes and cue points and make anynecessary adjustments

2.5 Ensure that segments are precisely timed and cued2.6 Ensure that breaks are correctly programmed

3. Monitor compiledmaterials prior totransmission

3.1 Undertake a detailed and thorough review of the compiledmaterial

3.2 Ensure that transmission material has been compiledaccurately and matches the transmission schedule

3.3 Monitor any distortions or problems and take remedialactions to solve any identified problems


CUFBRD05A Compile material for broadcast transmission


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT


• supervisor• head of department• technical director• other technical staff• other specialist staff• floor manager• station manager• production operations manager• transmission operators• presentation operators• tape library personnel• tape operators• master control• news editor• producer• editor• tape editor

• digital tape• analog tape• any digital media• pre-recorded shows• advertising material• promotional material• infotainment sequences• community awareness announcements





• advertisements• station promotions• insertion of live transmissions• community announcements

• sound distortion• vision distortion• picture not in sync with the sound

EVIDENCE GUIDE



the interpretation of transmission schedules

• familiarity with broadcast compilation equipment• ability to check equipment is working to specifications• interpretation of specifications for equipment• television standards PAL, NTSC, SECAM, CCIR 601, as

required• sources of advice, information, and technical support• basic understanding of broadcast systems and


quality, as required• library procedures• documentation• material handling and care• programme types, eg pre-recorded, live, advertisement

material etc• time-coding and cue points• ability to judge picture to sound synchronisation, as

required• basic maintenance of transmission equipment, eg

functional testing• communication - oral and written reports• use of intercom and production talkback communication

devices• accurate timing of transmission segments• time management techniques




Linkages to other units This unit has linkages, in a television environment, to thefollowing units and combined training delivery and/orassessment may be appropriate:

• CUFBRD04A Dub video material for televisiontransmission



• the interpretation of transmission schedules• ability to accurately time and cue segments• effective verbal and written communication with a range

of individuals


Assessment of this unit must be undertaken in the workplace,on the job due to the specific workplace environmentrequirements.




Resource requirements Assessment requires access to a range of equipment used inbroadcast facilities, currently used by the television and/orradio industry.




CUFBRD06A Control the transmission of televisionmaterial

Unit Descriptor This unit describes the skills and knowledge required to control thepresentation of all material transmitted from a television broadcastingfacility.



1. Plan for transmission andprepare transmissionmaterial

1.1 Receive verbal or written transmission schedules, interpretand determine the transmission requirements

1.2 Check and verify that the transmission schedules areaccurate and free of errors prior to allocating resources

1.3 Resolve any discrepancies with relevant personnel1.4 Notify master control of requirements in order to transmit

the correct broadcast materials1.5 Identify programme components and verify that all

transmission components are assembled in correctsequence

2. Set up and initiatemachines in order togenerate transmission

2.1 Check that video transmission machines are clean andmeet relative timing parameters

2.2 Align monitoring devices to ensure correct performance ofvideo transmission machine

2.3 Load tapes to match the transmission schedule

3. Provide playback oftransmission material

3.1 Align the machine to play back the transmission material3.2 Allocate machine control to the required destination3.3 Cue transmission material and ensure playback segments

are provided when required, according to the transmissionschedule or instructions received from relevant personnel

4. Monitor transmission 4.1 Monitor vision and audio quality to ensure they are of asuitable quality to meet the required technical standards ofthe organisation and take remedial actions to solve anyidentified problems

4.2 Ensure that the picture is synchronised to the sound andtake remedial action to resolve any faults

4.3 Liaise with master control throughout the transmissionprocess to request any feed switches and to advise of anyproblems with the quality of the transmission

4.4 Ensure that no avoidable loss of pictures or sound issustained during transmission

4.5 Ensure that material is transmitted in the sequenceintended by the transmission schedule

5. Switch transmissionsources

5.1 Switch transmission sources, as required, on time andaccording to the transmission schedule

5.2 Select transition according to enterprise requirements


CUFBRD06A Control the transmission of television material


6. Monitor timing ofsegments

6.1 Implement the accurate timing of segments andpromotional material content

6.2 Liaise with master control throughout the transmission toreconfirm the required timings of segments

7. Report program activities 7.1 Complete accurate, clear and comprehensive programactivity reports

7.2 Report any faults which could not be prevented from goingto air, according to enterprise procedures

7.3 Ensure the operational log is up to date, legible andcontains all the information required by the enterprise

KEY COMPETENCIES







Solving problems 2

Using technology 3

RANGE STATEMENT







• digital tape• analog tape• any digital media• pre-recorded shows• advertising material• promotional material• infotainment sequences• community awareness announcements

• tape faults• tape breakages• overruns• loss of transmission signal/power• link fades• tape machine faults• transmission device faults• incorrect scheduling of programmes• data entry errors

• cameras• videotape machines• character generator• stills stores• remote sources• outside broadcasts• satellite feeds• audio sources

• live to air• transmission of pre-recorded materials• combination of live to air and transmission of

pre-recorded material• test viewing of recorded material

• live to air• live to tape• pre-recorded shows• advertising material• promotional material• infotainment sequences• community awareness announcements




EVIDENCE GUIDE



• the interpretation of transmission schedules• programme types, eg pre-recorded, live, advertisement

material, etc• television delivery methods - cable, terrestrial, microwave,

satellite• familiarity with specific transmission operating equipment

in use• ability to check equipment is working to specifications• interpretation of specifications for equipment• television standards PAL, NTSC, SECAM, CCIR 601, as



quality• videotape library procedures• tape documentation• tape handling and care• time-coding and cue points• ability to judge picture to sound synchronisation• basic maintenance of transmission equipment, eg

functional testing• communication - oral and written reports• use of intercom and production talkback communication

devices• accurate timing of transmission segments• time management techniques


• CUFBRD01A Communicate using a two way system



• the interpretation of transmission schedules• ability to judge picture to sound synchronisation• ability to accurately time and cue segments• effective verbal and written communication with a range

of individuals













CUFBRD07A Operate transmission controlUnit Descriptor This unit describes the skills and knowledge required to monitor and

switch incoming and outgoing television or radio transmission signalsand to monitor the quality of audio and/or image transmission. It appliesto small broadcast facilities where there are minimal feeds andswitches.



1. Plan and allocatetransmission controlresources for programrequirements

1.1 Receive or prepare a transmission schedule, interpret anddetermine the transmission control requirements


1.3 Resolve any discrepancies with relevant personnel1.4 Liaise with relevant personnel regarding required feeds to

meet their production requirements1.5 Schedule requests according to the availability of

equipment and feeds

2. Transmit to requiredAustralian standard

2.1 Receive incoming signal and convert to standardAustralian signal, as required using the appropriateconverter

2.2 Measure signal parameters before and after conversion toensure the converted product meets the requiredstandards

2.3 Connect equipment according to program requirements2.4 Switch down and up links as required

3. Evaluate and monitorincoming and outgoingtransmission

3.1 Check that the transmission is correct and of a suitablequality to meet the required technical standards of theorganisation

3.2 Take remedial action to resolve any faults3.3 Use the appropriate test equipment to verify that signals

are operating within the required specification and thatthere is no distortion

3.4 Make appropriate adjustments to the system to ensuresignal is within specification

4. Provide general technicalsupport

4.1 Liaise with relevant personnel throughout the transmissionto advise of any problems with the quality of thetransmission

4.2 Provide assessment of transmission levels and respondwith correct information

4.3 Switch feeds into and out of master control, as requestedby relevant personnel

4.4 Provide response as required and requested

5. Communicate with feedprovider

5.1 Contact the feed provider, as required, to ensure ongoingtechnical quality of material

5.2 Make contact with appropriate feed provider to switchdown and up links


CUFBRD07A Operate transmission control


KEY COMPETENCIES







Solving problems 2

Using technology 3

RANGE STATEMENT


• supervisor• head of department• technical staff• other specialist staff• station manager• transmission operators• presentation operators• tape operators• presenters


• fibre optics• talkback/two way communications devices• up-link to satellite• down-link from satellite• microwave links

• audio phase vectorscope• waveform and picture monitor• VU and peak program meters• noise and distortion meters• test tone generators




• picture out of synchronisation with sound• sound distortion• picture distortion

• live to air broadcasts• pre-recorded material• single feeds• minimal multiple feeds• broadcasts from the studio

• vision• audio• combination of vision and audio

EVIDENCE GUIDE



• radio or television delivery methods - cable, terrestrial,microwave, satellite, as required

• satellite delivery equipment - earth-stations, up-link,transponders, satellite receiving dishes, satellite footprints

• relevant satellite service providers and ability to contactthem

• familiarity with specific transmission control operatingequipment in use

• ability to check equipment is working to specifications• interpretation of specifications for equipment• sources of advice, information, and technical support• understanding of radio or television broadcast systems

and transmission facilities• correct broadcast terminology• concept and judgement of image and audio broadcast

quality• basic maintenance of transmission equipment, eg

functional testing• diagnosis of problems and faults• use of intercom and production talkback communication

devices• time management techniques• accurate timing of switches• ability to judge picture to sound synchronisation, as

required

Linkages to other units This unit has linkages to the following unit and combinedtraining delivery and/or assessment may be appropriate:







• ability to check vision or audio quality of feeds, asrequired

• ability to judge picture or sound distortion, as required• effective verbal communication with a range of individuals• effective use of talkback/intercom communication devices






Resource requirements Assessment requires access to the range of master controlequipment used in broadcast facilities, currently used by thetelevision industry.




CUFBRD08A Operate master controlUnit Descriptor This unit describes the skills and knowledge required to monitor and

switch incoming and outgoing television or radio transmission signalsusing master/network control equipment and to monitor the quality ofaudio and/or image transmission. It applies to large or networkbroadcast facilities where there are multiple feeds and switches.



1. Plan and allocatemaster/network controlresources for programrequirements

1.1 Receive verbal or written transmission schedules, interpretand determine the master control requirements


1.3 Resolve any discrepancies with relevant personnel1.4 Liaise with relevant personnel regarding required feeds to

meet their production requirements1.5 Schedule requests according to the availability of

equipment and feeds

2. Transmit to requiredAustralian Standard

2.1 Receive incoming signal and convert to standardAustralian signal, as required using the appropriateconverter

2.2 Measure signal parameters before and after conversion toensure the converted product meets the requiredstandards

2.3 Connect equipment according to program requirements2.4 Switch down and up links as required2.5 Switch feeds, as required

3. Evaluate and monitorincoming and outgoingfeeds

3.1 Check that the feeds are correct and of a suitable qualityto meet the required technical standards of theorganisation

3.2 Take remedial action to resolve any faults3.3 Use the appropriate test equipment to verify that signals

are operating within the required specification, that there isno distortion

3.4 Make appropriate adjustments to the system to ensuresignal is within specification

4. Provide general technicalsupport

4.1 Liaise with relevant personnel throughout production ortransmission process to provide any required feedswitches and to advise of any problems with the quality ofthe feeds

4.2 Provide assessment of transmission levels and respondwith correct information

4.3 Switch feeds in to and out of master control, as requestedby relevant personnel

4.4 Provide response as required and requested4.5 Ensure stand-by alternate signal paths are available in

case of failure


CUFBRD08A Operate master control


5. Communicate with feedprovider

5.1 Contact the feed provider, as required, to ensure ongoingtechnical quality of material

5.2 Make contact with appropriate feed provider to switchdown and up links

KEY COMPETENCIES







Solving problems 2

Using technology 3

RANGE STATEMENT

• network control


• supervisor• head of department• technical director• other technical staff• other specialist staff• floor manager• station manager• transmission operators• presentation operators• tape operators• news editor• producer• editor• tape editor





• fibre optics• talkback/two way communications devices• up-link to satellite• down-link from satellite• microwave links

• audio phase vectorscope• waveform and picture monitor• VU and peak program meters• noise and distortion meters• test tone generators

• picture out of synchronisation with sound• sound distortion• picture distortion

• live to air broadcasts• pre-recorded material• single feeds• multiple feeds• outside broadcasts• broadcasts from the studio

• vision• audio• combination of vision and audio




EVIDENCE GUIDE



• radio or television delivery methods - cable, terrestrial,microwave, satellite, as required

• satellite delivery equipment - earth-stations, up-link,transponders, satellite receiving dishes, satellite footprints

• relevant satellite service providers and ability to contactthem

• familiarity with specific master control operatingequipment in use

• ability to check equipment is working to specifications• interpretation of specifications for equipment• radio or television standards PAL, NTSC, SECAM, CCIR

601, as required• sources of advice, information, and technical support• understanding of radio or television broadcast systems

and transmission facilities• correct broadcast terminology• concept and judgement of image and audio broadcast

quality• basic maintenance of transmission equipment, eg

functional testing• diagnosis of problems and faults• communication - oral and written reports• use of intercom and production talkback communication

devices• time management techniques• accurate timing of switches• ability to judge picture to sound synchronisation, as

required





• the interpretation of transmission schedules• ability to check vision or audio quality of feeds, as

required• ability to judge picture or sound distortion, as required• effective verbal communication with a range of individuals• effective use of talkback/intercom communication devices









Resource requirements Assessment requires access to the range of master controlequipment used in broadcast facilities, currently used by thetelevision industry.




CUFBRD09A Call shots and cue sources for a televisionproduction

Unit Descriptor This unit describes the skills and knowledge required to assist thetelevision producer/director for a live to air, live to tape or pre-recordedtelevision production.



1. Prepare for studiorecording/operations

1.1 Become familiar with subject matter/script content and/orproduction requirements, schedule and relevant personnel

1.2 Ensure script is prepared according to producer/directorsrequirements to include relevant information

1.3 Copy and distribute scripts and schedules to all relevantpersonnel

2. Call shots and cue insources during production

2.1 Liaise with relevant personnel in studio as required byfloor/studio manager

2.2 Call shots as they happen to meet productionrequirements

2.3 Operate videotape in accordance with studio convention2.4 Cue visual sources and advise relevant personnel to

ensure they meet production requirements2.5 Time relevant durations and any videotape inserts in

minutes and seconds2.6 Time new durations in compilations or re-takes from the

edit point in accordance with studio convention, asrequired

2.7 Advise performers of cueing and cueing procedures inaccordance with production procedures

2.8 Give cues on time to meet production requirements and ina manner enabling all relevant personnel to actaccordingly

3. Prepare script forpost-production

3.1 Note, on the script, changes from the original script inaccordance with studio convention

3.2 Insert material description and note description accordingto studio convention

3.3 Note tape information for any post-production editing inaccordance with studio convention


CUFBRD09A Call shots and cue sources for a television production


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT

• variety programs• news and current affairs programs• game shows• lifestyle programs• sport programs• interview and forum programs• youth programs• children's programs• arts programs• documentary style programs• dramas

• duration• style• content• budget• deadlines• location• audience• purpose• contractual• confidentiality• intellectual property• copyright• schedule• direct quotes• attributions• interviews• capabilities of the studio




• director• producer• production staff• floor manager• technical director• technical producer• studio personnel• design personnel• sound personnel• camera personnel• lighting personnel• other technical staff• performers:

• cast• presenters• contestants• extras

• general public• audience

• recording information:• shot numbers• shot descriptions• camera numbers• floor manager cues• lighting cues• video tape track information• graphics or digital effects information

• timings• durations

• count down• roll in

• changes to shoot/production schedule• standbys• cues, visual or verbal• hand signals• visual - light, torch• verbal• computer software is available• entry position• last words of previous speaker or announcement• start

• videotape• stills stores• graphics• digital effects




• tape number• production• director• duration• description of raw material

• making announcements• solving problems quickly• monitoring receipt of cues• ongoing communication with producer• giving and receiving instructions

EVIDENCE GUIDE



• ability to interpret production schedule, script, call/runningsheets

• broad knowledge of technical areas, eg sound, lighting,camera

• managing work effectively to achieve goals and results• making decisions within responsibility and authority• ability to solve problems quickly• ability to prepare relevant documentation and production

information• knowledge of and ability to apply effective communication

techniques• understanding the artistic and technical elements of a

production





• ability to prepare a script• ability to give and follow directions precisely• effective verbal and written communication





Assessment of this unit would most effectively be undertakenon the job due to the specific workplace environmentrequirements. However, assessment of this unit can beundertaken in a closely simulated workplace environmentwhich reproduces all the elements of a production situation,including operating to a production schedule. The simulatedassessment event should involve all the team members thatwould normally participate in a television production and theuse of current industry standard equipment.




Resource requirements Assessment requires access to a range of equipment currentlyused by the television industries.




CUFBRD10A Vision mix a multisource televisionproduction to tape or air

Unit Descriptor This unit describes the skills and knowledge required to prepare a scriptfor vision mixing, operate a vision mixer panel for recording and switcha program to tape or air.



1. Prepare a script orproduction schedule forvision mixing

1.1 Liaise with relevant personnel, interpret and confirm thevision mixing requirements to ensure that productionrequirements are met and that styles and formats areconsistent

1.2 Mark known cuts and effects onto the script/productionschedule, according to enterprise procedures

1.3 Liaise with the director and identify and agree to the pointof transition, and mark this on the script/productionschedule

1.4 Consult with the director prior to recording unscriptedtransitions

2. Prepare vision mixerpanel for recording

2.1 Select mixing equipment which is appropriate to meet therequirements of the script/production schedule

2.2 Check the equipment capability to ensure that specificmixing effects are available

2.3 Check that the identified effects are fully functional and themonitor is working within the specifications

2.4 Verify sources on the monitor prior to recording2.5 Position the effects and sources on board to enable the

required transition to be achieved on time

3. Mix the vision 3.1 Use the marked up script/production schedule todetermine all actions throughout the mix

3.2 Continually communicate with the relevant personnelthroughout the mixing process to achieve the desiredresult

3.3 React consistently to cues received from relevantpersonnel and ensure consistency of timing without unduelapses

3.4 Include all planned inter-shot transitions between videosources, reselection points and relevant moves to ensureproduction requirements are met

3.5 Preview sources throughout the production process anduse as required

3.6 Assign effects to appropriate memory storage device3.7 Accurately set transition times


CUFBRD10A Vision mix a multisource television production to tape or air


4. Switch program to tape orair

4.1 Implement scripted transitions on time4.2 Apply the correct length of time when applying the

transition so that the desired effect is created and therhythm of the program is maintained

4.3 Act upon any changes to script/production schedule, asdirected, to achieve the changed requirements

4.4 React to equipment failure, as necessary, by applyingalternative effects

KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT

• computer generated• manually written• in the form of a production schedule• in the form of a call sheet/running sheet/rundown

• in writing• verbally• by hand signal

• director• producer• production staff• floor manager• technical director• technical producer• lighting personnel• sound personnel• camera personnel• other technical staff




• transitions• dissolves• digital video effects• keys - chroma and external• split screens• wipes• mixes

• cameras• pre-recorded video tape material• telecine• character generator• stills• line feed• satellite feed• local feed• overseas camera feed

• pre-recorded• live to air• live to tape• variety programs• news and current affairs programs• sports programs

EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, production schedules• development of marked up scripts/production

schedules/run-downs• communication principles and techniques• understanding the artistic elements of a production• principles and practices of television editing• filmic language• use of intercom communications systems







Since this unit focuses on vision mixing for television,assessment must ensure that a sufficient range of visionmixing tasks are covered. Assessment should only addressthose variable circumstances, listed in the range of variablesstatements, which apply to the chosen context.


• the interpretation of pre-production documentation inorder to meet vision mixing requirements

• effective verbal and written communication


Assessment of this unit would most effectively be undertakenon the job due to the specific workplace environmentrequirements. However, assessment of this unit can beundertaken in a closely simulated workplace environmentwhich reproduces all the elements of a production situationincluding operating to a production schedule. The simulatedassessment event should involve all the team members thatwould normally participate in a television production and theuse of current industry standard equipment.




Evidence of competence would be best obtained by evaluationof a number of vision mixing tasks ensuring consistency ofperformance and coverage of a range of contexts.

Resource requirements Assessment requires access to a range of equipment currentlyused by the television industries.




CUFCAM01A Set up and operate a basic video cameraUnit Descriptor This unit describes the skills and knowledge required to set up and

operate a basic video camera and equipment for use in small mediaproductions which may not be intended for commercial sale.



1. Select and preparecamera equipment andmaterials

1.1 Confirm equipment and stock requirements for the shoot1.2 Obtain and clean equipment and ensure that it is

operational1.3 Recognise faults and defects and refer these to specialist

technicians1.4 Obtain all required stock and consumables and ensure

that it is present in sufficient quantity to meet the filmingrequirements and is available at the correct location andtime of the filming

2. Charge and maintainbatteries throughout shoot

2.1 Ensure power supply is appropriate and available2.2 Ensure the charger is suitable for the batteries used2.3 Safely charge the batteries according to manufacturer's

recommendations2.4 Maintain charged batteries to meet the requirements of

filming duration

3. Install or check camerasupport equipment

3.1 Determine the support requirements and position ofcamera

3.2 Install supports in the appropriate position and at theappropriate height to achieve the camera shot required

3.3 Ensure that support is secure, avoids damage to anyequipment and provides satisfactory camera support

4. Install camera, lenses andother accessories

4.1 Select and securely fit the correct camera lens and filtersaccording to the identified creative requirements

4.2 Install other camera accessories and special requirementscorrectly

4.3 Lift camera, using safe lifting and handling techniques andsecure to support, if required

4.4 Secure camera safely to avoid damage

5. Test all operationalaspects of the camera

5.1 Check the recording functions of the video camera toachieve accurate technical output

5.2 Check the exposure, colour and focus aspects of thecamera to achieve the desired artistic and technicalresults

5.3 Check the chosen filters to ensure that they achieve thedesired artistic and technical results

5.4 Check pan and tilt movements, if required

6. Prepare and loadvideotapes

6.1 Label all cassettes accurately6.2 Load and check videotape into camera for recording6.3 Confirm readiness for shooting with the relevant personnel


CUFCAM01A Set up and operate a basic video camera


7. Operate the camera 7.1 Operate camera in accordance with manufacturer'sinstructions and guidelines

7.2 Consider camera shots and angles to ensure filmingproduces the desired result

7.3 Employ photographic and composition techniques toachieve the creative requirements

7.4 Ensure that any camera movement is steady and smooththroughout the duration of filming

7.5 Adjust and move equipment, as required, during thefilming

8. Disassemble camera,accessories and supportequipment

8.1 Break down and carry video camera, accessories andsupports employing safe lifting techniques

8.2 Clean and safely pack all equipment into cases to avoiddamage and prepare for transport

8.3 Report and document any equipment that is damaged andrequires maintenance to the relevant personnel

8.4 Leave the filming site in the original or improved condition,ensuring that there has been no adverse impact on thesite

KEY COMPETENCIES







Solving problems 1

Using technology 1

RANGE STATEMENT

• in a studio• on location - interior• on location - exterior• outside broadcast• day• night

• single camera




• short documentaries• short films• animated productions• filmed events or performances

• any domestic type video camera• lighting kit, eg lighting bulbs, lights• mounts• filters• wide angle adaptor

• tripods• fixed mounts

• hand held operation• fixed camera• zoom lens

• zoom• fixed• macro• micro

• batteries• AC

• specific lighting conditions• technical• creative

• director• lighting personnel• technical director• other technical staff• other specialist staff


• stock order forms• fault reports• film and battery labels• shotlists• script• production schedule• running sheet




EVIDENCE GUIDE



• basic concepts of camera maintenance and appropriatecleaning techniques and cleaning materials

• domestic type video cameras and operational functions• framing techniques and methods of composition• lens theory and application including range• camera to subject practice, ie lens to eyeline, crossing the

line, matching shots• video types and differences and compatibility of stock to

equipment• management of video stocks, storage and handling• interpretation of creative requirements to technical

operation• relevant photographic principles such as exposure, tonal

relationships, light sources, sensitivity and balancing,camera's interpretation of colour, and how this determinesthe selection of filters

• different types of light measuring devices and their use• use of light meters• the effect of different light sources, diffusion materials,

filters and reflectors on the lighting environment whichincludes both performers and set

• duty of care to colleagues and the general public

Linkages to other units This unit has linkages to the following unit and combinedtraining delivery and/or assessment is recommended:

• CUFPOP01A Prepare and participate in an electronicmedia activity



• knowledge and application of photographic principles• technical knowledge of a domestic type of video camera








Resource requirements Assessment requires access to a range of equipment listed inthe range of variables statement, currently in use.




CUFCAM02A Develop and implement a camera planUnit Descriptor This unit describes the skills and knowledge required to interpret the

creative brief and to develop and implement a camera plan for anyproduction within the cultural industries.



1. Receive and interpret thebrief for the camera plan

1.1 Liaise with the relevant personnel and interpret andconfirm the shot requirements so that technical,production and script requirements are met

1.2 Participate in preliminary concept meetings to discuss thevisual requirements of the production


the camera plan

2. Determine the camerarequirements

2.1 Undertake research into the style and location of theproduction, materials and human resources necessary tofulfil the production requirements and their cost

2.2 Carry out a site inspection, as appropriate, with relevantpersonnel to determine camera positions and the numberof cameras to achieve desired coverage

2.3 Determine the camera position and movement for eachshot so that they are complementary and allow for visualcontinuity and ease of editing

2.4 Determine rig and track requirements and identify allcamera equipment required

2.5 Hold ongoing discussions with relevant personnel so thatadditional or changed production requirements and newideas are considered and incorporated during thedevelopment of the plan

3. Determine lightingrequirements

3.1 Discuss the visual effect required with the relevant lightingpersonnel

3.2 Discuss camera position and movement for each shot withthe relevant lighting personnel

3.3 Agree to lighting requirements and choice of equipmentand continually liaise with lighting personnel to ensure thatthe required visual effects can be achieved


CUFCAM02A Develop and implement a camera plan


4. Produce the camera plan 4.1 Produce the camera plan taking into consideration:4.1.1 the original creative brief4.1.2 studio and/or location constraints4.1.3 positioning of sets or other physical elements and

equipment4.1.4 occupational health and safety considerations

4.2 Draw the camera plan, according to enterprisearrangements, identify all relevant information includingcamera numbers and movements

4.3 Present the camera plan to the relevant personnel foracceptance

4.4 Negotiate and agree to additional requirements ormodifications to the plan and undertake any necessaryamendments

4.5 Agree to the final plan and present final cameraspecifications to all relevant personnel to ensure thatproduction requirements are met

5. Implement the cameraplan

5.1 Source the required camera equipment and accessoriesand ensure they are present in sufficient quantity to meetthe needs of the production schedule

5.2 Oversee relevant personnel to ensure that all cameraassembly and disassembly requirements are met, qualitystandards are adhered to and work is undertaken withinbudget and technical constraints


5.4 Secure all camera items and accessories throughout theproduction to minimise theft or damage

5.5 Participate in ongoing production meetings and ensurethat any changes are noted and acted upon


5.7 Leave the work site in the original or improved condition,ensuring that there has been no adverse impact on thesite

KEY COMPETENCIES







Solving problems 3

Using technology 2




RANGE STATEMENT


• single• multi camera

• feature films• documentaries• short films• animated productions• commercials• filmed events or performances• music video• television productions of any type, eg music, drama,

comedy, variety, sport• live or pre-recorded television productions

• supervisor• head of department• director of photography• director• camera operator• camera assistant• grip• gaffer• lighting personnel• producer• technical director• other technical staff• other specialist staff• designers• floor manager

• computer generated• manually written• hand sketched• formal plan• inclusive of details of studio




• cameras• lenses• filters• lights• special effects equipment• camera supports, eg mounts, cranes, dollies, track,

tripods, spreaders, fluid heads

• artistic• technical

• composition• continuity• shot type• framing• aesthetics• movement• timing• duration• camera position• camera height and distance from subject




EVIDENCE GUIDE




• interpretation of creative requirements to technicaloperation

• production scheduling• resource management including human resources• team leading skills• budget management• projects management• report writing• negotiation skills• occupational health and safety requirements• a range of cameras and operational functions• basic concept of load and balance• cinematographic language• framing techniques and methods of composition• lens theory and application including range• characteristics of lenses• camera to subject practice, framing and composition, ie

lens to eyeline, jump cuts, crossing the line, matchingshots and general continuity

• preparation of shot cards and shot description• different types of light measuring devices and their use,

eg use of light meters• camera supports• basic concepts and techniques of cable handling and

compatibility with other equipment• duty of care to colleagues and the general public• occupational and public health and safety procedures in

relation to lifting, climbing rigs, using electrical equipment• principles of clear communication and negotiation of

problems• detailed knowledge of the Australian film industry

recommended safety code

Linkages to other units: This unit has linkages to the following unit and combinedtraining delivery and/or assessment is recommended:

• CUFCAM03A Compose camera shots and operate acamera







• the development of creative camera plans which meetpractical requirements including venue requirements, typeof production and resource constraints, in particularbudgetary constraints













CUFCAM03A Compose camera shots and operate acamera

Unit Descriptor This unit describes the skills and knowledge required to composeshots, position the camera, select the appropriate lens and lightingequipment, and operate a camera to achieve the required movingimage in any environment, for single or multicam film or televisionproductions.



1. Compose shots 1.1 Liaise with the relevant personnel and interpret andconfirm the shot requirements so that aesthetic andtechnical production and script/production requirementsare met

1.2 Generate a range of ideas for the composition of shotswhich provide creative solutions to the production issues

1.3 Discuss ideas and collaborate, as required, with relevantpersonnel to ensure contribution of ideas to the initialconcept

1.4 Reflect on and appraise ideas for implications on cost andtime, technical feasibility, and suitability to meet theproduction requirements

1.5 Devise shots to ensure that correct visual interpretation ofthe script/production requirements is met through closeliaison with relevant personnel

1.6 Ensure that composition of shots meets the aestheticrequirements and provides the correct visual interpretationof the script/production requirements

2. Address lightingconditions

2.1 Assess the quality and quantity of available light anddetermine the amount of correction required, if necessary

2.2 Confirm that the available light is sufficient for theproduction requirements by utilising appropriate meters

2.3 Correct mixed light sources to achieve a uniform colourbalance

2.4 Ensure corrective actions are taken to address changingor inadequate lighting conditions

2.5 Liaise closely with lighting personnel to achieve therequired image and agree to the use of artificial lightsources

3. Select and use correctivefilters

3.1 Make use of corrective filters to:3.1.1 meet the creative/and or technical requirements of

the production3.1.2 change the effects of available light to the quality

required to suit film in use3.1.3 ensure that correct colour balance and light

conditions are attained


CUFCAM03A Compose camera shots and operate a camera


4. Select and use lens 4.1 Determine the required focal length, depth of field andselect lens according to technical and creativerequirements and available light

4.2 Select focal length according to the type and stability ofthe camera mounting and degree of intended cameramovement during the shot

4.3 Control exposure by use of correct aperture

5. Coordinate crew toposition camera

5.1 Communicate the start and end of the moving shot clearlyto all relevant personnel, as required

5.2 Identify and clearly communicate the route and timing ofcamera movements

5.3 Identify and discuss problems with relevant personnel andmodify movements accordingly

6. Position and operatecamera to capture shots

6.1 Liaise with relevant personnel regarding the shotsrequired and ensure that their sequence is clear andcoherent

6.2 Position camera for shots to ensure the safety of allpersonnel, performers and the general public

6.3 Select camera positions to meet aesthetic and technicalrequirements and in consultation with the appropriatepersonnel

6.4 Consider all camera shots and angles to ensure cutsbetween shots produce the desired result

6.5 Consider editing and other post-production requirementswhilst filming

6.6 Adjust and move equipment, as required, during the shootwith consideration to the timelines and deadlines of theproduction schedule

6.7 Move camera to capture planned or rehearsed shots,according to direction received from relevant personnel

7. Monitor the quality of themoving image duringfilming

7.1 Employ photographic and composition techniques toachieve the aesthetic requirements and to capture wellcomposed and focused shots

7.2 Maintain the desired composition by ensuring that anycamera movement is steady and smooth throughout theduration of the shot

7.3 Maintain focus throughout the filming7.4 Execute zoom movements and focus changes to achieve

the required image, and in accordance with anyinstructions from relevant personnel

7.5 Maintain camera and lighting conditions throughout filmingto ensure that image and light quality meet the stylisticeffect required

7.6 Coordinate the efforts of other personnel to achieve thedesired image




KEY COMPETENCIES







Solving problems 3

Using technology 3

RANGE STATEMENT

• in a studio• on location - interior• on location - exterior• day• night


• electronic field production (EFP)• electronic news gathering (ENG)• feature films• documentaries• short films• animated productions• commercials• filmed events or performances• music video• television productions of any type, eg music, drama,

comedy, variety, sport, current affairs• live or pre-recorded television productions

• extreme close up• close up• mid shot• long shot• wide shot• high angle• eye level shot• low angle• establishing or master shot• point of view shot• cutaway shot




• static• pan• tilt• track in• track out• crab• crane

• super 16mm• 16mm• 35mm• 65mm




• Arriflex• Bolex• Aaton• IMAX• Panavision• rostrum camera• platten glass• video split monitor• cables• mounts• filters• lenses:

• lens hood• lens filters• matte box• lens support

• wide angle adaptor• Betacam• Betacam SP• Digital betacam• Digital DVC pro• DV Cam• Mini DV• 1 inch tube• 2/3 inch tube• 2/3 inch CCD in both large format and portable

configuration• video split monitor• lighting kit• lighting bulbs• lights• filter wheel• viewfinders• diopter• zoom demands• focus demands• shot boxes• cue card holders• headphones• autocue monitor• talkback• tallies and return video

• be manually controlled• be computer controlled• combine camera and recorder function• separate the camera function from record function

• hand held operation• fixed/supported camera




• light meter• exposure meter• colour temperature meter

• normal• long• zoom• fixed• macro• micro

• resolution• contrast• image shift• sharpness• zoom• mechanical operation

• colour correction• colour• graduated: hard edge, soft edge, attenuated coloured,

neutral density• correction filters• ultraviolet• polarising• chromatic• starburst• non specific colour• enhancers

• key light• fill light• back light• bounced light• effect light, eg on backgrounds

• interior lights• spot light• flood light• HMI• tungsten

• mains power• generators• batteries

• Ni-Cad• lead/acid• lithium ION





• supervisor• head of department• director of photography• director• camera operator• focus puller• grips• camera assistants• gaffer• lighting personnel• technical director• other technical staff• other specialist staff• floor manager• safety officer






EVIDENCE GUIDE




• a range of cameras and operational functions• cinematographic language• framing techniques and methods of composition• lens theory and application including range• camera to subject practice, ie lens to eyeline, crossing the

line, matching shots• film and video types and differences, and compatibility of

stock to equipment• a range of film types and their characteristics - black and

white/colour, light sensitivity, speed and latitude,temperature requirements

• different film and video formats and their uses• shutter speeds• relevant photographic principles such as exposure, tonal

relationships, light sources, sensitivity and balancing,camera's interpretation of colour, colour correctiontechniques, colour temperature and compensation andhow this determines the selection of gels and filters

• operation and interpretation of information readout ofcolour temperature meter

• different types of light measuring devices and their uses• use of light meters• the effect of different light sources, diffusion materials,

filters and reflectors on the lighting environment whichincludes both performers and set

• properties and behaviour of light and effects on filmmaking - absorption, refraction, reflection, visible lightwaves, division by wavelength into colours

• types of artificial/introduced light sources available to acamera operator

• performance characteristics of lenses• types of lenses available to the camera operator and their

structure, physical composition and mechanical operation• use of exposure meters• exposure control exercised by aperture and effects of

increase and decrease in f/stop• use of printed table to determine aperture• use of depth of field tables and methods of calculation

involved in determining correct f/stop• focal length and relationship to depth of field• basic concepts and techniques of cable handling and

compatibility with other equipment• basic concepts and techniques for maintaining battery

power and loading film stocks• communication and conflict resolution techniques




• basic understanding of ethics for the capture of newsreports, where applicable

• duty of care to colleagues and the general public• occupational and public health and safety procedures in

relation to lifting, climbing rigs, using electrical equipment• detailed knowledge of the Australian film industry


Linkages to other units • This unit has linkages to the following units and combinedtraining delivery and/or assessment may be appropriate:

• CUFCAM04A Operate a camera under special conditions• CUFCAM11A Set up a camera



• the interpretation of creative and/or technicalrequirements and provision of additional ideas in order toproduce the desired style of the moving image captured

• knowledge and application of photographic principles• technical knowledge of a range of cameras





Assessment of this unit would most effectively be undertakenon the job due to the specific workplace environmentrequirements. However, assessment of this unit can beundertaken in a closely simulated workplace environmentwhich reproduces all the elements of a production situationincluding operating to a production schedule. The assessmentevent in the simulated workplace environment should involveall the team members that would normally participate in a filmor television production and the use of current industrystandard equipment.


• practical demonstration, direct observation may need tooccur on more than one occasion to establish consistencyof performance

• role play• case studies• work samples or simulated workplace activities• oral questioning/interview aimed at evaluating the








CUFCAM04A Operate a camera under special conditionsUnit Descriptor This unit describes the skills and knowledge required to operate a

camera to achieve the required moving image under special conditionsfor film or television productions. It focuses only on the additional skillsrequired to operate in a special environment.



1. Determine cameraposition and movements

1.1 Liaise with relevant personnel and interpret and confirmthe shot requirements so that technical, production andscript requirements are met

1.2 Participate in pre-production meetings and briefings todiscuss the visual requirements of the production

1.3 Interpret the camera plan, if available, and create shotlistsfor use during any rehearsal and actual filming

2. Assess and control risks 2.1 Participate in pre-filming safety briefings and ensure thatthe risks of filming in special conditions are understood

2.2 Identify any potential hazards and clear the area ofcamera operation of any unwanted objects

2.3 Conduct briefings of other personnel assisting with thefilming and determine an execution plan including detailsof:2.3.1 chain of communication for execution of the filming2.3.2 cues and signals to be used2.3.3 route and timing of camera shots2.3.4 emergency action to be taken in the event of an

accident2.4 Abort filming where unacceptable risks are identified and

advise all relevant personnel

3. Select special equipment 3.1 Determine any special requirements, communicate andconfirm these to relevant personnel including3.1.1 rig, track and mount equipment3.1.2 harness equipment3.1.3 protective clothing3.1.4 special camera housings3.1.5 cabling or battery equipment3.1.6 communication equipment

3.2 Ensure that all required equipment has been installed anddoes not impede the operation of any personnel involvedin the filming


CUFCAM04A Operate a camera under special conditions


4. Use camera and specialequipment to captureshots

4.1 Participate in rehearsal, if available, and agree to finalcamera shots and movements

4.2 Adjust shot list according to any required changes4.3 Communicate with relevant personnel throughout the

shoot and position and move camera according toinstructions and cues received

4.4 Recreate camera shots established during rehearsals oradvise relevant personnel of unavoidable variations fromthe pre-determined format

4.5 Act upon any changes to shotlist, as directed, to achievethe changed requirements

4.6 Minimise the effects of equipment movement on thefilming

4.7 Operate the camera and all special equipment to ensurethe safety of all personnel involved in the filming,performers and the general public

4.8 Work in co-operation with other personnel to achieve thedesired camera movements and visual effects

4.9 Complete all operations without damage to equipment andwithout interference to the operators of any movingequipment

KEY COMPETENCIES







Solving problems 3

Using technology 3




RANGE STATEMENT

• the filming of special effects• underwater• mounted to a dolly• mounted to a crane• the use of a jib• the use of a remote controlled camera• the use of a robotic camera• mounted to, or filmed from a moving vehicle, eg car,

truck, bus etc• mounted to, or filmed from a moving vessel, eg ship, boat

etc• mounted to, or filmed from a moving aircraft• mounted to, or filmed from a moving train

• wind• snow• rain• storm effects: thunder, lightning• floods• explosions• flash pots• gun shots• pyrotechnic effects• mechanical

• pilots• train drivers• drivers of vehicles• boat crew• crane operator• dolly operator

• rig, track and mount equipment• harness equipment• protective clothing• special camera housings• sealed cabling or battery equipment• communication equipment

• helmet• wetsuit• identifying colour and/or signage on clothing• insulated clothing• fire resistant clothing





• static• pan• tilt• track in• track out• crab• crane



comedy, variety, sport, current affairs• live or pre-recorded television productions




• film camera of any type• underwater camera• Betacam• Betacam SP• Digital betacam• Cigar cam to any format• DVC Pro• DV Cam• Mini DV• 1 inch tube• 2/3 inch tube• 2/3 inch CCD in both large format and portable

configuration• video split monitor• lighting kit• lighting bulbs• lights• cables• mounts• lenses• filters• filter wheel• viewfinders• diopter• zoom demands• focus demands• shot boxes• cue card holders• headphones• autocue monitor• talkback• tallies and return video

• rigs and scaffolding• cranes• tracks and dollies• tripods• spreaders• fluid heads• pedestals• fixed mounts

• zoom• fixed• macro• micro

• Ni-Cad• lead/acid• lithium ION• metal halide




• specific lighting conditions• technical• creative• script• news stories to be covered• location of assignment

• supervisor• head of department• director of photography• director• news producer/director/chief of staff• grip• gaffer• lighting personnel• technical director• other technical staff• other specialist staff• pilot• driver of vehicle• boat crew• train driver• performers• stunt performers• special effects personnel• safety officer




EVIDENCE GUIDE





• production scheduling• team communication skills• occupational health and safety requirements• a range of cameras and operational functions• basic concept of load and balance• cinematographic language• framing techniques and methods of composition• lens theory and application including range• characteristics of lenses• camera to subject practice, framing and composition, ie


• preparation of shot cards and shot description• different types of light measuring devices and their uses• use of light meters• camera supports• basic concepts and techniques of cable handling and



recommended safety code• principles of clear communication and negotiation of

problems

Linkages to other units: This unit has linkages to the following units and combinedtraining delivery and/or assessment may be appropriate:






This unit of competence applies to a range of specialconditions in which a camera is operated. The focus ofassessment will depend on the specialisation. Assessmentmust be customised to meet the needs of the particular specialcondition in which performance is being assessed. Assessmentshould only address those variable circumstances, listed in therange of variables statements, which apply to the chosencontext.

Care should be taken in developing training to meet therequirements of this unit. The specific focus of training willdepend upon the special conditions covered. For genericpre-vocational training, organisations should provide trainingwhich will provide participants with a breadth knowledge andexpertise, encompassing a range of special conditions.


• the interpretation and implementation of commonwealth,state and territory occupational health and safetyregulations, relevant national and international standards,guidelines and codes of practice, and relevant localgovernment construction and safety legislation andregulation








Assessment methods must include observation of performanceduring a practical demonstration. Direct observation may needto occur on more than one occasion to establish consistency ofperformance. Assessment may incorporate a range of methodsto assess performance and the application of essentialunderpinning knowledge, and might include:





Evidence of competence would be best obtained by evaluationof a number of camera operation tasks ensuring a widecoverage of special conditions.





CUFCAM05A Pull focusUnit Descriptor This unit describes the skills and knowledge required to set up focal

points and pull focus on film cameras used on any production within thecultural industries.



1. Prepare to pull focus 1.1 Liaise with relevant personnel and interpret and confirmappropriate focus requirements for particular shot

1.2 Mount the follow focus unit according to specifications andrequirements of the relevant personnel

1.3 Ensure all equipment is compatible and in working orderand is positioned to avoid any interference with cameraoperations

2. Calculate focus points 2.1 Accurately measure and clearly mark focus points to plotthe focus pull

2.2 Verify points by tape or eye2.3 Ensure that split focus covers the depth of field

requirements2.4 Set units to meet the production requirements

3. Pull focus duringproduction

3.1 Continue to liaise with relevant personnel throughout theshot

3.2 Continually check that lens and camera are correctlycalibrated

3.3 Ensure camera is not disturbed while pulling focus3.4 Maintain focus throughout the shot by operating the follow

focus unit to the predetermined points within the requiredtiming of the shot

3.5 Estimate and execute any necessary adjustments to thepredetermined focus point to achieve the required image

3.6 On completion of the shot, provide feedback to relevantpersonnel including provision of report on soft focus andother problems

3.7 Relay information to continuity in accordance withenterprise procedures

KEY COMPETENCIES







Solving problems 1

Using technology 2


CUFCAM05A Pull focus


RANGE STATEMENT



• feature films• documentaries• short films• animated productions• commercials

• supervisor• head of department• director of photography• camera operator• director• gaffer• lighting personnel• technical director• other technical staff• other specialist staff• floor manager• client• performers• crane crew• grips

• cameras• lenses• follow focus unit• varied speed unit• speed aperture unit• filters• lights• special effects equipment• camera supports, eg mounts, cranes, dollies, track,

tripods, spreaders, fluid heads

• fixed• zoom




• circle of confusion• format• lens focal length• aperture• focus point

• lens size• marks• stop• footage

• position of props• position of scenery• position of performers• failing light• position of lights


• composition• continuity• shot type• framing• aesthetics• movement• timing• duration• camera position• camera height and distance from subject

EVIDENCE GUIDE

Underpinning skills andKnowledge


• understanding of principles of photography andcinematography

• principles and techniques of camera operation, lensesand composition

• understanding of the types and capabilities of lenses incommon use

• requirements for changes particularly in cameramovements, subject and production requirements

• basic mathematic calculation for focal calculation• principles of clear communication• detailed knowledge of the Australian film industry






• CUFCAM09A Perform pre-shoot camera tests• CUFCAM11A Set up a camera




• knowledge and application of photographic principles• technical knowledge of a range of film cameras• effective verbal communication with team members









CUFCAM06A Shoot television material in a multicameraenvironment

Unit Descriptor This unit describes the skills and knowledge required to position andoperate a video camera to achieve the required moving image formulticam productions within the cultural industries. It focuses only onthe additional skills required to operate in a multicam environment.





1.2 Participate in pre-production meetings and briefings todiscuss the visual requirements of the production

1.3 Interpret the camera plan and ensure that the individualrole is understood within the whole plan

1.4 Create shotlists for use during any rehearsal and actualrecording/transmission

2. Assemble camera andequipment

2.1 Assemble camera, equipment and required accessories tomeet the predetermined camera positions and movements

2.2 Position camera for shots to ensure the safety of allpersonnel, performers and the general public

2.3 Ensure appropriate camera cables are run from correctoutlet points to the camera and do not impede themovement of any camera involved in the production

2.4 Ensure that camera is lined up with other cameras andthat all cameras are matched to meet the productionrequirements

2.5 Hold ongoing discussions with all relevant personnel toensure that there is agreement about camera positionsand movements

3. Install communicationequipment

3.1 Charge and install headsets and ensure that talk backfunction is operational to allow communication withrelevant personnel


CUFCAM06A Shoot television material in a multicamera environment


4. Position and movecamera to capture shots

4.1 Participate in rehearsal, if required, and agree to finalcamera shots and movements

4.2 Adjust shot list according to any required changes4.3 Communicate with relevant personnel throughout the

shoot and position and move camera according toinstructions and cues received

4.4 Recreate camera shots established during rehearsals oradvise relevant personnel of unavoidable variations fromthe pre determined format



4.7 Consider the shots and angles of other camera operatorsto ensure cuts and dissolves between shots produce thedesired results

4.8 Move camera without impeding the operation of othercamera operators and work in co-operation to achieve thedesired visual effect of the whole production

KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• in a studio• outside broadcast• day• night

• filmed events or performances• music video• television productions of any type, eg music, drama,





• supervisor• head of department• director of photography• director• camera operator• gaffer• lighting personnel• producer• technical director• other technical staff• other specialist staff• designers• floor manager

• computer generated• manually written• hand sketched• formal plan• inclusive of details of studio

• cameras• lenses• filters• lights• special effects equipment• camera supports, eg pedestal, mounts, cranes, dollies,

track, tripods, spreaders, fluid heads



• static• pan• tilt• track in• track out• crab




EVIDENCE GUIDE





• occupational health and safety requirements• a range of cameras and operational functions• cinematographic language• framing techniques and methods of composition• lens theory and application including range• characteristics of lenses• camera to subject practice, framing and composition, ie


• preparation and interpretation of shot cards and shotdescription

• camera supports• basic concepts and techniques of cable handling and


relation to lifting, climbing rigs, using electrical equipment• principles of clear communication and negotiation of

problems

Linkages to other units: • This unit has linkages to the following units and combinedtraining delivery and/or assessment may be appropriate:





• knowledge and application of photographic principles• technical knowledge of a range of cameras• effective verbal communication with all members of a

team





Assessment of this unit would most effectively be undertakenon the job due to the specific workplace environmentrequirements. However, assessment of this unit can beundertaken in a closely simulated workplace environmentwhich reproduces all the elements of a production situationincluding operating to a production schedule. The simulatedassessment event should involve all the team members thatwould normally participate in a television production and theuse of current industry standard equipment.











CUFCAM07A Maintain battery power and video stocks for ashoot

Unit Descriptor This unit describes the skills and knowledge required to coordinatevideo stocks and maintain battery power in an environment wheremains power is not available for any production within the culturalindustries.



1. Coordinate video stockmaterials

1.1 Liaise with relevant personnel and interpret and confirmvideo stock requirements for the shoot

1.2 Confirm shooting schedules and ratio with relevantpersonnel

1.3 Select all required stock and consumables and ensurethat it is present in sufficient quantity to meet the needs ofthe production schedule

1.4 Monitor stock control in relation to stock expiry dates1.5 Complete any required stock orders and ensure

availability at the time of the shoot1.6 Handle, store and pack video stock to avoid damage and

protect against environmental hazards1.7 Complete any documentation and label video tapes,

according to enterprise requirements1.8 Ensure all equipment and stock is available at the correct

location and time of the shoot1.9 Log shots and sequences by completing accurate camera

report sheets1.10 Document remaining stock used during a production and

stock remaining at conclusion of shoot1.11 Monitor stocks and advise relevant personnel to ensure

that stocks are available in sufficient quantity throughoutthe production

2. Set time codes 2.1 Set the time code according to manufacturer's instructions2.2 Select and set the time code type to meet post-production

requirements2.3 Set the time code to synchronise with other equipment, if

necessary

3. Prepare and loadvideotapes and reviewvideo image

3.1 Check tape for any visual sign of damage or dirt prior toloading

3.2 Prepare videotapes with bars and tone and replay thetape to check recording of these

3.3 Set balance to match prevailing conditions3.4 Label all cassettes accurately3.5 Load and check videotape into camera for recording3.6 Confirm readiness for shooting to the relevant personnel


CUFCAM07A Maintain battery power and video stocks for a shoot





the shoot4.5 Label the batteries according to their status

KEY COMPETENCIES







Solving problems 1

Using technology 1

RANGE STATEMENT

• on location - interior• on location - exterior• outside broadcast• day• night



comedy, variety, sport




• hand held operation• fixed camera• pedestal supported• zoom lens

• Ni-Cad• lead• acid

• black balance• white balance

• supervisor• head of department• camera operator• grip• director of photography• director• news producer/director/chief of staff• gaffer• lighting personnel• technical director• other technical staff• other specialist staff• floor manager


• stock order forms• fault reports• video and battery labels• shotlists• script• production schedule• running sheet




EVIDENCE GUIDE



• a range of video tape formats and their characteristics -and their uses

• a range of video cameras and operational functions• video tape formats and compatibility of stock to

equipment• broadcast qualities of different tape formats• stock control procedures, especially in relation to

perishable items• management of video stocks, storage and handling,

problems associated with magnetic fields and heat• basic concepts and techniques of cable handling and


relation to lifting, climbing rigs, using electrical equipment• compatibility of AC/DC power• principles of time management and coordination of job

functions within tight working schedules

Linkages to other units • This unit has linkages to the following unit and combinedtraining delivery and/or assessment may be appropriate:

• CUFCAM11A Set up a camera


Since an essential requirement of coordinating video stocks iscoordination of documentation, assessment should take intoaccount the production of a range of relevant documentationincluding:

• labelled records of exposed and non exposed footage• stock records













CUFCAM08A Coordinate and load film stocksUnit Descriptor This unit describes the skills and knowledge required to handle and

coordinate film stocks including the loading, unloading and preparationof film for processing at the lab. This unit also covers coordination ofbattery power.






the shoot1.5 Label the batteries according to their status

2. Coordinate film stock andequipment for use in shoot

2.1 Liaise with relevant personnel and interpret and confirmfilm stock requirements for the shoot

2.2 Confirm shooting schedules and ratio with relevantpersonnel

2.3 Select correct film stock and other equipment to ensurethat it is present in sufficient quantity to meet the needs ofthe production schedule

2.4 Complete any required stock orders and ensureavailability at the time of the shoot

2.5 Ensure film stock and batch numbers match requirements2.6 Accurately record batch emulsion and strip numbers2.7 Handle store and pack film stock to avoid damage and

protect against environmental hazards2.8 Label film cans accurately2.9 Monitor stock control in relation to stock expiry dates2.10 Accurately and legibly document stock records2.11 Complete camera report sheets accurately, legibly and

according to schedule2.12 Document remaining stock and batch used during a

production, and stock remaining at conclusion of shoot,including short ends

2.13 Monitor stocks and advise relevant personnel to ensurethat stocks are available in sufficient quantity throughoutthe production


CUFCAM08A Coordinate and load film stocks


3. Load magazines with film 3.1 Check magazines to ensure that they are light proof andoperational before loading

3.2 Brush film magazines and ensure that they are cleanbefore loading

3.3 Ensure loading room/bag is light proof and that emulsionside of film can be recognised in a light proof bag or room

3.4 Identify correct stock and batch numbers of film prior tolacing and loading

3.5 Use short ends throughout the shoot to avoid wastage3.6 Source, read and interpret manuals and lacing charts if

necessary3.7 Lace the film and label the magazine giving consideration

to adverse weather conditions, environment hazards andcorrect handling procedures, to avoid damage during thelacing

3.8 Lace enough magazines to meet shooting requirements3.9 Recognise problems and defects and take appropriate

remedial action3.10 Complete documentation and ensure it is accurate and

legible

4. Attach magazine tocamera and lace

4.1 Clean camera to ensure it is free of dust, grit and otherforeign bodies and check all operational functions prior toexposing any film, with special attention to film gate

4.2 Load the laced magazine to camera as required4.3 Lace the camera giving consideration to adverse weather

conditions, environment hazards and correct handlingprocedures to avoid damage during the lacing

4.4 Continue to liaise with relevant personnel and interpretand confirm film requirements for the duration of the shoot

5. Unload exposed film frommagazine

5.1 Ensure loading room/bag is light proof5.2 Select appropriate type and size of film can for storage

and transportation of exposed film5.3 Store the film and accurately label the film can, giving

consideration to adverse weather conditions, environmenthazards and correct handling procedures to avoid damageduring the operation

5.4 Apply tape to the film can securely to seal from light5.5 Brush film magazines and ensure that they are clean

before storing




6. Prepare and dispatch filmfor processing

6.1 Liaise with relevant personnel and interpret and confirmtimeline requirements for processing and return of the film

6.2 Record batch emulsion and strip numbers6.3 Compile clear and accurate reports and documentation,

specifically picture negative reports6.4 Dispatch film to the lab within nominated deadline for

rushes6.5 Provide clear processing instructions to the lab ensuring

that the process is carried out according to manufacturers'expiry date

6.6 Confirm and consider laboratory's ability to meet thedeadlines of the production schedule

6.7 Advise relevant personnel of expected film processingtimelines

KEY COMPETENCIES







Solving problems 1

Using technology 1

RANGE STATEMENT



• feature films• documentaries• short films• animated productions• commercials• filmed events or performances




• top-mounted• rear mounted

• colour• negative stock• black and white• reversal stock

• dark room• changing bag

• stock orders• stock reports• fault reports• film can labels• film magazine labels• lab processing instructions• production schedules• picture negative reports


• checking footage counter• film path and accurate lacing• alignment of loop• smooth running and running to speed

• supervisor• head of department• director of photography• director• camera operator• focus puller• technical director• other technical staff• other specialist staff• lab staff




EVIDENCE GUIDE



• a range of film types and their characteristics - black andwhite/colour, light sensitivity, eg speed and latitude,temperature requirements

• different film formats and their uses• principles of film handling and storage• stock control procedures, especially in relation to

perishable items• effects of light on unexposed and exposed film• range of camera equipment• compatibility of film type to camera equipment• broad understanding of photographic principles such as

exposure, tonal relationships, light sources, balancingand colour temperature and compensation

• broad understanding of the operation of processing labs• principles of time management and coordination of job

functions within tight working schedules




Since an essential requirement of coordinating film stocks andthe processing of exposed films is coordination ofdocumentation, assessment should take into account theproduction of a range of relevant documentation including:

• labelled cans of exposed film• picture negative reports• production management logs• stock records













CUFCAM09A Perform pre-shoot camera testsUnit Descriptor This unit describes the skills and knowledge required to conduct tests

on stock and cameras to ensure correct operation in advance of filmingany production within the cultural industries.



1. Prepare to conduct tests 1.1 Liaise with relevant personnel and confirm the cameraequipment and film stocks to be used

1.2 Book and confirm a testing facility

2. Test operational aspectsof lenses

2.1 Select required lenses and ensure that they are present tofinalise all required tests

2.2 Securely fit the camera lenses2.3 Handle film stock with care to avoid damage and load

camera2.4 Conduct required number of tests for focal length and

other focus requirements

3. Test camera movement 3.1 Use film chart to conduct camera movement testsincluding:3.1.1 vertical and horizontal movement3.1.2 film movement with the film gate

3.2 Ensure that film is double exposed to correct starting pointin order to determine true movement

4. Test film stock 4.1 Select required film stock and ensure that it is present insufficient quantity to finalise the tests

4.2 Conduct required number of tests and cover:4.2.1 level of black4.2.2 colour4.2.3 exposure

5. Liaise with laboratory 5.1 Complete required documentation, according to enterpriserequirements

5.2 Arrange for test film to be processed and adviselaboratory of timelines and reports required

5.3 On completion of the tests, interpret reports, providefeedback to relevant personnel and confirm operatingcapacity of stocks and camera equipment

5.4 Conduct ongoing tests if required


CUFCAM09A Perform pre-shoot camera tests


KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT

• hired• in-house


• supervisor• head of department• camera operator• director of photography• director• gaffer• lighting personnel• technical director• other technical staff• other specialist staff

• cameras• lenses• filters• lights

• fixed• zoom





• manually written• computer generated• stock orders• stock reports• fault reports• film can labels• film magazine labels• lab processing instructions• production schedules

EVIDENCE GUIDE



• understanding of principles of photography andcinematography

• principles and techniques of camera operation, lensesand composition

• understanding of the types and capabilities of lenses incommon use

• requirements for changes, particularly changes in cameramovements, subject and production requirements

• basic mathematical calculation for focal calculation• principles of clear communication• understanding of the types and capabilities of film stock in

common use• safe handling of film stock• interpretation of technical laboratory reports,

understanding of filmic language





• knowledge and application of photographic principles• technical knowledge of a range of film cameras












CUFCAM10A Operate the clapperboardUnit Descriptor This unit describes the skills and knowledge required to set up and

operate the clapperboard and record shots for film and televisionproductions within the cultural industries.



1. Prepare for daily shoot 1.1 Liaise with relevant personnel and interpret and confirmthe daily shooting requirements

1.2 Attend daily shoot as instructed and ensure thatclapperboard and consumables are present in sufficientquantity to meet the daily production requirements

2. Operate the clapperboardduring production

2.1 Identify each shot in writing on the slate in accordancewith enterprise procedures

2.2 Hold the board and clap stick steady and in position2.3 Ensure that performers/talent and camera is not disturbed

while operating the clapperboard2.4 Close the clap stick firmly on receiving cue from relevant

personnel and ensure that board remains steady

3. Record shots 3.1 Record details of shot on the shot list in accordance withenterprise procedures

KEY COMPETENCIES







Solving problems -

Using technology -

RANGE STATEMENT



CUFCAM10A Operate the clapperboard




• supervisor• head of department• director of photography• director• technical director• other technical staff• other specialist staff• floor manager

• scene number• shot number• take• description• film stock used - roll number, type and length• unit• production name

EVIDENCE GUIDE



• understanding of principles of clear documentation• set protocol• good timekeeping practices• reacting positively to instruction• understanding verbal cues• principles of clear communication

Linkages to other units This unit has linkages to a range of camera support units foundwithin this training package and combined training deliveryand/or assessment may be appropriate.



• effective verbal communication with team members












CUFCAM11A Set up a cameraUnit Descriptor This unit describes the skills and knowledge required to set up and

breakdown film or video cameras and equipment in any environment,for single or multicam productions within the cultural industries.



1. Select and preparecamera equipment andmaterials

1.1 Liaise with relevant personnel and interpret and confirmequipment and stock requirements for the shoot

1.2 Select, clean and undertake any required maintenance onthe equipment and ensure that it is operational


1.4 Select all required stock and consumables and ensurethat they are present in sufficient quantity to meet theneeds of the production schedule

1.5 Complete any required stock orders and ensureavailability at the time of the shoot

1.6 Complete any documentation, according to enterpriserequirements

1.7 Ensure all equipment and stock is available at the correctlocation and time of the shoot

2. Install or check camerasupport equipment

2.1 Liaise with relevant personnel and interpret and confirmany rig and track requirements for the shoot

2.2 Determine the support requirements and position ofcamera

2.3 Install supports in the appropriate position or check thatany rigging and mounts have been installed in theappropriate position and at the appropriate height toachieve the camera shot required

2.4 Ensure that support is secure, avoids damage to anyequipment and provides satisfactory camera support


CUFCAM11A Set up a camera


3. Install camera, lenses andother accessories

3.1 Select and securely fit the correct camera lens and filtersaccording to the identified creative requirements, and inaccordance with instructions from relevant personnel

3.2 Handle lens carefully to ensure that it is not affected bydust or dirt and is not damaged

3.3 Ensure that mounting suffers no wear and tear during thechanging of lenses and other accessories

3.4 Ensure the camera balances to personal requirements ofthe camera operator after the lenses and accessories areadded

3.5 Install other camera accessories and special requirementscorrectly

3.6 Lift camera, using safe lifting and handling techniques andsecure to support

3.7 Adjust tension and friction settings3.8 Ensure that camera is balanced and locked onto the

support and that pan and tilt heads are locked offaccording to specifications

3.9 Secure camera safely to avoid damage when unattended

4. Install cables and test alloperational aspects of thecamera

4.1 Ensure appropriate camera cables are run from correctoutlet points to the camera

4.2 Secure cables appropriately to avoid strains on plugs andsockets

4.3 Check that camera is correctly loaded and tension iscorrect

4.4 Check that shutter settings achieve accurate technicaloutput

4.5 Balance exposure and colour to achieve the desiredartistic and technical results

4.6 Check the chosen filters to ensure that they achieve thedesired artistic and technical results

4.7 Check pan and tilt movements, if required4.8 Check communication links with relevant personnel, if

required, and confirm readiness for shooting

5. Disassemble camera,accessories and supportequipment

5.1 Break down and carry camera bodies, accessories,supports and other equipment, employing safe liftingtechniques

5.2 Clean and safely pack all equipment into cases to avoiddamage and prepare for transport, if required






KEY COMPETENCIES







Solving problems 1

Using technology 2

RANGE STATEMENT









• Arriflex• Bolex• Aaton• IMAX• Panavision• video split monitor• cables• mounts• filters• lenses:

• lens hood• lens filters• matte box• lens support

• Betacam• Betacam SP• Digital betacam• 1 inch tube• 2/3 inch tube• 2/3 inch CCD in both large format and portable

configuration• video split monitor• lighting kit• lighting bulbs• lights• filter wheel• viewfinders• diopter• zoom demands• focus demands• shot boxes• cue card holders• headphones• autocue monitor• talkback• tallies and return video

• be manually controlled• be computer controlled• combine camera and recorder function• separate the camera function from record function

• hand held operation• fixed/supported camera• zoom lens




• normal• long• zoom• wide angle• macro• micro

• colour correction• colour• window• graduated:

• hard edge• soft edge• attenuated• coloured• neutral density

• correction filters• ultraviolet• polarising• chromatic• starburst• non specific colour• enhancers

• mains power• generators• batteries

• Ni-Cad• lead• acid


• supervisor• head of department• director of photography• director• camera operator• focus puller• gaffer• lighting personnel• technical director• other technical staff• other specialist staff• floor manager• safety officer






EVIDENCE GUIDE



• interpreting written and verbal camera plans andinstructions

• working as part of a team• safe handling of heavy materials• maintaining a clean and safe work area• basic concepts of camera maintenance and appropriate

cleaning techniques and cleaning materials• a range of cameras and equipment and the operational

functions of cameras• basic concept of load and balance• cinematographic language• film types and differences, and compatibility of stock to

equipment• interpretation of creative requirements to technical

operation• types of lenses available to the camera operator and their

structure, physical composition and mechanical operation• basic concepts and techniques of cable handling and



recommended safety code.• compatibility of AC/DC power


• CUFCAM07A Maintain battery power and video stocks fora shoot

• CUFCAM08A Coordinate and load film stocks• CUFCAM12A Rig camera cables• CUFCAM13A Rig camera supports and dollies





Assessment must take into account the range of circumstancesand conditions applicable to setting up film cameras in order todetermine competence. This should include:

• observation in the studio and on location if the candidateoperates in both of these environments

• observation in the studio if the candidate only operates ina studio

• observation of the rigging of cameras on more than oneoccasion, and completion of associated documentation,including a risk assessment










CUFCAM12A Rig camera cablesUnit Descriptor This unit describes the skills and knowledge required to install and

manipulate camera cables during any production within the culturalindustries.



1. Select and preparecamera cables

1.1 Liaise with relevant personnel and interpret and confirmcabling requirements for the shoot

1.2 Select cables and recognise faults and defects and takeappropriate remedial action, according to level of expertise

1.3 Dismantle, repair and reassemble faulty cables inaccordance with safety requirements and manufacturer'sinstructions only if appropriate

1.4 Refer complex repairs to technical specialists inconsultation relevant personnel


1.6 Ensure that all cables are operational and are available atthe correct location and time of the shoot

2. Rig camera cables 2.1 Ensure power supply is appropriate and available2.2 Use the camera plan and any other available cabling

information to confirm cable points and cable runs2.3 Establish the cable points, runs and lengths to meet

anticipated camera movements and minimise cable crossovers

2.4 Lay out excess cable to avoid knotting or twisting duringuse

2.5 Run power cable from power source to the camera2.6 Secure cables to avoid strain on plugs and sockets2.7 Ensure that cable routing and patching to camera control

units, cable slinging and cable ramping is completed inaccordance with the camera plan and completed in a safemanner

2.8 Check that all camera cables are run from correct outletpoints to the camera and do not impede the movement ofany camera involved in the production

2.9 Ensure that all installed camera cables are secure,operational and are not presenting a hazard to anypersonnel involved in the filming or the general public


CUFCAM12A Rig camera cables


3. Manipulate cables duringa production

3.1 Participate in pre-production meetings and rehearsal, ifrequired, and ensure that final camera and cablemovements are understood

3.2 Communicate with relevant personnel throughout theshoot and position and move camera cabling according toinstructions and cues received


3.4 Move camera cabling without impeding the operation ofcamera operators and work in co-operation with otherpersonnel to achieve the desired camera movements

3.5 Ensure that the camera operator does not collide withother elements

3.6 Complete cabling handling operations without anydamage to equipment or injury to personnel

4. Disassemble cameracables

4.1 Break down all cabling and ensure that cables are coiledto avoid strains or damage

4.2 Ensure that cables are wound up free of tangles andsecurely enough to avoid them unwinding

4.3 Clean and safely pack all cables to avoid damage andprepare for transport, if required

4.4 Report and document any cables that are damaged andrequire maintenance to the relevant personnel


KEY COMPETENCIES







Solving problems 1

Using technology 1

RANGE STATEMENT





• power cables• camera cables• auxiliary cables




• mains power• generator• battery power

• film cameras• video cameras

• video assists• cameras• power supply• monitors

• stock orders• stock reports• fault reports• rig plans• production schedules• camera plan





• supervisor• head of department• director of photography• director• camera operator• grip• safety officer• gaffer• lighting personnel• technical director• other technical staff• other specialist staff• floor manager

EVIDENCE GUIDE


Assessment must include evidence of essential knowledge ofand skills in the following areas:

• a range of camera types and camera equipment• a range of cables• principles of maintenance of cables• tensions• range and use of tools required to install and maintain

cables• safety requirements: statutory and legal requirements

relating to the construction of scaffolding• occupational health and safety regulations and

requirements, and procedures in relation to the use ofelectrical equipment and cables

• duty of care to colleagues and the general public• detailed knowledge of the Australian film industry

recommended safety code.



• CUFCAM08A Coordinate and load film stocks• CUFCAM13A Rig camera supports and dollies





Assessment must take into account the range of circumstancesand conditions applicable to setting up camera cables in orderto determine competence. This should include:



• observation of the rigging of cables on more than oneoccasion, and completion of associated documentation,including a risk assessment


Assessment of this unit would most effectively be undertakenon the job due to the specific workplace environmentrequirements. However, assessment of this unit can beundertaken in a closely simulated workplace environmentwhich reproduces all the elements of a production situationincluding operating to a production schedule. The simulatedassessment event should involve all the team members thatwould normally participate in a film, television or multimediaproduction and the use of current industry standard equipment.

Assessment methods must include observation of performanceduring a series of practical demonstrations. As described in thecritical aspects of assessment, assessment by directobservation will need to take place in a range of circumstancesover a period of time in order that evidence of differingcircumstances can be collected and to establish consistency ofperformance.







CUFCAM13A Rig camera supports and dolliesUnit Descriptor This unit describes the skills and knowledge required to assemble and

install all types of camera supports and dolly tracks in film or televisionproduction environments. Supports exclude camera cranes, and skillsassociated with the rigging of cranes are covered by the unit Rigcamera cranes.



1. Select and prepareequipment and materials

Liaise with relevant personnel and interpret and confirmequipment requirements for the shoot

Select, clean and undertake any required maintenance on theequipment and ensure that it is operational

Recognise faults and defects and take appropriate remedialaction

Complete any documentation, according to enterpriserequirements

Ensure all equipment is available at the correct location andtime of the shoot

2. Lay tracks for a dollymount

2.1 Position tracks according to the production requirementsand gain approval on final positioning with relevantpersonnel

2.2 Lay tracks safely, taking account of the ground conditions2.3 Ensure that tracks are placed without risk to any

personnel involved in the filming and that they are smooth,level and secure throughout the route

2.4 Ensure that tracks:2.4.1 are free from squeaks and any other noise2.4.2 do not intrude on proposed shots2.4.3 follow a route which is free from all obstruction and

allows free access to camera equipment andpersonnel

2.4.4 are laid according to site safety plan2.5 Secure dolly to track and check all fastenings

3. Erect and check cameraplatforms and towers

3.1 Construct platforms and towers, ensuring platforms andtowers are level, secure and on solid ground and capableof holding the required maximum load

3.1 Secure all equipment fastenings and personnel harnesses3.1 Ensure operational and electrical equipment meets

occupational health and safety guidelines3.2 Check robustness of equipment and assess potential risk3.1 Make any adjustments to towers or platforms as required

during production


CUFCAM13A Rig camera supports and dollies


4. Select and attach cameramount

4.1 Assess the item to which camera will be mounted anddetermine the type of mount to be used

4.1 Suggest alternative arrangements where risk and cost ofmount may outweigh the value of the shot required

4.1 Obtain appropriate camera mount and attach it to theupport in use or direct to any moving equipment beingused to capture the shot

5. Secure camera andoperator

5.1 Attach the camera to the mount ensuring that it is secure,level and steady in the mount

5.1 Secure the camera operator to the support and ensurethat operator and equipment are balanced

5.1 Ensure that the camera operator is secure, able to operatethe equipment and is not presenting a hazard to anypersonnel involved in the filming or the general public

6. Disassemble tracks,platforms and towers

6.1 Break down and carry equipment, employing safe liftingtechniques

6.1 Clean and safely pack all equipment to avoid damage andprepare for transport, if required



KEY COMPETENCIES







Solving problems 2

Using technology 1

RANGE STATEMENT





• train• vehicle• vessel• aircraft• crane


• electronic field production (EFP)• electronic news gathering (ENG)• feature films• documentaries• short films• animated productions• commercials• filmed events or performances• music video• television productions of any type, eg music, drama


• moving object• static object

• camera platforms• towers• scaffolding• tracks and dollies• pedestals• tripods• static mounts• moving mounts

• studio flooring• firm• soft• wet• dry• level• broken• sloping• undulating




• ropes• lashings• carabinas• harnesses• knots• fixings• bolts• clamps• joiners

• stock orders• stock reports• fault reports• rig plans• production schedules


• supervisor• head of department• director of photography• director• camera operator• grip• safety officer• gaffer• lighting personnel• technical director• other technical staff• other specialist staff




EVIDENCE GUIDE



• a range of camera types and camera equipment• a range of support equipment• principles of maintenance of support equipment• principles of the erection of support equipment such as

scaffolding, bolts/clamps, joiners• safe working loads• safe height construction• ability to access and interpret information about safe

working loads and construction requirements• range and use of tools required to construct supports• the basic concepts and techniques of harnessing, rigging

and fastening including the use of ropes, lashings,carabinas, harnesses, knots and fixings

• safety requirements: statutory and legal requirementsrelating to the construction of scaffolding

• occupational health and safety regulations andrequirements, and procedures in relation to the use ofelectrical equipment and construction of scaffolding





• CUFCAM08A Coordinate and load film stocks• CUFCAM11A Set up a camera• CUFCAM12A Rig camera cables





Since this unit focuses on the assembly of a range of camerasupporting equipment, assessment must ensure that asufficient range of assembly types is observed. Use of asufficient range of construction materials and tools should beinvolved.

Assessment must take into account the range of circumstancesand conditions applicable to setting up camera supports inorder to determine competence. This should include:



• observation of the laying of tracks on several types ofground conditions

• observation of a tower and platform constructed on oneoccasion, and completion of associated documentation,including a risk assessment

• observation of the construction of a rig for assists andmonitors during a one day shoot

• observation of the construction of a rig for moving andstatic objects on more than one occasion













CUFCAM14A Rig camera cranesUnit Descriptor This unit describes the skills and knowledge required to install powered

counterbalanced cranes, used to position cameras for film or televisionproductions.



1. Select and prepareequipment and materials

1.1 Liaise with relevant personnel and interpret and confirmcrane requirements for the shoot

1.2 Select, clean and undertake any required maintenance onthe crane and ensure that it is operational



1.5 Ensure all equipment is available at the correct locationand time of the shoot

2. Set up crane and mountcamera

2.1 Confirm that crane is in safe working order before workcommences

2.2 Confirm the maximum safe working load of the cranebefore mounting of camera commences

2.3 Display signage to crane to indicate its safe working load2.4 Fix the snap plate to the camera in accordance with

manufacturer's specifications2.5 Attach the camera to the mount ensuring that it is secure,

level and steady in the mount

3. Prepare crane mountedcamera for use

3.1 Confirm the required tension3.2 Check the head movements to ensure it is not jumping or

sticking3.3 Stop the head without backlash and overshooting3.4 Ensure power supply is appropriate and available and run

power cable from source to the camera3.1 Ensure appropriate camera cables are run from correct

outlet points to the camera3.2 Secure cables appropriately to avoid strains on plugs and

sockets3.3 Secure cameras safely to avoid damage and exposure to

the elements when unattended

4. Secure camera operator 4.1 Secure the camera operator to the crane and ensure thatoperator and equipment are balanced

4.2 Ensure that the camera operator is secure, able to operatethe equipment, and is not presenting a hazard to anypersonnel involved in the filming or the general public


CUFCAM14A Rig camera cranes


5. Disassemble camera andcrane

5.1 Remove camera from the crane and ensure that it is notdamaged

5.2 Break down and carry equipment, employing safe liftingtechniques

5.3 Clean the head and safely pack all equipment to avoiddamage and prepare for transport, if required



KEY COMPETENCIES







Solving problems 2

Using technology 1

RANGE STATEMENT


• fluid heads• gear heads• motorised heads• power pod• hot head• camera remote








• tripods• static mounts• moving mounts


• ropes• lashings• carabinas• harnesses• knots• fixings• bolts• clamps• joiners






• supervisor• head of department• director of photography• director• camera operator• grip• safety officer• gaffer• lighting personnel• technical director• other technical staff• other specialist staff

EVIDENCE GUIDE



• a range of camera types and camera equipment• a range of support equipment• principles of maintenance of crane equipment• safe working loads• safe height construction• ability to access and interpret information about safe

working loads and construction requirements• range and use of tools required to construct supports• the basic concepts and techniques of harnessing, rigging

and fastening including the use of ropes, lashings,carabinas, harnesses, knots and fixings

• safety requirements: statutory and legal requirementsrelating to the construction of scaffolding

• occupational health and safety regulations andrequirements, and procedures in relation to the use ofelectrical equipment and construction of scaffolding




• CUFCAM11A Set up a camera• CUFCAM12A Rig camera cables• CUFCAM13A Rig camera supports and dollies





Assessment must take into account the range of circumstancesand conditions applicable to setting up camera cranes in orderto determine competence. This should include:



• observation of the laying of tracks on several types ofground conditions

• observation of the assembly of a crane on more than oneoccasion, and completion of associated documentation,including a risk assessment










CUFCAM15A Operate a moving camera supportUnit Descriptor This unit describes the skills and knowledge required to operate and

track a movable support for a film or video camera in a film or televisionproduction environment. This unit covers the operation of camerapositioning equipment such as dollies, cranes and jibs.





1.2 Participate in pre-production meetings and briefings todiscuss the visual requirements of the production androute of cameras

1.3 Interpret the camera plan and shotlists, and ensure thatthe routing of camera movements is understood

2. Check the assembly ofcamera supportequipment and prepare foroperation

2.1 Check that assembled camera support equipment hasbeen installed in the appropriate location to meet thepredetermined camera positions and movements

2.2 Ensure that camera cables are installed and do notimpede the movement of any camera positioningequipment involved in the production

2.3 Adjust the balance of the camera positioning equipmentand confirm correct redistribution of weight prior toundertaking any movements

2.4 Confirm that tracking route is clear before movementcommences

2.5 Notify all relevant personnel of the intended tracking routeto be followed and ensure that there is agreement aboutcamera positions and movements


CUFCAM15A Operate a moving camera support


3. Operate camerapositioning equipment tocapture shots

3.1 Participate in rehearsal, if required, and ensure that finalcamera movements are understood

3.2 Communicate with relevant personnel throughout theshoot and operate the camera positioning equipmentaccording to instructions and cues received


3.2 Recreate camera movements established duringrehearsals or advise relevant personnel of unavoidablevariations from the predetermined format


3.4 Operate the camera positioning equipment withoutimpeding the operation of camera operators and work inco-operation with other personnel to achieve the desiredcamera movements and visual effects

3.5 Ensure that the camera positioning equipment does notcollide with other elements

3.6 Execute camera movements smoothly and in a controlledmanner

3.7 Ensure that timing and route of movement meets therequirements of the shot

3.8 Start and halt movement without jarring the camera andcamera operator

3.9 Duplicate the movement and timing for each shotrepetition

3.10 Complete camera movement operations without anydamage to equipment or injury to personnel

KEY COMPETENCIES







Solving problems 2

Using technology 2




RANGE STATEMENT






• dollies• cranes• jibs• remote controlled devices

• dolly route along ground laid tracks• camera crane route• swing of a jib arm• horizontal or vertical tracking• elevating or lowering of camera







• supervisor• head of department• director of photography• director• camera operator• grip• safety officer• gaffer• lighting personnel• technical director• other technical staff• other specialist staff• floor manager

EVIDENCE GUIDE



• a range of camera types and camera equipment• a range of moving camera support/positioning equipment• principles of maintenance of support equipment• ability to access and interpret information about safe

working loads• understanding of principles of photography and

cinematography• principles and techniques of camera operation and shot

composition• safety requirements, procedures and statutory and legal

requirements relating to the operation of moving camerasupport/positioning equipment







• CUFCAM11A Set up a camera• CUFCAM12A Rig camera cables• CUFCAM13A Rig camera supports and dollies


Since this unit focuses on the operation of a range of movingcamera support/positioning equipment, assessment mustensure that a sufficient range of moving camerasupport/positioning types is observed.

Assessment must take into account the range of circumstancesand conditions applicable to operating moving camerasupport/positioning equipment in order to determinecompetence. This should include:












CUFCOS01A Develop and implement costume designsUnit Descriptor This unit describes the skills and knowledge required to interpret the

creative brief, conduct research, and develop and implement costumedesigns for any production within the cultural industries.



1. Receive and interpret thebrief

1.1 Participate in preliminary concept meetings to discuss thecostume requirements to meet technical, productionand/or script requirements

1.2 Identify all relevant factors which may determine andaffect the costume design, through the breakdown andinterpretation of scripts and liaison with relevant personnel

1.3 Discuss and agree upon role of the costume designer inthe development, design and implementation stages withrelevant personnel

2. Conduct and evaluateresearch

2.1 Undertake appropriate research, collect materials andanalyse findings to develop design concepts

2.2 Organise research materials, findings and documentationfor use by all relevant personnel throughout the designdevelopment process, updating as required

2.3 Evaluate initial concepts generated against the researchfindings and discuss with relevant personnel


3.1 Generate a range of ideas for the costume design whichrespond sympathetically to the brief and provide creativesolutions to all design issues

3.2 Discuss ideas and collaborate, as required, with relevantpersonnel to ensure contribution of a range of ideas andcreative solutions to the initial concept

3.3 Continuously reflect on and appraise creative ideas andsolutions for implications on budget and timeline, technicalfeasibility, and suitability to meet the brief


CUFCOS01A Develop and implement costume designs


4. Develop and documentthe costume design

4.1 Hold ongoing discussions with relevant personnel toconsider and/or incorporate additional or changedproduction requirements and new ideas

4.2 Ensure that agreement is reached on a consistentinterpretation of character, period and style with relevantpersonnel


4.1 Develop the costume designs from the initial concepts,research and discussions, ensuring:4.1.1 consistency with the style requirements of the



4.2 Prepare and produce working drawings, specifications,appropriate samples, swatches and trims for presentationto relevant personnel

4.3 Label all designs accurately according toworkplace/production requirements

4.4 Establish or maintain an accessible recording system forthe use of all relevant personnel


5.1 Present the costume drawings and specifications with arange of visual materials to the relevant personnel forevaluation and acceptance

5.2 Negotiate and agree to additional requirements ormodifications and undertake any necessary amendmentsto the designs

5.3 Agree to the final designs and present final costumespecifications to all relevant personnel to ensure thatcostumes meet design and other production requirements

6. Liaise with others toimplement costumeconstruction

6.1 Liaise with relevant personnel to ensure that all costumeproduction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand technical constraints

6.2 Participate in meetings with performers to consult ondesigns, determining measurements and fittings, ifrequired

6.3 Participate in ongoing production meetings or costumeparades and evaluation of the costumes

6.4 Ensure that any costume design modifications are agreed,noted and acted upon

6.1 Inform relevant personnel of costume design changes6.2 Update any required documentation and record and file





KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• costume:• number• type• changes

• production• characters• location• seasons• time span• materials• type• availability• quantity• construction techniques• human resources

• costume:• style:

1 men, women, children2 silhouette and body shapes3 fabrics4 foundation costumes5 trims6 accessories

• period• genre• historical factors• cultural factors




• history books:• costume• architecture• decorative arts• transport• textiles• colour

• writings of the period• paintings and illustrations of the period• photographs• film, video• the internet• digital images• reference materials• coloured design illustrations• technical production drawings• material swatches• specialist services available for costume production• journals• texts• models• fabric• swatches• collage• sketches• sample costumes


• talking and listening to experts• watching documentary films and videos• reading newspapers, books and other references• use of the internet• contact with historical associations


• specialist services available for costume production• reference/research materials• draft and final costume designs• performance details and specifications




• in a studio• on location - interior• on location - exterior• outside broadcast• day• night• stage/theatre/venues

• feature films• documentaries• short films• commercials• filmed events or performances• music video• television productions of any type, eg music, drama,

comedy, variety, sport• live or pre-recorded television productions• stage performances• live events/entertainment/performance

• production designer• performer• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager




EVIDENCE GUIDE




• production scheduling• team leading skills• principles and techniques of costume design and script

breakdown• research• visualisation and interpretation of creative concepts• costing, budgeting, liaison• sources of products and supplies• familiarity with current construction/manufacturing

methods• construction specifications• preparation of design briefs• communication, negotiation and presentation techniques• colour theory• textile design• copyright legislation and regulations• understanding the capabilities of other collaborative

designers or contractors• understanding the artistic elements of a production• the effects of lighting on costumes


• CUEFIN2A Manage a budget• CUSGEN04A Participate in negotiations• CUSGEN05A Make presentations• CUSRAD02A Conduct research



• the development of creative costume design conceptswhich meet practical requirements including venuerequirements, type of production and resourceconstraints, in particular budgetary constraints


















CUFCOS02A Coordinate costume manufactureUnit Descriptor This unit describes the skills and knowledge required to interpret the

costume design and supervise the manufacture of costumes for anyproduction within the cultural industries.




1.1 Liaise with relevant personnel, interpret and confirm thecostume requirements so that design specifications,production and/or script requirements are met

1.2 Read and interpret pre-production paperwork, includingthe costume design and costume plot, to determineresource requirements

1.3 Make any insertions to the costume plots, such as ageingand visual effect requirements, to ensure costumes meetthe script or production requirements

1.4 Produce detailed costume breakdown lists from thedocumented costume plots

1.5 Review the budget allocated for costume manufacture andwardrobe operation

1.6 Identify solutions to any manufacture problems andcommunicate any difficulties promptly to relevantpersonnel


1.8 Develop an operational/project plan and manufactureschedules for making costumes in accordance with thedesign and production requirements

2. Select and purchasematerials

2.1 Check existing stocks of materials or costumes forsuitability of use for the production

2.2 Obtain measurements of cast/performers and establishthe required meterage of fabrics/materials to minimisewastage

2.3 Source and purchase suitable materials to ensure thatthey can withstand the rigours and demands of theproduction, and meet the budgetary requirements

2.4 Ensure that materials are available in sufficient quantitiesto meet the costume requirements

2.5 Ensure that materials will not cause irritation, are analysedfor chemical impact on the skin and comply withoccupational health and safety guidelines

2.6 Ensure that materials can undergo any necessary specialeffects requirements such as ageing


CUFCOS02A Coordinate costume manufacture


3. Supervise costumemanufacture

3.1 Oversee relevant personnel to ensure that all costumeproduction requirements are met, quality standards areadhered to and work is undertaken within item, budget,time and manufacture constraints


3.3 Identify and communicate the methods and materials forproduction to the relevant personnel


3.5 Coordinate any manufacturers or hirers involved in theproduction of specialist costume items

3.6 Participate in ongoing production meetings or costumeparades and ensure that any costume designmodifications are agreed, noted and acted upon

3.7 Inform relevant personnel of costume design changes3.8 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 2

Using technology 2




RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive costume checklists• fault reports• stock reports• stock orders• budgets• costume design• scripts• production schedules• call sheets• running sheets• costume plots• costume breakdown lists• costume patterns• measurement charts• operational/project plan• manufacture schedules• manufacturers' specifications/instructions

• feature films• documentaries• short films• commercials• music video• television productions of any type, eg music, drama,


• costume designer• production designer• performer• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designer• floor manager




• wardrobe base: studio/location or production office• portable or fixed sewing machines, industrial or domestic• overlockers• laundering facilities: washing machines, dryers• industrial or domestic irons, presses and steamers• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• hand held cutting machines• glue guns• tools - eg wire cutters, hammers, pliers• dressmaker's dummies• measuring tapes• conversion tables• hanging racks• coat hangers• clothing storage and transportation bag

• haberdashery• cutting blades• solutions• thread• fabric• pattern paper• trim• fasteners

• production space• fitting rooms• storage units and space• furniture and equipment• dressing rooms

• basic styles such as pants, shorts, skirts, blouses,tailoring

• hand made or machine sewn




• female, male, child and animal costumes• undergarments• corsetry• padding• dance wear• tailored costumes• character costumes• period costumes• contemporary wear• costume jewellery• millinery• accessories• pre-production toiles

• cutting• machining• tailoring

• fitting trims• fitting fasteners• hemming costumes

EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• interpreting and communicating construction

specifications• principles and techniques of costume construction and

fitting• performing alterations, applying trims• use and properties of different fabrics and their

appearance under lighting and on the screen• machine and hand sewing• making and grading patterns• methods of assembling costumes• interpretation of measurement charts• development of operational plans and production

schedules• team leading skills• budget management• negotiation and communication• record keeping• relevant occupational health and safety requirements





• BSXFMI404A Participate in, lead and facilitate a team• CUEFIN2A Manage a budget• CUEOHS1A Implement workplace health, safety and

security procedures• CUFCOS09A Make costumes• CUSADM02 Coordinate the purchase or hire of

equipment/supplies




• the interpretation of creative costume designdocumentation in order to meet practical requirementsincluding venue requirements, type of production andresource constraints, in particular budgetary constraints


















CUFCOS03A Realise costumesUnit Descriptor This unit describes the skills and knowledge required to interpret

costume production schedules and specifications, and to producecostumes for any production within the cultural industries.

This unit modifies and expands on the unit Make costumes from theentertainment industry training package.



1. Interpret brief for costumedesign

1.1 Liaise with relevant personnel to confirm the costumeproduction requirements so that creative and technicalproduction requirements are met

1.2 Read and interpret the costume production schedule,specifications and lists

1.3 Interpret design into practical plans for making costumesin accordance with production requirements

1.4 Ensure costumes meet with design specifications throughliaison with appropriate personnel

1.5 Approve any amendments to design before work proceeds

2. Prepare for costumeconstruction

2.1 Select materials and methods of costume constructionaccording to production requirements

2.2 Take and record accurate measurements of performers toensure correct fitting of costumes

2.3 Identify style and fabric characteristics which influencecostume construction and clarify any queries with relevantpersonnel

3. Make and grade patternsfor costumes

3.1 Select appropriate grade plan or grade rule table3.2 Produce or adjust pattern to required specifications,

ensuring that patterns comply with:3.2.1 costume and under-costume requirements3.2.2 gender and figure proportions3.2.3 performance requirements3.2.4 and include ease allowances

3.3 Grade pattern manually or by computer, adjusting design,maintaining accuracy and shape, notches, designproportion and other design requirements

3.4 Check pattern for accuracy and make any necessaryadjustments

3.5 Store patterns in accordance with workplace procedures


CUFCOS03A Realise costumes


4. Lay up and cut work 4.1 Establish the required meterage of fabric and othermaterials to minimise wastage

4.2 Check materials for quality, faults, width, selvedges, dye,lot and marking requirements

4.3 Identify and assemble base and outer fabrics4.4 Lay up base and self fabrics and check alignment as

necessary to ensure conformance to specifications4.5 Cut materials to meet requirements of the pattern4.6 Prepare fabric base and mount fabrics, as necessary, to

achieve required stiffening or support effect

5. Sew and fit costumes 5.1 Pin or sew fabric pieces and linings and hang, asappropriate, in readiness for assembly

5.2 Conduct first fitting with performers and identify and recordrequired adjustments and alterations

5.3 Make adjustments and alterations to meet performers'requirements and construction specifications

5.4 Sew costume pieces together to form the whole costumeand attach all required trimmings, fasteners anddecorations

5.5 Press finished costume according to requirements5.6 Conduct second or final fitting with performer to ensure

that the costume meets design, performer and productionrequirements

5.7 Identify modifications in consultation with performer/castand/or designer, where necessary

6. Finish costumes 6.1 Alter costumes, as necessary6.2 Complete any hand sewing and apply any trims in

accordance with design requirements6.3 Correctly label and code all costumes for identification

during the production6.4 Press and finish costumes to reflect the requirements of

the production6.5 Attend dress rehearsals to ensure costume meets the

design and production requirements and specifications6.6 Complete ongoing alterations as necessary, ensuring

performer and/or designer satisfaction, correct sizing, lookand comfort

6.7 Complete all relevant documentation in accordance withworkplace procedures




KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• computer generated• manually written• memos of instruction• descriptive costume checklists• scripts• production schedules• call sheets• running sheets• costume plots• costume breakdown lists• costume patterns• measurement charts• operational/project plan• manufacture schedules• manufacturers' specifications/instructions







• costume designer• performer• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• other specialist staff

• wardrobe base: studio/location or production office• portable or fixed sewing machines, industrial or domestic• overlockers• laundering facilities: washing machines, dryers• industrial or domestic irons, presses and steamers• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• hand held cutting machines• glue guns• tools, eg wire cutters, hammers, pliers• dressmaker's dummies• measuring tapes• conversion tables• hanging racks• coat-hangers• clothing storage and transportation bag






• basic styles such as:• pants• shorts• skirts• blouses

• tailoring• hand made• machine sewn

• female, male, child and animal costumes• undergarments• corsetry• padding• dance wear• tailored costumes• contemporary wear• costume jewellery• millinery• accessories• pre-production toiles






EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting construction specifications and instructions• principles and techniques of costume construction and

fitting• performing alterations, applying trims• use and properties of different fabrics• the characteristics and importance of selvedge and bias

of fabrics• machine and hand sewing• making and grading patterns• methods of assembling costumes• interpretation of measurement charts• relevant occupational health and safety legislation and

regulations


• CUFOCS09A Make costumes• CUSRAD02A Conduct research• LMTPDCL03A Select and/or modify patterns or blocks• LMTPRCL11A Grade patterns• LMTPRCL12A Measure, lay-up and cut custom made

garments• LMTPRCL13A Assemble/fit custom made/bespoke

garments




• the interpretation of creative costume designdocumentation in order to meet practical requirements

















CUFCOS05A Operate an off site wardrobe departmentUnit Descriptor This unit describes the skills and knowledge required to establish and

operate an off site wardrobe department for any production within thecultural industries.



1. Interpret the productionrequirements

1.1 Liaise with the relevant personnel, read, interpret andconfirm pre-production paperwork to determine the off sitewardrobe resource requirements

1.2 Develop an operational plan to establish the site wardrobedepartment

2. Establish an off sitewardrobe area

2.1 Where appropriate, carry out a site inspection withrelevant personnel to determine most appropriate locationof the off site wardrobe department

2.2 Ensure that power supply and facilities are adequate andsufficient to meet the production needs of the wardrobe

2.3 Ensure that the wardrobe area is linked to the set viacommunication lines/phone and that light quality issuitable for working

2.4 Conduct pre-departure checks on all equipment to beused off site

2.5 Complete any required stock orders and ensureavailability at the time of the shoot/production

2.6 Coordinate the safe and efficient transport of wardrobeequipment and costumes to the off site area, ensuring thatall items are available at the correct location and time ofthe shoot/production and that:2.6.1 transportation method is suitable to the nature and

quantity of costumes and accessible to thelocation

2.6.2 instructions to transport provider are clear,accurate and complete

2.6.3 packaging and handling are suitable to avoiddamage to costume items

3. Receive and returncostumes

3.1 Check and document the condition of all items transportedto the site

3.2 Check the receipt of all required items and complete anyreports on shortages or damaged items

3.1 Coordinate deliveries of goods from specialistmanufacturers and hirers

3.2 Check and document the condition of all hired items orspecially manufactured items, on receipt, to ensure thequality and that production requirements can be met

3.3 Check and document the condition and numbers of allhired items for their return to the supplier and completeany required documentation


CUFCOS05A Operate an off site wardrobe department


4. Operate and disassemblethe off site wardrobe

4.1 Identify and implement solutions to any operationalproblems and communicate any difficulties promptly torelevant personnel

4.2 Secure all costume items and accessories to minimisetheft or damage

4.3 Clean and safely pack all wardrobe equipment andcostumes to avoid damage and prepare for transport, ifrequired



KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive costume checklists• fault reports• stock reports• stock orders• budgets• scripts• production schedules• running sheets• costume plots• costume breakdown lists• operational/project plan• manufacturer's specifications/instructions




• in a studio• on location - interior• on location - exterior• outside broadcast• day• night• sound stage


comedy, variety, sport


• wardrobe base: studio/location or production office• portable or fixed sewing machines, industrial or domestic• overlockers• laundering facilities: washing machines, dryers• industrial or domestic irons, presses and steamers• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• hand held cutting machines• glue guns• tools, eg wire cutters, hammers, pliers• dressmaker's dummies• measuring tapes• conversion tables• hanging racks• coathangers• clothing storage and transportation bag






• female, male, child and animal costumes• undergarments• corsetry• padding• dance wear• tailored costumes• character costumes• period costumes• contemporary wear• costume jewellery• millinery• accessories

EVIDENCE GUIDE



• interpreting scripts, specifications and instructions• interpreting and communicating construction

specifications• development of operational plans and production

schedules• staff recruitment• resource management including human resources• team leading skills• budget management• project management• negotiation and communication• record keeping• relevant occupational health and safety legislation and

regulations





• CUEFIN2A Manage a Budget• CUSADMO6A Develop and implement an operational

plan




• the interpretation of production documentation in order tomeet practical requirements including venuerequirements, type of production and resourceconstraints, in particular budgetary constraints






• role play• case studies• work samples or simulated workplace activities• oral questioning/interview• projects/reports/logbooks• third party reports and authenticated prior achievements• portfolios of evidence





CUFCOS06A Dress performersUnit Descriptor This unit describes the skills and knowledge required to prepare and

maintain costume items, and dress performers, throughout anyproduction within the cultural industries.

This unit modifies and expands on the unit Dress performers from theentertainment industry training package.



1. Prepare to dressperformers

1.1 Interpret production or other documentation to determinethe costume requirements for the production

1.2 Ensure that costume and accessory labels are accurateand securely attached

1.3 Take relevant costumes, items and accessories to theappropriate location, ensuring that costumes are handledwith care to minimise damage

1.4 Organise all costumes, accessories and any duplicatesrequired into a line up to meet the requirements of theproduction schedule/running sheet

1.5 Make costumes available to performers in sufficient timeto allow for their dressing to meet the call

1.6 Secure all costume items and accessories to minimisetheft or damage

2. Dress performer ready forcall

2.1 Assist the performer to dress and change costumesaccording to design, performer and productionrequirements, with minimum damage to costume

2.2 Treat performers with tact and sensitivity to ensure theirpersonal privacy is maintained

2.3 Conform with performers' requests relating to costumerequirements or accurately communicate these to therelevant personnel

2.4 Complete dressing of performers in time to meet their callswhilst giving due attention to the care requirements of allcostume items

2.5 Check costumes to ensure that they fit securely, arecomfortable for the performer and meet the productionrequirements

2.6 Ensure any extras, involved, are dressed appropriately2.7 Observe production etiquette and protocols


CUFCOS06A Dress performers


KEY COMPETENCIES







Solving problems 1

Using technology 1

RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive costume checklists• fault reports• stock reports• stock orders• costume design• scripts• production schedules• call/running sheets• costume plots• costume breakdown lists• continuity reports, checklists• costume patterns• measurement charts• manufacturers' specifications/instructions

• daily• scene by scene• for the run of a production

• in a studio• on location - interior• on location - exterior• outside broadcast• day• night• dressing room• soundstage• stage/theatre/venues






• costume designer• production designer• performer• extra• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designer• floor manager

• hand or machine sewn• minor• major• patching





• starch• dry-cleaning fluid• brush• safety pins• glues• dulling spray• water sprays

• labels• polaroids• photographs

EVIDENCE GUIDE



• film and television production schedule terminology• interpretation of care instructions• properties of different fabrics• interpreting construction specifications and instructions• principles and techniques of costume construction and

fitting• machine and hand sewing• methods of altering costumes• interpretation of measurement charts• knowledge of effective communication techniques• problem solving and dealing with conflict situation

techniques• time management• set etiquette and protocols• relevant occupational health and safety legislation and

regulations


• CUFCOS04A Modify, repair and maintain costumes• CUECOR2A Work with others










• role play• work samples or simulated workplace activities• oral questioning/interviewing• projects/reports/logbooks• third party reports and authenticated prior achievements• portfolios of evidence





CUFCOS07A Make character and period costumesUnit Descriptor This unit describes the skills and knowledge required to interpret

costume specifications and production schedules, and to producecharacter and period costumes for any production within the culturalindustries.

This unit is modified and expands on the unit Make novelty and periodcostumes from the entertainment industry training package.



1. Conduct research 1.1 Undertake research to identify the historical, cultural andother factors that might influence character and periodcostume styles, construction techniques and costumedevelopment

1.2 Analyse designs and text for character and periodcostume requirements, and identify the relationshipbetween costumes and character portrayal anddevelopment

1.3 Gather various and appropriate research materials todevelop knowledge of historical clothing, establishing andmaintaining an accessible database of specialist services,reference materials and other relevant information

1.4 Use research materials to interpret and adapt clothingstyles for performance

2. Interpret brief for costumedesign

2.1 Liaise with the relevant personnel to confirm the characterand period costume production requirements so thatcreative and technical production requirements are met

2.2 Read and interpret the costume production schedule,specifications and lists

2.3 Interpret design into practical plans for making characterand period costumes in accordance with productionrequirements

2.4 Ensure character and period costumes meet with designspecifications through liaison with appropriate personnel

2.5 Approve any amendments to design before work proceeds

3. Prepare for character andperiod costumeconstruction

3.1 Select materials and methods of costume constructionaccording to production requirements

3.2 Take and record accurate measurements of performers toensure correct fitting of costumes

3.3 Identify style and fabric characteristics which influencecostume construction and clarify any queries with relevantpersonnel

3.4 Select appropriate grade plan or grade rule table


CUFCOS07A Make character and period costumes



4.1 Produce or adjust pattern to required specifications,ensuring that patterns comply with:4.1.1 character and period costume and undergarment

requirements4.1.2 gender and figure proportions4.1.3 performance requirements4.1.4 and include ease allowances







necessary to ensure conformance to specifications5.5 Cut materials to meet requirements of the pattern5.6 Prepare fabric base and mount fabrics, as necessary, to


6. Sew and fit costumes 6.1 Pin or sew fabric pieces and linings and hang, asappropriate, in readiness for assembly

6.2 Conduct first fitting with performers and identify and recordrequired adjustments and alterations

6.1 Make required adjustments and alterations6.2 Sew costume pieces together to form the whole costume

and attach all required trimmings, fasteners anddecorations

6.3 Press finished costume according to requirements6.4 Conduct second or final fitting with performer to ensure

that the costume meets design, performer and productionrequirements

6.5 Identify modifications to character and period costume inconsultation with performer/cast and/or designer, wherenecessary




7. Finish character andperiod costumes

7.1 Alter character and period costumes, as necessary7.2 Complete any hand sewing and apply trims in accordance

with design requirements7.3 Correctly label and code all character and period

costumes for identification during the production7.4 Press and finish costumes to reflect the requirements of

the production7.5 Attend dress rehearsals to ensure character and period

costume meets the design and production requirementsand specifications

7.6 Complete ongoing alterations as necessary, ensuringperformer and /or designer satisfaction, correct sizing,look and comfort


KEY COMPETENCIES







Solving problems 2

Using technology 2




RANGE STATEMENT

• costume:• style:

• men, women, children• silhouette and body shapes• fabrics• foundation costumes• trims• accessories• period• genre• chronological evolution of clothing styles:

• historical and cultural factors• political• social• geographical• socio-economic• religious• gender• technological factors

• structural, functional and decorative features, bothhistorical and cultural

• historical, cultural and social factors that have influencedfashion and clothing styles




• history books:• costume• architecture• decorative arts• transport• textiles• colour

• writings of the period• paintings and illustrations of the period• photographs• film, video• the internet• digital images• reference materials• coloured design illustrations• technical production drawings• material swatches• specialist services available for costume production• journals• texts• models• fabric• swatches• collage• sketches• sample costumes


• scripts to identify functions of character and periodcostume

• plays• librettos• scores• written instructions on repairs, alterations or adjustments

to costumes• workshop outcomes• appropriate references to research period, culture,

character, materials, accessories, methods ofconstruction

• telephone books and catalogues to source necessarymaterials

• internet to source materials for costumes• construction instructions for character and period

costumes• product labels, fabric care instructions and manufacturers'

guidelines




• costume breakdown for performance with information on:• performers• character titles• performance types• season/s• scenes• classifications• colours

• costume specifications:• technical production drawings• material types• special manufacturing processes• costings• care labelling• meterage• components• illustration• accessories• given pattern shapes

• context• suitability to performers physique• material types/constraints• components• construction methods• budget and time constraints• performance demands• maintenance and storage• lighting

• design and directors specifications• quality standards of the venue and/or production• production schedule• venue requirements• performers requirements• pattern requirements• type of fabric• resource constraints• occupational health and safety requirements

• hand• machine




• computer generated• manually written• memos of instruction• descriptive costume checklists• fault reports• costume design• scripts• production schedules• call sheets• running sheets• costume plots• costume breakdown lists• costume patterns• measurement charts• operational/project plan• manufacture schedules• manufacturers' specifications/instructions

• performance details• specifications• continuity information

• in a studio• on location - interior• on location - exterior• outside broadcast• day• night• soundstage• stage/theatre/venues



• costume designer• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• other specialist staff




• wardrobe base: studio/location or production office• portable or fixed sewing machines, industrial or domestic• overlockers• laundering facilities: washing machines, dryers• industrial or domestic irons, presses and steamers• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• hand held cutting machines• glue guns• tools, eg wire cutters, hammers, pliers• dressmakers dummies• measuring tapes• conversion tables• hanging racks• coat-hangers• clothing storage and transportation bag



• basic styles such as pants, shorts , skirts, blouses,tailoring

• hand made or machine sewn

• movement• quick changes• continuity• lighting• special effects• use of body doubles/second cast• special considerations• use of harness on performer during performance• physical attributes of performers




• female, male, child costumes• undergarments• corsetry• padding• dance wear• tailored costumes• contemporary wear• costume jewellery• millinery• accessories• pre-production toiles• costumes from the full range of periods and cultures• character costumes such as animal costumes

• complying with silhouette:• corset• chest flatteners

• construction of costume padding:• pregnancies


• fitting trims• fitting fasteners• hemming costumes• other 'finish off' items

• purchasing• borrowing from companies/individuals• hiring from companies or individuals• contra deals• other departments, eg props workshop

• in venue where the show is to be performed• on a stage, with or without appropriate/desirable lighting• in rehearsal facilities• in costume department




EVIDENCE GUIDE



• the history of clothing styles and their evolution including:• changes that have occurred to the structural, functional

and decorative aspects of clothing styles• the social and other impacts of these changes• the implications of gender roles on clothing styles• the impact of cross-cultural developments on clothing

styles• the psychological impact of costumes as they relate to

character, context and development• the relationship between costumes and character

portrayal and development• the features of a variety of clothing styles including

silhouette, material, foundation costumes, constructiontechniques and accessories

• conducting research, using references and maintaining adatabase of references

• major costume references (texts or visual materials)• visualising the final product and relationships between

performers• principles of costume construction• use and properties (such as weight, pile, grain, and

pattern shapes) of different fabrics and materials regularlyused in making costumes

• the importance of selvedge and bias of fabrics and theircharacteristics

• the full range of methods of assembling costumesincluding tailoring

• producing technical drawings and illustrations

• modifying drawings and specifications• colouring techniques• sewing by hand and machine• performing alterations• applying trims• making and grading patterns manually or on computer• modifying blocks for men, women and children and for a

selection of sizes• sources and suppliers of materials, fabrics and trims• producing precise results• interpreting measurement charts and analysing individual

size measurement charts• obtaining and recording accurate measurements from

performers• mathematical operations including ratios, percentages,

basic operations, formulas• communicating effectively and interacting with performers

and others during the preparation and making of




costumes• presenting information to internal and external customers• maintaining records• documenting and transferring information• interpreting specifications and instructions• working as part of a team


• CUFCOS09A Make costumes• CUFCOS03A Realise costumes• CUSRAD02A Conduct research• CUECOS7A Construct hard and soft sculptured• accessories, specialised costumes and costume jewellery





• conducting research and applying findings to costumedevelopment

• communicating effectively and interacting with performers• high standard of costume construction and finishing








• practical demonstration (direct observation may need tooccur on more than one occasion to establish consistencyof performance)





Resource requirements Assessment requires access to a range of appropriatepersonnel, designs/text/scripts, reference materials, relevantmaterials and equipment used in making costumes as listed inthe range of variables statement.




CUFCOS08A Maintain costume continuityUnit Descriptor This unit describes the skills and knowledge required to maintain

costume continuity throughout any production within the culturalindustries.



1. Maintain appearance ofperformer for continuity

1.1 Develop, maintain and accurately update continuitydocumentation on an ongoing basis throughout theproduction

1.2 Redress performer throughout the production to ensurethe exact future re-production of:1.2.1 personal appearance of the performer1.2.2 costume appearance1.2.3 placement of accessories1.2.4 costume condition1.2.5 special requirements of action sequences, if

included1.3 Continually refer to continuity documentation throughout

the production and carry out dressing duties inaccordance with this documentation

2. Maintain condition ofcostume for continuity

2.1 Complete minor repairs or alterations to costumes, or referto the relevant personnel, in accordance with individuallevel of responsibility

2.2 Ensure costumes are cleaned, as required, during theproduction and returned to production location to meet thecontinuity and production requirements

2.3 Ensure any required major repairs are undertaken andcostumes are returned to production location to meet thecontinuity and production requirements

3. Advise of costumecontinuity during shooting

3.1 Advise relevant personnel of any changes to costume andappearance

3.2 Advise crew and cast of approved changes to costumecontinuity if necessary

3.3 Advise relevant personnel of costume continuity problemsin accordance with workplace procedures and productionrequirements


CUFCOS08A Maintain costume continuity


KEY COMPETENCIES







Solving problems 2

Using technology 1

RANGE STATEMENT

• polaroid photos• video• digital images• memos of instruction• scripts• production schedules• running sheets• costume plots• costume breakdown lists• continuity reports, checklists• computer generated• manually written

• in a studio• on location - interior• on location - exterior• outside broadcast• day• night• dressing rooms• soundstage• stage/theatre/venues






• costume designer• production designer• performer• extra• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• head of department• director of photography• director• producer• technical director• other specialist staff• floor manager

• hand or machine sewn• minor• major• patching






EVIDENCE GUIDE



• film and television production schedule terminology• knowledge of effective communication techniques• problem solving and dealing with conflict situations

techniques• time management• production etiquette and protocols• continuity conventions including:

• direction/line of action• crossing the line• eyeline• types of shots• angles• position of camera• position of performer• script changes

• understanding the costume elements of a production• filmic language and other relevant terminology, as

required• breakdown scripts• interpreting script and production schedules• relevant organisational and/or legislative occupational

health and safety requirements


• CUFCOS06A Dress performers• CUFCOS04A Modify, repair and maintain costumes• CUFPOP02A Breakdown a script• CUSRAD01A Collect and organise information• CUECOS2A Apply art finishing










• role play• work samples or simulated workplace activities• oral questioning/interview• projects/reports/logbooks• third party reports and authenticated prior achievements• portfolios of evidence





CUFCOS09A Make costumesUnit Descriptor This unit describes the skills and knowledge required to produce

costumes for any production within the cultural industries.

This unit modifies and expands on the unit Make costumes from theentertainment industry training package.




1.1 Follow schedule and instructions for the construction ofcostumes

1.2 Select appropriate grade plan or grade rule table1.3 Produce or adjust pattern to required specifications,

ensuring that patterns comply with:1.3.1 c ostume and undergarment requirements1.3.2 gender and figure proportions1.3.3 performance requirements1.3.4 and include ease allowances







necessary to ensure conformance to specifications2.5 Cut materials to meet the requirements of the pattern2.6 Prepare fabric base and mount fabrics, as necessary, to


3. Sew costumes 3.1 Pin or sew fabric pieces and linings and hang, asappropriate, in readiness for assembly

3.2 Make adjustments and alterations to meet performers'requirements and construction specifications

3.3 Sew costume pieces together to form the whole costumeand attach all required trimmings, fasteners anddecorations

3.4 Press finished costume according to requirements


CUFCOS09A Make costumes


4. Finish costumes 4.1 Alter costumes, as necessary4.2 Complete any hand sewing and apply any trims in

accordance with design requirements4.3 Correctly label and code all costumes for identification

during the production4.4 Press and finish costumes to reflect the requirements of

the production4.5 Complete ongoing alterations as necessary, ensuring

performer and /or designer satisfaction, correct sizing,look and comfort


KEY COMPETENCIES







Solving problems 1

Using technology 1

RANGE STATEMENT

• computer generated• manually written• memos of instruction• descriptive costume checklists• scripts• production schedules• call sheets• running sheets• costume plots• costume breakdown lists• costume patterns• measurement charts• operational/project plan• manufacture schedules• manufacturers' specifications/instructions







• costume designer• performer• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• other specialist staff

• wardrobe base: studio/location or production office• portable or fixed sewing machines, industrial or domestic• overlockers• laundering facilities: washing machines, dryers• industrial or domestic irons, presses and steamers• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• hand held cutting machines• glue guns• tools, eg wire cutters, hammers, pliers• dressmaker's dummies• measuring tapes• conversion tables• hanging racks• coat-hangers• clothing storage and transportation bag






• basic styles such as:• pants• shorts• skirts• blouses

• tailoring• hand made• machine sewn

• female, male, child and animal costumes• undergarments• corsetry• padding• dance wear• tailored costumes• contemporary wear• costume jewellery• millinery• accessories• pre-production toiles






EVIDENCE GUIDE



• interpreting construction specifications and instructions• principles and techniques of costume construction and

fitting• performing alterations, applying trims• use and properties of different fabrics


• LMTPDCL03A Select and or modify patterns or blocks• LMTPRCL11A Grade patterns• LMTPRCL12A Measure, lay-up and cut custom made

garments• LMTPRCL13A Assemble/fit custom made/bespoke

garments




• the making and grading of patterns, laying up and cuttingwork, sewing and finishing of costumes, in order to meetproduction requirements













CUFCOS4A Modify, repair and maintain costumesUnit Descriptor This unit describes the skills and knowledge required to assist in

altering, repairing and maintaining costumes for any production withinthe cultural industries.

This unit modifies and expands on the unit Assist in making costumesfrom the entertainment industry training package.



1. Carry out simple costumealteration

1.1 Set up and adjust equipment and work station inaccordance with workplace procedures or constructionrequirements, ensuring appropriate and compatibleequipment and accessories are used

1.2 Carry out simple costume modifications in accordancewith requirements for quality, personal safety and speed ofwork

1.3 Inspect sewn pieces, identify any faults and take action torectify any faults according to workplace procedures orconstruction requirements

2. Undertake repairs 2.1 Assess costumes and liaise with relevant personnel todetermine requirements for repairs

2.2 Prepare costumes, materials and equipment in anappropriate manner for repairs

2.3 Carry out repairs to restore costumes to optimumcondition

3. Launder, press orotherwise servicecostumes

3.1 Identify and rectify any faults, spots or marks3.2 Wash and press any costumes in accordance with the

care instructions for the fabric, ensuring that delicate orproblem fabrics are serviced with care

3.3 Make necessary arrangements for the special launderingor dry cleaning of costumes and document the dispatchand collection of costumes

3.4 Ensure that costumes are always accurately labelled,coded and stored as appropriate

3.5 Complete documentation in accordance with workplace orproduction requirements


CUFCOS4A Modify, repair and maintain costumes


KEY COMPETENCIES







Solving problems 2

Using technology 1

RANGE STATEMENT

• industrial/domestic irons and steamers• glue guns• tools eg wire cutters, bolt cutters, hammers, pliers• scissors• dressmaker's dummies• washing machines and dryers




• costume designer• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• other specialist staff




• basic styles:• pants• shorts• skirts• blouses

• tailoring• hand made or machine sewn


EVIDENCE GUIDE



• the use, properties and care of different fabrics andmaterials regularly used in making costumes and howthey react to laundering, dry cleaning or spot cleaning

• appropriate testing techniques• broad knowledge of cleaning agents and the effect they

have on a range of fabrics/materials, including those thatare fragile and easily damaged

• costume repair techniques and their applications• carrying out costume maintenance and repair techniques

to the required enterprise standard• maintaining records and documenting and transferring

information• who to report to and about what• who, and when, to ask for help• basic sewing• working as part of a team


• CUFCOS06A Dress performers• CUECOR2A Work with others







• assessing costumes for maintenance or repair• repairing and restoring costumes to optimum condition• ensuring quality of the finished costume










CUFDRT01A Read and interpret the scriptUnit Descriptor This unit describes the skills and knowledge required to read the script

and identify the core elements that will contribute to the realisation ofthe script from final draft to screen production for any film, televisionand multimedia production.



1. Read and analyse thescript to plan therealisation of theproduction

1.1 Identify the overall vision of the work taking into accountthe writers and the directors vision

1.2 Collaborate with the writer to determine the need forrewrites and organise rewrites if necessary

1.3 Identify and document the relationship between therelevant visual and dramatic elements within the script toestablish the narrative approach to be taken

1.4 Analyse the intended function of the work, clearlyestablishing its objectives and visually exploring thevarious ways those objectives may be realised

1.5 Where appropriate use any available resources togenerate and record an unlimited and uncensored rangeof ideas to aid in the visualisation of the script and thesubsequent shot plan

1.6 Transform and manipulate the ideas generated until aclear visual narrative is established

1.7 Contemplate and consider the ideas selected reflecting onthe viability of those ideas for the project

1.8 Evaluate all subsequent ideas based on previousreflections and assess all ideas for visual narrative impact


CUFDRT01A Read and interpret the script


2. Create a shot plan torealise the visual narrative

2.1 Divide the script into scenic units and determine anddefine the dramatic elements within each scenic unit

2.2 Analyse the dramatic elements within each scene anddetermine the relationship between the written narrativeand its visualisation and subsequent realisation

2.3 Consider the whole of the narrative and scene todetermine the location of characters and other elements inindividual shots

2.1 Use the shot plan to translate the script from a written to avisual narrative

2.2 Create a shot plan that will establish and realise therelationship between the visual and the narrative aspectsof the script and considers the following elements:2.2.1 the whole narrative2.2.2 the context of each scene within the whole

narrative2.2.3 mise-en-scene2.2.4 the staging of the action2.2.5 the size of the shot2.2.6 the choice of the lens2.2.7 the camera angle

2.3 Assess the photographic qualities of each shot in terms ofthe narrative effect of each scene

2.4 Devise a shot plan which will enable the narrative to becontrolled and carried forward throughout the productionas a whole

KEY COMPETENCIES







Solving problems 3

Using technology 1




RANGE STATEMENT

• features• documentaries• shorts• animation• television series and serials• advertisements/commercials• training videos• interactive multimedia• promotional presentations

• research of settings• research of characters• inspiration• imagination• life experience• actual events• existing dramatic material• newspapers• objectives• historical events• photographs• paintings• sketches• existing films• own notes/observations• discussions with relevant personnel

• production design• art direction• sound design• duration• genre of production (ie type, sort, kind, variety)• style (ie method, approach, fashion, mode, way of

presenting things, a manner of exhibiting characteristics,in the style of)

• content• budget• deadlines• location• purpose• contractual• confidentiality• intellectual property• copyright• schedule• codes of practice




• acts• dramatic sequences• scenes

• first impressions• plots• story• content• themes• purpose• genre of production (ie type, sort, kind, variety)• style (ie method, approach, fashion, mode, way of


• location• structure• three act structures or other structures• character:

• goals• transformation• sub-text• objectives• actions• history• turning points• arcs

• beats or action change• environments within the story• scenes• story turning point• action points• conflict• set up• climax• resolution• interview questions• narration• time• place• events

• location• time of day• interior or exterior• seasons• climate




• producers• directors• script writers• director of photography• performers• heads of department• other technical staff• other specialist staff

EVIDENCE GUIDE



• ability to locate and use resources to broaden creativeexperience

• ability to demonstrate originality and innovativeapproaches to the creative directing process

• ability to experiment with narrative conventions andelements to develop own voice and extend directingpractice

• ability to extend creative boundaries for self• ability to demonstrate original and innovative approaches

in the use and organisation of visual narrative elements• ability to originate and develop an idea• knowledge and understanding of the conventions and

practices of directing for the screen• knowledge of the range of narrative conventions used

throughout the history of film making• knowledge of techniques used to realise a visual narrative

from a written narrative• ability to determine how the story can be carried forward

from one scene to the next and throughout the entireproduction

• knowledge of various techniques of visual storytelling• knowledge of film and literary conventions• understanding of the craft of the screen writer• understanding of the craft of screen acting• understanding of the craft of cinematography• understanding of the craft of editing• understanding of the craft of sound design• understanding of the craft of production design• reading and interpreting documentation and other

narrative forms• ability to research and document relevant information• knowledge of relevant organisational and/or legislative

occupational health and safety requirements• knowledge of effective communication techniques

including effective listening, questioning and non-verbalcommunication




Linkages to other units This unit has linkages to the range of directing units foundwithin this training package and combined training deliveryand/or assessment may be appropriate.




• the development of the ability to originate and develop anidea from concept to production

• knowledge and understanding of the conventions andpractices of screen directing and their role in carrying thestory forward in a whole production









Resource requirements Assessment requires access to a range of scripts.




CUFDRT02A Conduct selection of the performersUnit Descriptor This unit describes the skills and knowledge required to audition and

select suitable performers for a variety of character roles within aproduction for film, television and multimedia.



1. Prepare for the audition 1.1 Develop in-depth character profiles to ensure selection ofperformers is rigorous and obtains the desired outcome

1.2 Develop descriptions of performers required to fulfil eachcharacter profile, if required

1.3 Prepare appropriate audition methods that create anenergy and environment that will motivate performerstowards the desired outcome

1.4 Provide applicants with relevant audition information, ifnecessary

2. Audition performers 2.1 Establish environment that is conducive to achieving theoptimum performance from those auditioning

2.2 Assess each audition continuously, according toperformance elements, to achieve the desired outcome

2.3 Hold subsequent auditions - callbacks - when necessaryto assess performers' ability to relate to other performers

3. Select performers 3.1 Screen test the suitable performers to determine theirscreen performance levels

3.2 View relevant past work of suitable performers to assesstheir ability to perform the role, if necessary

3.3 Select performers' most suited to portraying the characterroles as defined in the character profiles

KEY COMPETENCIES







Solving problems 2

Using technology 1


CUFDRT02A Conduct selection of the performers


RANGE STATEMENT


• dates• times• location of audition• character profiles• opportunity to read entire script• scenes to be read for audition• audition requirements - cold read, monologues• rehearsal commitments• production commitments

• reading scenes• performing monologues• improvisations:

• character• situational

• rehearsal exercises• assessing performer's ability to take direction• assessing performer's ability to see potential for ongoing

creativity• ability to identify authentic and appropriate behaviours• ability to perform or learn tasks required of the character

• script comprehension• courage• ability to make bold choices• originality• uniqueness• clarity of objectives• character arc• selflessness• honesty• ability to act in the moment

• punctuality• notification of cancellations• alteration to timelines/arrangements• code of conduct




• showreel• resume/curriculum vitae (CV)• photographs

• theatrical performances• screen performances

• physical features• age• gender• temperament• attitude• sensibilities• rhythm

• producers• directors• casting directors• script writers• director of photography• broadcasters• performers• other technical staff• other specialist staff

EVIDENCE GUIDE



• knowledge of various techniques of storytelling• knowledge of film and literary conventions• knowledge and understanding of aspects of story

development• knowledge and understanding of character development• understanding of the craft of the screen director• understanding of the craft of screen acting• reading and interpreting documentation• reading and understanding various narrative forms• ability to research and document relevant information• knowledge of relevant organisational and/or legislative

occupational health and safety requirements• knowledge of communication techniques including

effective listening, questioning and non-verbalcommunication

• theories of communication




Linkages to other units • This unit has linkages to the range of directing units foundwithin this training package and combined trainingdelivery and/or assessment may be appropriate.




• the development of the ability to assess a performancefor the screen

• knowledge and understanding of the conventions andpractices of casting performers for screen productions

• knowledge of effective communication techniques









Resource requirements Assessment requires access to a range of equipment andaudition environments currently used by the cultural industries.




CUFDRT03A Conduct rehearsals of the performersUnit Descriptor This unit describes the skills and knowledge required to rehearse

performers prior to starting production for film, television or multimedia.Unit Sector No sector assigned


1. Plan the rehearsal 1.1 Assess the script to estimate the time needed for therehearsal schedule

1.2 Establish main dramatic elements to be addressed duringrehearsal and document those elements using methodsand conventions most appropriate to the process

1.3 List areas of the script that require special attention andprioritise scenes that need more rehearsal

2. Direct the first rehearsal orread-through

2.1 Conduct appropriate rehearsal exercises at the beginningwith a view to creating an ensemble of the cast withinproduction requirements

2.2 Conduct a read-through of the script with performers toassess dramatic elements

2.3 Discuss the read-through with the cast members toassess the effects of the story and record any initialresponses for later use in realising the script

2.4 Impart information to the performers on the plan forrealising the translation of the script from a written to avisual narrative

2.5 Establish appropriate channels of communication with allrelevant personnel throughout the production


CUFDRT03A Conduct rehearsals of the performers


3. Direct subsequentrehearsals

3.1 Discuss and develop characters with performers,encouraging further research to generate ideas toincrease performance value

3.2 Conduct appropriate rehearsal exercises, innovating andtransforming any appropriate ideas to enhanceperformance

3.3 Identify and discuss the dramatic elements of scenes withperformers to improve the outcome of the production

3.4 Assist the performers to understand the plan for realisingthe translation of the script from a written to a visualnarrative

3.5 Provide information to enable performers to establish andrealise the relationship between the visual and thenarrative aspects of the script and consider the followingelements in their performance:3.5.1 the whole narrative and how the story is carried

forward throughout the production as a whole3.5.2 the context of each scene within the whole

narrative3.5.3 the mise-en-scene

3.6 Engage performers in the control of the narrative by use oftechniques which allow for character sub-text

3.1 Develop and establish blocking/staging of each scene withperformers, incorporating any additional ideas that comeout of the process, using innovation to develop the bestpossible outcome

3.2 Develop and establish blocking/staging of each scene forcamera movement/coverage (mise-en-scene)

3.3 Conduct final reading of script, incorporating anyadditional ideas and innovations

3.4 Provide constructive feedback to performers throughout,and at the end of, the rehearsal process

KEY COMPETENCIES







Solving problems 3

Using technology 1




RANGE STATEMENT


• prior to production• during production

• director's vision of the production• plot• rhythm• tone• attitude• genre of production, ie type, sort, kind, variety• style (ie method, approach, fashion, mode, way of


• theme• character:

• sub-text• objectives• actions• history• turning points

• relationships between the characters• relationships between the performers• character histories• working relationship between director and performers• working relationship between performers• given circumstances including time frame, location,

character details, acts• nature of conflict• act changes• scene function• exposition

• blocking/staging• improvisations:

• character• situational




• research of settings• research of characters• inspiration• imagination• life experience• actual events• existing dramatic material• newspapers

• duration• genre of production, ie type, sort, kind, variety• style (ie method, approach, fashion, mode, way of



• performers• producers• directors• script writers• directors of photography• sound recordists• production managers• art directors• heads of department• other technical staff• other specialist staff




EVIDENCE GUIDE



• ability to originate and develop an idea• ability to demonstrate original and innovative approaches

in the development of ideas to a final outcome• knowledge of various techniques of storytelling• knowledge and understanding of the conventions and





• ability to explain the concepts of mise-en-scene toperformers, their role in the context of the whole shot,scene and story throughout the entire production

• knowledge of film and literary conventions• knowledge and understanding of aspects of story

development• knowledge and understanding of the structure of screen

writing• knowledge and understanding of character development• understanding of the craft of screen acting• reading and interpreting documentation• reading and interpreting various narrative forms• ability to research and document relevant information• knowledge of relevant organisational and/or legislative





• CUFDRT01A Read and interpret the script• CUFDRT04A Direct the performers








• knowledge and understanding of the conventions andpractices of screen directing

• knowledge and application of relevant local occupationalhealth and safety legislation














CUFDRT04A Direct the performersUnit Descriptor This unit describes the skills and knowledge required to direct

performers throughout a scenic action during a screen production forfilm and television productions.



1. Prepare performers forfilming

1.1 Brief performers about various technical requirements incollaboration with relevant personnel, where necessary

1.2 Establish appropriate lines of communication betweenrelevant personnel to ensure smooth running of production

1.3 Inform and update performers of changes or additionalideas that may have occurred since rehearsal that are tobe incorporated into the performance

1.4 Review the relevant dramatic elements dealt with inrehearsals

1.5 Throughout the production process rehearse any sceneswith performers, that are to be filmed imminently, ifnecessary and if time allows

2. Facilitate performers 2.1 Monitor performers disposition throughout production andcreate appropriate atmosphere and environment forcharacter creation and development

2.2 Create an environment that will allow performers toachieve optimum results from their performance

2.3 Conduct appropriate rehearsal exercises where necessaryto improve and enhance performers' performance

2.4 Provide oral directions that are comprehensible and clearto the performers

2.5 Provide constructive feedback and support to performersthroughout the process of filming

2.6 Identify and rectify any creative problems throughoutfilming in conference with relevant personnel

2.7 Keep performers informed of filming order of scenes,where necessary

2.8 Assist the performers to understand the role of theirperformance in realising the narrative of the productionand to consider the following elements in theirperformance:2.8.1 the whole narrative and how the story is carried

forward throughout the production as a whole2.8.2 the context of each scene within the whole

narrative2.9 Assist the performers to understand the desired

mise-en-scene effect, their role in the context of the wholeshot, scene and story throughout the entire production

2.10 Engage performers in the control of the narrative by use oftechniques which allow for character sub-text


CUFDRT04A Direct the performers


3. Wrap up filming 3.1 Express appreciation to all members of cast at completionof filming for their respective input

3.2 Ensure members of cast are aware of further productionrequirements

KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT


• camera movement• microphone placement• light meter readings• shooting order of scenes• pace of filming




• duration• genre of production (ie type, sort, kind, variety)• style (ie method, approach, fashion, mode, way of


• content• budget• deadlines• location• purpose• contractual• confidentiality• intellectual property• copyright• schedules• shot lists• filming order of scenes• scene breakdown• codes of practice

• director's vision of the production• plot• rhythm• tone• attitude• genre of production (ie type, sort, kind, variety)• style (ie method, approach, fashion, mode, way of


• theme• character:

• sub-text• objectives• actions• history• turning points

• relationships between the characters• relationships between the performers• working relationship between director and performers• working relationship between performers• given circumstances including time frame, location,

character details, acts• nature of conflict• act changes• scene function• exposition• dramatic obstacles• significance of location• being in the moment




• performers• producers• directors• script writers• directors of photography• editors• production managers• continuity• art directors• heads of department• other technical staff• other specialist staff

EVIDENCE GUIDE



• ability to originate and develop an idea• knowledge and understanding of the conventions and





• ability to explain the concepts of mise-en scene toperformers, their role in the context of the whole shot,scene and story throughout the entire production

• knowledge of various techniques of storytelling• knowledge of film and literary conventions• knowledge and understanding of aspects of story

development• knowledge and understanding of character development• understanding of the craft of the director of photography• understanding of the craft of screen acting• reading and interpreting documentation and other


occupational health and safety requirements• detailed knowledge of the Australian film industry

recommended safety code• knowledge of effective communication techniques







• CUFDRT01A Read and interpret the script• CUFDRT03A Conduct rehearsals of the performers






• ability to work with and manage diverse groups of people• knowledge and application of relevant local occupational

health and safety legislation• knowledge of effective communication techniques
















CUFDRT05A Direct the crewUnit Descriptor This unit describes the skills and knowledge required to direct the crew

while on the set of a screen production for film and televisionproductions.



1. Prepare for filming 1.1 Liaise and collaborate with the crew to determine anytechnical requirements that will influence the directorialoutcome of the production

1.2 Liaise with the crew members to ensure that all productionrequirements are met

1.3 Liaise and collaborate with the relevant crew members todiscuss and plan creative solutions to any unusual ordifficult proposed shots, if required

1.4 Establish appropriate lines of communication betweenrelevant personnel

2. Facilitate filming 2.1 Ensure that filming procedures and protocol are executedappropriately and according to organisational procedures

2.2 Check through viewfinder or video monitor whennecessary and confer with relevant personnel to meetcreative and technical shot requirements

2.3 Direct a rehearsal of each shot, when necessary, toascertain the technical requirements of each crewmember and ensure that the process runs smoothly

2.4 Design innovative solutions, using imagination and lateralthinking, in collaboration with crew members to transformand manipulate any problems that arise when filming

2.5 Assist the crew to understand their role in realising thenarrative of the production and to consider the followingelements in the performance of their function:2.5.1 t he whole narrative and how the story is carried

forward throughout the production as a whole2.5.2 the context of each scene within the whole n

arrative2.6 Assist the crew to understand the desired mise-en scene

effect and the role of their technical expertise in thecontext of the whole shot, scene and story throughout theentire production

2.1 Engage the crew in the control of the narrative by use oftechniques which will capture the desired narrativesub-text

2.2 Monitor and assess all shots for creative and technicalproblems and where possible apply innovative solutions

2.3 Direct filming of retakes where necessary and ensure thatretakes meet technical and creative expectations incollaboration with the relevant crew members

2.4 Ensure relevant personnel have recorded or filmed allrequired material to ensure completion of the productionprocess


CUFDRT05A Direct the crew


3. Conclude filming 3.1 Express appreciation to all members of crew at completionof filming for their respective input

KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT


• calls for cast and crew to take up positions• calls for roll sound• calls for roll camera• confirmation of speed from camera and sound• calls for slate and ID recording• confirmation of slate and ID recording from camera

operator and clapper loader• "action" is called to commence acting• call for end slate where necessary• "cut" is called to terminate recording




• camera coverage• duration• genre of production (ie type, sort, kind, variety)• style (ie method, approach, fashion, mode, way of



• composition• angle• size of image• camera position• camera movement - tilting, panning, dollying, tracking• lens size• performers' movement

• retakes• cutaways• 2 nd unit filming• sound recording of atmosphere

• producers• directors• script writers• directors of photography• sound recordists• editors• production managers• continuity• art directors/production designers• performers• other technical staff• other specialist staff




EVIDENCE GUIDE



• ability to originate and develop an idea• ability to develop innovative solutions and solve problems

creatively• knowledge and understanding of the conventions and





• ability to explain the concepts of mise-en scene to crew,their role in the context of the whole shot, scene and storythroughout the entire production

• knowledge of various techniques of storytelling• knowledge of film and literary conventions• understanding of the craft of the screen director• understanding of various roles played by each member of

a screen production crew• understanding of the craft of cinematography• understanding of the craft of editing• understanding of the craft of sound design• understanding of the craft of production design• reading and interpreting documentation and other



recommended safety code.• knowledge of effective communication techniques


• theory of communication


• CUFDRT01A Read and interpret the script









• knowledge of communication techniques


Assessment of this unit would most effectively be undertakenon the job due to the specific workplace environmentrequirements. However, assessment of this unit can beundertaken in a closely simulated workplace environmentwhich reproduces all the elements of a production situationincluding operating to a production schedule.

The simulated assessment event should involve all the teammembers that would normally participate in a film, television ormultimedia production and the use of current industry standardequipment.











CUFDRT06A Collaborate with the editor to finalise theproduction

Unit Descriptor This unit describes the skills and knowledge required to supervise theprocesses of editing and other elements of post production of a screenproduction for film and television.



1. Prepare a post-productionbrief

1.1 Participate in any pre-production and post-productionmeetings to discuss all requirements for post-production,as required:1.1.1 the editing medium to be used1.1.2 the editing method to be used1.1.3 sound post-production including music, ADR,

dialogue, sound effects1.1.4 computer generated images

1.2 Advise whether there is a possibility of conducting anyre-shoots during post-production stage, should problemsarise

1.3 Communicate the creative requirements of the edit anddescribe the required outcome in terms of:1.3.1 the overall look of the end product1.3.2 the overall sound required of the finished product1.3.3 the optimum duration of the final product

1.4 Communicate the narrative requirements of the edit anddescribe the required outcome in terms of:1.4.1 expectations of how the narrative is to be

controlled and carried forward throughout the finalproduct

1.4.2 how time and space is to be communicated1.5 Assist the editor to understand their role in realising the

narrative of the production and to consider the followingelements in the performance of their function:1.5.1 the whole narrative and how the story is to be

carried forward throughout the production as awhole

1.5.2 the context of each scene within the wholenarrative

1.5.3 use of editing techniques which will capture thedesired narrative sub-text


CUFDRT06A Collaborate with the editor to finalise the production


2. Evaluate the editthroughout the process

2.1 Participate in the ongoing evaluation of the productthroughout all stages of the editing process

2.2 Check and adjust creative and technical parameters asrequired

2.3 Identify any problems which arise during thepost-production stage, discuss and solve with the on-lineeditor

2.4 Ensure that the creative integrity of the initial concept ismaintained

2.5 Discuss ideas and collaborate, as required, with the editorto allow for contribution of ideas

2.6 Participate in the evaluation of the final edited product toensure that the technical and creative requirements havebeen met

KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT


• research of settings• research of characters• inspiration• imagination• life experience• actual events• existing dramatic material• newspapers







• editors• foley artists• sound editors• sound designers• sound engineers• producers• commissioning editors• directors• script writers• program managers• broadcasters• performers• clients/customers• other technical staff• other specialist staff




EVIDENCE GUIDE



• ability to realise ideas• knowledge and understanding of the conventions and

practices of editing screen productions• knowledge of various techniques of storytelling• knowledge and understanding of aspects of story

development• knowledge of cinematic and editing conventions• knowledge and understanding of aspects of story

development• knowledge and understanding of the conventions and





• knowledge and understanding of character development• understanding of the craft of the screen editor• reading and interpreting documentation and other




• communication theory

Linkages to other units This unit has linkages to the range of directing units foundwithin this training package and combined training deliveryand/or assessment may be appropriate.








• knowledge and understanding of the conventions andpractices of screen writing




Assessment of this unit would most effectively be undertakenon the job due to the specific workplace environmentrequirements. However, assessment of this unit can beundertaken in a closely simulated workplace environmentwhich reproduces all the elements of a production situationincluding operating to a production schedule and budget. Thesimulated assessment event should involve all the teammembers that would normally participate in a film, television ormultimedia production.











CUFDRT07A Devise camera coverageUnit Descriptor This unit describes the skills and knowledge required to create and

develop camera coverage of scenes for a screen production for filmand television.



1. Generate and assessideas for cameracoverage which willrealise the production

1.1 Identify and determine the constraints and potential of arange of visual elements relevant to own work

1.2 Investigate possible combinations and juxtapositions of arange of resources and techniques for potential technicaland creative development

1.3 Explore and assess the effects of combining a range ofmaterials, resources and techniques in different elementsof visual design for possible incorporation into work

1.4 Generate and record an unlimited and uncensored rangeof ideas from the range of materials, resources andtechniques for the visual design of the camera coverage

1.5 Transform and manipulate the resources and ideasgenerated, group related ideas together, then select thoseideas that are relevant to the requirements of the cameracoverage

1.6 Contemplate and consider the ideas selected, reflectingon the viability of those ideas for the required cameracoverage

1.7 Evaluate and verify all subsequent ideas based onprevious reflections, collaborating with relevant personnelto determine the viability of the selected ideas

2. Document ideas for use indetermining cameracoverage

2.1 Ensure that the ideas for camera coverage areappropriate to contextual requirements

2.2 Use appropriate stylistic expression for period and genre2.3 Document ideas effectively, by written notation or other

means, to allow interpretation by relevant personnel2.4 Identify basic structural camera elements for the

realisation of the scenes and investigate their potential forachieving the desired effect


CUFDRT07A Devise camera coverage


3. Create the cameracoverage

3.1 Establish clear relationship between the use andintegration of compositional elements and the function,context and objectives of the work

3.2 Develop camera coverage which considers the whole ofthe scene, the location of characters and other elementsin individual shots, and contributes to the whole narrative

3.3 Devise camera coverage which translates the script froma written to a visual narrative

3.4 Create camera coverage that establishes and realises therelationship between the visual and narrative aspects ofthe script and considers the following elements:3.4.1 the whole narrative3.4.2 the context of each scene within the whole

narrative3.4.3 mise-en-scene3.4.4 utilisation of sub-text3.4.5 the staging of the action3.4.6 the size of the shot3.4.7 the choice of the lens3.4.8 the camera angle

3.5 Devise camera coverage that enables the narrative to becontrolled and carried forward throughout the productionas a whole

3.6 Document and present work using methods andconventions most appropriate to the context or asspecifically required

3.7 Document the work in a form that allows ease ofinterpretation for relevant personnel

3.8 Produce work within the agreed time frame requirements3.9 Continuously allow for and incorporate any additional

ideas that may arise from collaboration with relevantpersonnel or other sources

3.10 Evaluate the viability of the camera coverage incollaboration with relevant personnel according topractical and creative considerations

KEY COMPETENCIES







Solving problems 3

Using technology 2




RANGE STATEMENT


• existing films• paintings• photographs




• size of shots including various framing heights• the line of action• dialogue staging• staging action sequences• camera angles• depth of frame

• photoboards• video• desktop video• storyboard/animation software• CAD (computer assisted design) programs• production management software




• cinematographers• editors• directors• script writers• producers• performers• other technical staff• other specialist staff

EVIDENCE GUIDE



• ability to originate and develop an idea• ability to demonstrate original and innovative approaches

in the use and organisation of cinematographic elements• knowledge of cinematic and editing conventions• knowledge and understanding of aspects of story

development• knowledge and understanding of the conventions and





• understanding of various roles played by each member ofa screen production crew

• understanding of the craft of cinematography• understanding of the craft of editing• reading and interpreting documentation and other



recommended safety code.• knowledge of effective communication techniques




• CUFDRT01A Read and interpret the script





This unit of competence applies to a range of directingcontexts. The focus of assessment will depend on the industrysector. Assessment must be customised to meet the needs ofthe particular sector in which performance is being assessed.Assessment should only address those variablecircumstances, listed in the range of variables statements,which apply to the chosen context.


the development of the ability to originate and develop an ideafrom concept to production

• knowledge of techniques used to realise a visual narrativefrom a written narrative














CUFPRP01A Develop and implement props designs for thescreen

Unit Descriptor This unit describes the skills and knowledge required to interpret thecreative brief, develop and implement props designs for productionswithin the cultural industries.



1. Receive and interpret thebrief for the design ofprops

1.1 Liaise with the relevant personnel and interpret andconfirm the props requirements so that technical,production and/or script requirements are met

1.2 Participate in preliminary concept meetings to discuss theprops requirements of the production


the props design

2. Breakdown scripts toproduce props plan

2.1 Produce and maintain master script breakdown/production schedule breakdown

2.2 Determine and document the number and types of propsrequired, for the use of all relevant personnel during thedesign development

2.3 Identify, within the script or production schedule, anychanges to props, eg ageing


3.1 Generate a range of ideas for the props design whichrespond sympathetically to the brief and provide creativesolutions to the design




CUFPRP01A Develop and implement props designs for the screen




influence props styles and production techniques4.3 Undertake research into the style and location of the


4.4 Trial various techniques to test the suitability of their use inthe final production of the props, including:4.4.1 colour mixes4.4.2 textures4.4.3 materials4.4.4 construction techniques4.4.5 painting styles

4.5 Organise research and experimentation material for easeof use of all relevant personnel during the designdevelopment process

4.6 Analyse and document research and experimentationfindings for use during the development of the propsdesign





5. Develop and documentthe props design

5.1 Establish or maintain an accessible recording system forthe use of all relevant personnel, to include:5.1.1 specialist services available for props production5.1.2 reference/research materials5.1.3 draft and final props designs5.1.4 performance details and specifications5.1.5 timeline for prop manufacture


5.3 Ensure that agreement is reached with relevant personnelon a consistent interpretation of period and style

5.4 Evaluate initial concepts and select the most appropriateidea, giving consideration to:5.4.1 the budget5.4.2 ongoing discussions5.4.3 research findings5.4.4 ongoing reflection on the design brief5.4.5 availability of existing items which could be

purchased or hired, rather than constructed5.4.6 comparison of time and cost taken to source,

purchase or hire props to construction time andcost

5.5 Develop the props designs from the initial conceptsensuring:5.5.1 consistency with the style requirements of the




5.7 Prepare working technical production scale drawings,production specifications and samples/prototypes



6.1 Present the props design using a range of visual materialsincluding coloured design illustrations, technicalproduction drawings, material samples, props prototype,production requirements and specifications to the relevantpersonnel for acceptance


6.3 Negotiate and agree to additional requirements ormodifications to the design and undertake any necessaryamendments to the designs

6.4 Agree to the final designs and present final propsproduction specifications to all relevant personnel toensure that props meet design and other productionrequirements




7. Liaise with others toimplement propsproduction

7.1 Discuss with relevant personnel to agree upon the futurerole of the designer in the realisation of the props design

7.2 Liaise with relevant personnel to ensure that all propsproduction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand technical constraints

7.3 Participate in ongoing production meetings and participatein the evaluation of the props produced

7.4 Ensure that any props design modifications are agreed,noted and acted upon

7.5 Inform relevant personnel of props design changes7.6 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT


• models• fabric• material swatches• collage• sketches• sample/prototype props• technical drawings• colour illustrations• photographs







• feature films• documentaries• short films• animated productions• commercials• filmed events or performances• music video• television productions of any type (eg music, drama,

comedy, variety, sport)• live or pre-recorded television productions

• production designer• performer• wardrobe department personnel• wardrobe supervisor/manager• costume production personnel• props production personnel• supervisor• head of department• director of photography• director• art director• production designer• production manager• producer• technical director• other technical staff• other specialist staff• designers• floor manager




• hand props - food and beverage, blood, gore etc• furniture• vehicles• equipment• costume props - armour, weapons, jewellery• pre-production prototypes• mechanised props• cable controlled props• electrically controlled• pneumatically controlled props• special effects props

• timber• timber products, eg plywood, particle board, craftwood• masonite• metal products, eg bars, tubes, sheets• moulded or cast metal• fibreglass• fabrics• plastics, eg moulded sheet• fabric• leather• paper products• plaster• mouldable materials• thermoplastic• polystyrene• fasteners• adhesives

• moulding materials• painting materials• sculpting and other shaping methods• gluing• metalwork, eg cutting, welding, brazing• woodworking• ageing


• relevant national and international standards, guidelinesand codes of practice, eg The Building Code of Australia





EVIDENCE GUIDE




• script breakdown• research skills• time management and ability to work under pressure and

to deadline• elementary photography• production scheduling• resource management including human resources• team leading skills• budget management• project management• report writing• principles of negotiation• information management• costing, budgeting, liaison• principles and techniques of design and script breakdown• research• visualisation and interpretation of creative concepts• preparation of design briefs• communication and presentation techniques• copyright legislation and regulations• understanding the capabilities of other collaborative

designers or contractors• understanding the artistic elements of a production• familiarity with current construction/manufacturing

methods• construction specifications• the expressive qualities of props as it relates to the nature

of the work, the style of the production and the qualities ofthe performance

• innovative and experimental props production techniquesto make a wide range of props

• exercising a high level of creativity and ingenuity• maintaining design integrity• the behaviour of various materials, finishes, painting

techniques and colours under lighting• knowledge of the properties, applications and durability of

different types of materials that can be used for propconstruction

• drawing including perspective and technical drawing• a wide range of styles, genres and art forms and their

history• adapting props construction across styles, genres and art

forms including film, television and live performance indance, music, drama

• working with specialised materials




• accessing raw, part-processed and processed materialsand components from a range of sources and suppliersand ascertaining their suitability

• a range of art finishing methods such as breaking down,ageing, dyeing, stencilling, screen printing, painting,applique, beading, component application

• testing finished and unfinished materials such as fabric,leather, vinyl, plastic, foam, latex, found objects, straw,paper, and cardboard


• CUFPRP02A Coordinate props production• CUEFIN2A Manage a budget• CUSGEN04A Participate in negotiations• CUSGEN05A Make presentations



• the development of creative props design concepts whichmeet practical requirements including venuerequirements, type of production and resourceconstraints, in particular budgetary constraints

















CUFPRP02A Coordinate props productionUnit Descriptor This unit describes the skills and knowledge required to interpret the

creative brief, develop and implement props designs for productionswithin the cultural industries.



1. Receive and interpret thebrief for the design ofprops

1.1 Liaise with the relevant personnel and interpret andconfirm the props requirements so that technical,production and/or script requirements are met

1.2 Participate in preliminary concept meetings to discuss theprops requirements of the production


the props design

2. Breakdown scripts toproduce props plan

2.1 Produce and maintain master script breakdown/production schedule breakdown

2.2 Determine and document the number and types of propsrequired, for the use of all relevant personnel during thedesign development

2.3 Identify, within the script or production schedule, anychanges to props, eg ageing


3.1 Generate a range of ideas for the props design whichrespond sympathetically to the brief and provide creativesolutions to the design




CUFPRP02A Coordinate props production




influence props styles and production techniques4.3 Undertake research into the style and location of the


4.4 Trial various techniques to test the suitability of their use inthe final production of the props, including:4.4.1 colour mixes4.4.2 textures4.4.3 materials4.4.4 construction techniques4.4.5 painting styles


4.6 Analyse and document research and experimentationfindings for use during the development of the propsdesign





5. Develop and documentthe props design

5.1 Establish or maintain an accessible recording system forthe use of all relevant personnel, to include:5.1.1 specialist services available for props production5.1.2 reference/research materials5.1.3 draft and final props designs5.1.4 performance details and specifications5.1.5 timeline for prop manufacture



5.4 Evaluate initial concepts and select the most appropriateidea, giving consideration to:5.4.1 the budget5.4.2 ongoing discussions5.4.3 research findings5.4.4 ongoing reflection on the design brief5.4.5 availability of existing items which could be

purchased or hired, rather than constructed5.4.6 comparison of time and cost taken to source,

purchase or hire props to construction time andcost

5.5 Develop the props designs from the initial conceptsensuring:5.5.1 consistency with the style requirements of the




5.7 Prepare working technical production scale drawings,production specifications and samples/prototypes



6.1 Present the props design using a range of visual materialsincluding coloured design illustrations, technicalproduction drawings, material samples, props prototype,production requirements and specifications to the relevantpersonnel for acceptance



6.4 Agree to the final designs and present final propsproduction specifications to all relevant personnel toensure that props meet design and other productionrequirements




7. Liaise with others toimplement propsproduction

7.1 Discuss with relevant personnel to agree upon the futurerole of the designer in the realisation of the props design

7.2 Liaise with relevant personnel to ensure that all propsproduction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand technical constraints

7.3 Participate in ongoing production meetings and participatein the evaluation of the props produced

7.4 Ensure that any props design modifications are agreed,noted and acted upon

7.5 Inform relevant personnel of props design changes7.6 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT


• models• fabric• material swatches• collage• sketches• sample/prototype props• technical drawings• colour illustrations• photographs









• production designer• performer• wardrobe department personnel• wardrobe supervisor/manager• costume production personnel• props production personnel• supervisor• head of department• director of photography• director• art director• production designer• production manager• producer• technical director• other technical staff• other specialist staff• designers• floor manager






• moulding materials• painting materials• sculpting and other shaping methods• gluing• metalwork, eg cutting, welding, brazing• woodworking• ageing







EVIDENCE GUIDE




• script breakdown• research skills• time management and ability to work under pressure and

to deadline• elementary photography• production scheduling• resource management including human resources• team leading skills• budget management• project management• report writing• principles of negotiation• information management• costing, budgeting, liaison• principles and techniques of design and script breakdown• research• visualisation and interpretation of creative concepts• preparation of design briefs• communication and presentation techniques• copyright legislation and regulations• understanding the capabilities of other collaborative


methods• construction specifications• the expressive qualities of props as it relates to the nature

of the work, the style of the production and the qualities ofthe performance

• innovative and experimental props production techniquesto make a wide range of props

• exercising a high level of creativity and ingenuity• maintaining design integrity• the behaviour of various materials, finishes, painting



• drawing including perspective and technical drawing• a wide range of styles, genres and art forms and their

history• adapting props construction across styles, genres and art


• working with specialised materials




• accessing raw, part-processed and processed materialsand components from a range of sources and suppliersand ascertaining their suitability


• testing finished and unfinished materials such as fabric,leather, vinyl, plastic, foam, latex, found objects, straw,paper, and cardboard


• CUFPRP02A Coordinate props production• CUEFIN2A Manage a budget• CUSGEN04A Participate in negotiations• CUSGEN05A Make presentations



• the development of creative props design concepts whichmeet practical requirements including venuerequirements, type of production and resourceconstraints, in particular budgetary constraints

















CUFPRP03A Make props for the screenUnit Descriptor This unit describes the skills and knowledge required to interpret props

production schedules and specifications, and to produce props forproductions within the cultural industries.

This unit is equivalent to the following two units in the entertainmentindustry national training package Make props, and Make props usingadvanced techniques.



1. Prepare for propsproduction

1.1 Liaise with relevant personnel and interpret and confirmthe props production requirements

1.2 Read and interpret the props production schedule, propsspecifications, lists and scale drawings

1.3 Contemplate and consider props construction methodsand techniques to ensure that correct visual interpretationof the production requirements is met through close liaisonwith relevant personnel

1.4 Ensure that props construction meets the aestheticrequirements and provides the correct visual interpretationof the production requirements

1.5 Determine the accurate measurements for theconstruction of the props item and make any alterations tothe design scale drawings

1.6 Select the required equipment, tools and materials inaccordance with the design and specificationrequirements

1.7 Determine the appropriate methods and techniques to beused for the production of the prop, according to thedesign and specification requirements

2. Make props 2.1 Participate in ongoing discussions with appropriatepersonnel throughout the construction process, to ensureprops design requirements are met

2.2 Construct the props items using the selected materials,construction techniques and finishes

2.3 Participate in any ongoing production technique trials toestablish the best results during the production of theprops items, including:2.3.1 colour mixes2.3.2 textures2.3.3 materials2.3.4 construction techniques2.3.5 construction of prototypes2.3.6 painting styles

2.4 Correctly label and code all partially finished props itemsfor identification during the production phase

2.5 Store the partially finished props items during theproduction phase to avoid loss or damage


CUFPRP03A Make props for the screen


3. Finish and check theprops

3.1 Liaise with relevant personnel to evaluate and check theprops items for accuracy and compliance with design andproduction specification requirements

3.2 Make any necessary adjustments3.3 Correctly label and code all props elements for

identification during the production3.4 Store the props in accordance with enterprise procedures

KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive props checklists• fault reports• stock reports• stock orders• budgets• props design• scripts• production schedules• running sheets• props schedule/plan• props breakdown lists• measurement charts• operational/project plan• manufacture schedules• manufacturer's specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas





• costume designer• props designer• production designer• performer• props department personnel• props supervisor/manager• props production staff• supervisor• head of department• director of photography• director• art director• production designer• production manager• producer• technical director• other technical staff• other specialist staff• designers• floor manager






• moulding materials• painting materials• sculpting and other shaping methods• gluing• metalwork, eg cutting, welding, brazing• woodworking







EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting construction specifications and instructions• principles and techniques of props construction and

painting• knowledge of and ability to perform the range of painting

techniques used in props• knowledge of the properties, applications and durability of


• using a range of equipment used in props - hand andpower tools

• carpentry and joinery skills• legislative and organisational occupational health and

safety standards• safe handling of hazardous materials• innovative and experimental props production techniques

in two and three dimensions• maintaining design integrity• the major painting styles such as cubism, surrealism,

impressionism and a basic knowledge of architecturalstyles, features and finishes

• colour theory, line, dimension, chiaroscuro, depth andtheir application on the screen

• painting techniques such as water colour technique andopaque technique

• the behaviour of various materials, finishes, paintingtechniques and colours under lighting

• the properties and characteristics of a variety of materialsbefore and after art finishing

• drawing including perspective and technical drawing,drawing to scale

• working with specialised materials• a range of art finishing methods such as breaking down,

ageing, dyeing, stencilling, screen printing, painting,applique, beading, component application

• testing finished and unfinished materials, such as fabric,leather, vinyl, plastic, foam, latex, found objects, straw,paper, and cardboard

• time management and ability to work under pressure andto deadline


• CUFPRP04A Repair, maintain and alter props







• the interpretation of creative props design and productionspecification documentation in order to meet practicalrequirements














CUFPRP04A Repair, maintain and alter propsUnit Descriptor This unit describes the skills and knowledge required to clean, repair

and alter props items, ensuring that they are well maintained at alltimes for any production within the cultural industries.



1. Identify stains or marksand maintain props

1.1 Check props items and identify any dirt, stains or marks1.2 Clean any props, ensuring that delicate or problem

materials are serviced with care1.3 Apply new paint to any required area of the prop item or

refer to the relevant personnel, in accordance withindividual level of responsibility

1.4 Ensure that props are always accurately labelled, codedand stored as appropriate

2. Check and repair propsitems

2.1 Identify any faults, rips or breakages and complete minorrepairs to props or refer to the relevant personnel, inaccordance with individual level of responsibility

2.2 Complete documentation in accordance with enterpriseprocedures

3. Make alterations to props 3.1 Liaise with relevant personnel to identify the requiredalterations

3.2 Read and interpret any instructions for the requiredalterations

3.3 Complete alterations to the prop or refer to the relevantpersonnel, in accordance with individual level ofresponsibility


KEY COMPETENCIES







Solving problems 1

Using technology 1


CUFPRP04A Repair, maintain and alter props


RANGE STATEMENT

• computer generated• manually written• confirmation of receipt and dispatch notes• memos of instruction• descriptive props checklists• fault reports• stock reports• stock orders• props design• production schedules• running sheets• props schedule/plan• props breakdown lists• measurement charts• manufacture schedules• manufacturer's specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas


• props designer• production designer• props department personnel• props supervisor/manager• props production staff• supervisor• head of department• director of photography• director• art director• production designer• production manager• producer• technical director• other technical staff• other specialist staff• floor manager













EVIDENCE GUIDE



• interpreting written and verbal construction specificationsand instructions

• interpreting scale drawings• interpreting measurements• working as part of a team• safe handling of hazardous materials• maintaining a clean and safe work area• understanding of the props design and construction

process• ability to use a range of equipment used in props

construction eg hand tools and power tools• carpentry and joinery skills• time management and ability to work under pressure and

to deadline


• CUFPRP03A Make props for the screen




• the safe handling of hazardous materials and equipment














CUFPRP05A Operate an off site props departmentUnit Descriptor This unit describes the skills and knowledge required to establish and

operate an off site props department for productions within the culturalindustries.



1. Interpret the productionrequirements

1.1 Liaise with the relevant personnel, read, interpret andconfirm pre-production paperwork to determine the off siteprops resource requirements

1.2 Develop an operational plan to establish the site propsdepartment

2. Establish an off site propsarea

2.1 Where appropriate, carry out a site inspection withrelevant personnel to determine most appropriate locationof the off site props department

2.2 Ensure that power supply and facilities are adequate andsufficient to meet the production and security needs of theprops department

2.3 Ensure that the props area is linked to the set viacommunication lines/phone and that light and air quality issuitable for working

2.4 Conduct pre-departure checks on all equipment to beused off site

2.5 Complete any required stock orders and ensureavailability at the time of the shoot/production

2.6 Coordinate the safe and efficient transport of propsequipment and props items to the off site area, ensuringthat:2.6.1 all items are available at the correct location and

time of the shoot/production and accessible to thelocation

2.6.2 transportation method is suitable to the nature andquantity of props and accessible to the location

2.6.3 instructions to transport provider are clear,accurate and complete

2.6.4 packaging and handling are suitable to avoiddamage to props items

3. Receive and return props 3.1 Check and document the condition of all items transportedto the site






CUFPRP05A Operate an off site props department


4. Operate and disassemblethe off site propsdepartment


4.2 Secure all props items and accessories to minimise theftor damage

4.3 Clean and safely pack all props equipment and propsitems to avoid damage and prepare for transport, ifrequired



KEY COMPETENCIES







Solving problems 2

Using technology 2




RANGE STATEMENT

• computer generated• manually written• confirmation of receipt and dispatch notes• hire agreements• memos of instruction• descriptive props checklists• fault reports• stock reports• stock orders• props design• production schedules• running sheets• props schedule/plan• props breakdown lists• measurement charts• manufacture schedules• manufacturer's specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas


• feature films• documentaries• short films• animated productions• commercials• music video• television productions of any type (eg music, drama,

comedy, variety, sport)




• costume designer• production designer• performer• wardrobe department personnel• wardrobe supervisor/manager• props department personnel• props supervisor/manager• props production staff• supervisor• head of department• director of photography• director• art director• production designer• production manager• producer• technical director• other technical staff• other specialist staff• designers• floor manager










EVIDENCE GUIDE



• interpreting scripts, specifications and instructions• script breakdown• interpreting and communicating construction



regulations• detailed knowledge of the Australian film industry

recommended safety code• time management and ability to work under pressure and

to deadline





• CUEFIN2A Manage a budget• CUSADM06A Develop and implement an operational

plan• CUEOHS1A Implement workplace health, safety and

security procedures



















CUFPRP06A Dress the set and maintain props continuityUnit Descriptor This unit describes the skills and knowledge required to prepare and

maintain props items, dress the set and maintain continuity of propsitems throughout any production within the cultural industries.



1. Prepare to dress the set 1.1 Interpret production running/call sheet to determine theprops requirements for the days production

1.2 Ensure that props labels are accurate and securelyattached

1.3 Take relevant props items to the film location/set/studio/dressing room, ensuring that props are handledwith care to minimise damage

1.4 Organise props into a line up so they are ready for use inline with the production schedule/running/call sheet

1.5 Make props available to performers in sufficient time toallow for their dressing to meet the call

1.6 Secure all props items and accessories to minimise theftor damage

2. Dress the set ready forproduction to commence

2.1 Assist the relevant personnel to dress the set according todesign, performer and production requirements, and withminimum damage to the props

2.2 Conform with requests relating to props requirements oraccurately communicate these to the relevant personnel,in accordance with individual level of responsibility

2.3 Complete and check the dressing of the set in time tomeet the production call whilst giving due attention to thecare requirements of all props items

2.4 Observe on set etiquette and protocols

3. Maintain appearance ofthe set for continuity

3.1 Develop, maintain and accurately update continuitydocumentation on an ongoing basis throughout theproduction

3.2 Ensure that prop continuity is maintained throughout theproduction, including:3.2.1 performers use of props3.2.2 placement of props3.2.3 condition of the props3.2.4 special requirements of action sequences, if

included3.3 Redress the set, on an ongoing basis throughout the

production, to reproduce exact position of props fromprevious take

3.4 Continually refer to continuity documentation throughoutthe production and carry out dressing duties inaccordance with this documentation


CUFPRP06A Dress the set and maintain props continuity


4. Maintain condition ofprops during production

4.1 Complete minor repairs or alterations to props or refer tothe relevant personnel, in accordance with individual levelof responsibility

4.2 Ensure props are cleaned and maintained, as required,during the production and returned to production locationto meet the production requirements

4.3 Ensure any required major repairs are undertaken, andprops are returned to production location to meet theproduction requirements

KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• computer generated• manually written• confirmation of receipt and dispatch notes• hire agreements• memos of instruction• descriptive props checklists• fault reports• stock reports• stock orders• props design• production schedules• running sheets• call sheets• props schedule/plan• props breakdown lists• continuity reports/checklists• measurement charts• manufacture schedules• manufacturer's specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas




• in a studio• on location - interior• on location - exterior• outside broadcast• sound stage

• feature films• documentaries• short films• animated productions• commercials• music video• television productions of any type (eg music, drama,


• costume designer• production designer• performer• wardrobe department personnel• wardrobe supervisor/manager• props department personnel• props department supervisor/manager• props production staff• supervisor• head of department• director of photography• director• art director• production designer• production manager• producer• technical director• other technical staff• other specialist staff• designers• floor manager














EVIDENCE GUIDE



• film and television production schedule terminology• properties of different construction materials• interpreting construction specifications and instructions• principles of props construction• interpretation of measurement charts• knowledge of effective communication techniques• problem solving and dealing with conflict situations

techniques• time management and ability to work under pressure and

to deadline• set etiquette and protocols• interpreting written and verbal construction specifications

and instructions• interpreting scale drawings• interpreting measurements• working as part of a team• maintaining a clean and safe work area• understanding of the props design and construction

process• ability to use a range of equipment used in props

construction eg hand tools and power tools• carpentry and joinery skills• relevant occupational health and safety legislation and

regulations• safe handling of hazardous materials• detailed knowledge of the Australian film industry



• CUFPRP04A Repair, maintain and alter props


















CUFSCE01A Develop and implement scenic art designsfor the screen

Unit Descriptor This unit describes the skills and knowledge required to interpret thecreative brief, develop and implement scenic art designs forproductions within the cultural industries.



1. Receive and interpret thebrief for the scenic artdesign

1.1 Liaise with the relevant personnel and interpret andconfirm the scenic art requirements so that technical,production or script requirements are met

1.2 Participate in preliminary concept meetings to discuss thescenic art requirements of the production


the scenic art design

2. Breakdown scripts toproduce scenic art plan

2.1 Produce and maintain master script breakdown/productionschedule breakdown

2.2 Identify required changes to scenic art within the script orproduction schedule

2.3 Determine and document the required number and typesof scenic elements for the use of all relevant personnelduring the design development


3.1 Generate a range of ideas for the scenic art design whichrespond sympathetically to the brief and provide creativesolutions to the design issues




CUFSCE01A Develop and implement scenic art designs for the screen




influence scenic art styles and production techniques4.3 Undertake research into the style and location of the


4.1 Trial various techniques to test the suitability of their use inthe final production of the scenic art elements, including:4.1.1 colour mixes4.1.2 textures4.1.3 materials4.1.4 painting styles


4.3 Analyse and document research and experimentationfindings for use during the development of the scenic artdesign


5. Develop and documentthe scenic art design

5.1 Establish or maintain an accessible recording system forthe use of all relevant personnel, to include:5.1.1 specialist services available for scenic art

production5.1.2 reference/research materials5.1.3 draft and final scenic art designs5.1.4 performance details and specifications




5.5 Develop the scenic art designs from the initial conceptsensuring:5.5.1 consistency with the style requirements of the




5.7 Prepare working technical production drawings,production specifications and samples






6.1 Present the scenic art design using a range of visualmaterials including:6.1.1 coloured design illustrations6.1.2 technical production drawings6.1.3 material samples6.1.4 production requirements and specifications to the

relevant personnel for acceptance6.2 Participate in the initial and ongoing evaluation of the

presented designs6.3 Negotiate and agree to additional requirements or

modifications to the design and undertake any necessaryamendments to the designs

6.4 Agree to the final designs and present final scenic artproduction specifications to all relevant personnel toensure that scenic art meets design and other productionrequirements

7. Liaise with others toimplement scenic artproduction

7.1 Discuss, with relevant personnel, and agree upon thefuture role of the designer in the realisation of the scenicart design

7.2 Liaise with relevant personnel to ensure that all scenic artproduction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand technical constraints

7.3 Participate in ongoing production meetings and participatein the evaluation of the scenic art elements produced

7.4 Ensure that any scenic art design modifications areagreed, noted and acted upon

7.5 Inform relevant personnel of scenic art design changes7.6 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 3

Using technology 2




RANGE STATEMENT


• models• fabric• material watches• collage• sketches• sample scenic art elements• technical drawings• colour illustrations




• feature films• documentaries• short films• commercials• filmed events or performances• music video• television productions of any type (eg music, drama,





• production designer• performer• wardrobe department personnel• wardrobe supervisor/manager• costume production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager

• rostra• flats• treads• stairs• flooring and floor cladding• rakes• scaffolding• flown pieces• soft drapes• cycloramas• back drops• drops• large props, eg furniture

• water-based paints• dyes• solvent-based paints• texture mediums• fire retardant• stains• adhesives

• canvas• gauze• nessle• wool• silk• velour• synthetic fabrics




• preparation• priming• scale up drawings• perspective• pouncing• ageing• stencilling, eg rollers and stamps• marbling• wood-graining• glazing

• figurative• non-figurative• architectural

• transparent painting for silk and nessle cloths• velour and velvet painting techniques• traditional scene painting techniques for canvas• anti clogging techniques for scenic gauzes

• fire proofing







EVIDENCE GUIDE




• production scheduling• resource management including human resources• team leading skills• budget management• project management• report writing• principles of negotiation• information management• costing, budgeting, liaison• principles and techniques of design and script breakdown• research• visualisation and interpretation of creative concepts• preparation of design briefs• communication and presentation techniques• copyright legislation and regulations• understanding the capabilities of other collaborative


methods• construction specifications• the expressive qualities of scenic art as it relates to the

nature of the work, the style of the production and thequalities of the performance

• innovative and experimental scenic art productiontechniques in two and three dimensions

• exercising a high level of creativity and ingenuity• maintaining design integrity• the major painting styles such as cubism, surrealism,





• the use and properties of materials used in setconstruction

• the use and properties of a range of paints and media• the properties and characteristics of a variety of materials

before and after art finishing• drawing including life drawing, landscaping, perspective

and technical drawing• a wide range of styles, genres and art forms and their




history• adapting scenic art skills across styles, genres and art


• working with specialised materials• accessing raw, part-processed and processed materials





• CUFSCE02A Coordinate scenic art production• CUEFIN2A Manage a budget• CUSGEN04A Participate in negotiations• CUSGEN05A Make presentations



• the development of creative scenic art design conceptswhich meet practical requirements including venuerequirements, type of production and resourceconstraints, in particular budgetary constraints

















CUFSCE02A Coordinate scenic art productionUnit Descriptor This unit describes the skills and knowledge required to interpret the

scenic art design and to supervise the manufacture of scenic artelements for productions within the cultural industries.

This unit, packaged with Produce scenic art for the screen, would beequivalent to the following unit in the entertainment industry trainingpackage, Use research, innovation, and experimentation to producescenic art.




1.1 Liaise with the relevant personnel, interpret and confirmthe scenic art requirements so that design specifications,production or script requirements are met

1.2 Read and interpret pre-production paperwork including thescenic art design and schedule/plan of scenic art elementsto determine resource requirements

1.3 Make any insertions to the schedule/plan of scenic artelements, such as ageing and visual effect requirements,to ensure all elements meet the script or productionrequirements

1.4 Produce detailed production breakdown lists from thedocumented schedule

1.5 Review the budget allocated for scenic art manufacture1.6 Identify solutions to any identified manufacture problems

and communicate any difficulties promptly to relevantpersonnel


1.8 Develop an operational/project plan and manufactureschedules and specifications for producing scenic art inaccordance with the design and production requirements


2.1 Check existing stocks of materials or existing scenic art forsuitability of use for the production

2.2 Obtain or check correct measurements of scenic artelements and establish the required amount of rawmaterials to minimise wastage

2.3 Source and purchase suitable materials to ensure thatthey can withstand the rigours and demands of theproduction and meet the budgetary requirements

2.4 Ensure that materials are available in sufficient quantitiesto meet the scenic art requirements



CUFSCE02A Coordinate scenic art production



3.1 Conduct or coordinate ongoing production technique trialsto establish the best results during the production of thescenic art elements, including:3.1.1 colour mixes3.1.2 textures3.1.3 materials3.1.4 painting styles

4. Supervise scenic artmanufacture

4.1 Oversee relevant personnel to ensure that all scenic artproduction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand manufacturer's constraints





4.6 Participate in ongoing production meetings and ensurethat any scenic art design modifications are agreed, notedand acted upon

4.7 Inform relevant personnel of scenic art design changes4.8 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 3

Using technology 2




RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive scenic art checklists• fault reports• stock reports• stock orders• budgets• scenic art design• scripts• production schedules• running sheets• scenic art schedule/plan• scenic art breakdown lists• measurement charts• operational/project plan• manufacture schedules• manufacturer's specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas





• costume designer• scenic art designer• production designer• performer• scenic art department personnel• scenic art supervisor/manager• scenic art production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager

• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• brushes• stamps• rollers• hopper gun• graining combs• sponges• glue guns• tools, eg wire cutters, hammers, pliers• measuring tapes• conversion tables









• transparent painting for silk and nessle cloths• velour and velvet painting techniques• traditional scene painting techniques for canvas• anti-clogging techniques for scenic gauzes

• fire proofing







EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, specifications and instructions• interpreting and communicating construction

specifications• principles and techniques of scenic art construction• interpretation of measurement charts• drawing to scale• development of operational plans and production

schedules• staff recruitment• resource management including human resources• team leading skills• budget management• project management• report writing• costing• negotiation and communication techniques• stock control• record keeping• relevant occupational health and safety legislation and

regulations• understanding the artistic elements of a production• familiarity with current construction/manufacturing

methods• construction specifications• innovative and experimental scenic art production

techniques in two and three dimensions• maintaining design integrity• the major painting styles such as cubism, surrealism,








and technical drawing• a wide range of styles, genres and art forms and their

history• adapting scenic art skills across styles, genres and art







• presenting information to internal and external customers• a range of art finishing methods such as breaking down,



• applying art finish methods to finished products


• CUFSCE01A Develop and implement scenic art designsfor the screen

• BSXFMI404A Participate in, lead and facilitate a team• THHGLE07A Recruit and select staff• CUEFIN2A Manage a budget• CUEOHS1A Implement workplace health, safety and

security procedures




• the interpretation of creative scenic art designdocumentation in order to meet practical requirementsincluding venue requirements, type of production andresource constraints, in particular budgetary constraints


















CUFSCE03A Prepare and prime scenic art clothsUnit Descriptor This unit describes the skills and knowledge required to interpret the

production specifications and to produce primed scenic art cloths inpreparation for their painting for any production within the culturalindustries.

This unit is equivalent to the following unit in the entertainment industrytraining package Assist in producing scenic art.



1. Prepare for clothconstruction

1.1 Liaise with relevant personnel and interpret and confirmthe scenic art production requirements

1.2 Read and interpret the scenic art production schedule,scenic art specifications, lists and scale drawings

1.3 Determine the accurate measurements for theconstruction of the cloth

1.4 Select the required equipment, tools, materials and paintsin accordance with the design and specificationrequirements

2. Construct scenic art cloths 2.1 Tack out and square up scenic art cloths2.2 Liaise with relevant personnel to evaluate and check the

construction of the scenic art element for accuracy andcompliance with design and production specificationrequirements

2.3 Make any necessary adjustments

3. Prime and store the cloth 3.1 Apply primer paint to the scenic art cloth and otherelements, as required

3.2 Correctly label and code all scenic art cloths and otherelements for identification during the production phase

3.3 Store the primed scenic art cloth and other elements inaccordance with enterprise procedures

KEY COMPETENCIES







Solving problems -

Using technology 1


CUFSCE03A Prepare and prime scenic art cloths


RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive scenic art checklists• fault reports• stock reports• stock orders• scenic art design• scripts• production schedules• running sheets• scenic art schedule/plan• scenic art breakdown lists• measurement charts• manufacture schedules• manufacturers specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas


• scenic art designer• production designer• scenic art department personnel• scenic art supervisor/manager• scenic art production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• floor manager




• brushes• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• stamps• rollers• hopper gun• graining combs• sponges• glue guns• tools, eg wire cutters, hammers, pliers• tacks• hammers• charcoal sticks• measuring tapes• conversion tables


• water-based paints• dyes• solvent-based paints• texture mediums• fire retardant• stains• adhesives• primer








EVIDENCE GUIDE




• interpreting scale drawings• interpreting measurements• working as part of a team• safe handling of hazardous materials• maintaining a clean and safe work area• understanding of the scenic art design process• understanding of the range of techniques used in scenic

art• knowledge of the range of materials used in scenic art

including paints and cloths• ability to use a range of equipment used in scenic art


• CUFSCE05A Repair, maintain and alter scenic art




• the safe handling of hazardous materials• correct interpretation of production, specifications and

documentation














CUFSCE04A Produce scenic art for the screenUnit Descriptor This unit describes the skills and knowledge required to interpret scenic

art production schedules and specifications, and to produce scenic artfor productions within the cultural industries.

This unit is equivalent to the following two units in the entertainmentindustry training package Produce scenic art, and Produce scenic artusing advanced techniques.



1. Prepare for scenic artproduction

1.1 Liaise with relevant personnel and interpret and confirmthe scenic art production requirements

1.2 Read and interpret the scenic art production schedule,scenic art specifications and lists

1.3 Contemplate and consider scenic art methods andtechniques to ensure that correct visual interpretation ofthe production requirements is met through close liaisonwith relevant personnel

1.4 Ensure that scenic art meets the aesthetic requirementsand provides the correct visual interpretation of theproduction requirements

1.5 Project the design line drawings or draw to scale1.6 Select and check the primed and tacked scenic art cloths1.7 Select the required equipment, tools, materials and paints

in accordance with the design and specificationrequirements

1.8 Mix required quantities of paints in accordance with thedesign and specifications requirements, occupationalhealth and safety procedures and environmental factors

1.9 Determine the appropriate methods and techniques to beused for the production of the scenic art element,according to the design and specification requirements

2. Produce scenic art clothsand set

2.1 Participate in ongoing discussions with appropriatepersonnel throughout the painting process, to ensurescenic art design requirements are met

2.2 Paint and texture the scenic cloths and sets using theselected materials, techniques and painting styles

2.3 Participate in any ongoing production technique trials toestablish the best results during the production of thescenic art elements, including:2.3.1 colour mixes2.3.2 textures2.3.3 materials2.3.4 painting styles


CUFSCE04A Produce scenic art for the screen


3. Finish and check thescenic cloths and set

3.1 Fire proof the scenic art elements according to theoccupational and public health and safety legislativerequirements

3.2 Liaise with relevant personnel to evaluate and check thescenic art elements for accuracy and compliance withdesign and production specification requirements

3.3 Make any necessary adjustments3.4 Correctly label and code all scenic art elements for

identification during the production3.5 Store the scenic art elements in accordance with

enterprise procedures

KEY COMPETENCIES







Solving problems 2

Using technology 2




RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive scenic art checklists• fault reports• stock reports• stock orders• budgets• scenic art design• scripts• production schedules• running sheets• scenic art schedule/plan• scenic art breakdown lists• measurement charts• operational/project plan• manufacture schedules• manufacturer's specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas





• costume designer• scenic art designer• production designer• performer• scenic art department personnel• scenic art supervisor/manager• scenic art production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager

• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• brushes• stamps• rollers• hopper gun• graining combs• sponges• glue guns• tools, eg wire cutters, hammers, pliers• measuring tapes• conversion tables









• transparent painting for silk and nessle cloths• velour and velvet painting techniques• traditional scene painting techniques for canvas• anti-clogging techniques for scenic gauzes

• fire proofing







EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting construction specifications and instructions• principles and techniques of scenic art construction and

painting• knowledge of and ability to mix colour• knowledge of and ability to perform the range of painting

techniques used in scenic art• knowledge of and ability to use the range of materials

used in scenic art including paints and cloths• using a range of equipment used in scenic art as

specified in the range of variables• making equipment for using in scenic art, eg stamps• legislative and organisational occupational health and

safety standards• safe handling of hazardous materials• innovative and experimental scenic art production

techniques in two and three dimensions• maintaining design integrity• the major painting styles such as cubism, surrealism,








and technical drawing, drawing to scale• working with specialised materials• a range of art finishing methods such as breaking down,



• applying art finish methods to finished products





• CUFSCE05A Repair, maintain and alter scenic art• CUFSCE03A Prepare and prime scenic art cloths




• the interpretation of creative scenic art design andproduction specification documentation in order to meetpractical requirements














CUFSCE05A Repair, maintain and alter scenic artUnit Descriptor This unit describes the skills and knowledge required to clean, repair

and alter scenic art elements for any production within the culturalindustries, ensuring that they are well maintained at all times.



1. Identify stains or marksand maintain scenic artelements

1.1 Check scenic art elements and identify any dirt or marks1.2 Clean any elements, ensuring that delicate or problem

materials are serviced with care1.3 Apply new paint to any required area of the scenic art

element or refer to the relevant personnel, in accordancewith individual level of responsibility

1.4 Ensure that elements are always accurately labelled,coded and stored as appropriate

2. Check and repair scenicart elements

2.1 Identify any faults, rips or tears and complete minorrepairs to scenic art or refer to the relevant personnel, inaccordance with individual level of responsibility


3. Make alterations to scenicart

3.1 Liaise with relevant personnel to identify the requiredalterations


3.3 Complete alterations to scenic art or refer to the relevantpersonnel, in accordance with individual level ofresponsibility


KEY COMPETENCIES







Solving problems 1

Using technology 1


CUFSCE05A Repair, maintain and alter scenic art


RANGE STATEMENT

• computer generated• manually written• confirmation of receipt and dispatch notes• memos of instruction• descriptive scenic art checklists• fault reports• stock reports• stock orders• scenic art design• production schedules• running sheets• scenic art schedule/plan• scenic art breakdown lists• measurement charts• manufacture schedules• manufacturer's specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas


• scenic art designer• production designer• scenic art department personnel• scenic art supervisor/manager• scenic art production staff• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• floor manager




• brushes• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• stamps• rollers• hopper gun• graining combs• sponges• glue guns• tools, eg wire cutters, hammers, pliers• tacks• charcoal sticks• measuring tapes• conversion tables


• water-based paints• dyes• solvent-based paints• texture mediums• fire retardant• stains• adhesives• primer• cleaning agents








EVIDENCE GUIDE




• interpreting scale drawings• interpreting measurements• working as part of a team• safe handling of hazardous materials• maintaining a clean and safe work area• understanding of the scenic art design process• knowledge of the range of materials used in scenic art

including paints and cloths• ability to use a range of equipment used in scenic art


• CUFSCE05A Prepare and prime scenic art cloths


















CUFSET01A Develop and implement set designs for thescreen

Unit Descriptor This unit describes the skills and knowledge required to interpret thecreative brief, develop and implement set designs for any productionwithin the cultural industries.

This unit is equivalent to the unit Design Sets in the entertainmentindustry training package.



1. Receive and interpret thebrief for set design

1.1 Liaise with the relevant personnel and interpret andconfirm the set requirements so that technical, productionor script requirements are met

1.2 Participate in preliminary concept meetings to discuss theset requirements of the production


the set design

2. Breakdown scripts toproduce a plan for thesets

2.1 Produce and maintain master script breakdown/productionschedule breakdown

2.2 Determine and document the number and types of setsrequired, for the use of all relevant personnel during thedesign development

2.3 Identify, within the script or production schedule, anychanges to the set, eg ageing


3.1 Generate a range of ideas for the set design whichrespond sympathetically to the brief and provide creativesolutions to the design issues


3.3 Continually reflect on and appraise ideas for implicationson cost, technical feasibility, occupational health andsafety suitability and suitability to meet the brief


CUFSET01A Develop and implement set designs for the screen



4.1 Research the period, style and genre of the of theproduction

4.2 Identify the historical and cultural factors that mightinfluence set styles and production techniques

4.3 Undertake research into the style and location of theproduction, materials and human resources necessary tofulfil the production requirements and their cost

4.4 Trial various techniques to test the suitability of their use inthe final production of the set, including:4.4.1 colour mixes4.4.2 textures4.4.3 materials4.4.4 construction techniques4.4.5 painting styles


4.6 Analyse and document research and experimentationfindings for use during the development of the set design


5. Develop and documentthe set design

5.1 Establish or maintain an accessible recording system forthe use of all relevant personnel, to include:5.1.1 specialist services available for set production5.1.2 reference/research materials5.1.3 draft and final set designs5.1.4 performance details and specifications




5.5 Develop the set designs from the initial concepts ensuring:5.5.1 consistency with the style requirements of the




5.7 Determine construction materials, methods and finishes5.8 Prepare working technical production scale drawings,

construction specifications and samples/models5.9 Label all designs accurately with scene/production

sequence numbers





6.1 Present the set design using a range of visual materialsincluding coloured design illustrations, technicalproduction drawings, material samples, set scale models,construction requirements and specifications to therelevant personnel for acceptance



6.4 Agree to the final designs and present final setconstruction specifications to all relevant personnel toensure that the sets meet design and other productionrequirements

7. Liaise with others toimplement set production

7.1 Discuss, with relevant personnel, and agree upon thefuture role of the designer in the realisation of the setdesign

7.2 Liaise with relevant personnel to ensure that all setconstruction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand technical constraints

7.3 Participate in ongoing production meetings and evaluationof the set

7.4 Ensure that any set design modifications are agreed,noted and acted upon

7.5 Inform relevant personnel of set design changes7.6 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 3

Using technology 2

RANGE STATEMENT





• models• fabric• material swatches• collage• sketches• scale models of sets• technical drawings• colour illustrations









• production designer• performer• set department personnel• set supervisor/manager• set production personnel• supervisor• head of department• director of photography• director• producer• technical director• other technical staff• other specialist staff• designers• floor manager

• road cases, boxes, crates for storage and transportation• rostra• flats• treads• stairs• flooring and floor cladding• rakes• scaffolding• flown pieces• soft drapes• cycloramas• back drops• drops• large props, eg furniture• traps• revolves• trucks• lifts• hydraulics• pneumatics• electrical and mechanical winches• special effects sets• automated and animatronic devices




• timber• timber products, eg plywood, particle board, craftwood• masonite• metal products, eg bars, tubes, sheets• moulded or cast metal• fibreglass• plastic• wood• canvas• fabrics• plastics, eg moulded sheet• leather• paper products• plaster• mouldable materials• thermoplastic• polystyrene• fasteners• adhesives

• canvas• gauze• nessle• wool• silk• velour• synthetic fabric

• timber construction• fabrication• moulding materials• painting materials• sculpting and other shaping methods• glueing• metalwork, eg cutting, welding, brazing• woodworking







EVIDENCE GUIDE




• production scheduling• resource management including human resources• team leading skills• budget management• project management• report writing• principles of negotiation• information management• costing, budgeting, liaison• principles and techniques of design and script breakdown• research• visualisation and interpretation of creative concepts• preparation of design briefs• communication and presentation techniques• copyright legislation and regulations• understanding the capabilities of other collaborative

designers or contractors• understanding the artistic elements of a production• familiarity with current set construction/manufacturing

methods• developing construction specifications• exercising a high level of creativity and ingenuity• maintaining design integrity• the behaviour of various materials, finishes, painting


different types of materials that can be used for setconstruction

• drawing/modelmaking/painting or other representationtechniques either manually or with CAD

• drawing including perspective and technical, drawingscale plans

• a wide range of styles, genres and art forms and theirhistory


and components from a range of sources and suppliers,and ascertaining their suitability





• CUFSET02A Coordinate set production• CUEFIN2A Manage a budget• CUSGEN04A Participate in negotiations• CUSGEN05A Make presentations



• the development of creative set design concepts whichmeet practical requirements including venuerequirements, type of production and resourceconstraints, in particular budgetary constraints





Assessment methods may incorporate a range of methods toassess performance and the application of essentialunderpinning knowledge, and might include:










CUFSET02A Coordinate set productionUnit Descriptor This unit describes the skills and knowledge required to interpret the set

design and to supervise the construction of sets for any productionwithin the cultural industries.

This unit, packaged with Make sets for the screen, would be equivalentto the following unit in the entertainment industry training packageMake sets using advanced techniques.




1.1 Liaise with the relevant personnel, interpret and confirmthe set requirements so that design specifications,production and/or script requirements are met

1.2 Read and interpret pre-production paperwork including theset design, construction specifications, technical drawingsand lists of sets to determine resource requirements

1.3 Make any insertions to the lists of sets, such as ageingand visual effect requirements, to ensure all sets meet thescript and/or production requirements

1.4 Review the budget allocated for set construction1.5 Identify solutions to any identified construction problems

and communicate any difficulties promptly to relevantpersonnel


1.7 Produce final construction specifications, drawings andplans

1.8 Develop an operational/project plan and constructionschedules for producing the sets in accordance with thedesign and production requirements


2.1 Check existing stocks of materials or existing sets forsuitability of use for the production

2.2 Obtain or check correct measurements of set componentsand establish the required amount of raw materials tominimise wastage

2.3 Source and purchase suitable materials to ensure thatthey can withstand the rigours and demands of theproduction and meet the budgetary requirements

2.4 Ensure that materials are available in sufficient quantitiesto meet the set construction requirements



CUFSET02A Coordinate set production



3.1 Conduct or coordinate ongoing production technique trialsto establish the best results and to resolve any problemsduring the construction of the sets, including:3.1.1 colour mixes3.1.2 textures3.1.3 materials3.1.4 construction techniques3.1.5 painting styles

4. Supervise set construction 4.1 Oversee relevant personnel to ensure that all setconstruction requirements are met, quality standards areadhered to and work is undertaken within item, budgetand manufacture constraints



4.4 Make design and construction specifications available toproduction staff and assist in their interpretation


4.6 Participate in ongoing production meetings and ensurethat any set design modifications are agreed, noted andacted upon

4.7 Inform relevant personnel of set design changes4.8 Update any required documentation and record and file


KEY COMPETENCIES







Solving problems 3

Using technology 2




RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive set checklists• fault reports• stock reports• stock orders• budgets• set design• scripts• production schedules• running sheets• set construction schedule/plan• set breakdown lists• measurement charts• operational/project plan• manufacture schedules• manufacturers specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas





















EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting scripts, construction specifications and

instructions• interpreting and communicating construction

specifications• principles and techniques of set construction• interpretation of measurement charts• drawing to scale• development of operational plans and production


regulations• understanding the artistic elements of a production• familiarity with current construction/manufacturing

methods• developing construction specifications• innovative and experimental set production techniques to

make a wide range of sets• using hand and power tools• carpentry and joinery skills• maintaining design integrity• knowledge of the properties, applications and durability of




before and after art finishing• drawing including perspective and technical drawing and

drawing to scale• a wide range of styles, genres and art forms and their

history• working with specialised materials• accessing raw, part-processed and processed materials

and components from a range of sources and suppliers,




and ascertaining their suitability• presenting information to internal and external customers• testing finished and unfinished materials, such as fabric,

leather, vinyl, plastic, foam, latex, found objects, straw,paper, and cardboard


• CUFSET04A Repair, maintain and alter sets• CUFSET03A Make sets for the screen• CUFSET01A Develop and implement set designs for the

screen• BSXFMI404A Participate in, lead and facilitate a team• THHGLE07A Recruit and select staff• CUEFIN2A Manage a budget• CUEOHS1A Implement workplace health, safety and

security procedures




• the interpretation of creative set design documentation inorder to meet practical requirements including venuerequirements, type of production and resourceconstraints, in particular budgetary constraints











• written or interactive computer based test or quiz• projects/reports/logbooks• third party reports and authenticated prior achievements• portfolios of evidence which demonstrate the processes






CUFSET03A Make sets for the screenUnit Descriptor This unit describes the skills and knowledge required to interpret set

construction schedules and specifications, and to produce sets for anyproduction within the cultural industries.

This unit is equivalent to the following two units in the entertainmentindustry training package Make sets, and Make sets using advancedtechniques.



1. Prepare for setconstruction

1.1 Liaise with relevant personnel and interpret and confirmthe set construction requirements

1.2 Read and interpret the set production schedule, setspecifications, lists and scale drawings

1.3 Contemplate and consider set construction methods andtechniques to ensure that correct visual interpretation ofthe production requirements is met through close liaisonwith relevant personnel

1.4 Ensure that set construction meets the aestheticrequirements and provides the correct visual interpretationof the production requirements

1.5 Determine the accurate measurements for theconstruction of the set item and make any alterations tothe scale drawings

1.6 Select the required equipment, tools and materials inaccordance with the design and specificationrequirements

1.7 Determine the appropriate methods and techniques to beused for the production of the set, according to the designand specification requirements

2. Make sets 2.1 Participate in ongoing discussions with appropriatepersonnel throughout the construction process, to ensureset design requirements are met

2.2 Construct the set items using the selected materials,construction techniques and finishes

2.1 Participate in any ongoing production technique trials toestablish the best results and solve any problems duringthe construction of the set items, including:2.1.1 colour mixes2.1.2 textures2.1.3 materials2.1.4 construction techniques2.1.5 construction of prototypes2.1.6 painting styles

2.2 Correctly label and code all partially finished set items foridentification during the construction phase

2.3 Store the partially finished set items during theconstruction phase to avoid loss or damage


CUFSET03A Make sets for the screen


3. Finish and check the set 3.1 Liaise with relevant personnel to evaluate and check theset items for accuracy and compliance with design andconstruction specification requirements

3.2 Make any necessary adjustments3.3 Correctly label and code all set elements for identification

during the on site assembly process3.4 Store the set in accordance with enterprise procedures

KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive set checklists• fault reports• stock reports• stock orders• budgets• set design• scripts• production schedules• running sheets• set construction schedule/plan• set breakdown lists• measurement charts• operational/project plan• manufacture schedules• manufacturers' specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas





















EVIDENCE GUIDE



• visualisation and interpretation of creative concepts• interpreting construction specifications, instructions and

drawings• principles and techniques of set construction and painting• knowledge of and ability to perform the range of

construction techniques used in set production• knowledge of the properties, applications and durability of


• using a range of equipment used in set constructionincluding hand and power tools

• carpentry and joinery skills• legislative and organisational occupational health and

safety standards• safe handling of hazardous materials• the behaviour of various materials, finishes, painting

techniques and colours under lighting• the properties and characteristics of a variety of materials

before and after art finishing• drawing including perspective and technical drawing,

drawing to scale• working with specialised materials• testing finished and unfinished materials, such as fabric,

leather, vinyl, plastic, foam, latex, found objects, straw,paper, and cardboard





• CUFSET04A Repair, maintain and alter sets




• the interpretation of creative set designs and productionspecification documentation in order to meet practicalrequirements














CUFSET04A Repair, maintain and alter setsUnit Descriptor This unit describes the skills and knowledge required to clean, repair

and alter set items for any production within the cultural industries,ensuring that they are well maintained at all times.



1. Identify stains or marksand maintain sets

1.1 Check set items and identify any dirt, stains or marks1.2 Clean any set items, ensuring that delicate or problem

materials are serviced with care1.3 Apply new paint to any required area of the set item or

refer to the relevant personnel, in accordance withindividual level of responsibility

1.4 Ensure that sets are always accurately labelled, codedand stored as appropriate

2. Check and repair setitems

2.1 Identify any faults, rips or breakages and complete minorrepairs to the sets or refer to the relevant personnel, inaccordance with individual level of responsibility


3. Make alterations to sets 3.1 Liaise with relevant personnel to identify the requiredalterations


3.3 Complete alterations to the set or refer to the relevantpersonnel, in accordance with individual level ofresponsibility


KEY COMPETENCIES







Solving problems 1

Using technology 1


CUFSET04A Repair, maintain and alter sets


RANGE STATEMENT


• in a workshop• in a studio• on location - interior• on location - exterior• outside broadcast• day• night











• timber• timber products, eg plywood, particle board, craftwood• masonite• metal products, eg bars, tubes, sheets• moulded or cast metal• fibreglass• plastic• wood• canvas• fabrics• plastics, eg moulded sheet

• leather• paper products• plaster• mouldable materials• thermoplastic• polystyrene• fasteners• adhesives









EVIDENCE GUIDE




• interpreting scale drawings• interpreting measurements• working as part of a team• safe handling of hazardous materials• maintaining a clean and safe work area• understanding of the set design and construction process• ability to use a range of equipment used in set

construction - hand tools and power tools• carpentry and joinery skills


• CUFSET03A Make sets for the screen


















CUFSET05A Coordinate the transportation and assemblyof sets

Unit Descriptor This unit describes the skills and knowledge required to coordinate thesafe packing, transportation, assembly and disassembly of sets at thesite of any production within the cultural industries.



1. Identify the facilities at theproduction site

1.1 Liaise with the relevant personnel, read, interpret andconfirm pre-production paperwork to determine thefacilities available at the production site

1.2 Where appropriate, carry out a site inspection withrelevant personnel to identify the most appropriatedelivery, storage and construction location at theproduction site

1.3 Ensure that power supply and facilities are adequate andsufficient to meet the set assembly requirements

1.4 Conduct pre-departure checks on all equipment to beused at the production site

1.5 Complete any required stock orders and ensureavailability at the time of the set assembly

1.6 Develop an operational plan to transport, assemble anddisassemble the set items at the production site

2. Coordinate thetransportation of set items

2.1 Construct or acquire road cases, boxes or crates toenable set items to be transported safely to the productionsite

2.2 Coordinate the packaging, unpacking, repacking andhandling of set items ensuring that:2.2.1 safe lifting and handling methods are used2.2.2 packaging and handling are suitable to avoid

damage to set items2.3 Coordinate the safe and efficient transport of set

equipment and set items to and from the production site,ensuring that all items are available at the correct locationand time of the shoot/production and that:2.3.1 transportation method is suitable to the nature and

quantity of sets and is accessible to the location2.3.2 instructions to transport provider are clear,

accurate and complete2.3.3 all relevant documentation is completed according

to enterprise procedures


CUFSET05A Coordinate the transportation and assembly of sets


3. Receive and return setitems

3.1 Check and document the condition of all set items andconstruction equipment transported to the production site





4. Assemble anddisassemble the set at theproduction site


4.2 Oversee relevant personnel to ensure that all setassembly requirements are met, quality standards areadhered to and work is undertaken within budgetconstraints


4.4 Secure all set items and accessories throughout theconstruction phase to minimise theft or damage

4.5 Coordinate the safe disassembling, packing and returntransportation of set items and equipment



KEY COMPETENCIES







Solving problems 2

Using technology 2




RANGE STATEMENT



• feature films• documentaries• short films• animated productions• commercials• filmed events or performances• music video• television productions of any type, eg music, drama,



















EVIDENCE GUIDE



• interpreting scripts, specifications and instructions• interpreting and communicating construction


schedules• staff recruitment• resource management including human resources• team leading skills• budget management• project management• report writing• principles of negotiation• costing• communication principles and techniques• stock control• record keeping• interpreting construction specifications, instructions and

drawings• principles and techniques of set construction and painting• knowledge of and ability to perform the range of

construction techniques used in set production• knowledge of the properties, applications and durability of


• using a range of equipment for construction includinghand and power tools

• carpentry and joinery skills• relevant occupational health and safety legislation and




• CUEFIN2A Manage a budget• CUSADM06A Develop and implement an operational

plan• CUEOHS1A Implement workplace health, safety and

security procedures



















CUFSET06A Assemble and maintain the set duringproduction

Unit Descriptor This unit describes the skills and knowledge required to pack set itemsfor transportation and assemble and maintain set items and theircontinuity throughout the production phase.



1. Pack and load set itemsfor transportation

1.1 Pack, unpack and repack set items ensuring that:1.1.1 safe lifting and handling methods are used1.1.2 packaging and handling are suitable to avoid

damage to set items1.2 Participate in the loading of set items for transportation to

the production site

2. Assemble anddisassemble the set at theproduction site

2.1 Liaise with relevant personnel and interpret and confirmthe set assembly requirements including:2.1.1 the appropriate methods and techniques to be

used for the assembly of the set2.1.2 the required equipment and tools

2.2 Assemble the set items using the selected tools,equipment and construction techniques

2.3 Participate in ongoing discussions with appropriatepersonnel throughout the assembly process, to ensure setdesign requirements are met

2.4 Store any partially finished set items and equipmentduring the assembly phase to avoid loss or damage

2.5 Assemble and disassemble set items, on an ongoingbasis throughout the production, to meet the productionrunning sheet requirements

2.6 Disassemble the set at the conclusion of the productionand safely pack and load set items for transportation

3. Maintain appearance ofthe set for continuity

3.1 Continually refer to continuity documentation throughoutthe production and ensure that set continuity ismaintained, including:3.1.1 placement of set3.1.2 condition of the set3.1.3 special requirements of action sequences, if

included


CUFSET06A Assemble and maintain the set during production


KEY COMPETENCIES







Solving problems 2

Using technology 2

RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive set checklists• fault reports• stock reports• stock orders• budgets• set design• scripts• production schedules• running sheets• set construction schedule/plan• set breakdown lists• measurement charts• operational/project plan• manufacture schedules• manufacturers specifications/instructions• technical drawings• sketches• colour charts• paint colour formulas





• feature films• documentaries• short films• animated productions• commercials• filmed events or performances• music video• television productions of any type eg music, drama,
















EVIDENCE GUIDE



• film and television production schedule terminology• properties of different construction materials• interpreting construction specifications and instructions• principles of set construction• interpretation of measurement charts• knowledge of effective communication techniques• problem solving and dealing with conflict situations

techniques• time management• set etiquette and protocols• interpreting written and verbal construction specifications

and instructions• interpreting scale drawings• interpreting measurements• working as part of a team• maintaining a clean and safe work area• understanding of the set design and construction process• ability to use a range of equipment for construction

including hand tools and power tools• carpentry and joinery skills• relevant occupational health and safety legislation and


recommended safety code.

Linkages to other units This unit has linkages to the following unit, and combinedtraining delivery and/or assessment is recommended:

• CUFSET04A Repair, maintain and alter sets















CUECOS2A Apply art finishingUnit Descriptor This unit describes the skills and knowledge required to interpret

costume designs, production schedules and specifications, and to applyart finishing to costumes for any production within the culturalindustries.

This unit is imported from the entertainment industry training package,with minor amendments to the range of variables and evidence guidestatements.



1. Prepare for art finishing 1.1 Interpret design into practical plans for integration of artfinishing with construction in accordance with productionrequirements

1.2 Liaise with appropriate personnel to ensure thatconstruction meets with design specifications and anyamendments to design are approved before workproceeds

1.3 Establish art finishing requirements as required followingconsultation on design specifications

1.4 Select methods of art finishing including experimental andtesting of techniques in accordance with productionrequirements

1.5 Select and source materials in accordance with productionrequirements

2. Apply art finishingmethods to materials

2.1 Apply selected art finishing methods to raw materials inaccordance with production requirements

2.2 Apply selected art finishing methods to finished items inaccordance with production requirements

3. Make items andaccessories

3.1 Make items and accessories in accordance withproduction requirements

3.2 Attend dress parade/dress rehearsal to ensure artfinishing meets production requirements, within budgetand to schedule

3.3 Complete minor alterations as necessary


CUECOS2A Apply art finishing

Volume 3 of 6, Imported Unit 1 of 7 Page 420 of 464©Commonwealth of Australia, 2003 Date Acquired from NTIS: 11 April 2007

KEY COMPETENCIES







Solving problems 2

Using technology 1

RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive costume checklists• fault reports• stock reports• stock orders• costume design• scripts• production schedules• running sheets• costume plots• costume breakdown lists• costume patterns• measurement charts• manufacturers' specifications/instructions

• in a studio• on location - interior• on location - exterior• outside broadcast• sound stage• the fixed wardrobe department







• breaking down• ageing• dyeing• stencilling• screen printing• painting• applique• quilting• beading• modern/antique pleating• applying accessories to finished items• hand/machine embroidery

• costumes• millinery• jewellery• shoes• wigs• props• furniture

• costume jewellery• leather work• soft furnishing





• fabrics• leather• vinyl• plastics• foam• latex• found objects• paper/cardboard• straw• metal• electronics

• understanding and use of industry terminology• following instructions from designer and/or art finisher• discussing and clarifying the art finishes/accessories with

designer and/or art finisher• telephone and face-to-face inquiries to source fabrics,

finishes, accessories, samples etc• face-to-face interaction with suppliers• discussing art finishing methods with designer and/or art

finisher

• job sheet with instructions, sketches and notes fromdesigner and/or art finisher

• methods researched for applying art finishes• telephone books, catalogues, to source necessary

resources• internet to source materials for art finishing• product labels and manufacturers' instructions for product

use and safe handling• product labels and manufacturers' guidelines for

experimental and innovative art finishes.




• notes to accompany sketches (colours, finishes required)• notes on art finishing changes required (from dress

rehearsal)• production requirements to identify art finishing

requirements• notes on art finishes, accessories from production

meeting

• calculating ratios for dyeing fabric and other resources• measuring quantities of chemicals

EVIDENCE GUIDE



• knowledge of production requirements• following written and verbal instructions• meeting deadlines• working within resource constraints• the effects of art finishing on materials as specified in the

range of variables• knowledge of effective communication techniques

including active listening, questioning and non-verbalcommunication


• CUFCOS03A Make costumes




• knowledge of, and ability to apply, a range of finishingmethods as specified in the range of variables














This unit of competency should be assessed using:

• items required for relevant art finishing methods asspecified in the range of variables

• raw materials/finished items for the application of artfinishing




CUECOS5A Make millineryUnit Descriptor This unit describes the skills and knowledge required to interpret

costume designs, production schedules and specifications, and toproduce items of millinery for any production within the culturalindustries.

This unit is imported from the entertainment industry training package,with minor amendments to the range of variables and evidence guidestatements



1. Prepare for millineryconstruction

1.1 Interpret design into practical plans for millineryconstruction in accordance with production requirements

1.2 Liaise with appropriate personnel to ensure constructionmeets with design specifications and any amendments todesign are approved before work proceeds

1.3 Take accurate measurements of performers and record toensure correct fitting of millinery items

1.4 Establish methods of securing millinery items duringperformance, based on performance requirements

1.5 Select and source materials in accordance with productionrequirements

1.6 Make blocks using appropriate foundation materials andreinforcement or obtain as appropriate

1.7 Make patterns in accordance with productionrequirements

2. Construct and fit millinery 2.1 Construct and sew millinery in accordance with productionrequirements

2.2 Trim millinery items in accordance with designspecifications

2.3 Conduct first fitting with performers and identify requiredadjustments and alterations

2.4 Make required adjustments and alterations according toproduction requirements

2.5 Conduct second and/or final fitting with performer andensure millinery meets performer's requirements forcomfort, movement and character suitability

2.6 Source and create millinery trimmings and attach toachieve designer's required effect

3. Construct and fit millinery 3.1 Label and code millinery items for identification and toenable checks to be made during transport and storage

3.2 Construct doubles of millinery items where required3.3 Attend dress parade or dress rehearsal as required to

ensure millinery meets production requirementsspecifications, and complete minor alterations asnecessary


CUECOS5A Make millinery


KEY COMPETENCIES







Solving problems 2

Using technology 1

RANGE STATEMENT

• computer generated• manually written• hire agreements• confirmation of receipt and dispatch notes• memos of instruction• descriptive costume checklists• fault reports• stock reports• stock orders• costume design• scripts• production schedules• running sheets• costume plots• costume breakdown lists• costume patterns• measurement charts• manufacturers' specifications/instructions







• straw hats• felt hats• cloth hats• head-dresses• special-purpose hats

• industrial/domestic sewing machines and overlockers• industrial/domestic irons and steamers• steamer• glue guns• tools, eg wire cutters, bolt cutters, hammers, pliers• scissors• hand-held cutting machine• blocks

• fabrics (eg felt, cloth)• straw• leather• vinyl• plastics• foam• latex• found objects

• movement• quick changes• lighting• use of doubles/second cast• special considerations, eg use of harness on performer

during performance• physical attributes of performers• special effects• continuity




• discussing design with designer, head of wardrobe andperformer

• negotiating materials, construction and alterations withappropriate personnel to ensure correct size, look andcomfort

• following instructions• giving clear, concise instructions to dresser• communicating with suppliers regarding materials and

costings

• relevant research material• telephone books and catalogues• internet source materials• construction instructions• product labels, care instructions and manufacturers'

guidelines• notes regarding alterations or adjustments

• notes on design construction, alterations, adjustmentsand methods of attachment

• brief on performers' requirements• recording measurements, trims, sources, costings• labels recording production details• maintaining records of materials, suppliers, references,

designs, performance data

• estimating material costs• calculating timelines• head measurements and proportions• calculations to scale

EVIDENCE GUIDE



• use and properties of different fabrics and materials usedin millinery

• knowledge of different millinery styles/periods• good hand sewing skills• using a sewing machine• millinery pattern making• knowledge of effective communication techniques

including listening, questioning and non-verbalcommunication





• CUFCOS03A Realise costumes




• translating design concepts into practical millinerysolutions within budgetary constraints

• communicating effectively within the range of situationsrequired for the job role











Resource requirements Assessment requires access to a range of equipment listed inthe range of variables statement, currently used by the culturalindustries industry.




CUECOS7A Construct hard and soft sculpturedaccessories, specialised costumes andcostume jewellery

Unit Descriptor This unit describes the skills and knowledge required to con ductresearch and produce specialised costumes, sculptured accessoriesand costume jewellery for any production within the cultural industries.

This unit is imported from the entertainment industry training package,with minor amendments to the range of variables and evidence guidestatements.



1. Conduct research 1.1 Undertake research to identify the historical, cultural andother factors that might influence styles, constructiontechniques and costume/accessory details

1.2 Analyse the design for development of accessories andcostumes

1.3 Establish and/or maintain an accessible database ofspecialist services, reference material and other relevantinformation including recording designs, performancedetails and specifications, for use by all personnel asrequired

1.4 Use research material to adapt styles for performance

2. Prepare to constructaccessories and costumes

2.1 Select equipment, tools and materials in accordance withoccupational health and safety procedures andenvironmental factors

2.2 Interpret design sketches and/or specifications to identifythe types of accessories and costumes to be constructedand other relevant information

2.3 Liaise with other personnel to ensure that the constructionof accessories and costumes meets design specifications,production demands and organisation requirements

2.4 Produce technical drawings and specifications forcostume/accessory styles using manual and/ortechnological means

2.5 Carry out experimentation and testing of techniques todetermine the appropriate approach

2.6 Negotiate requirements for manufacture by otherdepartments or personnel where necessary


CUECOS7A Construct hard and soft sculptured accessories, specialised costumes and costume jewellery


3. Construct hard and/or softsculpture accessories

3.1 Select methods to achieve required dimensions andshape in accordance with the style of accessory to beconstructed, and record all information

3.2 Select materials and components according to productionrequirements

3.3 Construct accessories in accordance with designspecification and requirements for efficient use ofmaterials

3.4 Liaise with the appropriate personnel to evaluateaccessories and their adherence to specifications, and therequirements of performers and the performance

3.5 Conduct fittings with performers, identify and recordrequired adjustments

3.6 Adjust accessories to meet performers' and productionrequirements

4. Construct special purposecostumes

4.1 Take and record performers' measurements4.2 Develop pattern shapes to meet design specifications4.3 Determine materials and components in accordance with

design specifications and requirements for appropriateuse of resources

4.4 Identify performance and performers' costumerequirements to ensure that costume construction ispractical and appropriate to the performance

4.5 Identify the openings and fasteners to be used so thatthey are consistent with costume construction

4.6 Select materials for supports and bases to meetproduction requirements

4.7 Construct internal supports, fabric base and outercostume to achieve the requirements and specifications ofperformance, performers and design

5. Produce costumejewellery

5.1 Research jewellery detail in accordance with designspecifications and authenticity

5.2 Determine and select material quantities and componentsaccording to production requirements

5.3 Undertake innovation and experimentation to determinethe appropriate techniques to construct jewellery

5.4 Liaise with the appropriate personnel to evaluate jewelleryand its adherence to specification, and the requirementsof performers and the performance

6. Complete accessories andcostumes

6.1 Conduct fittings and identify and record adjustments6.2 Adjust accessories, costumes and jewellery to meet

design, performers' and production requirements6.3 Attach trims and accessories and finish costumes

according to specifications and the productionrequirements

6.4 Apply art finishing methods in accordance with designspecifications, production requirements and organisationalstandards




KEY COMPETENCIES







Solving problems 3

Using technology 3

RANGE STATEMENT

• political• social• geographical• socio-economic• religious• gender• technological factors

• scripts to identify functions of character and periodcostume

• plays• librettos• scores• written instructions on repairs, alterations or adjustments

to costumes• workshop outcomes• appropriate references to research period, culture,

character, materials, accessories, methods ofconstruction


• internet to source materials for costumes• construction instructions for character and period

costumes• product labels, fabric care instructions and manufacturers'

guidelines




• computer generated• manually written• memos of instruction• descriptive costume checklists• fault reports• stock reports• stock orders• budgets• costume design• scripts• production schedules• call sheets• running sheets• costume plots• costume breakdown lists• costume patterns• measurement charts• operational/project plan• manufacture schedules• manufacturers specifications/instructions

• history books:

costume

decorative arts

textiles

architecture

colour

• specific writings• paintings and illustrations• photographs• film• video• internet

• reference materials• coloured design illustrations• technical production drawing• material swatches• colour charts• specialist services available for costume production• journals• texts/scripts• models• swatches• collage• sketches• sample costumes




• talking and listening to experts• watching films and videos• reading newspapers, books and other references• use of the internet• contact with specialist associations and organisations








• wardrobe base: studio /location or production office• portable or fixed sewing machines, industrial or domestic• overlockers• laundering facilities: washing machines, dryers• industrial or domestic irons, presses and steamers• dyeing facilities• spray guns• cutting boards and tables• scissors and cutters• hand held cutting machines• glue guns• tools, eg wire cutters, hammers, pliers• dressmakers' dummies• measuring tapes• conversion tables• hanging racks• coat-hangers• clothing storage and transportation bag• various equipment required to break down and dye

fabrics



• jewellery• codpieces• footwear• gloves• bags• belts• pins• snuffboxes• patch boxes• badges/medals• cravats





• ageing• laundering or use of chemicals to produce desired effect• cutting, machining• tailoring


• western• national• ethnic and traditional cultures

• animal costumes• character costumes• armour• festival costumes and accessories




• information on performers, character titles, performancetypes, season/s, scenes, classifications and colours

• specifications, including:

technical production drawings

material types

special manufacturing processes

costings

care labelling

meterage

components

illustration

accessories

given pattern shapes

• wire• leather• vinyl• plastics• foam• latex• clay• woven• non-woven• knitted• recycled materials/objects

• consideration of context• suitability to performers' physiques• material types/constraints• components• construction methods• budget and time constraints• performance demands• maintenance and storage• lighting

• sewn by hand• sewn by machine




• design and director's specifications• quality standards of the venue and/or the production• production schedule• venue requirements• performers' requirements• pattern requirements• type of fabric• resource constraints• occupational health and safety requirements

• movement• quick changes• continuity• lighting• use of doubles/second cast• harnesses• physical attributes of performers

• budgetary and time constraints• performance requirements• run of the show• special considerations such as harnesses• maintenance• lighting• use of multiples• physical attributes of performers

• discussing sketches with designer• negotiating designs, patterns, fabrics and materials to

achieve specific effects with designer• discussing order of assembly, design specifications,

specific features and effects with designer• discussing methods for construction with specialists and

colleagues• casual conversation with performer during fittings• negotiating alterations with performer to ensure correct

size, look and comfort• following instructions on necessary alterations or

adjustments• liaising with designer, producer, director re hard and soft

sculptured accessories, specialised costumes andcostume jewellery




• taking performers' measurements• calculating ratios for dyeing fabric• calculating quantities of materials and equipment for

sculpture, costume or jewellery materials• making detailed adjustments and alterations• estimating use of materials and equipment to maximise

expenditure• calculating costs• maintaining budget for sourcing, purchasing, hiring all

expenditure items

• scripts to identify functions of hard and soft sculpturedaccessories, specialised costumes and costume jewellery

• plays• librettos• scores• instructions• workshop outcomes• appropriate references to research period, culture,

character, accessories, materials, equipment tools andmethods of construction


• internet to source materials for hard and soft sculpturedaccessories, specialised costumes and costume jewellery

• construction instructions for hard and soft sculpturedaccessories, specialised costumes and costume jewellery

• product labels and manufacturers' guidelines• written instructions on repairs, alterations or adjustments

to hard and soft sculptured accessories, specialisedcostumes and costume jewellery

• Workcover guidelines for working with specific materials,equipment, tools




EVIDENCE GUIDE



• the history of clothing and accessory styles and theirevolution, including:

changes that have occurred to the structural, functional anddecorative aspects of clothing styles

the social and other impacts of these changes

the implication of gender roles and clothing styles

the impact of cross-cultural developments on clothing styles

• the full range of costume styles, costume designs andspecialised handling techniques including draping,gathers, pleats and beading

• working with specialised materials such as sequins,beading and silks

• conducting research, using references and maintaining adatabase of references

• visualising the final product and relationships betweenperformers

• producing and modifying technical drawings andillustrations

• use and properties, such as weight, pile, grain, andpattern shapes of different fabrics and materials

• assessing the suitability of materials and components• design interpretation and maintaining design integrity• presenting information to internal and external customers• meeting deadlines and maintaining schedules• taking measurements, assessing dimensions, estimating

materials and recording accurate measurements fromperformers

• fitting and adjusting costumes and accessories onperformers

• costings and cost controls• sourcing materials• innovative and experimental pattern making techniques in

two and three dimensions


• CUFCOS03A Realise costumes





This unit of competence applies to a range of industry sectors.The focus of assessment will depend on the industry sector.Assessment must be customised to meet the needs of theparticular sector in which performance is being assessed.Assessment should only address those circumstances, listed inthe range of variables statements, which apply to the chosencontext.



• conducting research and applying findings to thedevelopment of costumes, accessories and jewellery

• using a range of construction techniques to produce twoand three dimensional products

• communicating effectively and interacting with performers














Competency in this unit should be demonstrated using:

• reference materials• designs• equipment, tools and materials as specified in the range

of variables• access to performers and other appropriate personnel




LMTPDCL03A Select and/or modify patterns or blocksUnit Descriptor This unit covers the skills and knowledge required to select and/or

modify patterns used for garment production within an enterprise.Unit Sector Product Development


1. Interpret the design 1.1 Design sketch/drawing is interpreted and clarified withdesigner or senior patternmaker as required

1.2 Design lines and features are identified1.3 Fabric characteristics and performance, and trims and

finishings are considered in relation to the design

2. Select a pattern 2.1 Specifications are read and interpreted, in consultationwith others as required

2.2 Any special construction methods or trim details of thegarment that may affect the pattern are identified

2.3 Pattern is obtained and checked to ensure suitability to thework specifications and/or design requirements

3. Modify existing pattern 3.1 Steps required to modify the pattern are determined3.2 Pattern is made, using existing patterns, to meet design

requirements3.3 Pattern pieces are checked for accuracy of seam

allowances, seam match, hems and functional openings

4. Test pattern 4.1 Pattern is tested for feasibility by making a prototype ortoile

4.2 Construction problems are identified, where relevant, andalternative construction methods are recommended

4.3 Pattern adjustments are made, as required, andalterations are assessed to meet fitting requirements

4.4 Final patterns are tested for compliance to design criteriaand specifications, and to assess accuracy andcompleteness

4.5 Labelling of pattern pieces is assessed in accordance withenterprise procedures

5. Maintain records 5.1 Records are maintained and reports prepared, wherenecessary, in accordance with enterprise procedures

5.2 Patterns are filed in accordance with enterpriseprocedures


LMTPDCL03A Select and/or modify patterns or blocks


KEY COMPETENCIES







Solving problems 3

Using technology 3

RANGE STATEMENT

The range statement relates to the unit of competency as a whole. It allows for different workenvironments and situations that may affect performance. Bold italicised wording, if used in thePerformance Criteria, is detailed below. Add any essential operating conditions that may be presentwith training and assessment depending on the work situation, needs if the candidate, accessibility ofthe item, and local industry and regional contexts.

• Work involves assistance to others in the preparation ofpreliminary design concepts for garments

• Discretion and judgement may be required, for both selfand others, in planning and selecting processes,procedures or outcomes

• Work is assessed in accordance with statutoryrequirements, organisation insurance requirements,OH&S legislation, manual handling procedures andrelevant health regulations




• Work may be conducted in a large scale production orsmall business situation

• The competencies can refer to enterprise and clientinitiated ideas or requests

• The competencies may:• involve the selection and modification of patterns; and• may be influenced by the extent of the pattern library or

technology applications, and the variety of patternsused within the enterprise

• The work responsibilities of the patternmaker will vary inscope according to:• the size of the workplace• the range of designs and specialisation in the

workplace• workplace quality standards• degree of autonomy of the patternmaker

• Patternmakers may have responsibility for:• the development of prototypes or toiles• making samples and testing patterns• developing the design• estimating fabric usage

• Pattern making activities may involve:• CAD system• manual design methods

• The competencies are applied under general guidance onprogress and outcomes

• Knowledge and skills are applied to a wide range of tasksand/or roles

• The competencies are used within routines, methods andprocedures

• Data entry/recording may include:• keyboard• computer aided drafting input device• manual operations

• Work specifications• Design drawings/sketches• Garment construction instructions• Organisation work procedures• Organisational or external personnel• Quality and Australian standards and procedures• Customer/s requirements




• Work organisation procedures and practices relating tomaking of garment construction patterns

• Conditions of service, legislation and industrialagreements including:• workplace agreements and awards• Federal or State/Territory legislation

• Standard work practices• Reporting actions include verbal and written

communication in accordance with organisational policiesand procedures

• Communication may be oral, written or visual and caninclude simple data

• Being responsible for the maintenance of own workquality and being required to contribute to the qualityimprovement of team or section output, where necessary

• Safety, environmental, housekeeping and quality are asspecified by machine/equipment manufacturers,regulatory authorities and the enterprise

• Occupational health and safety legislation relevant toworkplace activities

• Workers' compensation legislation

EVIDENCE GUIDE

The evidence guide provides advice on assessment and must be read in conjunction with thePerformance Criteria, Required Skills and Knowledge, the Range Statement and the AssessmentGuidelines for the Training Package.

Critical aspects ofevidence to be considered

• Assessment must confirm appropriate knowledge andskills to:• identifying/defining design lines and features• choosing patterns to suit work specifications• modifying, checking and testing patterns• making prototype/toile• communicate effectively with design team, customers,

etc.• apply workplace health and safety policies in work

operations• maintain accurate records

Interdependentassessment of units

• This unit may be assessed in conjunction with the units'Assist with Development of Design', and 'Assist inPreparation of Preliminary Design Concepts' dependenton workplace organisation




Required knowledge andskills

• Underpinning knowledge of:• the principles and concepts of pattern making• customer and enterprise fit requirements• cost efficiency in relation to pattern making• range of typical garment fabrics, including weight and

other characteristics• marker making procedures• cutting and garment construction• safety and environmental aspects of relevant

enterprise activities• workplace procedures and reporting processes• relevant OH&S legislation and codes of practice

• Underpinning skills to:• undertake the range of activities associated with

selecting and modifying existing patterns• develop the pattern with consideration to the

characteristics of fabric and trimmings• construct garment toiles or prototypes• test patterns and recommend alternative construction

methods• use manual or CAD systems• communicate effectively with individuals, work groups

and supervisors• maintain records, document and transfer information• interpret and carry out established procedures

Resource implications • Access to real or appropriately simulated patternmakingsituations

• This includes real or simulated work areas, materials,equipment, and information on work specifications,relevant safety procedures and regulations, qualitystandards, organisation procedures and customerrequirements




Consistency inperformance

• Applies underpinning knowledge and skills when:• planning and organising work• interpreting design drawings, sketches and

specifications• completing tasks• identifying improvements• applying safety precautions relevant to the task

• Shows evidence of application of relevant workplaceprocedures including:• hazard policies and procedures including codes of

practice• job procedures and work instructions• quality procedures (where existing)• waste, pollution and recycling management processes

• Action taken promptly, accidents and incidents reported inaccordance with statutory requirements and enterpriseprocedures

• Recognises and adapts appropriately to culturaldifferences in the workplace, including modes ofbehaviour and interactions among staff and others

• Work completed systematically with attention to detailwithout damage to goods, equipment or personnel

Context for assessment • Assessment may occur on the job or in an appropriatelysimulated environment




LMTPRCL11A Grade patternsUnit Descriptor This unit covers the skills and knowledge required to grade patterns

used for garment production within an enterprise.Unit Sector Production


1. Prepare and check apattern

1.1 Workstation and/or equipment are selected and preparedin accordance with enterprise requirements

1.2 Base size pattern is checked for correct information,balance points and pattern fit and clarification sought, ifnecessary, in accordance with enterprise procedures

1.3 Style and fabric characteristics which influence gradingare identified and any queries are clarified withpatternmaker

1.4 Appropriate grade plan or grade rule table is selected

2. Grade patterns 2.1 Pattern is graded manually or by computer, adjustingdesign lines, maintaining accuracy and shape, notches,design proportion and other requirements in accordancewith work specification

2.2 Pattern is checked for accuracy and appropriate actiontaken, if necessary


3. Maintain records 3.1 Records are maintained and reports prepared, wherenecessary, in accordance with enterprise procedures


KEY COMPETENCIES







Solving problems 3

Using technology 3


LMTPRCL11A Grade patterns


RANGE STATEMENT


• Work involves the grading of patterns used for garmentproduction within an enterprise




• The competencies can refer to enterprise and clientinitiated ideas or requests

• Grading can include basic styles, such as shirts, pants,shorts, skirts, blouses or more complex patterns

• The degree of specialisation at the workplace willdetermine the scope of the graders work

• Grading activities may involve:• CAD system• manual grading methods




• Data entry/recording may include:• keyboard• computer aided input device• manual operations





• Work organisation procedures and practices relating tothe grading of patterns used for garment production withinan enterprise









EVIDENCE GUIDE



• Assessment must confirm appropriate knowledge andskills to:• check patterns for correct information• grade patterns• ensure graded patterns meet specifications• communicate effectively with design team, customers,

etc.• apply workplace health and safety policies in work



• This unit may be assessed in conjunction with other unitsdependent on workplace organisation





• Underpinning knowledge of:• Australian size standards• workplace and customer size charts• pattern making and the development of a pattern• cost efficiency in pattern making• an understanding of marker making• safety and environmental aspects of relevant


• Underpinning skills to:• produce precise results• use CAD or manual grading systems• communicate effectively with individuals, work groups

and supervisors• maintain records• document and transfer information• interpret and carry out established procedures

Resource implications • Access to real or appropriately simulated gradingsituations

















LMTPRCL12A Measure, lay-up and cut custom madegarments

Unit Descriptor This unit covers the skills and knowledge required to required toperform cutting to order for one off single lays within the clothingindustry.

Unit Sector Production


1. Measure and interpretgarment dimensions

1.1 Client measurements are obtained1.2 Garment measurements are interpreted to suit special

needs of client, where required

2. Determine/confirm designand pattern requirements

2.1 Garment design (and preferred material/fabric) isdiscussed and agreed with client, where necessary

2.2 Special needs of the client are incorporated into thedesign, where required

2.3 Design is chalked into the pattern or the pattern isselected/modified to meet the requirements

3. Lay-up and cut material 3.1 Material is checked for quality, faults, width, selvedges,dye lot and marking requirements

3.2 Material is laid-up and alignment is checked to ensureconformance to specifications

3.3 Material is cut to meet design requirements andmeasurements of the pattern

4. Maintain documentation 4.1 All relevant paperwork and documentation is prepared inaccordance with enterprise procedures

KEY COMPETENCIES







Solving problems 3

Using technology 3


LMTPRCL12A Measure, lay-up and cut custom made garments


RANGE STATEMENT


• Work involves measuring, laying-up and cuttingcustom-made garments




• Degree of complexity will relate to fabrics being used andintricacy of design

• Interpreting measurements into a pattern relates tospecial individual requirements, such as posture, shape,etc.

• Laying-up tasks may be associated with laying-upoperations where size, shape and cost of fabric issignificant

• Measuring, cutting and pattern selection or alteration maybe combined in made to measure specialist order cutting

• Safety procedures and practices when working withcutting equipment are as specified by manufacturer's,regulatory authorities and the enterprise

• Documentation procedures apply to the range ofpaperwork and documentation normally used within theenterprise




• Work specifications• Design drawings/sketches• Organisation work procedures• Organisational or external personnel• Quality and Australian standards and procedures• Customer/s requirements




• Work organisation procedures and practices relating tomeasuring, laying-up and cutting custom-made garments









EVIDENCE GUIDE



• Assessment must confirm appropriate knowledge andskills to:• obtain accurate measurements from client• ensure design is suitable for client• communicate effectively and interacting with the client

in the presentation of ideas and designs• laying-up and aligning material with pattern• cutting material• apply workplace health and safety policies in work



• This unit does not necessarily need to be assessed inconjunction with other units





• Underpinning knowledge of:• garment construction• assembly methods• fabric properties such as weight, shrinkage, pile, grain

and pattern shapes• the importance of the selvedge and bias of fabrics and

their characteristics• safety and environmental aspects of relevant

enterprise activities• workplace procedures• reporting processes• relevant OH&S legislation and codes of practice

• Underpinning skills to:• use appropriate techniques for laying-up and cutting

operations• apply all the relevant safety practices when working in

the clothing industry• communicate effectively with clients, individuals, work

groups and supervisors• maintain records• document and transfer information• interpret and carry out established procedures

Resource implications • Access to real or appropriately simulated situationsinvolving measuring, laying-up and cutting custom-madegarments

















LMTPRCL14A Assemble/fit custom made/bespoke garmentsUnit Descriptor This unit covers the skills and knowledge required to assemble and fit

custom-made or bespoke garments.Unit Sector Production


1. Prepare garment pieces 1.1 Fabric pieces and linings are pinned or sewn together asrequired, and appropriately hung in readiness forassembly

1.2 First fitting is conducted with the client and necessarychanges made, as required

2. Assemble garment 2.1 Pieces are sewn together to form the whole garment inaccordance with pattern specifications

2.2 Garment is pressed in accordance with requirements2.3 Second fitting of garment is assessed with client2.4 Modifications are determined in consultation with the

client, where necessary

3. Finish garment 3.1 Alterations are undertaken, where relevant3.2 Hand sewing is assessed and trims applied in accordance

with design requirements3.3 Garment is finished to meet specifications and appropriate

labels attached

4. Conduct final fitting 4.1 Final fitting is conducted to ensure client satisfaction andto confirm correct sizing, look and wearer comfort

5. Maintain document 5.1 All relevant paperwork and documentation is prepared inaccordance with enterprise procedures

KEY COMPETENCIES







Solving problems 3

Using technology 3


LMTPRCL14A Assemble/fit custom made/bespoke garments


RANGE STATEMENT


• Work involves assembly and fitting of custom-made orbespoke garments




• Degree of complexity will relate to fabrics being used andintricacy of design

• Safety procedures and practices when working withsewing equipment are as specified by manufacturer's,regulatory authorities and the enterprise

• Documentation procedures apply to the range ofpaperwork and documentation normally used within theenterprise








• Work organisation procedures and practices relating toassembly and fitting of custom-made or bespokegarments









EVIDENCE GUIDE



• Assessment must confirm appropriate knowledge andskills to:• prepare and assemble pieces for garment• conduct fittings• communicate effectively and interact with the client• communicate effectively with customers, etc.• apply workplace health and safety policies in work



• This unit does not necessarily need to be assessed inconjunction with other units





• Underpinning knowledge of:• garment construction• assembly methods• fabric properties and their characteristics• safety and environmental aspects of relevant


• Underpinning skills to:• perform alterations• hand and machine sew and apply trims• apply all the relevant safety practices when working in

the clothing industry• communicate effectively with individuals, work groups

and supervisors• maintain records and document and transfer

information• interpret and carry out established procedures

Resource implications • Access to real or appropriately simulated situationsinvolving the assembly and fitting of custom-made orbespoke garments

















CUF01 Film, TV, Radio and Multimedia Training PackageFilm, Television, Radio, Multimedia Industry Training

Package (Volume 3)Volume 3 of 6

CUF01 Film, TV, Radio and Multimedia Training PackageFilm, Television, Radio, Multimedia Industry Training Package (Volume 3)

Volume 3 of 6

Documents

CUF01 Film, TV, Radio and Multimedia Training Package · CUFANM04A Produce layout drawings for animation..... 37 CUFANM05A Produce key drawings for animation ... CUFANM06A Produce