aim qualifications level 3 diploma in creative and digital ......within the level 3 diploma in...

AIM Qualifications Level 3 Diploma in Creative and Digital Media

Version 6 – September 2019

Document Version Control

Version Number Date Description 4 15/02/2019 Following review TQT and GLH values changed

(page 6)

5 26/03/2019 Review date extended until 31/07/2021 (Page 6) Certificate review date extended until 31/07/2023 (Page 7)

6 September 2019 Rebrand - ‘AIM Awards’ changed to ‘AIM Qualifications’ Qualification family added to qualification details grid (page 6)

AIM Qualifications Level 3 Diploma in Creative and Digital Media 601/3413/6

2 AIM Qualifications Level 3 Diploma In Creative And Digital Media Qualification Handbook V6.Docx

© AIM 2019

Contents Page

Section One – Qualification Overview 4

Section Two - Structure and Content 9

Section Three – Assessment and Quality Assurance 295

Section Four – Operational Guidance 301

Section Five – Appendices 303

3

AIM Qualifications Level 3 Diploma In Creative And Digital Media Qualification Handbook V6.Docx © AIM 2019


© AIM 2019

Section 1 Qualification Overview


© AIM Qualifications 2019

Section One Qualification Overview

Introduction Welcome to the AIM Handbook. We want to make your experience of working with AIM as pleasant as possible.

AIM is a national Awarding Organisation, offering a large number of Ofqual regulated qualifications at different levels and in a wide range of subject areas. Our qualifications are flexible enough to be delivered in a range of settings, from small providers to large colleges and in the workplace both nationally and internationally.

We pride ourselves on offering the best possible customer service, and are always on hand to help if you have any questions. Our organisational structure and business processes enable us to be able to respond quickly to the needs of customers to develop new products that meet their specific needs.

We are licensed by the Quality Assurance Agency (QAA) to approve and certificate Access to Higher Education Diplomas. We are also approved as an Apprenticeship Assessment Organisation (AAO)

This Qualification Handbook contains everything you need to know about this qualification/qualification suite and should be used by everyone involved with planning, delivery and assessment.

This is a live document and as such will be updated when required. Centres will be informed via email when changes are made and it is the responsibility of the approved centre to ensure the most up-to-date version of the Qualification Handbook is in use.

This document is copyright but may be copied by approved centres for the purpose of assessing learners. It may also be copied by learners for their own use.

This Qualification Handbook is mapped to the Ofqual General Conditions of Recognition with references cited for each section as appropriate and the whole document is mapped to Ofqual General Conditions of Recognition C2.5 and E3.2.



About the Qualification Mapped to Ofqual General Conditions of Recognition: E3.2a/E3.3b

The AIM Qualifications Suite of Creative and Digital Media qualifications comprise two qualifications; the Level 3 Certificate (knowledge) and the Level 3 Diploma (competence) and together are included in the Advanced Apprenticeship in Creative and Digital Media. This Apprenticeship is designed to attract and develop creative and digitally competent work-ready apprentices who are multi-skilled and can work across different technologies. The qualifications give learners the opportunity to develop the knowledge and competence required for their intended progression route.

Learners may progress onto higher level training and roles within the industry. Some of these roles include advertising, art director, animator, computer games designer, media researcher, radio producer, TV film editor/director etc.

Qualification AIM Qualifications Level 3 Diploma in Creative and Digital Media

Qualification Family Technical Assessment Internally assessed and externally moderated

assessment evidence Grading Assessment is competent / not competent.

There is no grading Operational Start Date 01-Jun-2019 Review Date 31-July-2021 Sector 9.3 Media and Communication Qualification Accreditation Number

601/3413/6

Learning Aim Reference 60134136 Credits 71 Guided Learning Hours 540 Total Qualification Time (TQT) 710

Learner Age Range 16-18; 19+ Rules of Combination Learners must achieve a minimum of 71 credits.

40 credits must be at the level of the

qualification. All mandatory units (M) must be

completed (30 credits). Exactly 4 credits must

be achieved from O1 and exactly 2 credits must

be achieved from O2.

Non-endorsed pathway – In addition, learners

must complete a minimum of 35 credits from

group 03A (of which a minimum of 23 credits

must be taken from group 03a1 and maximum

of 12 credits can be taken from group 03a2).



OR

Endorsed pathway - In addition, learners must

complete all required mandatory and optional

credits to achieve the chosen pathway (P1, P2,

P3, P4, P5, P6 or P7 - see below for more

details).

Entry Guidance Mapped to Ofqual General Conditions of Recognition: E3.2b/c

There are no specific entry requirements for this qualification.

The End of the Accreditation Period We review qualifications that are near the end of their accreditation period, working with sector representatives to make any changes necessary to meet sector needs and to reflect recent developments.

We will post information relating to changes or extensions to qualifications on our website and centres approved to offer the qualification will be kept updated.

Certificate End Date The final date that certificates can be issued for this qualification is three years from the Review Date.

AIM Qualifications Level 3 Diploma in Creative and Digital Media 31-July-2023

Resource Requirements Learners must have access to a real work situation for practical activities. Other resources will be dependent on the unit(s) being delivered; this detail is given on the unit. This varies on unit choice e.g. radio, web design, film/video production. Guidance will be given based on units selected.

For Inclusion in the Advanced Level Apprenticeship in Creative and Digital Media (England)

Entry Guidance Learners must complete or have completed one of the English transferable skills qualifications, one of the Mathematical transferable skills qualifications and one of the ICT transferable skills qualifications listed in the Creative and Digital Media (England) Framework document (see link below) in order to successfully complete their Apprenticeship and this will carry the five credit values. If they do not have these qualifications as part of their evidence, an Apprenticeship certificate cannot be awarded.

Employee Rights and Responsibilities The Employee rights and responsibilities (ERR) component of the apprenticeship is embedded within the Level 3 Diploma in Creative and Digital Media qualification. The Preparing to Work in Creative Media units (mandatory units in the Level 3 Diploma qualification) are ideal ways of reiterating some of the ERR outcomes and these will be explained in the template provided by Creative Skillset.

Creative Skillset will provide a template which specifies the nine ERR outcomes and must be used to record achievement and evidence of each outcome. For further detail on the signposting and documentation for ERR, please visit http://www.creativeskillset.org/acdm.

Personal Learning and Thinking Skills Assessment and Recognition The six Personal Learning and Thinking Skills (PLTS) have been signposted to mandatory units within the Level 3 Diploma qualification for apprentices.

Please refer to the Advanced Level Apprenticeship in Creative and Digital Media (England) document issued by Creative Skillset for further details – here.



http://www.creativeskillset.org/acdm

http://creativeskillset.org/who_we_help/training_educators/provide_apprenticeship/england_northern_ireland/creative_digital_media



Section 2 Structure and Content



Section Two

Structure and Content Mapped to Ofqual General Conditions of Recognition E3.3a/b

Qualification Structure and Unit Content Mapped to Ofqual General Conditions of Recognition: E3.2d /e/f/g/h/j

Please select the unit title to view the individual unit content and assessment guidance.

Rules of Combination for: AIM Qualifications Level 3 Diploma in Creative and Digital Media Learners must achieve a minimum of 71 credits. 40 credits must be at the level of the qualification. All mandatory units (M) must be completed (30 credits). Exactly 4 credits must be achieved from O1 and exactly 2 credits must be achieved from O2.

Non-endorsed pathway – In addition, learners must complete a minimum of 35 credits from group 03A (of which a minimum of 23 credits must be taken from group 03a1 and maximum of 12 credits can be taken from group 03a2).

OR

Endorsed pathway - In addition, learners must complete all required mandatory and optional credits to achieve the chosen pathway (P1, P2, P3, P4, P5, P6 or P7 - see below for more details). Unit Reference Number

Unit Title Group Level Credit Value

GLH Page No.

Y/600/9039 Awareness of Converging Digital Technology in the Creative Media Sector

M Three 6 40 22

L/600/9037 Awareness of Employment in the Creative Media Sector

M Three 6 40 27

R/600/9038 Communicating and Presenting Ideas in the Creative Media Sector

M Three 5 30 29

R/600/9010 Contribute to Good Working Relationships

M Two 4 30 32

Y/600/9011 Ensure your Own Actions Reduce Risks to Health and Safety

M Two 4 30 35

L/600/9040 Professional Behaviour in the Creative Media Sector

M Three 5 30 40

H/600/8508 Creative Media Industry Awareness O1 Two 4 25 43

K/600/8509 Creative Media Industry Awareness O1 Three 4 25 47

D/600/8510 Awareness of Health and Safety in the Creative Media Sector

O2 Two 2 15 52

H/600/8511 Awareness of Health and Safety in the Creative Media Sector

O2 Three 2 15 53

https://www.aimawards.org.uk/clientfiles/files/units/learner_achievements/Awareness%20of%20Employment%20in%20the%20Creative%20Media%20Sector%20L3%20CV6-1.pdf

https://www.aimawards.org.uk/clientfiles/files/units/learner_achievements/Awareness%20of%20Employment%20in%20the%20Creative%20Media%20Sector%20L3%20CV6-1.pdf



Non-Endorsed Pathway (03A)

Y/600/8974 Agree the Photo Imaging Brief 03a1 Three 5 40 55

D/600/8457 Capture Pictures and Sound for Non- Linear Editing

03a1 Three 8 50 59

H/600/8279 Clear Copyright Materials 03a1 Three 4 30 67

T/502/8624 Communicating using Digital Marketing/Sales Channels

03a1 Three 4 26 71

J/600/8257 Contribute Ideas for Productions 03a1 Three 6 40 74

R/600/9010 Contribute to Good Working Relationships

03a1 Two 4 30 77

J/600/8274 Contribute to Office-Based Pre- Production

03a1 Three 9 60 80

T/600/8383 Create 2D Animations for Interactive Media Products

03a1 Three 10 60 84

R/600/8391 Edit Audiovisual Journalistic Material 03a1 Three 7 60 88

Y/600/9011 Ensure your Own Actions Reduce Risks to Health and Safety

03a1 Two 4 30 35

J/600/8260 Identify Sources of Information and Present Findings

03a1 Three 5 30 93

H/600/8458 Ingest Materials for Fast Turn-Around Programming

03a1 Three 9 80 97

Y/600/9008 Lay Basic Track for Camera Dollies 03a1 Two 6 40 102

T/600/8948 Manage and Market own Freelance Services

03a1 Three 6 60 105

D/600/8409 Monitor and Maintain Post Production Equipment and Environments

03a1 Three 8 50 111

M/600/8267 Obtain Archive Material 03a1 Three 8 50 118

F/600/8287 Obtain Assets for Use in Interactive Media Products

03a1 Three 5 30 125

F/601/3005 Obtain, Prepare and Return Camera Equipment

03a1 Two 6 40 128

M/600/8978 Plan and Organise the Photographic Assignment

03a1 Three 7 50 133

K/600/8297 Prepare Assets for Use in Interactive Media Products

03a1 Three 9 60 138

D/600/8961 Prepare Camera Equipment for Each D ay’s Sh oo t

03a1 Two 10 80 140

F/600/8998 Prepare Image Output 03a1 Three

6 50 146



F/600/8323 Produce Copy for Interactive Media Products

03a1 Three 7 40 155

H/600/8959 Provide Assistance to the Camera Crew During a Multi-Camera Shoot

03a1 Two 9 80 159

L/600/8387 Record Audiovisual Journalistic Material

03a1 Three 7 60 164

D/600/9009 Rig and Manage Cables for Television and Video Production

03a1 Two 6 40 171

A/600/8966 Strike Sets for Television and Video Production

03a1 Two 8 50 175

T/600/8965 Support Visual Preparation 03a1 Two 6 40 179

K/600/8414 Transfer Materials to Non-Broadcast Formats

03a1 Three 6 40 183

L/600/8969 Understand Legal and Ethical Requirements Relating to Photo Imaging

03a1 Three 5 40 189

M/600/9001 Undertake Colour Management Procedures

03a1 Three 6 50 195

F/600/9004 Undertake Image Asset Management 03a1 Three 5 40 200

M/600/8995 Undertake Technical Adjustment of Images

03a1 Three 7 60 206

F/600/8984 Undertake the Photographic Assignment

03a1 Three 10 60 214

Y/601/2684 Assist with Radio Productions 03a2 Three 3 20 222

J/601/2700 Comply with the Law when Working in Radio

03a2 Three 6 50 224

R/601/2702 Conduct Yourself Ethically when Working in Radio

03a2 Three 4 30 227

F/601/2663 Contribute to the Creative Process in Radio

03a2 Three 4 30 230

R/601/2683 Edit, Process and Mix Audio 03a2 Three 6 50 233

T/601/2675 Evaluate Ideas for Radio Content 03a2 Three 3 20 236

D/601/2685 Know How to Produce Speech Content for Radio

03a2 Three 3 20 239

T/601/2692 Know How to Produce Station Branding, Radio Trails and Commercials

03a2 Three 4 30 242

L/601/2679 Manage Audio Material 03a2 Three 6 50 244

F/601/2680 Operate a Radio Studio 03a2 Three 6 50 247



J/601/2664 Originate and Develop Ideas for Radio Content

03a2 Three 6 40 250

H/601/2672 Pitch Ideas for Radio Content 03a2 Three 3 20 252

R/601/2697 Prepare For and Conduct Radio Interviews

03a2 Three 3 20 255

L/601/2696 Present a Radio Programme 03a2 Three 6 40 258

M/601/2688 Produce Multi-Platform Content for Radio

03a2 Three 3 20 261

H/601/2686 Produce Music Radio 03a2 Three 3 20 263

T/601/2689 Produce Radio Broadcasts 03a2 Three 6 50 267

J/601/2681 Record Audio on Location and in the Studio

03a2 Three 6 50 271

A/601/2662 Research Audiences for Radio 03a2 Three 4 30 274

T/601/2658 Research the Structure of the Radio Industry

03a2 Three 4 30 276

L/601/2665 Undertake Research for Radio Content 03a2 Three 6 40 278

F/601/2694 Use and Develop the Voice for Radio 03a2 Three 3 20 281

D/601/2637 Work Effectively in Radio 03a2 Three 6 50 283

Y/601/2670 Work to a Brief for Radio Content 03a2 Three 3 20 287

F/601/2677 Write for Multi-Platform Use in Radio 03a2 Three 6 40 289

A/601/2676 Write for Radio 03a2 Three 6 40 292

Radio Pathway (P1) Learners must achieve 10 credits from the 2 mandatory units (M) and a minimum of 25 credits from

the optional units (O). T/601/2658 Research the Structure of the Radio

Industry

M Three 4 30 276

D/601/2637 Work Effectively in Radio M Three 6 50 283

Y/601/2684 Assist with Radio Productions O Three 3 20 222


O Three 6 50 224


O Three 4 30 227


O Three 4 30 230



R/601/2683 Edit, Process and Mix Audio O Three 6 50 233

T/601/2675 Evaluate Ideas for Radio Content O Three 3 20 236


O Three 3 20 239


O Three 4 30 242

L/601/2679 Manage Audio Material O Three 6 50 244

F/601/2680 Operate a Radio Studio O Three 6 50 247


O Three 6 40 250

H/601/2672 Pitch Ideas for Radio Content O Three 3 20 252


O Three 3 20 255

L/601/2696 Present a Radio Programme O Three 6 40 258


O Three 3 20 261

H/601/2686 Produce Music Radio O Three 3 20 263

T/601/2689 Produce Radio Broadcasts O Three 6 50 267


O Three 6 50 271

A/601/2662 Research Audiences for Radio O Three 4 30 274

L/601/2665 Undertake Research for Radio Content O Three 6 40 278

F/601/2694 Use and Develop the Voice for Radio O Three 3 20 281

Y/601/2670 Work to a Brief for Radio Content O Three 3 20 287

F/601/2677 Write for Multi-Platform Use in Radio O Three 6 40 289

A/601/2676 Write for Radio O Three 6 40 292

Radio Content Pathway (P2) Learners must achieve 16 credits from the 3 mandatory units (M) and a minimum of 19 credits from

the optional units (O).


M Three 6 40 250


M Three 4 30 276





O Three 4 30 230







Radio Image and Commercial Production Pathway (P3) Learners must achieve 24 credits from the 6 mandatory units (M) and a minimum of 12 credits from


T/601/2675 Evaluate Ideas for Radio Content M Three 3 20 236


M Three 4 30 242

H/601/2672 Pitch Ideas for Radio Content M Three 3 20 252

A/601/2662 Research Audiences for Radio M Three 4 30 274


M Three 4 30 276




O Three 6 50 224


O Three 4 30 227


O Three 4 30 230



O Three 3 20 239






O Three 6 40 250


O Three 3 20 255



O Three 3 20 261




O Three 6 50 271






Radio Presentation Pathway (P4) Learners must achieve 28 credits from the 6 mandatory units (M) and a minimum of 7 credits from

the optional units (O). F/601/2680 Operate a Radio Studio M Three 6 50 247


M Three 3 20 255

L/601/2696 Present a Radio Programme M Three 6 40 258


M Three 4 30 276

F/601/2694 Use and Develop the Voice for Radio M Three 3 20 281




O Three 6 50 224


O Three 4 30 227


O Three 4 30 230






O Three 3 20 239


O Three 4 30 242



O Three 6 40 250



O Three 3 20 261




O Three 6 50 271






Radio Production Pathway (P5) Learners must achieve 32 credits from the 8 mandatory units (M) and a minimum of 3 credits from

the optional units (O). Y/601/2684 Assist with Radio Productions M Three 3 20 222


M Three 3 20 239


M Three 4 30 242


M Three 3 20 261

H/601/2686 Produce Music Radio M Three 3 20 263

T/601/2689 Produce Radio Broadcasts M Three 6 50 267




M Three 4 30 276



O Three 6 50 224


O Three 4 30 227


O Three 4 30 230






O Three 6 40 250



O Three 3 20 255



O Three 6 50 271







Radio Research Pathway (P6) Learners must achieve 24 credits from the 5 mandatory units (M) and a minimum of 12 credits from



M Three 4 30 227

A/601/2662 Research Audiences for Radio M Three 4 30 274




M Three 4 30 276

L/601/2665 Undertake Research for Radio Content M Three 6 40 278




O Three 6 50 224


O Three 4 30 230




O Three 3 20 239


O Three 4 30 242




O Three 6 40 250



O Three 3 20 255



O Three 3 20 261




O Three 6 50 271







Radio Technical Production Pathway (P7) Learners must achieve 30 credits from the 5 mandatory units (M) and a minimum of 5 credits from


R/601/2683 Edit, Process and Mix Audio M Three 6 50 233

L/601/2679 Manage Audio Material M Three 6 50 244

F/601/2680 Operate a Radio Studio M Three 6 50 247


M Three 6 50 271




O Three 6 50 224


O Three 4 30 227


O Three 4 30 230



O Three 3 20 239


O Three 4 30 242


O Three 6 40 250



O Three 3 20 255



O Three 3 20 261





O Three 4 30 276


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Unit Title: Awareness of Converging Digital Technology in the Creative Media Sector

Unit Credit Value: 6

Unit Level: Three

Unit Guided Learning Hours: 40

Ofqual Unit Reference Number: Y/600/9039

Unit Review Date: 31/07/2019

Unit Sector: 9.3 Media and Communication

Unit Summary In this unit learners will gain an awareness of the current use of digital technology and the implications of converging technology in the Creative media sector. They will research the changing face of creative media, and how digital technology is affecting audiences and workforces. Learners will also consider how converging media can be used to reach new audiences and generate new revenue streams. Learners will also plan research tests to exploit converging technology.

Unit Information It is expected that before the unit is delivered, the tutor will have read the Qualification Specification to ensure all conditions regarding Rules of Combination, delivery, assessment and internal quality assurance are fulfilled. Additional guidance is available below as Assessment Guidance for Learning Outcomes and Assessment Criteria in bold.

This unit has 4 learning outcomes

LEARNING OUTCOMES ASSESSMENT CRITERIA

The learner will: The learner can:

1. Understand the use of digital technology within the Creative Media sector

1.1. Describe the uses of digital technology within the Creative Media sector and the relationships this has created between industries in the sector

1.2. Describe key Intellectual Property and copyright issues, related to digital technology and content creation





2. Understand the implications of converging technology on the workforce in a particular Creative Media industry

2.1. Explain what is meant by ‘converging technology’

2.2. Explain the impact of converging technology on the workforce within a specific Creative Media industry

3. Know how converging technology has been exploited to reach new audiences and generate revenue

3.1. Describe the changing expectations of audiences and consumers within a chosen Creative Media industry

3.2. Describe examples of how ideas for multi-platform content have been used to reach new audiences and generate revenue

3.3. Describe examples of commissioning processes and funding opportunities in relation to converging technology

4. Be able to plan a research exercise to test an idea for exploiting converging technology

4.1. Explain opportunities for exploiting converging technology

4.2. Research and plan a test for an identified opportunity

4.3. Carry out planned test and evaluate and present the findings

Assessment Guidance Learning Outcome 1 Creative Media sector: e.g. photography, digital graphics, web authoring, animation, interactive media, audio/radio, video/television, computer games.

1.1 Uses of digital technology: to record, capture, create, edit, enhance, design, develop, test, display, present and distribute, for example, using digital still cameras and digital video to capture audio-visual scenes, transfer to a computer system, edit, enhance and export into a format suitable for distribution over the internet.

1.1 Relationships: business relationships to include for example, creation of digital media with links to organisations for its distribution, processing and editing of material that has been captured and recorded.

1.2 Intellectual Property: What is intellectual property (e.g. an idea, brand, product or invention) and how this can be protected by copyright, trademarks and patents.



1.2 Copyright issues:

• how Copyright applies to digital media authorship and production in the same way as literary and artistic works

• copyright issues on using the work of others in the public domain

• how digital media is still protected by Copyright when published and available for download from the Internet

• penalties and consequences of Copyright infringement e.g. withdrawal of use, payment of fees and/or compensation

• UK Copyright Law and International Copyright Law – differences and variations e.g. what is allowed under ‘acceptable use’ or ‘educational use’

• how Copyright applies to orphan works i.e. where the copyright on an original image is held by somebody else but is modified using editing software so that it is unrecognisable from the original

• how Copyright on own work is established, restricting its use by anyone else without permission

• who owns Copyright on work created e.g. as a freelance (held by author) or when employed by an organisation (where Copyright is held by the employer organisation)

Learning Outcome 2 2.1 Converging technology: the merging of what were independent technologies into a common technology framework. Examples of converging technologies:

• carrying voice and data over a single wire or fibre optic cable

• combining audio, video, images and communication on a website page

• providing camera, audio and video recording functions into mobile phones which have voice and text communication features.

2.2 Impact: The impact on Creative Media Industries may include for example:

• traditional telephone communications are being replaced with Internet phones using VoIP connections (Voice over Internet Protocol)

• websites are including more rich media (e.g. video, user interest and loyalty). web pages with only text and images are less engaging for the audience, which increases the demand for multi skilled digital media creators and contributors

• increased competition for products and/or services e.g. the market for digital cameras is threatened by mobile phones with higher quality cameras built in

• impact on employment and job roles e.g. news gathering is no longer exclusive to reporters with traditional audio-visual equipment. The recording and web connection features of mobile devices allows public, citizen or consumer journalism, where the general public capture and contribute newsworthy material.

Learning Outcome 3 3.1 Changing expectation for example:

• increased demand for rich media in websites and interactive media products

• expectation of on-demand information i.e. how audiences expect to be able to choose what information they receive and have it delivered quickly over the Internet (no longer just a broadcast distribution medium such as analogue television).

• expectation of lower cost services, such as cheaper telephone calls which are enabled by VoIP technologies

• demand for more capable mobile devices with improved features

• expectation of information available on a mobile device using web enabled data connections.

3.2 Multi-platform content: multi-platform content reaching new audiences and generating revenue by, for example:

• film companies that provide content online, in cinemas, using DVD/Bluray, satellite/cable/digital broadcasts and interactive features and trailers for multi platform distribution and viewing

• websites that identify the platform used to browse e.g. computer or mobile device (enables delivery of suitable page layout to improve the viewing experience). Enables online shopping from mobile devices in revenue

• ability to watch DVD/Bluray movies or browse the Internet on consoles that also offer immersive and engaging 3D computer games, increasing the popularity of the console.

3.3 Opportunities: an understanding of the opportunities provided by multi-platform distribution to be demonstrated. Commissioning processes and funding opportunities, examples may be taken from:

• web based interactive media projects that use commissioned work from contributors and other suppliers

• mobile technology markets and applications that provide funding and revenue opportunities for developers and contributors.

Learning Outcome 4 4.1 Opportunities: within a Creative Media area, research the convergence of technologies and what opportunities this creates.

4.2 Test for an identified opportunity:

• identify questions to ask the potential target audience for an identified opportunity

• complete market research to identify the potential for the identified opportunity

• summarise the results of the market research.

25

AIM Qualifications Level 3 Diploma In Creative And Digital Media Qualification Handbook V6.Docx © AIM Qualifications 2019



Delivery Requirements Appropriate physical resources will be required in order to deliver and assess this unit.

Evidence Requirements Evidence of practical ability must be demonstrated.



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Unit Title: Awareness of Employment in the Creative Media Sector


Unit Level: Three


Ofqual Unit Reference Number: L/600/9037





LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can: 1. Know about employment status in the

Creative Media sector 1.1. Describe the main types of employment

status within the Creative Media sector 1.2. Describe the key legal and taxation

differences between main types of employment status

1.3. Explain the main implications of each employment status, in relation to job security, flexibility and working patterns

2. Understand the Creative Media employment market place

2.1. Describe a range of prospective employers and the profiles and products of these employers

2.2. Explain how to choose an employer in terms of own personal interests, knowledge, skills and job requirements



LEARNING OUTCOMES ASSESSMENT CRITERIA The learner will: The learner can: 3. Be able to promote self 3.1. Create and present a professional

standard CV, with examples of own work, relevant to a specific job application

3.2. Discuss strengths and weaknesses in relation to own work and a specific job application

3.3. Describe and pitch a creative idea to an employer or commissioner



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Unit Title: Communicating and Presenting Ideas in the Creative Media Sector


Unit Level: Three


Ofqual Unit Reference Number: R/600/9038



Unit Summary The aim of this unit is to prepare learners with an understanding of the appropriate communication and presentation techniques relevant to the creative media workplace. They will gain an understanding of the various methods of communicating in the workplace, including influencing and persuading others. They will also consider how to present creative ideas and evaluate their own performance.





1. Understand how to communicate in the workplace

1.1. Describe several communication techniques and explain their appropriate application

1.2. Compare a range of techniques used for influencing and persuading others and their application

1.3. Describe how to give and receive constructive feedback

1.4. Describe methods used to communicate technical and specialist issues within and across teams





2. Be able to present own ideas in different environments

2.1. Describe examples of effective presentation techniques

2.2. Select and justify appropriate presentation techniques for a specific creative idea

2.3. Present own creative ideas on a one-to- one basis; in a small group; to a large group

2.4. Evaluate, with others, areas of strength and weakness, in relation to own presentation performance

Assessment Planning Learning Outcome 1 1.1 Communication techniques: to include:

• verbal and non-verbal communication techniques e.g. direct discussion, meeting, telephone, email, blog, tweet, RSS feed, letter, fax, memo

• when to use formal and informal communication e.g. using a formal written format for customer specification changes.

1.2 Range of techniques: for influencing others e.g. highlight benefits of change, negotiating, supporting agreement, creating motivation (intrinsic and extrinsic), e.g. money or personal gain, steering conversations, encouraging others to think of solutions and ideas. Compare when to use different techniques in different circumstances.

1.3 Constructive feedback: how constructive feedback can be either positive or negative (but avoiding destructive feedback)

• being polite when giving constructive feedback • how to accept constructive feedback, whether it is positive or negative e.g.

using a constructive response

1.4 Communicate technical and specialist issues: methods used to communicate technical and specialist issues e.g. formal, informal, verbal, non-verbal, use of jargon and technical terms to those who understand them and simpler instructions to those who do not.

Learning Outcome 2 2.1 Examples of effective presentation:

• presentation without electronic aids e.g. stand-up personal presentation, use of exhibition boards, graphics posters and other printed materials



• presentation using electronic aids e.g. projectors, display screens, audio equipment, multimedia, digital media and technology/

2.2 Justify appropriate presentation techniques: understand the choices and selection of presentation method for a given creative idea in a particular field e.g. audio, video, imaging, computer games and interactive media.

2.4 Evaluate: obtain feedback from audience and analyse own presentation performance e.g. material/information content, speaking skills, use of electronic aids, handling of feedback and questions.




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Unit Title: Contribute to Good Working Relationships


Unit Level: Two





Unit Summary This unit emphasises the need for good communication and effective working during a production process. Learners will be able to clarify, agree and revise working arrangements and resolve any communication problems that might arise in the workplace.





1. Understand how to communicate effectively with colleagues

1.1. Explain the importance of balancing the needs of tasks and people

1.2. Explain the importance of sharing information with colleagues

1.3. Identify ways of tactfully requesting others to change working arrangements to improve own productivity

1.4. Describe how to resolve conflict situations or dissatisfaction

1.5. Explain the importance of liaison with colleagues to productivity





2. Be able to develop and maintain good working relationships during the production process

2.1. Identify key roles and tasks in the production process

2.2. Clarify, agree and revise working arrangements, promoting good working relationships

2.3. Communicate own decisions clearly and constructively

2.4. Resolve any conflict situations or dissatisfaction as necessary

2.5. Liaise with appropriate colleagues to ensure effective and productive working

Assessment Guidance Learning Outcome 1 1.1 Balancing:

• impact on people e.g. employees, employers, customers

• impact on efficiency, productivity and motivation

• impact on project costs, timescales and quality of work produced.

1.2 Sharing information with colleagues:

• benefits of better team working e.g. faster and more cost effective working, improved moral

• risks of inadequate sharing of information e.g. errors, working to incorrect specifications and requirements, higher expense safety.

1.3 Tactfully:

• verbal and non-verbal requests

• how to phrase requests

• maintaining politeness and assertiveness in requests

• when communicating with others, identify results and benefits of changing the working arrangements rather than just making simple demands.

1.4 Resolve:

• formal and informal approaches

• discussion with relevant colleagues to identify reasons and causes

• identifying fair resolutions

• methods used to communicate resolutions to all parties.

1.5 Liaison:

• methods of communicating with people to achieve aims



• verbal and non-verbal liaison e.g. communication and proactive team working

• direct and indirect effects on productivity. Learning Outcome 2 2.1 Key roles and tasks:

• specialised skills and job roles that are fundamental to the production process • specialised processes and tasks that are fundamental to the production

process

• critical path activities, tasks and people in the project plan.

2.2 Clarify, agree and revise:

• how to identify current working arrangements e.g. discussion with more senior staff such as line managers, supervisors

• communication methods with others to establish agreement of working arrangements

• methods used to identify when working arrangements need to change

• methods used to agree revised working arrangements (verbal and non-verbal) e.g. formal meetings, memos and updated work instructions

• recognition of good and bad working relationships

• impact of working arrangements and relationships on the production process.

2.3 Communicate:

• using verbal and non-verbal methods to communicate own decisions with others

• how to communicate positively and constructively with others to support working arrangements and the production process.

2.4 Resolve:

• listening skills to identify concerns when communicating own decisions

• dealing with disagreement and dissatisfaction e.g. by using authority, negotiation or comprise

• how to resolve disagreement to support the production process.

2.5 Liaise:

• working as part of a team

• using verbal and non-verbal methods to liaise with colleagues • monitoring techniques to check working process and productivity e.g.

observations, discussions, obtaining progress reports, project meetings

• analyse working to ensure it is both effective ad productive.




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Unit Title: Ensure Your Own Actions Reduce Risks to Health and Safety


Unit Level: Two





Unit Summary Learners will investigate hazards and risks within their workplace and their own specific role. They will identify any unsafe working practices and take action to address potential problems. Finally, learners will assess their own conduct against relevant legal and organisational guidance.





1. Understand hazards and risks in the workplace

1.1. Define hazards and risks 1.2. Outline key hazards and risks in own

workplace, describing safe working practices

1.3. Outline key hazards and risks within own job role, describing precautions





2. Understand own responsibilities for health and safety in the workplace

2.1. Identify own responsibilities for health and safety in own workplace and job role under health and safety legislation, explaining the importance of personal presentation and behavior

2.2. Describe procedures for dealing with risks outside the scope of own responsibility, identifying the appropriate personnel with whom to liaise in own workplace

3. Be able to evaluate hazards and risks in the workplace

3.1. Identify workplace instructions relevant to own job

3.2. Identify any unsafe practices in own workplace and job role

3.3. Check which potentially unsafe working practices present the highest risk to self and others

4. Be able to reduce risks to health and safety in the workplace

4.1. Work safely in accordance with own level of competence, relevant instructions and legal requirements, following environmentally friendly practices

4.2. Manage any health and safety risks within own capability and responsibility

4.3. Suggest ways of reducing risks to health and safety to the appropriate personnel

4.4. Report any differences between workplace and suppliers’ or manufacturers’ instructions

4.5. Take action to address any hazards in accordance with workplace procedures and legal requirements

4.6. Ensure that own personal presentation and behaviour meets the requirements of relevant instructions, procedures and legal requirements



Assessment Guidance Learning Outcome 1 1.1 Hazards and risks:

• difference between hazards and risks

• hazards e.g. physical, electrical, environmental, location specific

• risks e.g. to self, others, property.

1.2 Outline:

• identify relevant hazards and risks 1.2 Safe working practices:

• describe safe working practices needed (and used) to minimise potential injuries/damage from identified hazards and risks

1.3 Own job role, describing precautions:

• identify own job role and working practices

• identify hazards and risks of own job role

• identify safe working practices used to minimise hazards and risks within own job e.g. use of PPE (personal protective equipment, lifting, working at height, working on location, electrical safety).

Learning Outcome 2 2.1 Own responsibilities for health and safety: taking account of:

• employment status e.g. employed, self-employed or freelance

• nominated role as health and safety representative (if applicable)

• monitoring and observation of all processes and activities in the workplace to meet organisation work instructions and safe working practices

• attending health and safety training

• reporting of identified risks and hazards to responsible personnel

• role model behaviour by those responsible for health and safety

2.2 Dealing with risks:

• identification of hazards and risks in the workplace and on location • identification of nominated health and safety representative(s)

• reporting process using verbal and/or written forms.

Learning Outcome 3 3.1 Workplace instructions:

• check risk assessments completed for own activities and work areas

• check for identified hazards and action to be taken to minimise associated risks • check availability of work instruction for relevant tasks and activities, detailing

operating procedures to minimize hazards and risks

3.2 Unsafe practices: may include for example:

• manual lifting

• working at height

• electrical hazards (including trailing cables and wires) • fire

• environment

• use of tools and machinery

• control of substances hazardous to health

• disposal of hazardous/toxic waste. 3.3 Highest risk: consideration of:

• probability of potential injury

• severity of potential injury. Learning Outcome 4

4.1 Work safely:

• follow all relevant work instructions

• work within own skills, experience, training and areas of responsibility • record work completion using organizational forms where provided, noting any

unusual or unexpected events

• RIDDOR – Reporting of Injuries, Diseases and Dangerous Occurrences Regulations

• Use of organisation’s written accidental logs, detailing minor injuries with names, dates, causes and action taken

• safe disposal of waste materials • follow organizational policies on recycling of materials, energy conservation

and other environmental practices. 4.2 Manage:

• follow safe working practices detailed in work instructions

• follow preventative measures detailed in risk assessments

• attend organization training and updates for health and safety in the workplace

• maintain knowledge of fire evacuation procedures

• liaise with appointed representatives and senior personnel for health and safety issues.

4.3 Reducing risks:

• identify appropriate personnel e.g. appointed person, health and safety representative, senior staff, business owner/director(s)

• work with identified personnel on a continual basis to monitor, report and improve standards of health and safety in the workplace.

•

4.4 Any differences: for example:

• safe handling and use of materials compared to recommended procedures shown on Safety Data Sheets (SDS)

38




• extended operating times or environmental for equipment e.g. equipment running too hot or in humid atmosphere

• use of electrical or other equipment in confined spaces (unventilated) leading to fumes or fire risk

• incorrect lifting of heavy equipment e.g. described as two person lift only

• incorrect or inappropriate use of ladders and other equipment for working at height, which are outside manufacturer’s instructions.

4.5 Address any hazards:

• principle of ‘safety first’, suspending tasks and activities until recognized hazards and risks are minimized before continuing work

• reporting hazards to appropriate personnel, in line with organizational and legal requirements e.g. RIDDOR

4.6 Own personal presentation and behavior:

• sensible dress code and wearing suitable PPE (personal protective equipment) where necessary e.g. gloves for toxic materials

• maintain professional behavior and attitude towards issues regarding health and safety in the workplace.





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Unit Title: Professional Behaviour in the Creative Media Sector


Unit Level: Three





Unit Summary In this unit, learners will gain an understanding of appropriate behaviours and conduct in the workplace. Learners will examine the cultures of creative media organisations and their strategies for ensuring that conduct is professional. They will also gain experience in agreeing timescales and budgets, constructing project plans and personal development plans, and will understand the importance of each of these business tools. This unit also assesses the learner’s understanding of the importance of CPD.





1. Understand the appropriate conduct for a particular Creative Media workplace

1.1. Describe and compare the cultures of different Creative Media workplaces

1.2. Describe examples of challenging behaviours and issues in the workplace

1.3. Explain the role of the key people to inform in relation to these examples

1.4. Explain the impact of different behaviours and conduct in the workplace





2. Know how to plan and manage workload

2.1. Describe effective time management skills needed to plan workload

2.2. Describe how to specify and agree timescales, budgets and resources

2.3. Explain how to construct a simple project plan

2.4. Explain the use of a contingency plan 2.5. Explain the importance of storing work,

using version control and observing file naming conventions

3. Understand the importance of continuous professional development

3.1. Explain what is meant by ‘continuous professional development’

3.2. Create and justify a personal development plan

3.3. Describe opportunities for training and development and explain the relevance of those choices.

Assessment Guidance Learning Outcome 1

1.1 Workplaces: research the environments and workplaces in which creativity takes place, e.g. consisting of positive, outgoing personalities and team working that also needs clear structure, organisation and time management to work effectively.

1.2 Challenging behaviours and issues:

• behaviours: for example: laissez-faire attitudes, complacency, lack of respect for team leaders/authority, poor time management, unstructured working, personality clashes, confrontation, argumentative behaviour

• issues for example: disagreements on media content, techniques, storyline, narrative, genre, conventions, camera shots, composition, colours, design layout, graphical user interface, budgets and timescales

1.3 Key people: key people to inform may include for example: line managers, team leaders, project managers, personnel department, human resources (HR) department, creative director, managing director, business owner.

1.4 Impact of different behaviours: constructive and destructive impact of behaviours

and conduct in the workplace, for example: how arguments and confrontation stifle creativity, moral and productivity. How positive and proactive team working enhance creativity, efficiency, product quality and increase motivation.



Learning Outcome 2 2.1 Time management skills for example:

• Making accurate estimates of timescales

• Maintain disciplined working when carrying out specific activities and tasks

• Using time management tools e.g. diaries, task or ‘To-do’ lists, project plans

• Monitoring of progress to ensure tasks and activities are on schedule

2.2 Agree timescales: budgets and resources to be made with key people, such as customers, clients, management, suppliers, designers, developers, media technicians. Resources to include people, materials and equipment needed.

2.2 Resources: people, materials and equipment needed.

2.3 Project plans: to identify tasks, durations, timescales, dependencies, resources and

key dates including scheduled completion time.

2.4 Contingency plans: how they are used to provide alternative project plans in case

of problems with tasks, durations, resources and other unexpected changes.

2.5 The importance of storing work: all stages and interim versions of design and

development work to be backed up and stored safely and all assets to be stored in an asset library, with backups and copyright information. Digital media products and files to use file naming conventions as specified by the organisation, which may include descriptive names, date of creation, author and version number (all of which may be included in the filename to enable easy identification). Follow procedures to ensure that interim files are not deleted or overwritten until necessary.

Learning Outcome 3

3.1 Continuous professional development: (CPD) is the process by which people working in any industry keep up-to-date, by constant learning and updating of their knowledge and skills that are relevant to their area of work. CPD may include knowledge and skills that are directly related to the sector and secondary skill areas such as functional skills, personal skills and team working for example.

3.2 Personal development plans: to identify areas of CPD that are needed in addition

to where, when and how they may be completed. This may include for example, courses, qualifications, professional memberships, trade publications, websites, books, tutorials and in-house training.

3.3 Opportunities for training and development: to be identified in a personal

development plan. Relevance of training and development needs to be cross referenced to existing knowledge, skills and those required for future jobs and activities.



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Unit Title: Creative Media Industry Awareness


Unit Level: Two


Ofqual Unit Reference Number: H/600/8508



Unit Summary Learners will develop an understanding of how the Creative Media sector is structured. They will research and examine the industries within the creative media sector, and the links and dependencies between them. They will also focus on particular teams and their responsibilities within an organisation, roles of individuals within teams, and the concept of a Creative Media product life cycle.





1. Know how the Creative Media sector is structured

1.1. Identify the industries within the Creative Media sector

1.2. Identify cross-industry ownership in the Creative Media sector

1.3. Identify the relevant relationships between a range of industries within the Creative Media sector

2. Understand a specific Creative Media project life cycle

2.1. Outline the stages of a specific Creative Media project life cycle

2.2. Identify teams and activities relevant to a specific project





3. Understand the role of a specific team within the organisation of which it is part

3.1. Outline the aims of a specific Creative Media organisation

3.2. Identify the role of a specific team within the organisation

3.3. Outline the relationship between the specific team and others within the organisation

4. Understand individual team roles and responsibilities within a specific project life cycle

4.1. Identify the individual roles within a specific team

4.2. Outline their responsibilities within a specific project life cycle.


1.1 Industries within the Creative Media sector: to include

• animation

• computer games • facilities (which includes post production, studio and equipment hire, special

physical effects, outside broadcast, processing laboratories, transmission, manufacture of AV equipment and other services for film and TV)

• film

• interactive media

• other content creation (pop promos, corporate and commercials production)

• photo imaging • publishing (books, journals, magazines, newspapers, directories and

databases, news agencies, and electronic information services)

• radio • television.

1.2 Cross-industry ownership may include:

• newspapers with online information services and broadcasting

• film makers with ownership of media distribution channels.

1.3 Relationships: between industries may include:

• content creators and distributors

• content creators and advertising

• content creators and publishing

• advertising and publishing.



Learning Outcome 2 2.1 Stages: key stages to include:

• ideas generation e.g. using mood boards, spider diagrams

• planning e.g. visualisations, storyboarding, project plans

• recording of images, audio and/or video

• design and development of digital media assets and products

• production/creation of work

• samples/prototypes/proofs • testing

• production of final work

• presentation/delivery of work • obtaining feedback

2.2 Teams and activities: identified at the planning stage of the project life cycle. Team

members identified for each stage of the production process together with skills required and how they will interact with each other during the project.

Learning Outcome 3

3.1 Aims: for example:

• target market (both clients and audiences)

• range of products and services

• purpose of products (e.g. to entertain, inform or educate)

• business performance (e.g. profit making)

3.2 Role of a specific team: team roles to include:

• sales and marketing

• advertising and PR (public relations)

• design

• pre-production

• field teams for recording and capture of raw footage and/or other information

• production and post-production

• quality and Testing

Note: Depending on the size of the Creative Media project, a team may cover one or several of these areas.



3.3 Relationships: how teams must work together and establish two way communications to create final work that is fit for purpose, on time and within budget. Also how media production teams must also work with sales, marketing and quality teams to ensure that work created will meet the requirements of both the client and the organisation.

Learning Outcome 4

4.1 and 4.2 Individual roles and responsibilities: for example:

• Sales team o Role: sales representatives, administrative support. o Responsibility: generating sales leads, providing quotations, winning

contracts and post project customer support

• Pre-production and design o Role: storyboarding, script writer, layout design, illustrator, game

designer o Responsibility: planning the media project, producing pre-production

documents for others to work from e.g. a script, storyboard and design document or specification

• Field teams

o Role: photographer, camera operator, audio technician o Responsibility: capturing and recording high quality images, video and

sound from a specific location

• Production and post-production o Role: audio-visual editing, content creators, web authoring, game

creation, graphics design and layout o Responsibility: editing content to meet specifications and client

effects, titles, credits, menus as necessary

• Quality and testing o Role: to ensure product works and is fit for purpose by the client o Responsibility for error checking, functional testing and checks on

display, colours, readability, performance for example



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Unit Title: Creative Media Industry Awareness


Unit Level: Three


Ofqual Unit Reference Number: K/600/8509



Unit Summary Learners will research and examine the industries within the Creative Media sector, and the links and dependencies between them, learning how the sector is structured. They will also focus on particular teams and their responsibilities within an organisation, roles of individuals within teams, and the concept of a Creative Media product life cycle.





1. Know how the Creative Media sector is structured

1.1. Describe the industries within the Creative Media sector

1.2. Describe cross-industry ownership in the Creative Media sector

1.3. Explain the relevant relationships between a range of industries within the Creative Media sector

2. Understand a specific Creative Media project life cycle

2.1. Describe the stages of a specific Creative Media project life cycle

2.2. Explain and justify resources required for a specific project





3. Understand the role of a specific team within the organisation of which it is part

3.1. Describe the vision, mission and values of a specific Creative Media organisation

3.2. Describe how a specific Creative Media organisation is funded, governed and regulated

3.3. Explain the role of a specific team within the organisation

3.4. Explain the relationship between the specific team and others within the organisation

4. Understand individual team roles and responsibilities within a specific project life cycle

4.1. Explain the individual roles within a specific team

4.2. Explain their responsibilities and outputs within a specific project life cycle

4.3. Describe examples of interdependence between team members


1.1 Industries within the Creative Media sector: to include:

• animation

• computer games

• facilities (which includes post production, studio and equipment hire, special physical effects, outside broadcast, processing laboratories, transmission, manufacture of AV equipment and other services for film and TV)

• film

• interactive media

• other content creation (pop promos, corporate and commercials production) • photo imaging

• publishing (books, journals, magazines, newspapers, directories and databases, news agencies, and electronic information services)

• radio

• television

1.2 Cross-industry ownership may include:

• newspapers with online information services and broadcasting

• film makers with ownership of media distribution channels

1.3 Relationships: between industries may include:



• content creators and distributors

• content creators and advertising • content creators and publishing

• advertising and publishing Learning Outcome 2

2.1 Stages: key stages to include:

• ideas generation e.g. using mood boards, spider diagrams

• planning e.g. visualisations, storyboarding, project plans

• recording of images, audio and/or video

• design and development of digital media assets and products

• production/creation of work

• samples/prototypes/proofs

• production of final work • testing

• presentation/delivery of work

• analysing audience feedback • post project review

2.2 Resources to include people, materials and equipment

• People: what skills are required to complete specific tasks? Who will be allocated to the task and justify how they are suitable for the role e.g. background skills, experience and/or qualifications.

• Materials: identify what materials will be required to complete the project, to

include for example, digital assets, video tapes, props, costumes.

• Equipment: identify what digital technology and other equipment will be needed to generate assets, media content and edit this to create the final work. Describe where the equipment is obtained from (e.g. using booking forms, hire, loan or use of allocated computer system). Justification of why the equipment is needed based on project requirements. Consideration should be given of alternative equipment and software applications to produce work.

Learning Outcome 3

3.1 Vision, mission and values: for example:

• Vision describes the long term ambitions of the organisation (e.g. 5-10 years) such as expansion, target turnover figures, national and international markets. Vision is about what the organisation intends to be.

• Mission statements describe the organisation’s current purpose, products, core values and aims.

• Core values of an organisation relate to its business ethics, conduct and

philosophies.

• How vision and mission statements together with a clear definition of core values are used to assist motivation and inspiration for staff and clients.

3.2 Funded governed and regulated:

Funding of an organisation for example:

• private ownership and funding

• PLC (Public Limited Company) with shares traded on the stock exchange

• shares held by stakeholders e.g. foreign investors and organisations

• public funded, state owned

• charities and not for profit ventures

Governed and regulated The purpose of governance and regulation, external bodies to monitor and provide guidance on standards, fairness and complaints procedures. Regulatory bodies to include:

• Ofcom

• BBFC (British Board of Film Classifications)

• ASA (Advertising Standards Authority)

• PCC (Press Complaints Commission)

• BSC (Broadcasting Standards Commission)

3.3 Role of a specific team: team roles to include:

• sales and marketing

• advertising and PR (public relations)

• design

• pre-production

• field teams for recording and capture of raw footage and/or other information

• production and post-production

• quality and Testing

Note: Depending on the size of the Creative Media project, a team may cover one or several of these areas.





3.4. Relationships: how teams must work together and establish two way

communications to create final work that is fit for purpose, on time and within

budget. Also how media production teams must also work with sales, marketing

and quality teams to ensure that work created will meet the requirements of both

the client and the organisation.

Learning Outcome 4

4.1 and 4.2 Individual roles and responsibilities: for example:

• Sales team o Role: sales representatives, administrative support. o Responsibility: generating sales leads, providing quotations, winning

contracts and post project customer support

• Pre-production and design o Role: storyboarding, script writer, layout design, illustrator, game

designer o Responsibility: planning the media project, producing pre-production

documents for others to work from e.g. a script, storyboard and design document or specification

• Field teams

o Role: photographer, camera operator, audio technician o Responsibility: capturing and recording high quality images, video and

sound from a specific location

• Production and post-production o Role: audio-visual editing, content creators, web authoring, game

creation, graphics design and layout o Responsibility: editing content to meet specifications and client

effects, titles, credits, menus as necessary

• Quality and testing

o Role: to ensure product works and is fit for purpose by the client o Responsibility for error checking, functional testing and checks on

display, colours, readability, performance for example



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Unit Title: Awareness of Health and Safety in the Creative Media Sector


Unit Level: Two


Ofqual Unit Reference Number: D/600/8510







1. Understand the relevant health and safety regulations in the Creative Media sector

1.1. Identify key elements of health and safety regulations, relevant to working in the Creative Media sector

1.2. Outline safe working practices in the Creative Media sector

2. Be able to comply with relevant health and safety procedures

2.1. Outline the differences between hazards and risks

2.2. Carry out a risk assessment 2.3. Report identified hazards and risks to

the appropriate parties




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Unit Title: Awareness of Health and Safety in the Creative Media Sector


Unit Level: Three









1. Understand the relevant health and safety regulations in the Creative Media sector

1.1. Describe key elements of health and safety regulations, relevant to working in the Creative Media sector

1.2. Explain safe working practices for a specific job role in the Creative Media sector

1.3. Describe the main employer responsibilities under the Health and Safety at Work Act

2. Be able to comply with relevant health and safety procedures

2.1. Describe the differences between hazards and risks

2.2. Carry out a risk assessment 2.3. Report identified hazards and risks to

the appropriate parties 2.4. Suggest ways of reducing risks to health

and safety in a specific Creative Media job role



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Unit Title: Agree the Photo Imaging Brief


Unit Level: Three




Unit Sector: 9.3 Media Communication

Unit Summary In this unit learners will cover all aspects of a photo imaging brief. They will be required to discuss client requirements in detail, recognise the possibilities presented and gather information necessary to develop and ultimately agree the brief. Learners will evaluate possible approaches, following their creative values, negotiate and secure client agreement on the work to be done, making all necessary administrative arrangements for the work.





1. Be able to use information relevant to the photo imaging brief to generate ideas

1.1. Identify client requirements relating to photographic content and deliverables

1.2. Identify any hazards and risks relevant to the imaging photo brief

1.3. Identify capabilities and limitations of own business or organisation’s resources in relation to the client’s requirements

1.4. Use the information gathered to generate ideas for the proposed work





2. Be able to liaise with clients regarding the photo imaging brief

2.1. Negotiate and agree with clients the purpose, deadline and budget

2.2. Present selected approach clearly to clients

2.3. Agree the contract for services with clients

2.4. Inform clients of intellectual property and copyright policy

2.5. Maintain a professional manner when dealing with clients

3. Be able to evaluate performance in relation to the photo imaging brief

3.1. Reflect on own work, identifying any potential improvements

3.2. Identify relevant sources of information to update knowledge and skills relevant to own work

4. Understand legal and regulatory requirements which impact on the photo imaging

4.1. Identify key aspects of legislation relevant to the photo imaging brief

4.2. Explain requirements for personal and professional identification in photo imaging assignments


1.1 Client requirements: in terms of, for example:

• content of photographic work

• number of photographs required

• visual style of photographs e.g. formal, informal, lighting needs, composition

• format of photographic images submitted to client e.g. prints, sizes, album, digital files.

1.2 Hazards and risks:

• complete a risk assessment as needed

• consider photo imaging assignment location and associated hazards/risks e.g. working at height, environmental considerations, traffic, crowds, fire

• action to be taken to minimise hazards and risks.



1.3 Capabilities and limitations:

• availability of photographic equipment e.g. camera specifications, number of cameras, lenses, lighting

• resolution of cameras and client requirements for large files/prints e.g. limitation of 8/10/12/16/24 megapixel images

• requirements of a multiple camera shoot with several photographers e.g. events

• requirements for post processing of photographic images e.g. prints, image file formats.

1.4 Information: to consider for example:

• photographic viewpoint

• composition

• visual style

• additional lighting

• equipment choices and availability.

Learning Outcome 2

2.1 Negotiate and agree: draft a contract for services to include:

• photographic purpose e.g. wedding, industrial, commercial, advertising, products, portraits, locations, travel

• dates for photography and deliverables

• cost of photographic work and subsequent prints/digital media.

2.2 Present: information for supply to the client:

• quotation for photographic work

• associated contract for services outlining terms and conditions.

2.3 Agree the contract:

• obtain approval from the client

• based on agreed quotation and contract for services

2.4 Inform clients:

• detailed in contract for services together with terms and conditions

• state clearly who owns the copyright on photographs taken Learning Outcome 3

3.1 Reflect on own work: critically review own conduct in terms of:

• responding to customer needs

• negotiating contract for services

• confidence in photographic work proposal

3.2 Sources of information: to include the use of for example:

• Photographic Association websites, newsletters and magazines

• Photographic publications and periodicals

• Networking with professionals working in the photo imaging sector • Trade shows and exhibitions

Learning Outcome 4

4.1 Key aspects of legislation: to include for example:

• Access to private property

• Permissions to take photographs

• Location where photographs to be taken, with consideration for obstruction, harassment, anti-terrorism legislation

• Subject of photographs e.g. people, children, wildlife, property, copyrighted materials trademarks, bank notes

4.2 Requirements: to consider for example:

• obtaining and displaying a press pass

• identification badge provided by organisation

• hi-vis jackets or other recognisable outerwear.







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Unit Title: Capture Pictures and Sound for Non-Linear Editing


Unit Level: Three




Unit Sector: 9.3 Media and Communications

Unit Summary In this unit learners will capture pictures, graphics and sound from various formats, in preparation for non-linear editing. It involves finding out what source materials to use and what has to be captured, obtaining the materials needed and assessing their technical quality. They will be able to check that the system and equipment are ready for the work, and to line up picture and sound. It also involves identifying and storing captures materials, monitoring technical quality and dealing with any problems that may arise. This is a technical editing unit.







1. Understand key issues relating to capturing pictures and sound

1.1. Identify the function of capturing equipment 1.2. Explain the reasons why materials are captured 1.3. Describe different formats of logs, explaining

how they are used 1.4. Explain how to deal with copyright protected

materials 1.5. Explain how considerations of picture and

sound levels, format, aspect ratio and compression differ when material is for on-line or off-line use

1.6. Identify problems involved in working with high definition materials

1.7. Explain how to capture standard definition materials onto high definition projects

2. Be able to prepare the source materials required

2.1. Obtain relevant information on source materials and outcomes required

2.2. Identify and locate specified materials from written and verbal communications

2.3. Log format changes required 2.4. Use aspect ratio or other format/standard

conversion to rectify any problems 2.5. Provide sufficient supplies of working materials

which are ready for use 2.6. Implement arrangements for source materials

in unsuitable formats to be transferred to the correct format

2.7. Assess accurately the technical quality of source materials, taking any required remedial action





3. Be able to operate the system and equipment competently

3.1. Select an appropriate resolution and storage location, ensuring there is sufficient available at the required resolution

3.2. Ensure the line-up is correct and to the required technical standards

3.3. Take remedial action if equipment problems occur

3.4. Check and line up correctly picture and sound levels and audio format as required

4. Be able to capture material 4.1. Input accurate information about source materials during capture

4.2. Select correct time code source during capture 4.3. Select specified tracks accurately for capturing

from source materials 4.4. Monitor the technical quality to identify any

problems during the capturing process 4.5. Store captured materials as required, ensuring

that they are labelled accurately and unambiguously

4.6. Maintain accurate records in the required format

5. Be able to liaise with relevant parties

5.1. Check unclear or ambiguous requirements promptly with the relevant parties

5.2. Report technical quality problems to the relevant parties

5.3. Report equipments problems to the relevant parties


1.1 Function: Video recording capture:

• To transfer combined video and audio to computer system for editing and post production

• Component parts of video camera e.g. playback mode, display monitor, menu settings, tape/storage media (loading and unloading)

• Connections between camera and computer system e.g. firewire, USB Audio recording capture:

• To transfer recordings of voice, event and background sounds



• Component parts of audio recorder e.g. playback controls, output level, settings, tape/storage media

• Connections between audio recorder and computer systems e.g. USB, mono/stereo audio channels

1.2 Reasons: to include for example

• For use in NLE (non linear editing) applications to create final work

• Reproduction and conversion into other formats for use in multimedia

• Archiving audio and video material for evidence purposes

1.3 Different formats: for example:

• Video log sheet – to document description of video clips recorded, tape number, timecode and duration

• Audio log sheet – to document content of audio recordings, duration, format and where stored

• Production log sheet – to document the steps and stages of a media project e.g. planning, recording and editing of audio-visual material

• Edit log – to document the post production tools, techniques and processes used when creating work

1.4 Deal: to include for example:

• establish restrictions on use and whether covered by fair dealing

• identifying copyright owner

• contacting copyright owner

• obtaining permissions to use protected materials

• discarding the use of copyrighted materials for which permission to reproduce cannot be obtained

1.5 Considerations: to include for example:

• picture quality, pixel dimensions, resolution, display size, frame rate

• video codecs supported

• sound quality, volume, pitch, tone, bit rate, bit depth

• audio codecs supported

• file formats supported for on-line and off-line use

• file sizes and practical limitations for on-line use

• streaming considerations for on-line use

1.6 Problems: to include for example:

• file sizes

• software application support for editing and post production

• playback medium and platform • cropping of picture when displayed on standard resolution display e.g. 4:3

• compression used by video recording devise and impact on editing/post production

1.7 Capture:

• creating a high definition project in the video editing application using appropriate settings and standards e.g. HD 720/1080

• capture of standard definition material from camera into high definition video project

• re-purposing of materials

• re-sampling and re-mastering of standard definition materials

• technical and visual limitations and constraints

Learning Outcome 2

2.1 Relevant information:

• produce and/or obtain a project specification

• identify source materials to be used e.g. live recording, archive material, timescales and schedules

• identify format, duration and content of required outcomes

2.2 Specified materials:

• obtain written and verbal specifications as required from relevant parties

• maintain records of verbal instructions and specifications

• identify sources for material requirements, and whether to be recorded or sourced

2.3 Log:

• identify project outcomes e.g. PAL/HD format, aspect ratio 4:3/16:9

• identify source material properties e.g. PAL/HD format, aspect ratio 4:3/16:9

• identify changes required to match source materials with required outcomes

2.4 Use:

• identify capabilities of video edit system and software application

• convert source materials identifying limitation and constraints e.g. cropping, stretching of material

2.5 Working materials:

• source/record video material as needed

• source/record audio material as needed

• save and store in suitable formats

2.6 Implement arrangements:

• identify and log format source materials

• identify and log format of correct format required

• identify tools and techniques to be used to convert the source materials

2.7 Technical quality:

• identify original recording standard and whether different to source material provided (to identify highest technical quality of material)



• limitations of upscaling low resolution material Review video material, in terms of, for example:

• sharpness

• colour

• lighting • audio Review audio material, in terms of, for example:

• clarity

• tone

• pitch

• volume

• investigate options for obtaining original higher quality material

• investigate possibilities for post processing of material to improve quality e.g. colour, brightness/contrast, audio levels, noise reduction

Learning Outcome 3 3.1 Resolution and storage location: For video capture:

• select suitable video project settings for required format and standard e.g. PAL, NTSC, HD

• use of project settings and features e.g. video aspect ratio, audio bit depth

• check storage capacity and remaining duration for captured materials For audio recording:

• select suitable audio project settings e.g. mono, stereo, dolby 5.1

• use of project settings and features for audio e.g. bit rate, file format, quality settings, surround sound

• check storage capacity and remaining duration for audio projects

3.2 Standards: check settings for:

• video recording equipment

• audio recording equipment

3.3 Remedial action:

• perform checks and tests on equipment

• identify faults and incorrect settings

• configure, replace, repair or reset equipment and/or operational mode

3.4 Check and line up:

• identify video tracks used in the project

• identify audio tracks used in the project

• check synchronisation (alignment) of audio with video

• for additional audio tracks, align with video as required on the timeline e.g. voiceover, narration, background music

• set audio gain and whether mono or stereo sound



• check sound quality and clarity in addition to volume levels e.g. using headphones

Learning Outcome 4

4.1 Information: use and maintain a video/audio log sheet for all recorded material, to include for example:

• date

• tape number

• timecode in/out points

• description of recorded footage clips

• shot type e.g. long, wide, medium, close up

• names of people e.g. interview for audio recordings

4.2 Time code source: to include for example:

• in-vision

• LTC (Linear Time Code)

• VITC (Verticial Interval Time Code)

• BITC (Burnt-In Time Code)

4.3 Tracks: to include selection of:

• multiple video tracks e.g. source footage, still images, green screen effects • multiple audio tracks e.g. source audio, background music, voiceovers,

narration and foley effects

4.4 Monitor:

• observation during the capture process

• stop and restart capture as required

4.5 Store:

• Save/store captured video and audio clips

• identify storage locations to enable access by others

• use naming conventions in line with organisation procedures and policies

4.6 Records: to include for example:

• sources and materials used

• tools, techniques, equipment and processes used Indexing of captured material, identifying

• capture date

• source

• filename of saved material

• location of saved material Learning Outcome 5

5.1 Unclear or ambiguous requirements: review specifications and requirements for capturing materials. To include for example:





• captured file format

• resolution • aspect ratio

• bit rate

• sample rate

• compression

• duration

• identify relevant parties to report ambiguities

5.2 Technical quality problems: identify relevant parties to report technical problems. Confirm nature of technical video quality problem, for example:

• sharpness

• colour

• lighting

• audio Confirm nature of technical audio quality problem, for example:

• clarity

• tone

• pitch

• volume

5.3 Report:

• monitor function and performance of equipment in use

• identify who should be informed of equipment problems





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Unit Title: Clear Copyright Materials


Unit Level: Three





Unit Summary In this unit learners will develop the skills to research and contact copyright owners and obtain clearances as directed by the producer. They will also carry out negative checks and maintain accurate records of all agreements.





1. Understand copyright requirements 1.1. Explain different types of copyright, indicating the materials to which they apply

1.2. Explain how copyright regulations affect the use of materials

1.3. Identify the rights and territories which must be cleared for broadcasters, co- funders and other relevant parties





2. Be able to obtain information on copyright materials

2.1. Identify the materials which need to be cleared, explaining all relevant details and the context in which they are to be used

2.2. Identify the timing and all relevant information for each musical item

2.3. Obtain terms and conditions, extent of use and likely costs from the relevant copyright owners and license owners

2.4. Obtain information and advice from specialist sources as required

3. Be able to obtain clearances for copyright materials

3.1. Obtain clearances and permissions on behalf of the producer for all audio and visual materials

3.2. Undertake negative checks on all relevant details

3.3. Provide relevant parties with accurate records or clearances, contracts and negative checks


1.1 Materials:

• literary

• dramatic

• musical

• artistic

• typographical

• sound recording

• films

• types of copyright

• creation of original work ©

• sound recording of a performance (P)

1.2 Use of materials: limitations on:

• broadcast

• performance

• display

• copying



• adapting

• duration of copyright on different types of work • publication or use of work in public domain

• procedures to obtaining copyright clearance

• crediting of author when using work

1.3 Rights and territories:

• broadcast

• performance

• display

• copying

• adapting

Learning Outcome 2

2.1 Materials: created, authored or owned by others who own copyright. Identify usage requirements.

2.2 Musical item: identify:

• author/composer

• duration of music clip

• distribution/broadcast use

• copyright owner

• license holders

2.3 Terms and conditions: information provided by copyright owner/publisher and/or license holder:

• terms of use

• limitations of use

• conditions and constraints of use

• costs of use

2.4 Information and advice:

• where copyright holder cannot be identified or located

• use of copyright and patent solicitors

• advice and guidance provided by specialist sources Learning Outcome 3

3.1 Clearances and permissions:

• identify audio and visual materials that need permission and/or license for use • how to complete clearances, permissions and licence agreements for all

materials

3.2 Negative checks:

• list fictional names used in planned production

• identify procedures to ensure names are not those of people in the real world



3.3 Records or clearances, contracts and negative checks:

• maintain accurate records

• store records safely and securely

• identify relevant parties who need the information • provide copies of clearances, licences, contracts and negative checks with

authorised signatories where applicable





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Unit Title: Communicating using Digital Marketing/Sales Channels


Unit Level: Three


Ofqual Unit Reference Number: T/502/8624


Unit Sector: 15.4 Marketing and Sales

Unit Summary The aim of this unit is to enable learners to develop an understanding of planning procedures when using digital media to communicate a specific message. Learners will plan how to target specific audiences with a particular message, ensuring that the message can be accessed by the recipient(s), monitoring and evaluating the response to digital activity and effecting corrective action where appropriate.





1. Understand how to plan the use of digital media for a specific message, audience and recipients

1.1. Explain the selection of the organisation’s targeted customers

1.2. Describe expected target audience responses to different electronic media communication methods

1.3. Describe the characteristics, advantages and disadvantages of different software packages for presenting marketing information

1.4. Explain the requirements of using multiple digital marketing technologies





2. Be able to plan the use of digital media for a specific message, audience and recipients

2.1. Confirm the sales and marketing objectives for the digital communication, including response rates and sales generated return on investment

2.2. Identify the criteria to be used in selecting recipients in target audience

2.3. Source and acquire targeted lists and databases of recipients in accordance with the plan

2.4. Confirm the range of electronic media best suited to communicating to the target audience in line with the sales and marketing objectives

2.5. Agree with relevant people the marketing communications message designed to engage the customer and which is appropriate for the media selected

3. Be able to check the digital message can be accessed and/or delivered

3.1. Check any links, keywords, and supporting attachments allow access by recipients to further information

3.2. Identify any risks that the message might be labelled as ‘spam’ and take action to minimise such risks

3.3. Enable click-through tracking in digital messages in accordance with the plan

3.4. Send messages to targeted customers in accordance with the plan

3.5. Set up reporting system for ‘undeliverables’ in accordance with organisational procedures

4. Be able to monitor and evaluate the response to digital activity and take corrective action

4.1. Record undelivered messages in accordance with reporting system

4.2. Identify repeat communications requirements in line with the sales and marketing objectives



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Unit Title: Contribute Ideas for Production


Unit Level: Three


Ofqual Unit Reference Number: J/600/8257



Unit Summary In this unit learners will originate, develop and present ideas for productions, drawing on their knowledge and understanding of industry requirements. They must initiate ideas and develop existing ones by suggesting improvements, and will understand how ideas are realised within different media and formats.





1. Be able to propose ideas for productions 1.1. Identify sources of ideas for productions, explaining how these can be accessed

1.2. Suggest ideas for format, style, budget and potential audience for a specific production

1.3. Identify strengths and limitations of own ideas





2. Be able to develop ideas for productions 2.1. Review ideas to confirm whether there is adequate content to make a workable programme

2.2. Review ideas to ensure that they contribute towards achieving organisational content

2.3. Identify any changes needed to meet production requirements and editorial policy

3. Be able to present ideas for productions 3.1. Write realistic and clear outline proposals

3.2. Write realistic and clear detailed treatments, to meet schedule and budget requirements

3.3. Suggest named presenters, performers or contributors to be used for the production

3.4. Present ideas clearly and cogently to relevant parties


1.1 Sources of ideas: may include for example group discussions, mind maps, spider diagrams, work with other people, brainstorming, cross of discipline working, historical contexts etc.

1.2 Ideas: for a specific production:

• identify type of production e.g. media format, content and distribution channel • develop and select suitable formats e.g. digital media, still image, multimedia,

audio, audio-visual, animation, moving image

• identify suitable genre and visual or audio style

• identify budget constraints and requirements

• identify target audience, demographics, their needs, expectations

1.3 Strengths and limitations: in terms of commercial potential, financial and/business constraints, creativity, legal and ethical considerations etc.

Learning Outcome 2

2.1 Review ideas: to include for example market potential, appeal to target audience, interests in content, time slots or distribution etc.



2.2 Review ideas: to consider for example styles, branding, corporate profile, financial performance, market penetration etc.

2.3 Changes needed: to consider for example writing and/or visual styles and conventions, legal, ethical, political bias, social, cultural etc.

Learning Outcome 3

3.1 Write: using appropriate titles, layouts, fonts and formatting

3.2 Write: content and layout in standard formats, using sector working practice and conventions

3.3 Presenters, performers or contributors: identify presenters, explain reasons why chosen, suitability for target audience

3.4 Present ideas:

• understand who relevant parties are e.g. Creative Director, Program Director, Editor, other decision makers and business owners

• choice of presentation methods

• verbal and non-vernal (e.g. written) formats




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Unit Title: Contribute to Good Working Relationships


Unit Level: Two





Unit Summary This unit emphasises the need for good communication and effective working during a production process. Learners will be able to clarify, agree and revise working arrangements and resolve any communication problems that might arise in the workplace.





1. Understand how to communicate effectively with colleagues

1.1. Explain the importance of balancing the needs of tasks and people

1.2. Explain the importance of sharing information with colleagues

1.3. Identify ways of tactfully requesting others to change working arrangements to improve own productivity

1.4. Describe how to resolve conflict situations or dissatisfaction

1.5. Explain the importance of liaison with colleagues to productivity





2. Be able to develop and maintain good working relationships during the production process

2.1. Identify key roles and tasks in the production process

2.2. Clarify, agree and revise working arrangements, promoting good working relationships

2.3. Communicate own decisions clearly and constructively

2.4. Resolve any conflict situations or dissatisfaction as necessary

2.5. Liaise with appropriate colleagues to ensure effective and productive working


1.1 Balancing:

• impact on people e.g. employees, employers, customers

• impact on efficiency, productivity and motivation

• impact on project costs, timescales and quality of work produced.

1.2 Sharing information with colleagues:

• benefits of better team working e.g. faster and more cost effective working, improved moral

• risks of inadequate sharing of information e.g. errors, working to incorrect specifications and requirements, higher expense safety.

1.3 Tactfully:

• verbal and non-verbal requests

• how to phrase requests

• maintaining politeness and assertiveness in requests

• when communicating with others, identify results and benefits of changing the working arrangements rather than just making simple demands.

1.4 Resolve:

• formal and informal approaches

• discussion with relevant colleagues to identify reasons and causes

• identifying fair resolutions

• methods used to communicate resolutions to all parties.

1.5 Liaison:

• methods of communicating with people to achieve aims



• verbal and non-verbal liaison e.g. communication and proactive team working

• direct and indirect effects on productivity. Learning Outcome 2

2.1 Key roles and tasks:

• specialised skills and job roles that are fundamental to the production process • specialised processes and tasks that are fundamental to the production

process

• critical path activities, tasks and people in the project plan.

2.2 Clarify, agree and revise:

• how to identify current working arrangements e.g. discussion with more senior staff such as line managers, supervisors

• communication methods with others to establish agreement of working arrangements

• methods used to identify when working arrangements need to change

• methods used to agree revised working arrangements (verbal and non-verbal) e.g. formal meetings, memos and updated work instructions

• recognition of good and bad working relationships

• impact of working arrangements and relationships on the production process.

2.3 Communicate:

• using verbal and non-verbal methods to communicate own decisions with others

• how to communicate positively and constructively with others to support working arrangements and the production process.

2.4 Resolve:

• listening skills to identify concerns when communicating own decisions

• dealing with disagreement and dissatisfaction e.g. by using authority, negotiation or comprise

• how to resolve disagreement to support the production process.

2.5 Liaise:

• working as part of a team

• using verbal and non-verbal methods to liaise with colleagues • monitoring techniques to check working process and productivity e.g.

observations, discussions, obtaining progress reports, project meetings

• analyse working to ensure it is both effective ad productive.




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Unit Title: Contribute to Office-Based Pre-Production


Unit Level: Three





Unit Summary The unit aims to provide learners with the skills to coordinate preproduction activities within the production office. They will be able to understand priorities and know how to deal with contingencies. They will be able to make various arrangements, communicate with relevant personnel and suppliers and liaise with the appropriate authorities.





1. Be able to undertake administrative arrangements for pre-production activities

1.1. Identify equipment and facilities required for the production

1.2. Maintain accurate and legible records of orders for necessary equipment and facilities, including confirmation of receipt

1.3. Identify factors which may affect the time-tabling of activities, explaining the importance of meeting deadlines

1.4. Develop contingency plans to cope with factors which may cause delay

1.5. Prepare relevant production documentation





2. Be able to liaise with relevant parties 2.1. Liaise with suppliers to order necessary equipment and facilities

2.2. Liaise as required concerning personnel and resource requirements

2.3. Provide support to senior personnel with responsibility for the planning and scheduling of production activities

2.4. Distribute schedules and scripts to relevant parties

2.5. Distribute all required production documentation to relevant parties

3. Be able to liaise with the relevant authorities

3.1. Implement arrangements for medicals as required

3.2. Implement arrangements for insurance as required

3.3. Prepare music copyright clearances 3.4. Explain special requirements for foreign

filming and carnets 3.5. Explain arrangements for UK work

permits for cast and technicians, implementing these as required


1.1 Equipment and facilities: liaise with relevant personnel to identify:

• equipment – to include how/where sources including all accessories and consumables

• facilities – to include locations, booking arrangements, timescales

1.2 Records: paper based and digital record systems; for example purchase orders, order tracking, delivery notes, goods inwards inspection etc.

1.3 Factors: that affect timetabling for example equipment availability, facilities availability, resources (people), working hours, location/venue restrictions, travel constraints, access arrangements (e.g. security, permissions, authorisations), completion timescales, equipment return, delivery deadlines, importance of meeting deadlines to include consequences to project timescales, costs and/or content, business or organisation performance and credibility, client needs and future potential



1.4 Contingency plans: solution based thinking processes, identify practical alternatives to maintain production plan. For example, use of: alternative equipment providers, facilities, location/venue, personnel (e.g. contracted or temporary). Identify cost implications for contingency plans.

1.5 Production documentation: to include for example:

• Booking forms

• Authorisation and access arrangements

• Production schedules

• Work instructions

• Distributed to all relevant personnel Learning Outcome 2

2.1 Liaise: using verbal and non-verbal communication methods. For example:

• Equipment enquiries by verbal contact

• Obtain quotations in writing

• Order placement in writing

• Order progress monitoring by telephone/email

• Use formal methods of communication where necessary to ensure contractual obligations are followed and accountable.

2.2 Liaise: use formal methods of communication where necessary to ensure all personnel have the necessary information and the production plan is followed.

2.3 Provide support: supply production schedule information and key equipment/facilities arrangements. Importance of providing own contact details to ensure senior personnel can contact you at any time.

2.4 Distribute: produce/obtain schedules and scripts in readable formats. Distribute using suitable methods. Confirm receipt of schedules and scripts to ensure all parties have necessary information.

2.5 Distribute: produce/obtain production documentation in readable formats. Distribute using suitable methods. Confirm receipt of production documentation to ensure all parties have necessary information.

Learning Outcome 3

3.1 Implement: identify requirements for medicals, identify where suitable medicals obtained from, identify personnel required to obtain medicals, book medicals with appropriate providers for all required personnel, notify relevant parties of completion of medicals, store medicals and certificates securely.

3.2 Implement: identify requirements for insurances, for example public and/or professional indemnity, identify where suitable insurances obtained from and whether already covered by organisation policies.



3.3 Copyright: types of copyright for example:

• music (e.g. compositions, songs, lyrics)

• sound recordings by an artist Identify publisher(s) and copyright clearances required, use of licensing agreements, content of agreements and clearances e.g. names, authors, performers, duration, distribution, rights, fees, royalties.

3.4 Special requirements: import and export of equipment from UK on temporary basis HM Revenue and Customs regulations, use of shipping or freight agents, documentation and carnets for import/export of equipment, identify destination country and whether ATA, carnet scheme recognised.

3.5 UK work permits: Work Permit Scheme, eligibility and structure (e.g. Tier 1 and Tier 2), identification of personnel who need work permits, use of agencies, timescales for applications.





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Unit Title: Create 2D Animations for Interactive Media Products


Unit Level: Three





Unit Summary The unit aims to enable learners to create two-dimensional animations for use as part of an interactive media product. It assumes the learner has the necessary skills to create animations and focuses on the application of these skills in an interactive media context.





1. Understand key issues relating to creating animations for interactive media products

1.1. Explain the use of computer animation in interactive media

1.2. Explain the key techniques used in computer animation





2. Understand key contextual information relating to creating 2D animations for interactive media products

2.1. Identify the requirements of the specification/brief

2.2. Identify the purpose of the product 2.3. Identify the expectations and

requirements of target users for the product

2.4. Identify the events or user interactions that will trigger the animations created

2.5. Identify how animation will be used in the product

3. Be able to create 2D animations for use as a part of an interactive media product

3.1. Design animations within specified style guidelines and within specified parameters and constraints relating to the target platform

3.2. Create animations that meet the specification/brief

4. Be able to liaise with relevant parties 4.1. Provide clear instructions for other parties to incorporate animations into the product

4.2. Liaise with relevant parties to ensure own animations are appropriate and meet requirements

5. Be able to store 2D animations for use as a part of an interactive media product

5.1. Save animations in appropriate formats to facilitate incorporation into the product

5.2. Organise animations using appropriate filing and name conventions to facilitate access by others


1.1 Use of computer animation: historical uses of computer generated animation e.g. to advertise products, generate income. Purpose of the animation e.g. to gain attention, inform, entertain.

1.2 Key techniques: Software applications, tool and techniques to include for example:

• Frame by frame animation

• Use of key frames



• Shape and motion tweens

• Onion skinning Learning Outcome 2

2.1 Requirements: to include for example: content, duration/length, interactive features, file format.

2.2 Purpose: for example: inform, educate, entertain, advertise, promote.

2.3 Expectations and requirements: identify who the target audience is e.g. age, class, demographics, gender, social status, interests. For the stated purpose, identify the expectations of the target audience. For example:

• Time needed to view the animation

• Attention span

• Interest level

• Engagement

• Interactivity

• Display (size, colour)

• Quality and fitness for purpose

2.4 Events or user interactions: consider for example: auto-start on page display, start on mouse-over or click, looping of animation, user interactions throughout the animation e.g. to make choices, selections.

2.5 Animation: size of animation (pixel dimensions and orientation), page position and layout, file format used.

Learning Outcome 3

3.1 Design: plan the content, identify assets required e.g. images, graphics, textual information, produce a storyboard for the animation, identify visual style, identify parameters and constraints relating to size, use of rich media and file format for target platform, identify interactive features.

3.2 Create: use tools and techniques of the software application, import/add assets in line with storyboard and plan, assemble assets in frames on the timeline, animate movement, add user interactivity as required by the brief and plan.

Learning Outcome 4

4.1 Clear instructions: liaise with other parties to provide for example: animation file size and format, any supporting files required, software requirements and version numbers for animation playback e.g. FlashPlayer, Web browser(s), how to embed the animation in the interactive media product, how to test playback, identifying pass/fail criteria.

4.2 Relevant parties: for example Creative Director, editor(s), legal advisors, quality personnel, client(s).



Learning Outcome 5 5.1 Save animations: save/export animation in suitable formats e.g. swf, mov, mpeg.

5.2 Organise animations: use descriptive names and/or those defined by organisational policy, document final work, use version control on final products, create backup copies of final work, assets used and files used to create the animation, store all files and backups safely and securely in recognised locations.





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Unit Title: Edit Audiovisual Journalistic Material


Unit Level: Three





Unit Summary The unit aims to enables learners to use editing and sequencing skills to create an attractive, easily assimilated and unambiguous narrative and news story. It will enable them to show competence when using different editing systems and editing techniques. They will be able to simplify complex material, recognise technical and journalistic errors and the need for changes, and know how to carry them out.





1. Be able to obtain key contextual information relating to editing audio- visual material

1.1. Explain key elements of the editorial brief

1.2. Identify the editorial requirements of the commissioning agent or channel

2. Be able to review recorded material 2.1. Review the sufficiency and quality of material recorded, indicating any impact on the brief

2.2. Correct technical errors while retaining essential content





3. Be able to use editing techniques and equipment to create a narrative

3.1. Select footage to meet the brief, identifying reasons for choice

3.2. Work with relevant parties to resolve any problems which might impact on the proposed purpose, content or treatment of material

3.3. Cut material to allocated durations 3.4. Present complex material in a clear way 3.5. Integrate material from different

sources as appropriate 3.6. Change the sequence of material as

required, with due awareness of misrepresentation

3.7. Remove any extraneous sounds and/or distortion using appropriate techniques and equipment

3.8. Enhance the production as required through the addition of effects and extra material

4. Be able to evaluate own work 4.1. Review edited material to ensure appropriateness for the target audience, house style and time of broadcast

4.2. Check that deadlines for edited material have been met

5. Be able to comply with relevant legal and regulatory requirements

5.1. Identify legal and other restrictions which may affect the editing of the story

5.2. Investigate any identified legal or compliance issues


1.1 Key elements:

• genre e.g. factual, scientific, documentary, drama, celebrity news/gossip

• colours, fonts and styles used

• graphic design elements

• political bias

1.2 Editorial requirements, for example:

• format and duration of audio-visual material



• chaptering of content

• intended broadcast and/or distribution channels • intended broadcast time slot and impact on content

Learning Outcome 2

2.1 Sufficiency and quality of material: create a log of material, rating suitability, clip duration and content:

• identify quality of material with reference to:

• video content, stability, range of shots, lighting, duration

• audio volume, clarity, tone noise, distortion Identify whether the recorded material will fulfil the requirements of the brief, explaining errors and omissions. For example:

• missing shots and footage

• poor lighting or colour rendition

• poor audio quality, low volume

• impact on the brief may include:

• need to re-record footage and/or audio

2.2 Technical errors: editing techniques and approaches used may include:

• cut/trim clips

• video adjustments e.g. for improved lighting, colour cast correction

• audio adjustments e.g. increase gain, remove noise

Learning Outcome 3

3.1 Select footage: identify sections of footage to use:

• reasons based on: • suitability of material for the editorial brief

• technical and aesthetic quality of material

• justify decisions made

3.2 Relevant parties: for example:

• Creative Director

• editor

• broadcast channel owners

• clients • identify proposed purpose and content based on editorial brief

• consider legal and ethical issues which may impact on the proposed purpose and content

• watershed considerations

• regulatory bodies and code of conduct

• identify timescales required for editing and deadlines for work to be completed

3.3 Materials: use editing software tools and techniques and Save material in suitable file formats

3.4 Complex material: Visualise and plan the sequencing of the recorded material to illustrate the narrative flow. Use of planning methods and resources such as storyboarding and edit logs

3.5 Integrate material: identify all material to be used, for example:

• recorded footage

• recorded audio

• archive material

• still images

• graphics and logos

• corporate branding

• credits and other text based material

• background audio, music and voiceovers

• Foley effects and sound files

3.6 Sequence of material:

• sequence the range of material to create a newsworthy story as planned

• maintain accurate journalistic policies and codes of conduct

• review story and character representation to ensure journalistic standards maintained in line with editorial and regulatory policies

3.7 Remove any extraneous sounds: use software tools and techniques to:

• remove/reduce background noise and interference

• remove/reduce event sounds that are not relevant to the material • edit audio tracks to normalise audio gain levels across all audio sources and

material

• minimise audio distortion where found

• identify capabilities of audio editing in both audio application software and audio-visual application software completed using sound editing software and the resulting audio re-imported into audio-visual editing application

• audio editing and cleaning up of sounds may be completed using sound editing software and the resulting audio re-imported into audio-visual editing application

3.8 Enhance the production: To include for example:

• transitions and visual effects eg chroma key, transformations, motion effects • graphics and channel or corporate logos

• visual special effects

• musical theme tunes and branding of material created

Learning Outcome 4

4.1 Review edited material: identify tests and checks to be made, taking into account:

• target audience (age, gender, religion, demographics) • editorial, house and channel styles of production





• intended broadcast schedule and whether content meets codes of conduct and regulatory body requirements e.g. watershed and other ethical considerations

4.2 Deadlines: compare timescales for editing of material with the deadlines identified

in the plan. Identify significant differences and reasons for changes to the planned timescales.

Learning Outcome 5

5.1 Legal and other restrictions: identify relevant legal and ethical requirements for:

• recorded audio and video on location eg access rights granted, permission to use video equipment on public or private property, people and property releases as required for journalistic purposes

• editing of final video to be supported with documented permissions and releases for all footage used

• editing to make sure the content meets regulatory bodies guidelines for intended broadcast times

5.2 Legal or compliance issues: identify relevant legal and compliance requirements

for:

• content of audio-visual material

• misrepresentation of people and organisations

• potential and risk of libellous accusations

• permissible content at the intended broadcast time slot





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Unit Title: Identify Sources of Information and Present Findings


Unit Level: Three





Unit Summary In this unit learners will identify relevant information and people in order to fulfil the research brief. They will be able to find suitable people to assist in the process, keeping contact lists up to date. They will collate and assess information from various sources and take legal, compliance and copyright considerations into account. They will be expected to present research findings clearly to decision makers.





1. Be able to identify sources of information

1.1. Identify different types of research resources available, explaining their suitability for particular productions

1.2. Identify potential sources of information relevant to the research brief

1.3. Establish initial contact with relevant parties to identify to identify their potential to contribute to the brief

1.4. Maintain accurate, comprehensive and up to date records of all information sources





2. Be able to obtain information from identified sources

2.1. Gather appropriate information from written and/or online sources

2.2. Devise relevant questions based on research findings

2.3. Use appropriate methods of questioning to elicit the required information from relevant personnel

2.4. Explain where any additional information required may be found

2.5. Check any inconsistent or contradictory information

3. Be able to present findings 3.1. Review the sustainability of information gathered, selecting material relevant to the research brief

3.2. Present finding clearly and succinctly using an agreed format and within stated deadlines

4. Understand legal and regulatory issues relevant to identifying sources of information

4.1. Identify and comply with commercial, legal and ethical considerations which apply when contacting relevant parties

4.2. Explain and comply with codes of practise, copyright and other relevant regulations


1.1 Research resources: primary and secondary sources, individuals and other organisations, online web based sources, Creative Commons licence, legal and ethical considerations of using sources.

1.2 Potential sources of information: relevance of source for a particular brief, consideration of accuracy and/or bias e.g. factual basis of information compared to rumour, opinion or political bias.

1.3 Establish initial contact: contact methods e.g. telephone, email, and letter. Approaches to identify their potential e.g. questioning, use of third party references.

1.4 Records of all information sources: paper based and digital record keeping, use of databases, identify key information to be stored e.g. names, range of contact details,



type of information available, reliability. Statistical records to identify historical performance e.g. accuracy of information, reliability.

Learning Outcome 2

2.1 Gather: using a range of sources; collect and summarise information found, document and reference sources for all information found, consideration of how the information will be stored or recorded e.g. in text, visual, audio or audio-visual formats.

2.2 Devise relevant questions: identify gaps in information gathered, identify sources for additional information required, prepare questions to ask to fill in gaps, provide missing information or verify accuracy of information.

2.3 Methods of questioning: identify who to ask questions, apply questioning to identified information sources e.g. interview, press conference, email, letter. Techniques used to record information e.g. notebook, Dictaphone, video camera.

2.5 Check: validate information and their sources, maintain diligence in accuracy of information sourced, apply questioning to validate accuracy of information, action to be taken when inconsistent or contradictory information found.

Learning Outcome 3

3.1 Review: identify aims of the research brief e.g. to inform, entertain, educate, shock or manipulate the target audience. Suitability of information to include consideration of:

• Accuracy

• Breadth and depth of information

• Legal use

• Ethical use • Original format and repurposing requirements e.g. text, visual, audio and audio-

visual formats

• Fitness for purpose

• Media interest.

3.2 Present finding: identify format of information to be supplied e.g. written report, ‘copy’ for web or other use, audio or audio-visual. Use and apply formatting to the document or digital media, proof reading of work, identify timescales for supply of findings, planning and scheduling to prepare information in suitable formats, consequences of missing deadlines.

Learning Outcome 4

4.1 Commercial, legal and ethical considerations: to include:

• Copyright

• Confidentiality

• Privacy

• Trespass

• Computer misuse

• Data protection • Child protection

• Discrimination e.g. sex, religion, disability, age

4.2 Codes of practise, copyright and other relevant regulations: identify relevant codes of practice e.g. from business, organisation or regulatory body. Identify copyright issues on information sourced; identify processes used to obtain copyright clearance, implications of breaching copyright and other regulations.






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Unit Title: Ingest Materials for Fast Turn-Around Programming


Unit Level: Three





Unit Summary In this unit learners will intake material onto a broadcaster’s system, learning how to work quickly and accurately to acquire material from a number of local and outside sources. They will need to make a judgement about prioritising the workload to reflect the transmission deadlines of the production teams. They must capture the material correctly, ensuring that the picture, audio levels and aspect ratio or other format or standard are adjusted correctly and that accurate metadata is added. This is a technical editing unit.







1. Understand the operation of a digital newsroom system

1.1. Explain the importance of effective communication with the newsroom

1.2. Explain how to prioritise tasks to fit with the news agenda and programme deadlines

1.3. Identify the various broadcast and domestic formats to be acquired

1.4. Explain how to line up the ingest terminal to make correct assessments of the technical quality

1.5. Explain the importance of timecode, identifying why ‘time of the day’ code is vital to news and sport production processes

1.6. Identify relevant parties to be consulted if material has to be deleted from the system

2. Be able to require material from local and outside sources

2.1. Select material correctly for ingesting onto a video server, using an appropriate format videotape deck

2.2. Use a video router to select line fed outside sources correctly

2.3. Communicate effectively with the operator feeding material from a remote location

2.4. Advise if adjustments need to be made





3. Be able to capture materials correctly

3.1. Spot check incoming material, ensuring that video and audio levels are correctly set

3.2. Ensure that audio tracks are correctly patched

3.3. Ensure that the aspect ratio or other format/standard converter is set appropriately so that material is correctly adjusted

3.4. Use the appropriate file naming convention to name the material accurately when starting to ingest

3.5. Suggest how to resolve faults in material being ingested

3.6. Annotate sequence changes as the material is ingested, producing metadata to speed up the editing process

3.7. Set up the timer recording function for regular daily recordings, assigning the correct record port, source and recording duration

3.8. Use ingests housekeeping tools to interrogate the system, establishing the remaining storage available and deleting material if required


1.1 Importance of effective communication: to include the effect on for example:

• Efficiency

• Productivity

• Team working

• Ability to meet deadlines

1.2 How to prioritise tasks: for example:

• Tasks and activities

• Dependencies

• Sequence of tasks

• Importance of achievement

• Availability of resources

• Risks



• Contingencies

1.3 Broadcast and domestic formats: to include for example:

• Video e.g. standard definition, PAL/NTSC, HD, mpeg

• Audio e.g. mp2, mp3, Linear PCM Material to include for example:

• Live broadcast material

• Archive material

• Scripts

• Voiceovers and narration

• Video clips • Photographs and images

1.4 How to line up the ingest terminal: in accordance with organisation’s ingest terminal features and controls, viewing and editing of external video and audio feeds, use of low resolution previews, assessment process in conjunction with playback and/or post production possibilities before play out and/or going ‘on air’.

1.5 Importance of timecode: to include for example:

• Accuracy of reporting

• Sequencing of news stories and events

• Use of multiple video feeds which must be synchronised to report news and sport event timeline

1.6 Consulted: identify reasons for material being deleted, log decisions made.

Learning Outcome 2

2.1 Select material correctly: use of A/V router for multiple videotape decks, select external video feed source, storage onto video server, use low resolution previews for monitoring of material.

2.2 Use a video router: identify number of external video feeds, identify and use video router controls, monitor channel selection.

2.3 Communicate effectively: identify form of communication used, describe content requirements, provide feedback on audio and video technical quality and suitability.

2.4 Advise: to include for example video quality and content, audio levels etc.

Learning Outcome 3

3.1 Spot check incoming material: monitor incoming video and audio, communicate feedback to operator in remote location with any problems.

3.2 Audio tracks: to include for example:

• Voiceovers



• Narration

• Studio recordings • Music

• Intros

3.3 Set appropriately: identify video feed aspect ratio, format and standard e.g. 4:3, 16:9, PAL, HD, mpeg, identify play out aspect ratio, format and standard, set format/standard converter for input feed and output required.

3.4 File naming convention: in accordance with organisation’s policies and procedures, categorise materials as required e.g. audio, video. Store in appropriate locations.

3.5 Resolve faults: to include for example: communication with remote operator for live feeds, stop and restart options when recording studio material, post production possibilities to resolve problems and faults.

3.6 Annotate sequence changes: identify range of ingest materials and feeds, identify sequence changes required, check/append metadata to video, identify capabilities of ingest terminal to use metadata, annotate changes to sequence of video materials.

3.7 Set up the timer recording function: select and assign:

• Record port

• Source

• Start time

• Duration

3.8 Interrogate: in accordance with organisation’s ingest terminal capabilities; identify total storage volume, identify remaining storage available and expected time before storage space is exhausted, identify unwanted materials and authorisations needed for deletion.





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Unit Title: Lay Basic Tracks for Camera Dollies


Unit Level: Two





Unit Summary The unit aims to enable learners to lay basic track for camera dollies. It involves establishing the suitability of the surface that the track will be used on, and the type of track relative to the size and weights to be carried. It involves assessing any risks and preventing any damage to surfaces or track. These activities will normally be supervised by a senior member of the crew.





1. Be able to obtain key contextual information relating to laying basic track for camera dollies

1.1. Identify the direction and angle of the shots and the path of any action

1.2. Establish where the track is to be laid, identifying the length required

1.3. Establish the time available for assembly

2. Be able to check the suitability of the track and supporting surface

2.1. Check the suitability of the track, identifying any obvious defects

2.2. Check the supporting surface for the full length of the track

2.3. Check above and to the sides of the track for any obstructions or hazards





3. Be able to set up basic track 3.1. Level the track, ensuring it is stable 3.2. Provide end stops as required

4. Be able to comply with relevant procedures and legislation

4.1. Establish the nature and probability of potential risks to the stability of the track

4.2. Check that any cables cannot be damaged or cause obstruction

4.3. Follow all instructions for all equipment in use

4.4. Comply with relevant health and safety legislation


1.1 Direction and angle: to consider for example:

• Straight

• Circular • Height change

• Required camera movement

• Basic movement, in 1 dimension e.g. along a straight line • Complex movements, in either 2 or 3 dimensions e.g. camera height change

along a straight track

• Path of action, for example actor/subject movement

• Starting and finishing camera angle for actor/subject, frame composition and path of action.

1.2 Track: Type of track to be used e.g. material, length of sections, number of sections and environment. Curved and straight track, suitability of surface for laying track, flat surface or slope, support needed for track considering weight of dolly, camera and operator.

1.3 Time: refer to project plans if available, identify timescales needed to lay chosen track.

Learning Outcome 2

2.1 Suitability of the track: suitability of track material for environment, inspect track for faults and damage, check connections between sections, replace track sections as needed for obvious defects.

104 AIM Qualifications Level 3 Diploma In Creative And Digital Media Qualification Handbook V6Docx


2.2 Supporting surface: type of surface e.g. hard, soft and any flexibility or movement. Ability to support weight of track, dolly, camera and operator. Smoothness e.g. stones, grit, bumps, dips. Flatness e.g. bumps and dips.

2.3 Sides of the track: consider size/width and height of camera on dolly, check for trees, posts and movable objects such as people and equipment.

Learning Outcome 3

3.1 Level the track: measure and check track, using suitable equipment e.g. spirit level; check smoothness of track across connections; check stability and potential movement of track when carrying weight of dolly, camera and operator.

3.2 Provide end stops: purpose of end stops (to ensure dolly does not fall off the track); suitable position of end stops to allow for dolly braking at end of required movement.

Learning Outcome 4

4.1 Potential risks: to consider for example:

• Weather e.g. rain, high/low temperatures and effect on track

• Effect of rain on supporting surface e.g. soft ground, mud

• Possibility of vibration and other movement in either track or supporting surface

• Possibility of damage due to people, equipment or vehicles moving across the track

• Use of a risk assessment form to identify risks, probability and action to be taken

4.2 Damaged or cause obstruction: identify whether scene action requires any cables to cross the track at any point; identify what cables will be used near the track e.g. for camera, microphones or lights; identify any cables that will be attached to the camera or dolly; identify cable lengths and routing to ensure free running when following camera/dolly.

4.3 Instructions: identify manufacturer’s instructions for use of all equipment; identify organisation procedures and instructions for use of all equipment; follow instructions as needed, identifying areas of potential non-compliance.

4.4 Comply: complete or check a risk assessment for the location and use of track; identify hazards and risks; identify preventative measures to minimise hazards and risks.





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Unit Title: Manage and Market Own Freelance Services


Unit Level: Three





Unit Summary In this unit learners will manage and market themselves as a freelancer in the multi-media industry. This includes promoting their own achievements and keeping their reputation and knowledge up-do-date. It also includes, seeking and finding work and negotiating own contracts. It involves a range of business related skills including self-promotion and knowledge of IT, budgeting and legal requirements.







1. Be able to market own services 1.1. Identify relevant business contacts within the industry

1.2. Maintain established business contacts within the industry

1.3. Participate with relevant networks and expert organisations to support own freelance activity

1.4. Use appropriate strategies and tools to enhance own professional reputation and promote own services

1.5. Implement systems to enable early identifications of work opportunities

1.6. Identify potential agents or other representatives

2. Be able to manage own performance 2.1. Identify own development needs drawing on a range of relevant sources

2.2. Seek constructive feedback from relevant parties about own performance

2.3. Set, monitor and review realistic objectives for own training and development needs, performance and business targets

2.4. Work flexibly, adapting to the requirements of others as appropriate whilst maintaining own personal work ethic and reputation

2.5. Make appropriate business decisions





3. Be able to manage own systems, accounts and records

3.1. Implement effective systems for managing budgets, finance and documentation

3.2. Maintain appropriate, accurate up-to- date records

3.3. Implement effective support services 3.4. Plan ahead to maintain a viable work

and cash flow

4. Be able to manage own contracts 4.1. Negotiate contracts that meet legal and industry requirements

4.2. Agree realistic fee rates, schedule and other expenses

4.3. Establish clear performance outcomes 4.4. Ensure that all contracts include all

relevant details, checking that these match agreements

4.5. Communicate the obligations of all parties clearly

4.6. Store a written copy of the final signed contract securely


1.1 Business contacts: potential suppliers, customers, partners and competitors, professional service providers e.g. banks, accountants, solicitors.

1.2 Maintain: identify methods of contact e.g. face-to-face, telephone, email, and letter; use schedules to maintain regular contact.

1.3 Freelance activity: identify own freelance market and activities; identify relevant organisations and networks. For example:

• Photographic and video associations such as Society of Wedding and Portrait Photographers (SWPP), Guild of Professional Videographers (GPV)

• Sector Skills Councils

• Business Link

• Trade events and exhibitions

1.4 Strategies and tools: may include for example:

• Portfolios



• Testimonials

• Websites • Promotional leaflets

• Advertisements

1.5 Systems: may include for example:

• Networking contacts

• Word of mouth recommendations • Use of voicemail

• Use of mobile communications

1.6 Potential agents or other representatives: validate knowledge and experience of the industry; investigate potential contacts and markets for agents and representatives; personal background and experience; ensure no competition for services, supported by contractual clauses; identify potential costs and fees.

Learning Outcome 2

2.1 Relevant sources: relevant sources include both the demands of the market and capabilities of existing suppliers. For example:

• Other freelancers comparing knowledge and skills

• Client/customer demands and requests

• Critical review and comparison of own work with that of industry professionals

• Identify skill areas for own development; identify sources for development needs.

2.2 Relevant parties: from professional freelances and/or professional organisation representatives; from clients and customers for work completed.

2.3 Set, monitor and review: use documented records; identify training opportunities, dates and costs; produce a schedule that balances workload and training/development needs; review training and development completed, identifying benefits to self and business performance; set targets for business performance e.g. 1-5 year timescale; monitor development of business and compare with plan, identifying successes, new opportunities and additional needs.

2.4 Work flexibly: flexible working to include for example:

• Working hours

• Place of work

• Changes to client/customer needs When working flexibly:

• Maintain delivery timescales and promises • Maintain costs as quoted unless changes to product or service agreed with

client/customer

• Maintain integrity and professional behaviour when dealing with clients, customers, suppliers and other people.

2.5 Business decisions: to include for example:

• Financial management of business, e.g. capital funding and cash flow

• Pricing structure for products and services to maintain competitive edge

• Monitor business overheads and expenses to maintain profitability

• How and where to advertise and promote the business

• Personal development e.g. in business management and industry/sector skills

• Balance potential business risk and reward in all dealings and activities Learning Outcome 3

3.1 Budgets, finance and documentation:

• Finance and accounting: Bookkeeping and transaction records e.g. using software applications and/or account books; profit/loss accounts; balance sheets.

• Budgets: Capital budgets for business setup, investment and expansion; cash flow forecasts using spreadsheets or other software application.

• Documentation records: customer contact database; quotations for possible work; invoices for work, with systems to monitor and chase payments when due; test/inspection of goods for quality purposes; health and safety records, risk assessments, policy statement; backup copies of work and records stored safely and securely.

3.2 Accurate up-to-date records: use software and/or account books to maintain records; identify monthly income and expenditure to provide record of short term business performance; complete annual profit/loss account to provide records of yearly business performance.

3.3 Support services: identify customer support requirements, for example:

• Customer service and support following delivery of product or service e.g. assistance with using product, answering questions and queries, additional needs

• Impact of good customer support on future business potential

• Procedures for support services, identifying whether free or chargeable

• Maintain documented records of all support services provided, to identify impact on business performance

3.4 Plan: use software applications and/or paper based records e.g. spreadsheet. Predict monthly values for:

• Income from sales

• Other income

• Fixed costs e.g. rent, rates, lighting, heating, telephones, loans, vehicles

• Variable costs e.g. cost of sales (materials, external labour, processing services, travel)





Create, monitor and update cash flow forecast within financial resources available; predict cash flow and bank balances e.g. for 3-12 months ahead.

Learning Outcome 4

4.1 Contracts: content of business contracts, for example:

• Scope of supply e.g. product, service, quantity and delivery timescale

• Specifications (where applicable)

• Rights

• Indemnity

• Limit of liability

• Payment terms

• Ownership of goods

• Cancellation clauses

• Governing law (English)

4.2 Fee rates, schedule and other expenses: taking account of, for example:

• Fixed costs e.g. rent, rates, lighting, heating, telephones, loans, vehicles • Variable costs e.g. cost of sales (materials, external labour, processing services,

travel)

• Target profit margins e.g. 30% - 60%

• Competitors fee rates 4.3 Performance outcomes: to include for example:

• Deliverables

• Timescales • Cost

• Profit margin

4.4 Contracts: review contract to ensure all sections of planned content included; review key contract details, such as product/service to be supplied, delivery timescale and cost.

4.5 Communicate: distribute copies of contract to key personnel involved in the project; communicate key project information to individual team members so that all parties are aware of their job role, what they have to do and by when; prepare a project plan where applicable.

4.6 Store: contract to be signed by authorised representatives from both customer and supplier; safe storage of final signed contract and associated documents; supply copies of contract to all relevant parties.





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Unit Title: Monitor and Maintain Post Production Equipment and Environments


Unit Level: Three





Unit Summary The unit will support learners to prepare, monitor and maintain post production equipment and environments. It involves checking what supplies and equipment are needed, making sure that the post-production environment is clean and safe for use and checking that equipment and controls are working. It requires accurate labelling of picture and sound materials, monitoring and keeping records of their storage and movement and ensuring that the post production environment is clean and ready for the next user. This is a technical editing unit.





1. Be able to specify the supplies and equipment required for post-production

1.1. Identify the nature and purpose of different types of materials and equipment needed for post-production

1.2. Identify requirements for supplies and equipment from relevant information sources





2. Be able to comply with relevant health and safety requirements for post- production

2.1. Handle equipment and supplies correctly and safely in order to minimise risks to people, equipment and supplies

2.2. Check that the post-production environment is clean and tidy prior to use to enable safe working practises

2.3. Return post-production equipment and environments to a clean and tidy condition after use

3. Be able to check that equipment and controls are working correctly

3.1. Identify the different aspect ratios and formats/standards of source materials and their implications for the equipment

3.2. Identify types of equipment faults, indicating how these can be resolved

3.3. Check that equipment and controls are functioning effectively

3.4. Check monitoring equipment, confirming that it is functioning accurately prior to line up

3.5. Check equipment plug-ins and user settings, confirming these are correct

3.6. Report serious faults or problems in equipment promptly and in sufficient detail to the relevant parties

3.7. Withdraw dangerous and unusable equipment promptly, notifying the relevant parties

3.8. Label and dangerous and unusable equipment clearly

3.9. Return levels and settings to default positions





4. Be able to store picture and sound materials correctly

4.1. Identify key factors to consider when storing materials

4.2. Store picture and sound source materials safely and securely in appropriate storage conditions which are easily accessible during editing

4.3. Place mastered materials in the appropriate storage, dispatch or use

4.4. Return source materials to the appropriate place

5. Be able to keep accurate post- production records

5.1. Use labels which are accurate, legible, up-to-date, unambiguous and meet agreed standards

5.2. Maintain and complete and accurate paper based and computer based records of all materials in use

5.3. File records in appropriate manner and place

5.4. Record accurately the movement of materials to and from the post- production environment

5.5. Back up editing decisions completely and accurately in the appropriate manner and form


1.1 Materials and equipment: Equipment: computer system; graphics tablet; speaker system and/or headphones; storage locations e.g. external hard drives, CD/DVD, network storage; software applications for capture and editing e.g. audio, video; MiniDV tape player; playback equipment for test purposes. Materials: CD/DVD discs; Paper, ink; Tapes (DV, Audio).

1.2 Requirements: to consider for example:

• Compatibility of supplies with equipment • Quantity of supplies and equipment required

• Timescales for supplies and equipment needs

• Suitability of information sources



Learning Outcome 2 2.1 Handle equipment and supplies correctly and safely: identify safe working practices; identify potential risks and hazards; use and/or complete a risk assessment where appropriate; identify action to be taken to reduce potential risks as described on the risk assessment.

2.2 Check that the post-production environment is clean and tidy: work areas; editing desk; tidy loose papers and materials not related to the current project.

2.3 Return post-production equipment and environments: remove all materials, papers, draft printouts, samples, proofs; clear work areas and editing desk.

Learning Outcome 3

3.1 Aspect ratios and formats/standards: Video aspect ratios and formats/standards:

• 4:3 • 16:9 • HD 720/1080 • PAL/NTSC/SECAM • Digital formats e.g. mpeg, .mov, .avi, .flv

Audio formats and standards:

• Bit depth e.g. 8/12/16 bit

• Sample rates e.g. 44.1kHz, 48kHz

• Digital formats (compressed and uncompressed) e.g. .wav, .mp3, .aiff, Ogg Vorbis

Implications to consider technical, visual and audio compatibility of materials e.g. video footage in PAL, HD and mpeg resolutions and aspect ratios.

3.2 Types of equipment faults: to include for example:

• Computer system faults

• Hardware

• Operating system

• Driver configuration

• Cables and connections

3.3 Check: perform checks and tests on equipment; create a checklist for equipment and controls if required; use a checklist for equipment and controls, recording results obtained.

3.4 Monitoring equipment: to include for example:

• Power

• Connectivity

• Display settings e.g. colour balance, gamma, brightness

3.5 Plug-ins and user settings: identify installed plug-ins; identify users, panel layouts and customised settings e.g. display resolution, default paths for source files and output.

3.6 Report serious faults or problems: identify relevant parties to report faults. Complete a fault log sheet as required with for example:

• Date

• Name of user/tester

• Equipment identification and location

• Details of fault

• Timescales needed for repairs (if appropriate)

3.7 Withdraw: identify relevant parties to report faults; labelling of unusable or faulty equipment; storage of unusable or faulty equipment in recognised areas (in accordance with organisational procedures).

3.8 Label: Provide details of:

• Date equipment withdrawn from use

• Name of person responsible for withdrawing equipment • Equipment type and description

• Equipment serial number

• Nature of fault

3.9 Return levels and settings to default positions: identify user settings and customised controls used in the post production; remove and/or replace user and customised settings to default values (either manufacturers’ settings or organisational settings) in accordance with agreed procedures.

Learning Outcome 4

4.1 Key factors: to include for example:

• Purpose and potential use

• Access/availability

• Media

• Video format e.g. aspect ratio, resolution, file format

• Audio format e.g. bit depth, sample rate, file format

4.2 Store: to include the use of:

• Master copies of materials

• Backup copies of materials

• Appropriate file formats e.g. high resolution, uncompressed

• Appropriate file locations e.g. local drives, external drives, network storage

4.3 Place mastered materials: to include for example:

• Burning CD/DVD



• Storage on external media, tape and/or hard drives

• Protective packaging for media • Labelling of media

4.4 Return source materials: identify where to return source materials; protective packaging for materials; labelling of materials; dispatch of materials using appropriate shipping services e.g. courier using trackable reference.

Learning Outcome 5

5.1 Use labels: label media and packaging cases; use appropriate marking pens and/or labels to avoid damage to media. Information to include for example:

• Date recorded/edited

• Title of material

• Reference number(s)

• Version/release number

• Content description

• Author/creator

• Copyright and ownership information

Labels to follow organisational procedures and policies where used.

5.2 Records of all materials: to include for example:

• Asset log books

• Computer databases

• Asset management controls and utilities

• Version control

Cross referenced to material labelling and storage

5.3 File records: in accordance with organisational policies and procedures; comply with indexing systems e.g. alphabetical, date order, material type; storage of master and backup copies of materials e.g. backup copies at a different (external) location.

5.4 Record: use log books, shipping records as appropriate to the organisational procedures; file dispatch notes and delivery notes; keep records of ‘signed for’ deliveries.

5.5 Back up: use features of the edit suite to create backups of all work; store backups separately and securely; check archived and backup material for suitability; maintain records of all decisions made and store safely.

Delivery Requirements

Appropriate physical resources will be required in order to deliver and assess this unit.





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Unit Title: Obtain Archive Material


Unit Level: Three


Ofqual Unit Reference Number: M/600/8267



Unit Summary In this unit learners will develop the skills to select archive footage, still pictures and audio material for productions within time and cost limits. They will also be able to present their recommendations and arrange for the material to be included in the production, obtaining necessary permissions and licences and ensuring that material is transferred in an appropriate format.







1. Be able to select archive material for use in productions

1.1. Justify the need to use archive material, comparing its use with alternative ways of meeting the production brief

1.2. Identify materials needed to meet the production brief, working within agreed parameters

1.3. Explain relevant editorial guidelines 1.4. Identify sources for the required material,

explaining how they can be accessed 1.5. Make recommendations on realistic alternatives

when required material is unavailable 1.6. Explain how to ensure that the format of material

obtained meets the needs of the production 1.7. Identify costs and limitations on the use of

identified material 1.8. Select materials to meet the production brief

within time and budget constraints 1.9. Specify requirements clearly and concisely





2. Be able to arrange for archive material to be included in the production

2.1. Obtain all necessary permissions to use identified materials

2.2. Order the final selection of material promptly in the correct technical format and in time to meet production deadlines

2.3. Use the correct form of license agreement, ensuring it is confirmed in writing

2.4. Maintain accurate records, including the movement of material and copyright details

2.5. Credit sources in line with editorial policy 2.6. Prepare full and accurate supporting

documentation for the transfer of materials 2.7. Arrange delivery of transferred material to the

edit suite within agreed deadlines 2.8. Identify any problems that arise, noting their

implications

3. Be able to liaise with relevant parties on the use of archive material

3.1. Liaise with decision makers to agree realistic alternatives when required material is unavailable

3.2. Seek feedback from relevant production personnel on selected material

3.3. Negotiate with suppliers to agree costs and other associated charges

3.4. Notify decision makers of costs, limitations and any legal constraints on selected material

3.5. Liaise with operators and decision makers to resolve identified problems, taking into account their implications

4. Understand legal and regulatory issues relevant to the use of archive material

4.1. Identify legal and ethical constraints affecting the use of archive materials in production

4.2. Explain types of copyright, indicating the materials to which they apply

4.3. Explain how the use of material from and in different countries may affect copyright regulation

4.4. Identify legal constraints on the use of identified material




1.1 Need to use archive material: identify the needs of the production brief; time and cost benefits of using archive material; comparison of resources needed if not using archive material.

1.2 Materials: for example:

• Still images

• Audio clips and recordings

• Video clips and recorded footage

1.3 Editorial guidelines: in line with business or organisation requirements; consideration of editorial styles and requirements; mood, tone and style of editorial production; ethics, policies and philosophies of the organisation and how they impact on the guidelines; impact of editorial guidelines on material to be sourced and used.

1.4 Sources: range of archive sources e.g. picture libraries, press and media organisations; procedures to contact, browse material and obtain rights for use.

1.5 Recommendations: consideration for material being unavailable, too costly or difficult to locate within available timescales. Alternative options to consider:

• Use of closely related or similar material

• Artist impressions

• Simulated work

• Script or narrative for a presenter • Contract a supplier to create the exact material needed

1.6 Meets the needs of the production: document format of material available; document format of material needed in production; identify techniques processes, costs and processes, costs and purpose material into the required format; verify that processes, costs and timescales meet with production needs.

1.7 Costs and limitations: to include for example:

• Costs as described in contractual documents

• Licence fees

• Distribution

• Acceptable use

• Duration of use • Size and format of reproduction e.g. photograph used on a website or limited

print run of a book

1.8 Select materials: identify materials, delivery timescales and costs; justify choices made.

1.9 Specify requirements: Using verbal and/or non- verbal methods

Learning Outcome 2 2.1 Permissions: in accordance with contractual documents, taking account of:

• Licence fees • Distribution • Acceptable use • Duration of use • Size and format of reproduction e.g. photograph used on a website or limited print run of a book

2.2 Order: using standard purchase orders or order forms. Detailing:

• Item(s) • Quantities • Rights and usage • Format • Costs • Delivery timescales

2.3 Correct form of license agreement: in accordance with own organisation or that of supplier; check content of licence agreement, signatories and dates.

2.4 Maintain accurate records: using paper based and/or digital records; use of tracking reference number e.g. when sending material by registered post or courier; Log and store copyright permissions.

2.5 Credit sources: identify editorial policies and procedures; methods used to credit sources e.g. “photograph reproduced with permission of….”.

2.6 Supporting documentation: to include for example:

• From/To fields

• Description of material

• Intended use

• Return address or contact details in case of non-delivery

2.7 Arrange delivery: specify and agree delivery timescales and deadlines with supplier; liaise with supplier and edit suite for delivery of material.

2.8 Problems: maintain accurate records; identify and record problems; identify implications; who to inform in case of problems that are identified.

Learning Outcome 3

3.1 Liaise: identify key issues to inform decision makers regarding material requirements and availability; outline alternatives, detailing source, cost, timescales, material content and suitability.

3.2 Seek feedback: feedback on for example:

122


• Suitability of material content

• Format of material • Quality

• Fitness for purpose

• Delivery (as scheduled)

• Problems and/or limitations

3.3 Costs and other associated charges: identify for example:

• Cost for use of material

• Delivery charges

• Any additional costs

• Terms of business

• Terms of payment

3.4 Notify decision makers: using formal communication with decision makers (i.e. not verbal so that there is a record of the information being supplied); maintain records of information passed to decision makers.

3.5 Resolve identified problems: identify problems as they arise; consider the problem, implications and possible solutions; discussion and liaison with operators and decision makers; supplying information and negotiating strategies to resolve the problem.

Learning Outcome 4

4.1 Legal and ethical constraints: review licences, agreements and permitted use; identify legal limitations of use; consider editorial policies and ethical constraints in the use of material; identify potential ethical issues regarding the use of the material e.g. social, cultural, religious and discriminatory impact on the target audience.

4.2 Types of copyright: to include copyright, intellectual property and how this differs from trademarks and patents; copyright on literary, dramatic, musical, artistic, typographic, sound, film and broadcast material; owners of copyright ; duration of copyright.

4.3 Copyright regulation: copyright legislation under UK law; International copyright law; The Berne Convention and the role of WIPO (World Intellectual Property Organisation); fair dealing and fair use according to UK and USA/International definitions; derivative work.

4.4 Legal constraints: identify authors and/or copyright owners; confirm limitations, constraints and duration of copyright; clearly identify intended use and whether permitted under copyright law without obtaining permission e.g. news reporting and statutory enquiries; establish whether intended use is covered by ‘fair dealing’ clause of UK copyright law; identify action to be taken to obtain copyright clearance for intended use.





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Unit Title: Obtain Assets for use in Interactive Media Products


Unit Level: Three


Ofqual Unit Reference Number: F/600/8287



Unit Summary In this unit learners will be required to obtain assets for use in interactive media products. They must be able to obtain any assets required for the productions, working with other relevant parties as required.





1. Understand contextual information relating to a range of assets in different media formats for use in interactive media products

1.1. Establish the parameters of the project, identifying key constraints according to platform and distribution methods

1.2. Identify the types, properties and formats of assets required for use

1.3. Establish the requirements and expectations of others who will use obtained assets





2. Be able to obtain assets and clearances required for the production

2.1. Research appropriate sources of assets 2.2. Locate appropriate assets 2.3. Negotiate with relevant parties as

required to obtain assets 2.4. Obtain clearances and permissions for

use 2.5. Prepare a specification for the creation

of original content

3. Be able to organise obtained assets 3.1. Use appropriate filing and naming conventions to organise assets to ensure that they can be easily identified and located by other relevant parties

3.2. Maintain accurate written records of key information about the obtained assets


1.1 Parameters: identify for example final interactive media output format; file formats supported; display capability of platform; bandwidth and/or streaming constraints for distribution of final product.

1.2 Types, properties and formats: to include for example:

• Text documents • Still images Audio clips

• Audio-visual clips Properties to include for example:

• Asset/file format

• Resolution

• Detail

• Quality (e.g. compressed and uncompressed)

• Suitability and fitness for purpose Potential for re-purposing in different formats

1.3 Requirements and expectations: identify for example:

• Production teams requirements

• Asset/file format(s) needed and/or supported

• Pixel dimensions

• Resolution

• Audio bit rate and depth



Learning Outcome 2 2.1 Sources: to include for example:

• Organisation archive material

• External libraries

• Material in the public domain

• Online sources

• Bespoke media developers and suppliers

• Freelance agents

2.2 Locate: conduct research to identify sources for assets in required formats.

2.3 Negotiate with relevant parties: contact suppliers, publishers and/or copyright owners; identify possibilities for use in terms of original copies, costs, availability and any previous publication or use.

2.4 Clearances and permissions: authenticate the copyright owners; draft agreements for use, confirming the permissions granted.

2.5 Specification: use of formal tender/contract documents to identify for example:

• Content

• Duration

• Format

• Copyright

Learning Outcome 3

3.1 Filing and naming conventions: store assets safely and securely in asset libraries; create and maintain backup copies; use file naming conventions and formats to identify asset content, in accordance with organisational guidelines and principles.

3.2 Records of key information: maintain asset library; maintain asset indexing; include key properties of assets e.g. file type, format, resolution, quality, bit depth (subject to type of asset); print records for use by production personnel.





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Unit Title: Obtain, Prepare and Return Camera Equipment


Unit Level: Two





Unit Summary The unit aims to enable learners to obtain, prepare and return camera equipment. It involves ordering the equipment required for the shoot, testing the equipment and keeping adequate records. It also involves ensuring that appropriate packing and clear labelling and documentation methods are used. It includes checking the equipment and returning it after use and complying with relevant regulations.







1. Be able to obtain camera equipment 1.1. Identify the equipment requirements from the production brief

1.2. Specify all requirements for the protection of equipment or stock in transit

1.3. Produce legible paperwork which clearly states all requirements

1.4. Place orders to allow deliveries in time to meet shooting schedules as required

1.5. Organise collection or delivery at an agreed time and place

2. Be able to prepare camera equipment for use

2.1. Label items accurately and legibly as required to enable identification

2.2. Check that the equipment supplied matches documented requirements, seeking solutions if necessary

2.3. Test equipment on delivery 2.4. Make accurate reports of any loss or

damage, passing them on to all relevant parties

2.5. Use safe lifting and handling methods 2.6. Store items safely, ensuring they are

readily available for use





3. Be able to return camera equipment 3.1. Use suitable travelling cases and packaging materials

3.2. Pack items to meet weight and other safety regulations

3.3. Identify any equipment that is liable to affect the recording medium

3.4. Label and record the content of each travelling case legibly, conforming to any regulatory requirements

3.5. Check the equipment being returned, signing for it against a copy of the delivery documentation

3.6. Notify all relevant parties when documentation is complete and equipment ready to travel

3.7. Return the equipment promptly to avoid incurring extra costs


1.1 Equipment requirements: review the production brief, interpret information to identify equipment requirements. Identify a complete list of all equipment needed, to include for example:

• Video camera(s)

• Camera lenses • Microphone(s)

• Lighting

• Tripods

• Batteries, chargers, power and cables

• Media (e.g. tapes, memory cards, DVDs, backup media)

• Transportation cases

1.2 Protection: identify transportation requirements for all equipment, whether on location or in studio; list sensitive and fragile equipment; identify transport packaging, cases and protection for all sensitive and fragile equipment.

1.3 Legible paperwork: complete lists of equipment for all equipment held in stock for use in the project, identifying dates and times required; all equipment to be sourced and whether hired or purchased; identify expected delivery dates for all equipment to be sourced; keep documented records of all equipment to be



used in the project; identify protective cases and packaging for all sensitive and fragile equipment.

1.4 Place orders: negotiate with suppliers of equipment for prices, availability and delivery of equipment to be hired; complete administrative processes to raise purchase orders for all equipment to be sourced; purchase orders to specify item, cost, duration of hire, delivery date and delivery address.

1.5 Organise collection: use of purchase order to specify delivery or collection; where equipment collected, ensure use of suitable transportation cases and packaging; completion of administrative processes to confirm receipt of equipment, with signatures and dates.

Learning Outcome 2

2.1 Label: complete labels with details of equipment contents; apply labels to transportation cases and packaging to enable easy identification of contents.

2.2 Matches documented requirements: cross reference equipment supplied with details on purchase orders; identify differences, errors and omissions, reporting findings to suppliers and other relevant parties.

2.3 Test equipment: identify tests to be completed on equipment; inspect transportation cases for physical damage; inspect equipment for physical and cosmetic damage; power up all equipment and perform tests to ensure items meet specifications; complete functional tests as required e.g. video camera recording, playback, lens operation, audio recording, menu operation and setup.

2.4 Accurate reports: produce detailed descriptions and reports of all missing items, damage and function; distribute reports to all relevant parties, both internally within the organisation and to suppliers.

2.5 Use safe lifting and handling methods: identify all heavy items of equipment; identify lifting procedures and handling methods; review organisational health and safety policies and work instructions for manual handling and lifting; correct stance and technique for lifting heavy objects; for example, use of two people to lift and trolleys to move equipment.

2.6 Store items safely: identify weight of equipment and facilities needed to store e.g. suitable shelving; inform relevant parties where equipment is being stored and how to access equipment on the day needed for production; inform relevant parties of additional equipment requirements such as battery charging before use, taking responsibility where necessary.



Learning Outcome 3 3.1 Travelling cases and packaging: label all equipment transport cases and packaging to enable correct use on its return; note how equipment is packed, ensure that return of equipment uses correct packaging for safe transport.

3.2 Pack items: use of shock absorbing foam and other packaging to ensure equipment safety; use of suitable hard travel cases/boxes to protect equipment; measure total weight of equipment and travel cases/packaging; measure external dimensions of packaged equipment to determine shipping cost based on total weight and size of case/box; check weight is within acceptable limits for transportation and is safe to handle, using warning labels where necessary; apply appropriate labels to equipment boxes and/or packaging, to identify fragile and heavy contents.

3.3 Identify: identify travel cases and boxes that contain sensitive equipment for recording purposes; label travel cases and equipment using suitable labels, for example “Fragile”, “Handle with care”; identify equipment that may be affected by transport conditions, for example DV tapes and batteries that may be susceptible to extreme temperatures and/or magnetic fields.

3.4 Label and record: travel cases to be labelled with clear identification of contents e.g. video camera, lights, accessories, tripod; consideration for shipping nationally and internationally with all paperwork for customs clearance; consideration given to labelling of high value equipment sent by freight, to limit descriptions which may increase risk of theft associated regulatory.

3.5 Check the equipment: check content of all equipment travel cases and boxes, to ensure no missing items; cross check with delivery notices to ensure all items are being returned; check that all equipment is in fully working order, as received.

3.6 Notify all relevant parties: arrange collection of equipment to meet delivery deadlines and schedules; keep documentation and shipping paperwork with relevant travel cases/boxes; notify all relevant parties, internal and external of status of equipment.

3.7 Return the equipment: identify due dates when equipment must be returned; arrange transportation to ensure equipment arrives with supplier before expiry of hire term; use guaranteed delivery services with tracking numbers for all high value and sensitive equipment.





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Unit Title: Plan and Organise the Photographic Assignment


Unit Level: Three





Unit Summary In this unit learners will prepare for photographic assignments. This will cover the administrative activities involved in setting up and carrying these out, finding a location, hiring equipment and materials, and relevant legal and ethical issues.





1. Be able to maintain good business practise when planning photographic assignments

1.1. Identify good environmental practice relevant to the assignment

1.2. Identify potential problems relevant to the assignment





2. Be able to carry out administrative arrangements for the photographic assignment

2.1. Arrange activities in order of priority, to fulfil the photographic assignment

2.2. Identify possibilities and constraints presented by non-studio locations

2.3. Obtain relevant permissions to take photographs

2.4. Identify insurance requirements and conditions for photographic equipment and location

2.5. Identify the photographic equipment needed to complete the assignment

2.6. Make arrangements to acquire any equipment or material required, complying with organisational policies

2.7. Maintain records for all aspects of the assignment

3. Be able to liaise with relevant parties 3.1. Work with relevant parties to resolve any questions about the assignments

3.2. Identify the relevant dress code, behaviour and language for the assignment

3.3. Agree with relevant parties the arrangements for working together

3.4. Notify relevant parties in good time if it proves impossible to undertake assignments or resolve problems

3.5. Maintain a professional approach with clients and other relevant parties

4. Understand legislation, ethics and business requirements relevant to the photographic assignment

4.1. Identify key aspects of legislation relevant to the photographic assignment

4.2. Identify aspects of codes of ethics/conduct relevant to the planning and organising of the photographic assignment

4.3. Address any potential legal and ethical issues arising from the nature of the assignment





5. Understand health and safety requirements relevant to photographic assignments

5.1. Identify key aspects of health and safety legislation and regulations relevant to own work environment

5.2. Identify appropriate action to minimise potential risks and hazards involved in the assignments


1.1 Good environmental practice: to include for example:

• Waste disposal

• Recycling of materials

• Use of chemicals in processing and printing

• Transportation

1.2 Potential problems:

• Time constraints

• Equipment limitations • Weather and environmental issues

• Inadequate or poor lighting

• Conflict of interest

• Unethical behaviour

• Misconduct

• Photographic subject matter

Learning Outcome 2

2.1 Arrange activities: produce a work plan, identifying tasks, timescales and resources, monitor and update plan as required.

2.2 Possibilities and constraints: to consider for example:

• Photographic viewpoint

• Equipment needs e.g. lenses, tripod, flash

• Lack of mains power for lights and equipment

• Impact of changing weather and lighting on photographic images and use of camera equipment.

2.3 Permissions: to include for example:

• Access restrictions

• Private property

• Model releases e.g. from adults and/or parents of children under 18



• Property releases e.g. when taking photographs on private land

2.4 Insurance requirements and conditions: to include for example:

• Professional equipment insurance and extent of cover

• Insurance cover for equipment left unattended e.g. locked in car boot or other vehicle

• Public liability insurance

2.5 Photographic equipment: to consider for example:

• Camera type(s) and specification eg film/digital, D-SLR or other type, number of megapixels

• Lenses e.g. mid-range zoom wide angle, telephoto, super telephoto

• Lens performance e.g. maximum aperture, closest focus distance

• Lighting e.g. flash, studio flash, triggers, reflectors

• Tripod

2.6 Make arrangements: to consider loan or hire of additional equipment e.g. specialist lenses, lights; identify suppliers, availability and costs; complete organisational paperwork to place orders.

2.7 Records: client contact details; dates of photographic work; location of photographic work; content and purpose of assignment; equipment lists; copies of quotation, deliverables, terms of business; loan/hire agreements for additional equipment; access permissions and permits.

Learning Outcome 3

3.1 Resolve any questions: identify relevant parties; review assignment details, identifying areas of concern, ambiguity and/or where further information needed; identify questions to be asked.

3.2 Dress code, behaviour and language: formal/informal settings e.g. weddings, sporting events, studio; use of hi-vis clothing at sporting events; consideration and respect for authorised access only; dealing with other photographers in order to get the best shot e.g. press conference, paparazzi.

3.3 Arrangements for working together: identify relevant parties e.g. other photographers, models, property owner; negotiate working arrangements, position, viewpoint, access, signing of model and property releases as appropriate; timescales.

3.4 Notify relevant parties: identify relevant parties e.g. client, models, event manager, security staff; identify problems and issues with completing the photographic assignment e.g. poor lighting, bad weather, travel arrangements, lack of equipment or equipment faults.



3.5 Professional approach: actions, behaviours and demeanour when working with the client, actions and behaviours during the photographic assignment; communication and discussion with relevant parties on location.

Learning Outcome 4

4.1 Key aspects of legislation: to include for example:


• Possibility of causing an obstruction in a public place

• Possibility of causing harassment of photographic subject

• Permission to take photographs


• Subject of photographs e.g. people, children, wildlife, property, copyrighted materials trademarks, bank notes.

4.2 Codes of ethics/conduct: in line with organisational and photographic association guidelines e.g. Editorial guidelines, SWPP, Press Complaints Commission.

4.3 Legal and ethical issues: to consider for example:

• Limitation on photographs to be taken

• Restrictions on photographs to be supplied to client

• Discuss legal and ethical issues with the client prior to agreeing contract for photographic services

Learning Outcome 5

5.1 Health and safety legislation and regulations: review organisational health and safety policies; solitary working if applicable; safe use of chemicals as appropriate; lifting procedures and handling methods for heavy equipment; review assignment location in terms of local hazards, risks, fire evacuation routes, first aid facilities.

5.2 Potential risks and hazards: check information provided on a risk assessment regarding action to be taken to minimise risks on the photographic assignment. For example, action to be taken in case of:

• Fire

• Injury

• Falls




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Unit Title: Prepare Assets for Use in Interactive Media Products


Unit Level: Three





Unit Summary In this learners will prepare assets for use in interactive media products. They must ensure that the media assets provided are in the most appropriate format for use in the product. This involves digitising assets where necessary, manipulating assets to ensure they meet product requirements, balancing asset quality against file size and other parameters, saving assets in appropriate file formats and providing assets in an appropriate manner to enable easy use by others.





1. Understand contextual information relating to the preparation of a range of assets in different media formats

1.1. Establish the parameters of the project, identifying key constraints according to platform and distribution methods

1.2. Identify the types, properties and formats of assets required for use

1.3. Establish the requirements and expectations of others who will use the obtained assets





2. Understand issues relating to the preparation and manipulation of assets

2.1. Explain the relationship between static image colour depth, resolution and dimensions, and file size

2.2. Explain the relationship between moving image frame rate and frame dimensions, and file size and data transfer times

2.3. Explain the relationship between audio- rates and bit depth, and file size and data transfer times

2.4. Identify constraints that might influence choices relating to asset manipulation, file formats, compression techniques and any other tasks to be performed on static image, moving image and audio

3. Be able to prepare assets using industry- standard software

3.1. Scan images, saving them in an appropriate format

3.2. Crop, edit and resize static images, saving in an appropriate format

3.3. Import digital video, saving in an appropriate format

3.4. Cut, edit and caption digital video, exporting in an appropriate format

3.5. Import audio, saving in an appropriate format

3.6. Cut, edit and optimise audio, saving in an appropriate format

3.7. Compress digital assets, balancing quality against file size, data-transfer times and any other constraints





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Unit Title: Prepare Camera Equipment for Each Day’s Shoot


Unit Level: Two





Unit Summary In this unit learners will identify relevant equipment, and gain an understanding of how to handle, store, transport and care for it. They will test, transport and set up camera equipment in preparation for a shoot.







1. Understand relevant equipment, materials and related issues

1.1. Identify key characteristics of relevant equipment

1.2. Use techniques for testing and handling relevant equipment and materials

1.3. Identify the consequences of incorrect handling of relevant equipment and materials

1.4. Describe how to store relevant equipment and materials safely and securely

1.5. Describe procedures and products for cleaning and maintaining relevant equipment and materials

1.6. Describe how to charge batteries safely 1.7. Describe how to order relevant

equipment, identifying sources 1.8. Follow manufacturer’s instructions for

relevant equipment

2. Be able to liaise with appropriate personnel

2.1. Liaise with appropriate parties to confirm specific requirements for a shoot

2.2. Liaise with appropriate parties to check that equipment requirements for a shoot are met





3. Be able to select, prepare, organise and manage relevant equipment for a shoot

3.1. Interpret requirements of a call sheet prior to a shoot

3.2. Test all relevant equipment prior to a shoot

3.3. Assess the shooting environment at a shooting location

3.4. Organise the working layout of a camera truck

3.5. Prepare and manage equipment bags 3.6. Establish an appropriate on set location

for relevant equipment 3.7. Transport all relevant equipment to a set 3.8. Unload all relevant equipment on a set 3.9. Select and acclimatise relevant

glassware

4. Understand relevant health and safety issues and procedures

4.1. Identify key health and safety issues and procedures

4.2. Identify any special requirements to ensure the safety and security of relevant equipment when unattended


1.1 Key characteristics: to consider for example:

• Function and purpose

• Fragility

• Handling requirements

1.2 Techniques for testing and handling: to include for example:

• Functional (power on) tests e.g. for camera, lights

• Electrical safety test and inspection

• Visual checks for damage to equipment and/or transport cases

• Mechanical fixtures, clamps

• Manual handling using safe lifting techniques

• Using protective covers and cases where necessary eg camera lens caps, padded cases for camera

1.3 Consequences of incorrect handling: potential damage to equipment and materials, potential injury to personnel handling the equipment.



1.4 Store: identify use of appropriate:

• Travel cases

• Accessory cases

• Foam padding or dividers to separate items of equipment

• Environmental storage e.g. temperature and humidity

• Storage of valuable equipment in secure locations e.g. locked cupboards, cases, vehicles.

1.5 Procedures and products: to include for example:

• Camera lens cleaning using suitable brush/cloth

• Camera equipment body cleaning e.g. from dust, condensation, rain splashes

• Use of recognised cleaning cloths, materials and aerosol products

• Testing use of cleaning products on small areas e.g. IPA on plastic and rubber surfaces

• Follow manufacturer’s instructions

1.6 Charge batteries: identify battery type, suitability of battery charger and charging procedures; fast/trickle charge options; ventilation and heat dissipation; follow manufacturer’s instructions.

1.7 Order: identify organisational procedures for ordering equipment; identify approved sources of equipment; identify organisational procedures to obtain equipment from a new source or supplier.

1.8 Equipment: to include for example:

• Cameras

• Lights

• Microphones

• Monitors

• Tripods, boom, crane

• Track, dolly

• Background supports and stands

• Batteries

• Tapes

• Cables

Learning Outcome 2

2.1 Liaise: identify appropriate personnel; identify communication methods to be used; check information available to describe the requirements of the shot e.g. number of cameras, production plan, shooting schedule, call sheet, script, storyboard, cast list.

2.2 Liaise: identify appropriate parties to liaise with; produce an agreed equipment checklist.

Learning Outcome 3

3.1 Requirements of a call sheet: identify for example:

• Location

• Date

• Time

• Schedule

• Equipment

• Scenes to be recorded

• Transport

• Parking

• Weather

• Health and safety

• Local facilities

• Contact information

3.2 Test: complete visual and functional tests on electrical equipment (equipment powered on); complete visual tests and checks on non-electrical equipment.

3.3 Shooting environment: to consider for example:

• Camera position and angles

• Lighting quality and direction

• Weather • Access permission


• Potential changes

3.4 Working layout: identify for example:

• Equipment carried

• Equipment needed

• Sequence of events e.g. from production schedule

• Unpacking of equipment needed

• Storage of readily available equipment

• Power requirements

• Walkways and access

• Number of people

• Timescales needed to setup

3.5 Equipment bags: identify suitable bags for each item of equipment; labelling of equipment bags; storage of equipment bags when not in use.

3.6 On set location: in accordance with:

• Production schedule



• Call sheet

• Camera placement • Camera angles and shots

• Tracking routes

• Cable layout plans

3.7 Transport: use appropriate packing materials and cases; use a checklist to ensure all equipment loaded.

3.8 Upload: identify locations for each item of equipment; unpack equipment from travel cases; store and label travel cases as appropriate.

3.9 Acclimatise: effect of using cold equipment in warm, humid environments. To take account of:

• Humidity levels

• Storage temperature (during transport)

• Ambient temperature on set

• Checks for condensation on internal and external glass surfaces

Learning Outcome 4

4.1 Key health and safety issues and procedures: manual handling of equipment; check information provided on a risk assessment regarding action to be taken to minimise risks.

4.2 Special requirements: consider transportation and set location; storage of equipment in adverse environmental conditions e.g. rain, humidity, high ambient temperatures; storage of equipment in secure locations e.g. locked cupboards, cases, vehicles. Minimise risk of loss and damage to equipment from:

• Theft • Vandalism • Accidental damage • Environmental factors







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Unit Title: Prepare Image Output


Unit Level: Three





Unit Summary In this unit learners will prepare image output. This will involve producing different forms of output using different devices and materials. It also includes reviewing output and discussing issues with relevant parties.







1. Understand key issues relating to the preparation of image output

1.1. Explain the principles of colour theory, colour mode and colour management

1.2. Explain how and why image profiles are used

1.3. Identify relevant sources of information to assist with keeping own knowledge and skills up-to-date

1.4. Explain the importance of accurate technical and descriptive metadata

1.5. Identify the relative merits of appropriate equipment, software, methods and material for different imaging requirements

1.6. Explain the reasons for using different file formats for digital images, identifying the differences between them





2. Be able to prepare image output for screen use

2.1. Check that the image files are in the correct format and carry an embedded profile for the required form of output

2.2. Load the image data files for output on the computer

2.3. Optimise files for the specified output 2.4. Select an appropriate medium for

storing the image output files 2.5. Check that the output format meets the

client’s requirements 2.6. Store the files on the digital medium so

that they can be accessed by the client 2.7. Set up the output device and file to be

used 2.8. Check that the output medium is of

sufficient capacity

3. Be able to prepare image output for print

3.1. Check that the image files are in the correct format and carry an embedded profile for the required form of output

3.2. Load the image data files for output on the computer

3.3. Optimise files for the specified output 3.4. Check that the capacity of the print

medium is sufficient 3.5. Check that the output device is properly

calibrated for the medium to be used 3.6. Set up the output device to print 3.7. Check that the output device is loaded

with sufficient output material and ready to receive the image file





4. Be able to produce different forms of image output to meet requirements

4.1. Produce any required image proofs 4.2. Check the content and quality of image

proofs against client requirements and workplace standards

4.3. Explain the importance of image proofs signed off by all relevant parties

4.4. Take appropriate action to resolve any problems with image proofs following discussions with all relevant parties

4.5. Select the appropriate computer from which to produce the final output

4.6. Send the image data file to the selected output device to produce the required image output, ensuring that manufacturer’s instructions are followed

4.7. Produce the final output within workplace wastage limits

4.8. Check the content and quality of final output against client requirements and workplace standards

4.9. Forward acceptable output for delivery, collection or further production as required

4.10. Maintain the confidentiality of client material in line with workplace procedures

4.11. Record all data relating to the content of the output in line with business/organisation requirements

5. Understand legislation, ethics and business requirements relevant to the preparation of image output

5.1. Identify key aspects of legislation relevant to the preparation of image output

5.2. Take appropriate action to minimise potential risks and hazards

5.3. Identify aspects of codes of ethics/conduct relevant to image output

5.4. Comply with all business/organisation systems and procedures




1.1 Colour theory, colour mode and colour management:

• Additive primary colours for monitors and displays (RGB) • Subtractive primary colours for printing (CMYK) • Conversion of RGB colour mode to CMYK colour mode • Proofing colours for print • Use of a fully colour managed workflow to ensure accurate colour

reproduction in final work • Colour profiles embedded in digital images • Colour profiles associated with equipment hardware e.g. scanner,

computer, printer

1.2 Image profiles: how embedded colour profiles are stored within photo images at time of capture i.e. through camera menu and initial setup of colour space; conversion of colour profiles to working colour space in image editing applications; used as a part of colour managed workflow to ensure accurate colour reproduction in final work.

1.3 Sources of information: to include for example:

• Manufacturers guidance and website information • Technical books, magazines, articles • Professional organisations • Seminars, exhibitions and events

1.4 Technical and descriptive metadata: technical metadata stored by digital camera and includes for example:

• Camera make/model • Shutter speed • Aperture used • Lens focal length setting • Flash

Descriptive metadata added by photographer/image editor and includes for example:

• Name of photographer • Copyright status • Keywords to describe image content

How metadata is searchable by image management applications, to locate suitable images for a given project or requirement.

1.5 Equipment, software, methods and material: equipment to include:

• Cameras e.g. D-SLR, digital compact, film • Scanners e.g. flatbed, negative/transparency, drum

Software to include: • Vector and bitmap editing applications

• Provision for processing of images, editing metadata, saving in a range of different formats for both print and web use

Methods to include tools and techniques of the software.

1.6 File formats for digital images: Camera file formats:

• jpeg (compressed file format, smaller file sizes but possibility of jpeg artefacts)

• tiff (uncompressed file format, high quality, large file size) • RAW (uncompressed file format, high quality, large file size, image

processing manually on computer system e.g. white balance, exposure) Additional image file formats (on computer system):

• EPS • GIF • PNG

Comparison of compressed and uncompressed image file formats e.g. jpeg file size and trade off with image quality; where different file formats are used e.g. print industry, web use.

Learning Outcome 2

2.1 Correct format: to client specification, including: • Pixel dimensions • DPI resolution • Use of embedded sRGB colour profile for screen use • File format and quality settings if applicable e.g. jpeg, png

2.2 Load: retrieve image data files from CD/DVD or other storage medium; load/copy image data files into working folders as required.

2.3 Optimise files: to include for example:

• Levels (brightness/contrast) • Colour matching • Pixel dimensions for screen size, dpi resolution e.g. 72dpi • Check colour profile, convert if applicable

2.4 Storing: for example:

• File/folder path • External drive • Removable storage • Network drive or path • CD/DVD

2.5 Client’s requirements:

• Pixel dimensions • DPI resolution • Use of embedded sRGB colour profile for screen use



• File format and quality settings if applicable e.g. jpeg, png

2.6 Store: save/copy image files as required.

2.7 Set up: load digital medium with digital media as required; ensure device is ready to receive image data.

2.8 Sufficient capacity: identify storage capacity of medium and size of all image files to be stored; copy/save image files to digital medium; check image files are stored on the medium; safely remove digital medium.

Learning Outcome 3

3.1 Correct format: to client specification, including: • Pixel dimensions • DPI resolution • Use of embedded colour profile e.g. Adobe RGB, sRGB subject to profile

support by printing device • File format and quality settings if applicable e.g. jpeg, tiff, .eps

3.2 Load: retrieve image data files from CD/DVD or other storage medium; load/copy image data files into working folders as required.

3.3 Optimise: to include for example:

• Levels (brightness/contrast) • Colour matching • Pixel dimensions for print size, dpi resolution e.g. 300dpi • Check colour profile, convert if applicable.

3.4 Capacity: for example:

• Paper type • Paper size • Quantity of paper

3.5 Calibrated: identify when output device colour calibration was completed and date for next calibration; identify and/or select suitable print profile for the medium (paper type) to be used; choice of colour profile conversion engine and settings; errors in colour reproduction caused by unsupported or incorrect colour profile(s).

3.6 Set up: Configure print settings in printer menu.

3.7 Check: load print media; check output tray; check output device is connected and ‘online’.



Learning Outcome 4 4.1 Produce: use of low resolution print copies for proofing purposes; use of digital files for proofing purposes e.g. PDF.

4.2 Check: evaluate features and properties of images e.g. size, layout, sharpness, colour; compare with client requirements and workplace standards of output.

4.3 Signed off: to acknowledge responsibility for final production and associated costs.

4.4 Action: identify problems with images e.g. sharpness, brightness, colour, colour profile, image content and/or subject; identify corrective action to be taken; resolve problems within limitations and constraints of equipment, resources, timescales and budget.

4.5 Appropriate computer: to ensure computer has direct control over the print settings and properties; computer system to include a colour calibrated monitor if final adjustments are to be made.

4.6 Send the image data file to the selected output device: identify relevant manufacturer’s instructions e.g. for paper feed, handling of media; print the final image; monitor printing status checking for errors.

4.7 Workplace wastage limits: identify workplace policies on wastage, account for quantity of media used, follow recycling policies on waste materials where applicable.

4.8 Check: evaluate features and properties of images e.g. size, layout, sharpness, colour; compare with client requirements and workplace standards of output.

4.9 Forward: pack output material carefully; label packages without damaging output material; arrange shipping/delivery of output material; maintain accurate records of job status and shipment.

4.10: Confidentiality: such as subject of photographs e.g. people, children, criminal acts; personal information e.g. names, addresses, identity information.

4.11 Record all data: to include:

• Dates of job in/out

• Content and quantity of job output

• Name of person(s) producing the output

• Name of person(s) inspecting the output

• Date shipped and delivery address





Learning Outcome 5 5.1 Key aspects of legislation: subject of images e.g. people, children, wildlife, property, copyrighted materials trademarks, bank notes.

5.2 Action: check information provided on a risk assessment regarding action to be taken to minimise risks. To include for example:

• Ergonomics of computer use

• Scheduling of regular breaks

• Periodic portable appliance testing (PAT) of electrical equipment

5.3 Codes of ethics/conduct: identify codes of conduct and ethics of image editing and adjustment relating to own organisation; identify codes of conduct and ethics of image editing and adjustment relating to the sector.

5.4 Comply: identify business/organisation systems and procedures related to technical adjustment of images; comply with procedures relevant to own work.





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Unit Title: Produce Copy for Interactive Media Products


Unit Level: Three




Unit Sector: 9.3 Media and Communications

Unit Summary The unit aims to enable learners to write and or edit text based material for an interactive media product. It requires understanding of the target medium or platform for communicating with text, writing, editing and checking text-based material and an understanding of relevant legislation.





1. Understand the target medium/platform for communicating with text

1.1. Identify relevant constraints, possibilities and opportunities offered by the selected target medium/platform

1.2. Identify key constraints or considerations arising from the use of an online content management





2. Be able to produce text-based material for an interactive media product

2.1. Identify a style that is suitable for the target audience and purpose of the communication

2.2. Maintain a consistent style both within texts and between related texts

2.3. Ensure that grammar, punctuation and spelling are accurate and appropriate

2.4. Structure the text-based content for readability and accessibility

2.5. Identify search engine optimisation techniques as appropriate

2.6. Format copy, following relevant writing conventions, style guides and policies

2.7. Produce appropriate captions or descriptions to accompany content

2.8. Provide clear, consistent and accessible hyperlinks

2.9. Produce and embed metadata

3. Be able to check the accuracy of the text-based material for an interactive media product

3.1. Proofread copy to check for any errors 3.2. Check the accuracy of any facts and

figures quoted, seeking advice as required

4. Understand legal and ethical considerations relevant to producing copy for interactive media products

4.1. Review the content against any legal and ethical considerations

4.2. Make any necessary changes to comply with relevant legislation


1.1 Constraints, possibilities and opportunities:

• Types of target medium/platform e.g. medium/platform e.g. reader mobile phone, TV

• Display properties of target medium/platform e.g. size, resolution

• Formatting of text, fonts supported by target medium/platform • Possibilities and opportunities for enhanced text content e.g. hyperlinks,

user navigation, scrolling, single or multi-page.



1.2 Constraints or considerations: types and format of source material; indexing and storage of material; authorisation and access permissions; previewing material for display on target medium/platform.

Learning Outcome 2

2.1 Target audience and purpose: identify target audience including their needs and expectations e.g. age, class, demographics, gender, social status, interests; reading age of target audience; literary writing styles e.g. factual reporting, fictional stories; purpose of the communication e.g. to inform, educate or entertain.

2.2 Maintain a consistent style: Identify style and editorial policies; Prepare copy.

2.3 Accurate and appropriate: proof reading of copy; use of software tools to check spelling, punctuation and grammar; selection of suitable spell checker dictionary e.g. American English or International English.

2.4 Text-based content: to include for example:

• Paragraph structure

• Sentence structure and length

• Scrolling and/or navigation between pages

• Accessibility issues to consider for example:

• Use of screen readers

• Use of screen magnifiers

• Font size, type and colour schemes

2.5 Search engine optimisation techniques: to include for example:

• Use of metatags and keywords

• Repeated words in body text

• Hyperlinks

• Quality of overall page content

• Visit statistics

2.6 Writing conventions, style guides and policies: identify relevant:

• Writing conventions

• Editorial policies

• House style guides

• Use and apply formatting tools and techniques

2.7 Captions or descriptions: identify page content e.g. text, graphics, images, rich media; caption and attribute page content using for example, titles, short descriptions, annotations, alternative text (alt text).

2.8 Hyperlinks: use tools and techniques to:

• Add, remove and edit hyperlinks to selected text



• Formatting and prefix of hyperlinks e.g. using http://

• Testing of hyperlinks to check availability of target page or resource.

2.9 Metadata: use, edit and create metadata using keywords and meta tags in copy.

Learning Outcome 3

3.1 Proofread: proofreading by author and third parties; record results, persons responsible and errors noted.

3.2 Check the accuracy: identify important facts and figures used in the text based material; identify sources of information; predict accuracy of information and whether information requires verification; consider credibility issues of publishing incorrect information; check with editorial policy and senior personnel where advice and guidance needed.

Learning Outcome 4

4.1 Legal and ethical considerations: for example:

• Libel

• Data protection

• Copyright

• Intellectual Property

• Discrimination

• Misrepresentation

• Privacy

• Politics

• Propaganda

• Provocation

4.2 Comply with relevant legislation: identify relevant legislation (local, national and international); edit, replace or remove content that does not comply with relevant legislation.





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Unit Title: Provide Assistance to the Camera Crew During a Multi-Camera Shoot


Unit Level: Two





Unit Summary The unit aims to enable learners to provide assistance to the camera crew during a multi camera shoot. It includes cable handling, providing specific assistance to a camera operator to facilitate a particular shot, and obtaining and rigging any additional equipment which is required after the initial rigging period. It also includes obtaining materials, or providing other assistance, for camera operators who are unable to leave their operational positions. It involves providing general assistance to a camera crew during a multi-camera television shoot that is either broadcast live or recorded as though it were live.





1. Understand key factors relating to assisting the camera crew

1.1. Explain why it is important to be aware of camera shooting angles

1.2. Describe key techniques of camera operation, using accurate terminology





2. Be able to handle cables to assist the camera crew

2.1. Keep cable routing tidy to ensure the safety of all parties and to avoid damage to cables or equipment

2.2. Lay out cables to facilitate efficient movement and repositioning of camera and other equipment

2.3. Handle cables of moving cameras to facilitate smooth and safe operation and reduce noise levels

3. Be able to handle camera equipment to assist the camera crew

3.1. Check camera tracking routes to ensure they are clear

3.2. Assist with any repositioning, re-rigging and re-plugging of camera equipment as required

3.3. Assist the camera operator with tasks relating to the camera mounting and camera equipment as required

4. Be able to handle the ancillary equipment, materials and information to assist the camera crew

4.1. Obtain ancillary equipment and consumables for the camera operator as required

4.2. Obtain information for the camera operator as required

4.3. Obtain any additional equipment, rigging as required

4.4. Ensure that any faulty equipment is replaced or repaired, ensuring that it is reported

4.5. Collect all ancillary or additional equipment at the end of a shoot, ensuring that it is returned

5. Understand legislation and business procedures relevant to assisting the camera crew

5.1. Comply with relevant health and safety legislation

5.2. Follow all instructions for the camera equipment in use




1.1 Be aware of camera shooting angles:

• know what will be expected by production team and camera crew, anticipating needs

• be able to act on own initiative in setting up and aligning equipment eg position and direction of cameras and microphones

• knowledge of what positions to avoid eg main set, sight lines and tracking routes when laying cables and equipment

• consideration of what will be in the camera view taking account of shooting angles and tracking routes to make sure unwanted items are not seen

1.2 Key techniques of camera operation:

• camera parts and settings e.g. iris, shutter, white balance, focus

• camera shots, e.g. long, wide, mid, close up, extreme close up, aerial, ‘point of view’, ‘over the shoulder

• camera movement e.g. pan, tilt, zoom, track, dolly, crane • general terminology e.g. framing, composition, transitions, shoot,

cutaway, script, action, cut, 180 degree rule

Learning Outcome 2 2.1 Keep cable routing tidy: for example:

• cable routes

• access and walkways

• sharp edges where cables laid

• strain on cables and/or connectors

• use of layout plan

2.2 Facilitate efficient movement and repositioning: for example:

• spare cable length to provide slack and potential movement

• routing of cables to enable repositioning e.g. ‘star’ layouts

2.3 Handle cables:

• provide cable support to minimise drag and strain on cables, connectors and equipment

• cable repositioning and placement in suitable locations and routes

Learning Outcome 3

3.1 Check camera tracking routes: consider size of camera and dolly; walk the track to check for obstacles and hazards.

3.2 Repositioning, re-rigging and re-plugging: to include for example:

• Cable routes

• Cable connections

• Cable support and strain relief

• Cable crossovers • Safe working

• Clear access and walkways

3.3 Assist the camera operator with tasks:

• Checking tripod stability e.g. ground placement, tripod feet and leg locks

• Check clamps for camera and other equipment (e.g. for microphones, lights) are tightened and secure

• Camera movement in all directions

• Check for hazards and obstacles

• Check for cable slack to allow for camera movement in all directions

Learning Outcome 4

4.1 Ancillary equipment and consumables: to include for example:

• Tripod

• Remote controllers • Video monitor

• Video, audio and power cables

• Accessory cases

• Tapes

• Battery packs

• Lens cleaning accessories

4.2 Information for the camera operator: to include for example:

• Production plan

• Call sheet

• Shooting schedule

• Live broadcast schedule (if applicable)

• Storyboard

• Script

• Cast list

4.3 Additional equipment: to include for example:

• Props

• Sets

• Backgrounds (eg green screen)

• Additional lighting

• Crane, boom

• Communication equipment between director and camera crew(s)

• Spares e.g. lighting bulbs, cables, batteries

4.4 Faulty equipment: test equipment before use; monitor function and performance of equipment in use; identify procedures to repair/replace key items; labelling of faulty equipment; identify who should be informed of equipment faults.



4.5 Collect: collect all tapes and recorded footage from cameras before return; use of equipment checklists to ensure all equipment accounted for; identify where equipment must be returned to; use packing cases where necessary for fragile or sensitive equipment.

Learning Outcome 5

5.1 Health and safety legislation: complete or review a risk assessment for the shoot; identify action to be taken to minimise risks to health and safety for cast, actors and camera/production crew.

5.2 Instructions: manufacturer’s instructions; organisation instructions; taking into account environmental considerations such as temperature, humidity and rain.







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Unit Title: Record Audiovisual Journalistic Material


Unit Level: Three





Unit Summary The unit aims to enable learners to record effective audio and visual material, and to select and use the correct equipment and recording techniques whether in a studio or on location. They will be able to identify and deal with equipment failures and breakdown, and to ensure that equipment is always secure and available for use.







1. Be able to obtain key contextual information relating to recording audio- visual material

1.1. Identify the house style of commissioning agent, programme or channel

1.2. Identify the intended target audience 1.3. Identify the intended time and duration

of transmission 1.4. Identify key elements of the editorial

brief 1.5. Check the suitability of the location,

indicating relevant factors for consideration

1.6. Identify effective picture and audio and actuality possibilities as required, indicating relevant factors for consideration

2. Be able to use equipment and recording techniques appropriate to the task

2.1. Select suitable equipment for the task 2.2. Check the equipment is in good

operational order before use 2.3. Use equipment to achieve the best

possible technical quality of recordings 2.4. Identify any equipment failures and

breakdowns, ensuring that these are resolved promptly

2.5. Keep recording equipment secure at all times





3. Be able to record audio-visual journalistic material

3.1. Brief relevant parties on the details of the story, and the recording requirements

3.2. Brief interviewees accurately about recording arrangements and techniques

3.3. Conduct relevant interviews and vox- pops, recognising and responding to any unfolding events

3.4. Record commentary and voiceover, if required

3.5. Maintain adequate records to support the editing process

4. Be able to evaluate own work 4.1. Check the sufficiency and appropriateness of recorded footage to meet the editorial brief

4.2. Check that the type and variety of footage is sufficient to support the editing process

4.3. Review the footage gathered in the light of the brief to identify any changes required

4.4. Check that the deadlines for recorded materials have been met

5. Be able to comply with relevant legal and regulatory requirements

5.1. Comply with relevant health and safety requirements

5.2. Investigate relevant legal and compliance issues


1.1. House style:

• genre e.g. factual, scientific, documentary, drama, celebrity news/gossip

• colours, fonts and styles used

• graphic design elements

• political bias

• shot types

• broadcast/distribution channels 1.2 Target audience: for example:



• age

• class • demographics

• gender

• social status

• interests 1.3 Time and duration:

• for broadcast use, daytime viewing or post watershed time slot

• impact of availability online

• duration of audio-visual material 1.4 Key elements:

• structure and content of the audio-visual material and the editorial brief e.g. introduction, background story, actions and events, conclusions

• purpose of the audio-visual material to meet the editorial brief 1.5 Suitability of the location

• identify location for recording of audio-visual material

• factors to include for example:

• indoor/outdoor considerations

• weather (e.g. rain, wind noise)

• background noise

• time of day

• lighting

• vantage point

• proximity of other people and access/viewing restrictions

• health and safety issues

• equipment requirements

• alternative locations (if possible) 1.6 Picture and audio

For picture: o shot types o camera angles o camera movement o subject movement o composition

For audio: o audio levels o proximity of microphone o microphone type e.g. omni-directional, directional, hyper-cardioid o post production possibilities o deadlines for recording and editing material

Learning Outcome 2

2.1 Suitable equipment: based on location, material to be recorded and proximity to subject(s):

• number of cameras

• camera type • camera lens

• recording media

• recording duration

• battery/mains power

• TV monitors

• cables

• tripod

• lighting

• number of microphones

• microphone type

• microphone windshield and boom

• use of separate audio recording equipment

• other props

2.2 Equipment is in good operational order: functional tests on all equipment prior to leaving studio/organisation, for example

• cameras

• power sources

• lights

• audio recording equipment

• contingency plans

• test record sheets to be used as appropriate

2.3 Best possible technical quality of recordings: setup equipment on location:

• camera settings e.g. focus, zoom, white balance, iris, shutter speed, auto vs manual controls

• checks for video recording, timecode, battery level, tape duration

• ensure stability of camera e.g. on tripod

• audio settings e.g. volume levels, bit depth

• checks for sound distortion, clipping, wind noise

• sound check

• setup lights if required on location e.g. position, angle, output level

• lighting check 2.4 Equipment failures:

• monitor equipment use

• contingency plans

• spares and backup equipment 2.5 Keep recording equipment secure: for example

• mounting of equipment on tripod

• environmental hazards eg wind, rain, people moving around

• potential theft of equipment

• use transport cases when equipment not used

• store safely and securely out of sight when not needed 168


Learning Outcome 3 3.1 Relevant parties: for example:

• team members (recording) on location

• interviewer and/or cast

• clients

• property owners

• plan, organise and deliver pre-recording briefing to all relevant parties

• briefing documents and notes provided identifying for example:

• establishing shots

• action/event shots

• interviews

• scripts

• anticipated camera movement • expected duration of recording

• communication between team members

• contingencies 3.2 Brief interviewees: provide information on:

• camera positions

• lighting • microphone use

• speaking clearly

• cues • where to look

• movement restrictions

• interviewer position

• demeanour 3.3. Relevant interviews and vox-pops:

• begin audio and audio-visual recording • cue interviewer and interviewee

• monitor sound and video recording quality

• communicate with team members as and when unexpected events occur

• consider whether to continue or re-start recording in case of problems 3.3 Record commentary

• commentary to be recorded on location by narrator using script as required

• setup camera, microphone lights and equipment for recording commentary, with suitable choice of background as required

• voiceover may be recorded on location or separately in studio 3.5 Adequate records:

• label tapes and other recorded audio-visual media

• identify where all recorded footage and audio is stored

• provide shot list to support the editing process

169




Learning Outcome 4 4.1 The sufficiency and appropriateness of recorded footage: evaluate recorded

footage and audio with reference to:

• video quality, content, stability, range of shots, lighting, duration

• audio quality, volume, clarity, tone, noise, distortion

• evaluate audio-visual material in line with the editorial brief in terms of:

• client requirements

• fitness for purpose 4.2 Type and variety of footage: Identify requirements of the brief e.g. content and

duration

• confirm that recorded footage provides video material for opening shots, main content and closing shots to fulfil the brief

• confirm that audio is fit for purpose and can be synchronised and/or mixed with the recorded footage

• identify errors and/or omissions in the recorded footage

• identify possibilities of recording extra material required 4.3 Review the footage: Identify any changes for:

• recorded material

• editing of material

• additional work

4.4 Check that the deadlines for recorded materials have been met: compare timescales for recording and editing of material with the deadlines identified in the plan. Identify significant differences and reasons for changes to the planned timescales

Learning Outcome 5

5.1 Health and safety requirements: identify relevant health and safety requirements for:

• recording audio and video on location e.g. risk assessments, lifting heavy equipment, trailing cables, electrics

• editing of recorded footage using computer edit suite 5.2 Legal and compliance issues: identify relevant legal and compliance requirements

for:

• recording audio and video on location eg access rights, permission to use video equipment on public or private property, people and property releases as required for journalistic purposes

• editing of final video to be supported with documented permissions and releases for all footage used





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Unit Title: Rig and Manage Cables for Television and Video Production


Unit Level: Two





Unit Summary The unit aims to enable learners to rig and manage cables for production. This involves camera operations which have significant cable management requirements, and includes identifying the correct cables and ensuring that they are available, confirming that all the information regarding routing and connecting is understood and adequately disseminated. Learners will also gain experience in positioning the cables to ensure that they are not damaged, and that they do not present safety risks. Activities will normally be supervised by a senior member of the crew.





1. Be able to select cables for use on a production

1.1. Ensure that a sufficient supply of cables is available

1.2. Carry out checks on cables to ensure they are ready for use

1.3. Report any defects to relevant parties





2. Be able to set up cables for use on a production

2.1. Organise cable points and runs to minimise crossovers, ensuring they are close to planned camera positions

2.2. Position excess cable to avoid knotting or twisting during use

2.3. Ensure that cables are wound to their natural bend

2.4. Secure cables to avoid strain on plugs and sockets

2.5. Secure any auxiliary cables along the length of the camera cables

2.6. Sling or clamp cables to avoid blocking all access

2.7. Check that cable points, cable runs and any patching comply with the information provided

3. Understand health and safety legislation to rigging and managing cables

3.1. Comply with relevant health and safety standards

3.2. Check that rigging is safe for all parties


1.1 Sufficient supply of cables is available:

• cables types e.g. power, data, audio, video

• cable length

• cable specifications e.g. ruggedised, armoured

• cable connections and adaptors

• availability of spare cables

1.2 Carry out checks:

• visual checks for damage to cable and connectors

• electrical checks for damage and continuity

• identification of cables checked and ready for use

1.3 Report any defects to relevant parties

• quarantine and label defective cables • identify relevant parties to inform e.g. director, technician, camera operator,

sound engineer



Learning Outcome 2 2.1 Organise cable points:

• identify cabling requirements for a production

• create and use a layout plan, identifying cable points, camera positions and action

• reasons for avoiding crossovers e.g. pickup, interference

• identify cables that have crossovers and what signals carried

2.2 Position excess cable to avoid knotting or twisting during use:

• identify location and storage of excess cable

• mark on layout plan

• how to uncoil stored cables to minimise knotting and twisting

2.3 Wound to their natural bend:

• placement and winding of cables within bend radius

• damage caused by excessive bend

2.4 Secure cables:

• check for slack in cable length

• avoid use of cables at full length

• use of strain relief where possible e.g. to equipment, tripod, clamps using tape or ties

2.5 Secure any auxiliary cables: for example, using tape, cable ties, spira band

2.6 Sling or clamp cables:

• use of cable management accessories to keep access clear and safe e.g. sling, ramp, arch

• identify weight of slings and cables and support requirements

• secure cables safely in overhead positions using strain relief where necessary

2.7 Check: for example:

• layout plans • cable points

• connection points and patch panels

• camera equipment • cable routing

• cable supports and strain relief

• connectivity Learning Outcome 3

3.1 Comply: complete and use a risk assessment with reference to cables, connections and rigging



3.2 Check:

• for cable hazards in walkways and access points to stage and set • that mains and power cables have no damage in cable length or loose

connectors





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Unit Title: Strike Sets for Television and Video Production


Unit Level: Two


Ofqual Unit Reference Number: A/600/8966



Unit Summary In this unit learners will implement strike arrangements. They will be able to work to a programme of activities designed to make the strike tasks flow efficiently. They will disassemble and pack set dressings and props, returning them to the appropriate location or supplier. They will also maintain accurate records.





1. Be able to work to the programme of activities designed to make strike tasks flow efficiently

1.1. Identify typical strike tasks 1.2. Identify timescales and deadlines

required for striking sets 1.3. Work to the programme of activities

relevant to own work 1.4. Carry out strike tasks in the correct

sequence





2. Be able to disassemble the set 2.1. Identify types, characteristics and uses of set dressing and props

2.2. Check props match property lists 2.3. Disassemble set dressings, checking

them against schedules 2.4. Lay out disassembled set dressings in an

order which allows clear identification and recording

2.5. Establish whether damaged items can continue in the production, notifying relevant parties

3. Be able to pack items 3.1. Obtain packing materials to meet strike deadlines

3.2. Pack items to ensure safe and secure onwards transportation

3.3. Pack items to meet production continuity schedules, following a logical sequence

3.4. Ensure that items no longer required are returned to their correct location

4. Be able to maintain accurate records 4.1. Complete all required documentation accurately and legibly

5. Understand health and safety legislation relevant to striking sets

5.1. Comply with health and safety standards


1.1 Typical strike tasks: to include for example:

• Dismantle scenery

• Remove props from set and/or stage

• Packing and storage of sets and props

• Removal of lighting rigs

• Discard used and surplus materials

1.2 Timescales and deadlines: refer to project plan or production schedule; identify sequence of tasks to be completed to strike the set; timescales to dismantle scenery



and remove props; deadlines for subsequent production schedules, whether related or different.

1.3 Work to the programme: to cover for example:

• Location(s)

• Dates and times of work

• Schedules • Tasks and activities related to striking the set e.g. dismantle and remove

items

• Packaging and transport of sets, props and materials


1.4 Strike tasks: to consider for example:

• Access and support

• Fragility of sets and props

• Handling requirements

• Packaging needs

• Storage locations

• Waste disposal

• Health and safety Learning Outcome 2

2.1 Types, characteristics and uses: to include for example:

• Painted backdrops

• Projected backdrops

• Blocks, 3D fabrications, scenery

• Real items as props

• Simulated items and space models as props

• Uses of set dressing and props to support the production, storyline and set the scene for action.

2.2 Check props match property lists: obtain a copy of the property list for each act/scene; verify all props are found and checked off against property list.

2.3 Disassemble set dressings: obtain a copy of the production schedule; verify all set dressings are dismantled, removed and checked off against the property list.

2.4 Identification and recording: use labelling and/or tags to identify component parts as necessary; verify that all component parts are found and checked off.

2.5 Establish: identify relevant parties to notify; produce detailed descriptions and reports of any missing, damaged or broken items; identify whether damage is significant and/or whether replacement will be required.



Learning Outcome 3 3.1 Packing materials: identify the range, types and quantities of packaging materials e.g. cardboard boxes, cases, bubble wrap, pallets, shipping/storage crates; ensure packaging materials are delivered and available by required date; identify suitable packing cases where necessary for fragile props and other items.

3.2 Pack items: identify where equipment must be returned to; use appropriate packing materials and cases for all items, props and set dressings; use a checklist to ensure all equipment packed and stored appropriately.

3.3 Pack items: identify items to be used in further production schedules e.g. when filming or performing the next scene/act; store all items in appropriate locations, whether for production continuity, return or disposal.

3.4 Items no longer required: maintain records of items to be returned to a supplier or other source; identify items that will not be needed in further production schedules; arrange for the return of unwanted items in secure packaging to correct location e.g. supplier, hire company, storage warehouse; use tracking information on shipments as required.

Learning Outcome 4

4.1 Complete all required documentation: label all packed items, describing content, sender and delivery address; complete delivery and/or packing notes as required; maintain records of shipments, with dates, delivery address, number of packages, content, weights, costs, shipping/tracking reference numbers.

Learning Outcome 5

5.1 Health and safety standards: review organisational health and safety policies and work instructions for striking sets; identify all heavy items of equipment; identify lifting procedures and handling methods; check information provided on a risk assessment regarding action to be taken to minimise risks when striking sets e.g. action to be taken in case of fire, injury, falls.





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Unit Title: Support Visual Preparation


Unit Level: Two





Unit Summary In this unit learners will support the production of artwork by preparing straightforward representations and following instructions regarding combining and modifying materials to produce artwork. They will be required to ensure they understand the requirements of the drawings on which they are working, make adequate preparations and then prepare drawings which fulfil the creative intention. They will circulate the artwork to the appropriate people and know how to store items and information for potential future use.





1. Be able to make preparations to start drawing

1.1. Agree the requirements of the technical drawings with the relevant parties

1.2. Identify and select resources and materials required to meet the needs of the production





2. Be able to prepare drawings which fulfil the creative intention

2.1. Use techniques in drawings appropriate for the agreed style

2.2. Ensure that drawings clearly show the visual effect intended at key stages during the scene

2.3. Ensure drawings contain sufficient detail to meet the intended use

2.4. Record amendments and additions to drawings clearly and accurately

2.5. Handle drawings carefully to maintain production quality

2.6. Circulate drawings to relevant parties as required

3. Be able to produce artwork that meets production style requirements

3.1. Follow instructions accurately with regard to the selection, combination and modification of materials for the production of artwork

3.2. Record details about the selection of materials for the required visual image to inform the next stage.

3.3. Circulate the artwork and relevant supporting information to the relevant parties within deadlines

3.4. Record agreed amendments and additions to the artwork clearly and accurately

4. Be able to store drawings and artwork for future use

4.1. Store drawings and artwork carefully to ensure ease of retrieval and to maintain production quality


1.1 Requirements of the technical drawings: identify relevant parties. Requirements of technical drawings to include:

• Purpose e.g. set design, visualisations, storyboards

• Content e.g. ground plan, elevation, 3D view, sequence of scenes, graphical layout

• Format e.g. painted, drawn, 3D model, computer generated, graphic designs.



1.2 Resources and materials: to include for example:

• Hand drawn artworks and materials

• Production specifications and documents

• Computer equipment

• Software applications

• Assets e.g. logos, graphics, typography

• Tools and materials

• Output formats e.g. digital and printed hardcopies Learning Outcome 2

2.1 Use techniques in drawings: identify visual style and genre of work to be created; use of colour or monochrome; tools and techniques to include for example, image size, resolution, rulers, brush, shape, selection, eraser, fill, layers, text; choice or range of 3D projection and views; consideration of page layout and/or visual composition for storyline and creative intention.

2.2 Visual effect: identify key stages in a scene; use of visual and textual content; visual techniques to imply motion and actions; formatting of textual content to emphasise tone of sounds and speech; use annotations where appropriate.

2.3 Detail: limitations of simplistic sketches as part of the creative process; confirm how and where the drawings will be used to identify the level of detail required e.g. used by set designer, scenic carpenter, camera crew. Detail to include for example:

• Dimensions

• Backdrop

• Lighting

• Action

• Audience/camera viewing angles

2.4 Record amendments and additions: maintain a record of changes, amendments and additions to original work; annotate work as necessary, to provide additional comments, notes and information; use version control where appropriate.

2.5 Handle drawings carefully: take care to keep drawings clean and without damage to surface or edges; avoid liquids and stains; safe storage of drawings e.g. flat or rolled; use of protective sleeves where applicable; use of gloves when handling materials sensitive to oils and grease.

2.6 Circulate drawings: identify circulation list for comment and approvals; ensure any special handling precautions are followed.

Learning Outcome 3

3.1 Selection, combination and modification of materials: identify organisational instructions and procedures; identify manufacturer’s instructions for the use and



handling of materials; check compatibility of materials when combined together e.g. suitability of media with medium; identify techniques to be used to modify artwork e.g. erasing and/or replacing content.

3.2 Details: to include for example:

• Media

• Medium

• Format

• Size

• Cost

• Availability

3.3 Circulate the artwork and relevant supporting information: identify circulation list for comment and approvals; ensure any special handling precautions for drawings are followed; identify supporting information e.g. original storyline, narrative, writer and any techniques, conventions or approaches used to interpret this; state deadlines for return of artwork and/or feedback.

3.4 Amendments and additions: authorise amendments and additions with relevant parties; maintain a record of changes, amendments and additions to original work; use version control where appropriate.

Learning Outcome 4

4.1 Store drawings and artwork: take care to keep drawings clean and without damage to surface or edges; avoid liquids and stains; safe storage of drawings e.g. flat or rolled; use of protective sleeves where applicable; use of gloves when handling materials sensitive to oils and grease.





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Unit Title: Transfer Materials to Non-Broadcast Formats


Unit Level: Three





Unit Summary In this unit learners will develop their skills enabling them to be able to transfer the content of tapes or digital material onto non-broadcast formats. They will be able to find source materials, check they are in the right format and identify the transferring and/or file conversion required. They will be required to prepare, handle and operate machines safely. They will be required to record the correct source material and assess the completed copies for technical quality and accuracy. This is a technical editing unit.





1. Understand key information required for transferring materials to non-broadcast formats

1.1. Identify required paperwork or electronic information, stating how it can be obtained

1.2. Identify different broadcast and non- broadcast formats and standards





2. Be able to prepare source materials for transfer

2.1. Identify and locate source materials which are in the correct format for the equipment

2.2. Protect materials in all formats from potential damage

2.3. Check that the required aspect ratio or other format/standard is selected

2.4. Suggest alternative solutions if source materials are not in correct format for the equipment to be used

2.5. Identify correct transfer and/or file conversion requirements

3. Be able to operate machines competently and safely

3.1. Check that the equipment is in good working order, confirming that settings have been returned to default positions

3.2. Use equipment and materials safely, correctly and without damaging them

4. Be able to transfer materials using the correct sequence

4.1. Ensure that sufficient supplies of recording materials of the required format and capacity are available and ready for use

4.2. Select the appropriate vision source to the record machine input

4.3. Select appropriate sound sources to the correct sound track inputs

4.4. Load source materials correctly, adjusting parameters as required

4.5. Select timecode in-vision, and LTC, VITC or BITC correctly to the inputs of record machines

4.6. Assist in the assessment of completed recordings to identify any faults

4.7. Suggest appropriate remedial action to resolve any errors or faults identified

4.8. Make the required number of copies in the required format within the specified timescale

4.9. Maintain full and accurate records of work undertaken as required





5. Be able to liaise with relevant parties 5.1. Inform relevant parties promptly if source materials are not in the correct format for the equipment to be used

5.2. Check any unclear or ambiguous requirements promptly with relevant parties

5.3. Report problems in completing the work to specification accurately and promptly to relevant parties


1.1 Paperwork or electronic information: to include for example:

• Specifications for transferring and/or converting materials

• Source materials format, properties and where currently stored

• Copyright information on source materials

• Permissions and authorisations 1.2 Broadcast and non-broadcast formats and standards: video broadcast aspect ratios and formats/standards:

• 4:3

• 16:9

• HD 720/1080

• PAL/NTSC/SECAM

• 3D video

• Digital formats eg mpeg, .mov, .avi, .flv Audio broadcast formats and standards:

• Bit depth eg 12/16/20/24 bit

• Bit rate eg 128, 192, 256kbps

• Sample rates eg 44.1kHz, 48kHz, 96kHz

• Digital formats (compressed and uncompressed) eg mp2, mp3, linear pcm, broadcast wave format (bwf), .wav

Learning Outcome 2

2.1 Source materials: to include for example:

• Tape

• Disc

• Digital file Identify properties of source materials, for example:

• File format

• Resolution



• Aspect ratio

• Bit rate • Sample rate

• Compression used

2.2 Protect materials in all formats: maintain use of protective cases, sleeves and packaging; avoid magnetic fields (for magnetic storage devices such as hard disk, audio or video tape).

2.3 Check: identify requirements of project; identify format and properties of source materials; identify if alternative versions or formats are available.

2.4 Alternative solutions: to consider for example:

• Sourcing alternative materials

• Re-purposing materials available

• Identify impact of alternative solutions on the project e.g. quality, equipment required, timescales, cost.

2.5 Transfer and/or file conversion requirements: to include for example:

• Capturing or transfer of video footage from tape and/or digital files

• Transfer or copying of audio recordings from tape or digital files

• Conversion of analogue and/or digital file formats e.g. import and saving/exporting files in suitable formats for use in post-production

Learning Outcome 3

3.1 Check that the equipment is in good working order: list equipment to be used e.g. playback machine, record machine, video monitor, headphones; perform checks and tests on equipment; create a checklist for equipment and controls if required; use a checklist for equipment and controls, recording results obtained.

3.2 Use equipment and materials safely: identify safe working practices as defined by organisational procedures; identify and follow handling procedures for all source materials e.g. use of protective cases, sleeves, packaging; identify potential risks and hazards of using equipment; use and/or complete a risk assessment where appropriate; identify action to be taken to reduce potential risks as described on the risk assessment.

Learning Outcome 4

4.1 Recording materials: types of materials required e.g. tape, disk; storage capacity of materials e.g. CD, DVD, hard disk; quantities of materials required; allowances for contingencies.

4.2 Vision source: identify vision sources to be used e.g. playback machine; use appropriate cables and connections; check types and number of video inputs on record machine e.g. digital and analogue.

4.3 Select: identify sound sources to be used e.g. playback machine; use appropriate cables and connections; use of mixing consoles as necessary; check types and number of audio inputs on record machine e.g. digital and analogue, line in, MIDI.

4.4 Load: load source materials into playback machine as appropriate; set playback parameters; cue source materials to required position.

4.5 Select timecode in-vision: identify timecode used on source materials, for example:

• Linear time code (LTC)

• Vertical interval time code (VITC)

• Burnt in time code (BITC)

• In-vision time code Identify options for timecode connection on record machine; use of timecode to cue source material(s) to required position.

4.6 Completed recordings: review recorded/mixed material; assess timings, content, mixing; check for faults e.g. pops, clicks, speed, pitch, distortion, clipping, volume levels.

4.7 Remedial action: consider options for:

• Post processing of recording

• Re-recording and mixing Identify techniques and/or approaches needed to resolve errors and faults.

4.8 Number of copies: export/save the recording in the required format; identify timescales available to create (multiple) copies; duplicate the recording as required.

4.9 Records of work: to include for example:

• Material requirements and specifications for conversion

• Sources and materials used

• Tools, techniques, equipment and processes used

• Version control on recorded material

Learning Outcome 5

5.1 Inform: identify relevant parties to report unsuitability of materials; confirm format of source materials provided; confirm format required by equipment.

5.2 Ambiguous requirements: review specifications and requirements for converting source materials. For example:

• Output file format

• Resolution

• Aspect ratio

• Bit rate

• Sample rate



• Compression

• Duration • Mixing

Identify relevant parties to report ambiguities

5.3 Problems in completing the work to specification: identify relevant parties to report problems; identify nature of problems e.g. suitability of source material, technical, visual and audio compatibility, equipment limitations and constraints, timescales.







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Unit Title: Understand Legal and Ethical Requirements Relating to Photo Imaging


Unit Level: Three





Unit Summary In this unit learners will apply the laws relevant to their work and their rights relating to production, usage and ownership of images. The unit covers negotiating rights and dealing with any infringements, and with licensing and assigning their work to others.







1. Understand legal, regulatory and ethical requirements relating to work in the photo imaging industry

1.1. Identify key aspects of current legislation on contracts, copyright, intellectual property and rights and permissions relating to photo imaging

1.2. Identify key aspects of laws relating to the photography of people, property and protected subjects

1.3. Indentify key aspects of laws relating to trademarks, logos, money stamps and other copyright material

1.4. Identify how laws relating to photo imaging can differ in other countries/territories

1.5. Identify aspects of codes of ethics/conduct relevant to own work

1.6. Identify sources of information to update own knowledge of legislative requirements

1.7. Identify potential moral issues and dilemmas relating to professional practise in photo imaging

2. Understand legislation relating to own photographic work

2.1. Identify all necessary permissions, indemnities and insurances before commencing photographic work

2.2. Identify procedures for assigning copyright in own work

2.3. Explain the importance of licences and terms of use for own work

2.4. Ensure that copyright is embedded in image files 2.5. Identify procedures to monitor usage of

own/organisation’s images 2.6. Identify appropriate action to take when rights

are infringed





3. Understand legislation relating to the use of intellectual property

3.1. Explain how and where images can be used without permission

3.2. Negotiate terms and conditions of usage with the client/supplier

3.3. Ensure that the intended usage of the images does not breach relevant legislation

3.4. Identify appropriate action to resolve infringements of copyright

4. Understand how to maintain accurate records

4.1. Identify procedures for recording picture number, caption and credit in image files

4.2. Explain the importance of confirming license agreements in writing


1.1 Current legislation: to include for example:

• Model releases signed by model (over 18) or parent/guardian (under 18)

• Child protection issues and codes of conduct

• Limitations and privileges as a professional photographer compared to a member of the public.

1.2 Key aspects of laws:

• Use of Property releases for photography on private property

• Terrorism Act 2000, Section 43 – photography in public places

• Terrorism Act 2000 Section 44 – photography within an authorised area • Legislation relating to taking of photographs and publication of photographs

e.g. photograph taken in a public place that shows a trademark

• Legislation relating to the photography of wildlife subjects e.g protected birds and animals at or near their nests

• Trespass

• Obstruction

• Harassment

• Privacy

1.3 Key aspects of laws: legal restrictions on taking, selling and publishing photographs of:

• Bank notes/money stamps

• Law Courts



• Children under 18 (difference between candid shots in public places and indecent images)

• Copyrighted material (differences between whether the main subject or incidental inclusion)

• Trademarks

• Logos • Other Intellectual Property

1.4 Laws: to include for example:

• Military and commercial airports

• Religion

1.5 Aspects of codes of ethics/conduct: to include for example:

• Organisational codes of conduct and ethics

• Photographic Associations guidelines and Code of Conduct

• PCC Editor’s Code of Conduct

1.6 Sources of information: to include for example:

• Photo imaging Sector bodies and Association’s websites

• Government body websites e.g. Copyright Service

1.7 Moral issues and dilemmas: to consider for example:

• Newsworthy events versus privacy issues

• Creative high quality photographic images versus moral and ethical issues relating to subject content

Examples include photographs of:

• People in embarrassing situations or poses

• Environmental issues

Learning Outcome 2

2.1 Permissions, indemnities and insurances: to include for example:

• Access permission for private property

• Parental permissions to take photographs of children

• Permission to take photographs of people and property on private land

• Indemnities for the publication, distribution and other use of photographs

• Public Liability Insurance

2.2 Procedures for assigning copyright: embed copyright information into own photographs; registration of own work; use of © symbol or other watermark on samples and proofs.

2.3 Importance: licences for use of copyrighted material; identify terms of use e.g. distribution, reproduction, size, format; identify costs for licensed use of photographic images; commercial considerations of image use, protecting the rights of the photographer.

2.4 Embedded in image files: use of metadata with:

• Photographer name

• Copyright notice

• Contact information How to add metadata to all photographic images, whether digital photographs or scanned photographs of prints/slides; how to add copyright information to prints, negatives and slides/transparencies.

2.5 Procedures: use of metadata, copyright symbol and watermarks on photographic images uploaded to websites; use of metadata, copyright symbol and watermark on images sold through photo libraries.

2.6 Appropriate action: contact publisher of copyrighted work; notice of infringement; fee to be charged and/or other action to be taken e.g. legal, compensatory, withdrawal of use.

Learning Outcome 3

3.1 How and where: to include:

• Private research • Educational use

• Criticism and news reporting

• Incidental inclusion

• Royal Commissions, statutory enquiries and judicial proceedings and parliamentary purposes.

3.2 Terms and conditions: to include for example:

• Format of reproduction e.g. book, magazine, single print, web image

• Size of reproduction e.g. quarter page, full page, A4, A3, website use

• Distribution e.g. local, national or worldwide

• Limitation on number of copies

• Duration of licence e.g. 1 year, 5 years

• Whether used in derivative works

3.3 Breach relevant legislation: consider whether reproduced in the public domain and any legal restrictions e.g. display of copyrighted material, trademarks, logos, children.

3.4 Appropriate action: contact publisher of copyrighted work with notice of infringement; attempt to negotiate licence fee and terms if applicable; action to be taken e.g. legal, compensatory, withdrawal of use.

Learning Outcome 4

4.1 Procedures: use of metadata to include filename and fields for:

• Photographic number or reference





• Caption/title of image

• Content descriptors • Author/owner credit

• Copyright information

4.2 Confirming license agreements: defines terms of use of photographic images; states clearly the impact of breach of use e.g. legal, compensatory, withdrawal of use; protection of photographers intellectual property and copyright.




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Unit Title: Undertake Colour Management Procedures


Unit Level: Three





Unit Summary In this unit learners will undertake colour management procedures. This involves calibrating and profiling hardware to maintain colour accuracy from image capture to output and is likely to include using a range of technology and equipment including, digital cameras, scanners, monitors, proofing devices and printers.





1. Understand key issues relating to undertaking colour management procedures

1.1. Explain the principles of colour theory, colour mode and colour profiles

1.2. Explain the process of a colour managed workflow from image capture to image output





2. Be able to manage and calibrate hardware to maintain colour accuracy

2.1. Identify the hardware devices in a digital workflow that require calibration

2.2. Identify equipment used for calibration 2.3. Explain the importance of controlling the

environment of the digital workplace 2.4. Obtain standard reference material and

test cards as required 2.5. Calibrate the hardware devices of the

system 2.6. Create and store hardware colour

profiles 2.7. Check that the colour calibration

profiles are used in a colour managed digital workflow

2.8. Explain the need to monitor the digital output against the relevant reference material at specified intervals

3. Be able to manage embedded image colour profiles

3.1. Establish whether an image has an embedded colour profile

3.2. Assign and/or convert embedded colour profiles to image as required by business/organisation requirements

3.3. Save an image with an appropriate embedded profile for screen use

3.4. Select an appropriate printer profile for use with image printing

4. Be able to store images/files for future use

4.1. Identify the intended future use of images

4.2. Record and store information relating to the calibration and profiles in digital workflow

4.3. Retain a master copy of images in an appropriate format





5. Understand health and safety and business requirements relating to undertaking colour management procedures

5.1. Identify relevant aspects of health and safety legislation


5.3. Check that all business procedures are followed


1.1 Colour theory, colour mode and colour profiles:

• Additive primary colours for monitors and displays(RGB)

• Subtractive primary colours for printing (CMYK)

• Conversion of RGB colour mode to CMYK colour mode

• Proofing colours for print

• Use of 8/16 bit colour editing modes where supported by image capture and image editing software

• Use of embedded colour profiles in photo images and conversion to working colour space in image editing applications

1.2 Colour managed workflow: use of a fully colour managed workflow to ensure accurate colour reproduction in final work; requirements of colour profiles to be used at image capture e.g. either sRGB or Adobe RGB colour profile selected in a digital camera; how image colour profiles are stored with image files throughout the process and used alongside colour calibrated hardware e.g. computer monitor and printer.

Learning Outcome 2

2.1 Hardware devices: to include:

• Camera

• Scanner

• Display monitor

• Printer

2.2 Equipment used for calibration: to include for example:

• Colorimeter

• Spectrophotometer

• Colour checker chart

• Grey scale chart

• Scanner profiler chart

• Pantone library



2.3 Controlling the environment of the digital workplace: digital workplace environment to include, for example, ambient light e.g. natural or artificial; neutral grey work surfaces and walls. Effect of ambient lighting on calibration and the human eye; effect of coloured work surfaces and walls on how colours are interpreted by the human eye; how these effects can lead to over compensation of colour inaccuracies in image files.

2.4 Reference material and test cards: to include for example:

• Colour checker chart

• Grey scale chart

• Scanner profiler chart

• Pantone library

2.5 Calibrate: use colour calibration equipment to:

• Calibrate a display monitor, using appropriate hardware and software

• Calibrate a scanner, using appropriate hardware and software

• Calibrate a printer, using appropriate hardware and software

2.6 Create and store: save the new profile(s) created as a result of colour calibration; ICC and ICM profiles.

2.7 Colour calibration profiles: identify where new profiles are stored on the computer system; configure the operating system and image editing software applications to load the new profiles as required.

2.8 Monitor: compare test prints with reference material e.g. colour charts; identify calibration intervals for each piece of hardware; check for drift and ageing of hardware devices in terms of colour reproduction accuracy.

Learning Outcome 3

3.1 Embedded colour profile: check image file information and properties; identify what colour profile is embedded.

3.2 Assign and/or convert embedded colour profiles to image: identify organisation policies and procedures for working with colour profiles; assign colour profiles to images that do not have embedded colour profile; convert embedded colour profile to required working colour space.

3.3 Appropriate embedded profile: colour profiles supported by different devices e.g. display monitors, printers; assign or convert embedded colour profile to be sRGB for screen/web use. 3.4 Appropriate printer profile: colour profiles supported by different devices e.g. display monitors, printers; assign or convert embedded colour profile for print use e.g. using Adobe RGB, ProPhoto RGB.



Learning Outcome 4 4.1 Intended future use of images: consider whether images created for screen/web use will ever be printed; limitations of permanently restricting colour gamut by saving images only with sRGB profile.

4.2 Record and store information: maintain accurate records; identify dates of calibration, profile names stored and next calibration date due.

4.3 Master copy of images: store high resolution, high quality images with appropriate embedded profiles; create lower resolution copies with sRGB profiles for screen/web use if and when required.

Learning Outcome 5

5.1 Health and safety legislation: review organisational health and safety policies; solitary working if applicable; use of computer and electrical equipment; review work area in terms of local hazards, risks, fire evacuation routes, first aid facilities.

5.2 Minimise potential risks and hazards: check information provided on a risk assessment regarding action to be taken to minimise risks. To include for example:




5.3 Business procedures: identify business/organisation systems and procedures related to technical adjustment of images; comply with procedures relevant to own work.





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Unit Title: Undertake Image Asset Management


Unit Level: Three





Unit Summary In this unit learners will undertake image asset management. This includes electronic and manual methods of archiving, conservation, storage, preservation, security, access, retrieval, and the monitoring and control of the use of images. It also involves the application of colour management techniques as well as the resources required and available.





1. Understand key issues relating to image asset management

1.1. Explain the organisational procedures used in capturing and downloading images

1.2. Identify key principles of colour management, explaining how and why image profiles are used

1.3. Identify key methods for storing master copies of original work

1.4. Explain how other aspects of a business interrelate with image asset management





2. Be able to prepare images for archiving 2.1. Check that images and the media on which they are stored are protected from physical damage during work processes

2.2. Carry out any adjustment and/or processing required, ensuring that image integrity is retained

2.3. Check that colour management procedures have been carried out correctly and in line with business requirements

2.4. Assign or convert embedded colour profiles to images in line with business requirements

2.5. Rate and organise images as appropriate to identify quality and fitness for purpose before archiving

2.6. Keyword and caption images as required

2.7. Append copyright information and other metadata

3. Be able to archive, store and preserve images

3.1. Identify procedures to monitor and control the use of images

3.2. Archive images using the appropriate procedures

3.3. Identify procedures to ensure that archived images are preserved by environmental and security protection systems

3.4. Store backup copies in a separate, safe and secure location

3.5. Record all data relating to the management of assets in line with business requirements





4. Understand legislation, ethics and business requirements relevant to image asset management

4.1. Identify key aspects of legislation relevant to image asset management


4.3. Carry out risk assessments as required to minimise the potential for accidental damage, illegal activity and loss of images


4.5. Check that all business systems and procedures are followed

4.6. Check before archiving or using images that they do not infringe current laws and guidelines, obtaining any releases and permissions as required

4.7. Identify aspects of codes of ethics/conduct relevant to image asset management


1.1 Organisational procedures: identify own organisation procedures and workplace instructions; types and capabilities of image asset management utilities used; options for capturing images to library using image management tools e.g. renaming images, appending metadata and copyright information.

1.2 Key principles of colour management: use of a fully colour managed workflow to ensure accurate colour reproduction in final work; additive primary colours for monitors and displays (RGB); subtractive primary colours for printing (CMYK); use of embedded colour profiles in photo images and conversion to working colour space in image editing applications.

1.3 Key methods for storing master copies: master copies saved in high quality uncompressed formats; read only protected master copies; access restrictions e.g. by user, read only, read/write; use of backup medium for copies of masters.

1.4 Aspects of a business interrelate with image asset management: to include for example:

• Marketing

• Advertising



• Production How image asset management is accessed by relevant departments to support business activities.

Learning Outcome 2

2.1 Protected from physical damage: work processes to use only copies of masters; use of protective sleeves and cases for storage media.

2.2 Adjustment and/or processing: use of non-destructive editing techniques on images; copies of work to be saved with new filenames without over-writing originals; additional processing of previous work to use a high resolution/high quality version e.g. not re-using a jpeg file that has been saved and re-opened several times, hence reducing image quality.

2.3 Colour management procedures: identify own organisation procedures and requirements. To consider colour management and calibration of, for example:

• Camera

• Scanner

• Display monitor

• Printer

2.4 Assign or convert: identify organisation policies and procedures for working with colour profiles; assign colour profiles to images that do not have embedded colour profile; convert embedded colour profile to required working colour space.

2.5 Rate and organise images: use tools, techniques and features of image asset management application to:

• Rate

• Tag

• Stack

• Label

• Sort Use of rating and organising flags/labels to identify best images or those to be used for preference.

2.6 Keyword and caption images: descriptive metadata added by photographer/image editor and includes for example:

• Name of photographer and/or organisation • Range of keywords to describe image content e.g. main subject, additional

subject(s), names of people, alternative (scientific) names, location, date, colours, numbers, composition, usage

Importance of full and accurate keywording of image assets; use of keywords and metadata by image asset management application, to locate suitable images for a given project or requirement.

2.7 Copyright information and other metadata: copyright information:

• Copyright status

• Copyright owner


• Copyright owner’s contact information

Other metadata:

• Title

• Author

• Description

• Keywords

• Categories

• IPTC data Learning Outcome 3

3.1 Monitor and control: use of watermarks and copyright symbols; use of copyright information in metadata; maintain records of all authorised usage; maintain records of reproduction in public domain e.g. website use.

3.2 Archive images: identify own organisation procedures and requirements; identify format of archive material required; identify location for archive material to be stored; verify successful storage of archived material.

3.3 Preserved: to consider for example:

• Master storage medium and location

• Backup storage medium and location

• Environmental considerations e.g. temperature, humidity, magnetic fields

• Authorised access e.g. user account control, read only, read/write

• Use of firewalls for online and/or network access.

3.4 Separate, safe and secure location: away from master copies; off site location; identify environmental storage conditions and expected lifetime of backups.

3.5 Record all data: identify own organisation procedures and requirements; maintain accurate records including image source, processing and storage name/location.

Learning Outcome 4

4.1 Key aspects of legislation: consider for example:

• Possible infringement of copyright, trademark and/or other intellectual property

• How copyright is affected by combination of multiple images and derivative work

4.2 Relevant aspects of health and safety legislation: review organisational health and safety policies; solitary working if applicable; use of computer and electrical

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equipment; review work area in terms of local hazards, risks, fire evacuation routes, first aid facilities.

4.3 Risk assessments: complete a risk assessment in terms of the potential for damage, corruption, deletion or theft of organisation’s image asset library as appropriate; check information provided on a risk assessment regarding action to be taken to minimise risks.

4.4 Take appropriate action: identify action required in order to minimise identified risks; implement action to protect image asset library, for example:

• Create and maintain backups

• Ensure user account control and access permissions to master archive material

• Identify user names and passwords for remote access

• Maintain logs of access to image asset library.

4.5 Business systems and procedures: identify business/organisation systems and procedures related to image asset management; comply with procedures relevant to own work.

4.6 Current laws and guidelines: subject of images e.g. people, children, wildlife, property, copyrighted materials trademarks, bank notes; procedures to store and/or index model and property releases against archive material.








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Unit Title: Undertake Technical Adjustment of Images


Unit Level: Three





Unit Summary In this unit learners will undertake technical adjustment of images. This includes the development of the editing approach and the production of image files to meet the client’s requirements as well as an understanding of relevant legal and regulatory issues.







1. Understand key issues relating to technical adjustment of images

1.1. Explain the principles of colour theory, colour mode and colour management

1.2. Explain the importance of technical compatibility in images with specified requirements

1.3. Explain the effects of image pixel dimensions, resolution and bit depth on file size

1.4. Explain the importance of having accurate technical and descriptive metadata

1.5. Identify the relative merits of appropriate equipment, software, methods and material for different imagining requirements

1.6. Explain the reasons for using different file formats for digital images, identifying the differences between them





2. Be able to develop and editing approach to the technical adjustment of images

2.1. Agree with relevant parties the image editing workflow and procedures

2.2. Select the most suitable hardware and software for the image editing

2.3. Retrieve all relevant material from image sources as required

2.4. Import retrieved images into the editing software

2.5. Check the visual and technical compatibility of the elements to be combined in the editing process

2.6. Identify how to treat incompatible elements, following workplace procedures and relevant guidelines

3. Be able to produce image files to meet the client’s requirements

3.1. Produce appropriate edited images to meet all the client’s requirements and workplace standards

3.2. Produce preliminary proofs, discussing and agreeing any further editing with the client

3.3. Liaise with colleagues and/or clients to resolve any identified problems

3.4. Carry out any further editing to produce final image files

4. Be able to save and store image files 4.1. Append image metadata in accordance with workplace systems and copyright legislation

4.2. Save the edited image files in the correct format ready for outputting or storage





5. Understand legislation, ethics and business requirements relevant to technical adjustment of images

5.1. Identify key aspects of legislation relevant to technical adjustment of images



5.4. Identify aspects of codes of ethics/conduct relevant to the technical adjustment of images

5.5. Recognise any potential legal issues arising from the nature of the images to be produced

5.6. Attribute intellectual property and copyright credits in accordance with copyright legislation

5.7. Maintain the confidentiality of photographic material as required

5.8. Comply with all business/organisation systems and procedures


1.1 Colour theory, colour mode and colour management:

• Additive primary colours for monitors and displays (RGB) • Subtractive primary colours for printing (CMYK)

• Conversion of RGB colour mode to CMYK colour mode

• Proofing colours for print

• Use of 8/16 bit colour editing modes where supported by image capture and image editing software

• Use of embedded colour profiles in photo images and conversion to working colour space in image editing applications

• Use of a fully colour managed workflow to ensure accurate colour reproduction in final work

1.2 Technical compatibility: pixel dimensions and dpi resolution of all source and output images; technical compatibility of pixel dimensions and colour mode in source materials to create high quality images and graphics for print; limitations of web images and graphics at 72dpi with high quality print requirements at



300dpi; artefacts created by stretching low resolution images e.g. noise, distortion, loss of sharpness, lack of detail and incorrect aspect ratio.

1.3 Image pixel dimensions, resolution and bit depth: file size dependant on total number of pixels and the file format e.g. compressed and uncompressed; effect of dpi resolution on print dimensions but not file size; consideration of 8/16 bit colour depth per channel and file formats that support 16 bit colours e.g. tiff, psd; why 16 bit colour depth is double the file size of an equivalent image with 8 bit colour depth; how jpeg file format reduces file size by storing image information in blocks of 64 pixels (in 8x8 square); how jpeg file format quality settings is a trade-off between file size and image quality.

1.4 Technical and descriptive metadata: technical metadata stored by digital camera and includes for example:

• Camera make/model

• Shutter speed

• Aperture used

• Lens focal length setting

• Flash Descriptive metadata added by photographer/image editor and includes for example:

• Name of photographer


• Keywords to describe image content How metadata is searchable by image management applications, to locate suitable images for a given project or requirement.

1.5 Equipment, software, methods and material:

Equipment to include:

• Cameras eg D-SLR, digital compact, film

• Scanners eg flatbed, negative/transparency, drum Software to include:

• Vector and bitmap editing applications

• Provision for processing of images, editing metadata, saving in a range of different formats for both print and web use

Methods to include tools and techniques of the software.

1.6 Different file formats for digital images: camera file formats:


• tiff (uncompressed file format, high quality, large file size) • RAW (uncompressed file format, high quality, large file size, image

processing manually on computer system e.g. white balance, exposure) Additional image file formats (on computer system):

• EPS

• GIF

• PNG Comparison of compressed and uncompressed image file formats e.g. jpeg file size and trade off with image quality; where different file formats are used e.g. print industry, web use.

Learning Outcome 2

2.1 Image editing workflow and procedures: identify relevant parties. Establish image editing workflow to include for example:

• Image management and organisation software e.g. for tagging, rating, stacking images

• Camera RAW conversion

• Check image sharpness

• Check/adjust image levels (for brightness/contrast)

• Check/adjust colours

• Crop, clone, retouch image as required

• Save in high resolution format as master image file

• Resize image to required dimensions

• Sharpen image as required for use at resized dimensions

• Save a copy of the image in a size, resolution and file format for intended use

2.2 Hardware and software: identify computer system e.g. PC, Mac; identify image editing software to be used; key features and capabilities of image editing software.

2.3 Retrieve: obtain, copy, transfer, scan all images required e.g. from camera, scanner, CD/DVD, network drive, photographic library.

2.4 Import: use of image file management/organisation applications; open files as required; set camera RAW settings for image conversion as required.

2.5 Visual and technical compatibility: check image sharpness at 100% scaling on all images to be used; identify pixel dimensions and dpi resolution of all source and output images; technical compatibility of pixel dimensions and colour mode in source materials to create high quality images and graphics for print; limitations of web images and graphics at 72dpi with high quality print requirements at 300dpi; artefacts created by stretching low resolution images e.g. noise, distortion, loss of sharpness, lack of detail and incorrect aspect ratio.

2.6 How to treat incompatible elements: colour mode conversion techniques; resampling techniques used to upscale low resolution images; identify organisational procedures and guidelines on the re-purposing of images.

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Learning Outcome 3 3.1 Produce appropriate edited images: to client specification, including:

• Pixel dimensions

• DPI resolution

• Print dimensions if applicable

• Embedded colour profile

• File format and quality settings if applicable

3.2 Produce preliminary proofs: use of low resolution copies for proofing purposes; identify features and properties of images, with discussion about further improvements, enhancements and alterations.

3.3 Resolve any identified problems:

• Identify problems with images e.g. sharpness, brightness, colour, colour profile, image content and/or subject

• Identify corrective action to be taken • Resolve problems within limitations and constraints of equipment,

resources, timescales and budget.

3.4 Further editing: complete final edits, improvements, enhancements and alterations as identified.

Learning Outcome 4

4.1 Append image metadata: identify workplace systems and organisational policies on embedded metadata; identify copyright status and ownership on final work. Add/edit/append metadata content with:

• Title

• Description of work

• Author



• Keywords

4.2 Save the edited image files: save work with final edits and metadata in required format suitable for high resolution archive use if applicable; save/export a copy of the work in a file size, format and resolution suitable for intended use e.g. A4 print or web use.

Learning Outcome 5

5.1 Key aspects of legislation: consider for example:

• Possible infringement of copyright, trademark and/or other intellectual property

• How copyright is affected by combination of multiple images and derivative work



5.2 Relevant aspects of health and safety legislation: review organisational health and safety policies; solitary working if applicable; use of computer and electrical equipment; review work area in terms of local hazards, risks, fire evacuation routes, first aid facilities.

5.3 Minimise potential risks and hazards: check information provided on a risk assessment regarding action to be taken to minimise risks. To include for example:





5.5 Potential legal issues: subject of images e.g. people, children, wildlife, property, copyrighted materials trademarks, bank notes.

5.6 Intellectual property and copyright credits: append/check metadata with accurate copyright status and notice; attribute copyright accurately in accordance with use of multiple images where applicable; attribute copyright accurately in accordance with creation of derivative work where applicable.

5.7 Confidentiality: identify confidentiality issues such as:

• Subject of photographs e.g. people, children, criminal acts

• Personal information e.g. names, addresses, identity information.

5.8 Business/organisation systems and procedures: identify business/organisation systems and procedures related to technical adjustment of images; comply with procedures relevant to own work.



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Unit Title: Undertake the Photographic Assignment


Unit Level: Three





Unit Summary In this unit learners will take images under a variety of circumstances including portrait, still life and for specified shoots. This will cover small, medium and large-format cameras, working in indoor and outdoor locations, with people or objects, and where applicable, following instructions to ensure that images produced are fit for purpose.







1. Be able to prepare for undertaking photographic assignments

1.1. Identify the types and purpose of photography required

1.2. Justify selection of a conventional or digital approach

1.3. Identify file formats for digital images, the differences between them and the reasons for using them

1.4. Identify appropriate camera settings and colour space

1.5. Identify the subject, composition and lighting required

1.6. Check that permissions or permits have been acquired in advance, as necessary

1.7. Amend the agreed approach to take account of the circumstances of the assignment as required

1.8. Comply with the relevant organisation’s code, behaviour and language

1.9. Maintain a professional manner when undertaking photographic assignments





2. Be able to take images for photographic assignments

2.1. Assemble, secure, position and set up the equipment safely

2.2. Connect lights correctly to their power sources as required

2.3. Adjust camera settings and lighting to meet the requirements of the assignment

2.4. Resolve identified problems with equipment where possible

2.5. Compose the images to fulfil the assignment 2.6. Take appropriate and sufficient photographs 2.7. Unload film safely or download digital images,

as appropriate 2.8. Store images safely and securely 2.9. Record supporting information for the

photographs as required 2.10. Dismantle the equipment safely

3. Be able to evaluate performance in relation to photographic assignments

3.1. Obtain feedback from the client about the product and services

3.2. Identify relevant sources of information to update knowledge and skills relevant to own work

4. Understand legislation, ethics, and business requirements relevant to undertaking photographic assignments

4.1. Identify key aspects of legislation relevant to undertaking photographic assignments

4.2. Identify aspects of code of ethics/conduct relevant to completing the photographic assignment

4.3. Comply with own organisation’s business requirements

5. Be able to comply with relevant health and safety requirements

5.1. Identify aspects of health and safety legislation and regulations relevant to work environment

5.2. Take appropriate action to minimise potential risks and hazards involved in the assignments


1.1 Types and purpose of photography: to include for example:

• Portrait

• Landscape



• Technical/industrial

• Macro • Wildlife

• Still life

• Action/sports

Purpose of photographic images to include for example:

• Record of events e.g. wedding, celebrations, media promotion events, sports fixtures

• Images for promoting and advertising products and services e.g. for use in printed brochures and/or organisation website

• Image stock shots for supply to photographic image library

• Travel images e.g. for tourism, travel brochures

• News and magazine articles/features

1.2 Justify: Film based cameras:

• Benefits e.g. large format film, exposure latitude

• Disadvantages e.g. no instant confirmation of image quality, requirement to reload film, sensitivity set by film type (ISO/ASA), processing and printing time.

Digital cameras:

• Benefits e.g. instant playback and review of images, ability to set white balance and ISO for each frame, large capacity storage, no chemical processing of media

• Disadvantages e.g. battery life, colour noise.

1.3 File formats for digital images: Camera file formats:


• tiff (uncompressed file format, high quality, large file size)

• RAW (uncompressed file format, high quality, large file size, image processing manually on computer system e.g. white balance)

Additional image file formats (on computer system):

• EPS

• GIF

• PNG Comparison of compressed and uncompressed image file formats e.g. jpeg file size and trade off with image quality; where different file formats are used e.g. print industry, web use.

1.4 Camera settings and colour space:

Camera settings:

• Shooting mode e.g. P, S, A, M, Tv, Av

• Focus mode e.g. single, continuous, single point, multi point • Exposure compensation for difficult lighting conditions

• White balance selection e.g. Incandescent, fluorescent, daylight, flash, shade, preset/custom

• ISO selection for lighting conditions and image quality e.g. 100/200/400/800/1600

• Use of embedded colour profile in colour managed workflow

• Colour space to meet client requirements and final photographic image output

1.5 Subject, composition and lighting: to consider for example:

• Subject movement e.g. static portrait, sports event • Subject positioning in the frame

• Background e.g. in focus, out of focus • Image composition and rules of photography e.g. rule of thirds, use of

lines, frames, perspective

Lighting –on subject and background

• Level of ambient light

• Use of additional (fill in) light

• Studio lighting configurations e.g. single, double or triple light

• Use of reflectors, soft boxes, colour card

1.6 Permissions or permits: permissions to take photographs from people, models and property owners (if on private land); press pass or permit for designated areas on location.

1.7 Circumstances: identify conditions on the day of the photographic shoot, for example:

• Weather conditions

• Viewpoint

• Distance from subject

• Obstructions

• Equipment available

• Equipment faults 1.8 Organisation’s code, behaviour and language: identify requirements prior to the day of the photographic shoot; may include formal/informal dress code, wearing of hi-vis jackets; conduct and behaviour to comply with permitted authorisation(s).

1.9 Professional manner: work with models, location personnel and representatives to achieve results; respond to requests and instructions from security staff; act within own rights and relevant law.

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Learning Outcome 2 2.1 Assemble, secure, position and set up: attach appropriate lens to camera; attach camera/lens to tripod; align camera to subject and lock tripod head; connect flash if required; assemble studio flash heads with umbrella, reflector or soft boxes as required; assemble studio background as required.

2.2 Connect lights: set up studio lights with power and trigger connections; check power cables are clear of access walkways.

2.3 Adjust camera settings and lighting:

• Set image quality and file format

• Set exposure mode

• Set white balance

• Set ISO value

• Set focus mode and metering mode if applicable

• Set flash mode eg normal, red-eye, slow sync as required

• Set output power on studio flash for required aperture value

2.4 Resolve identified problems: check camera equipment, lighting and exposure values, identify problems with camera, settings and/or lighting; check lens optics, clean if necessary; check for sensor dust, identify procedures to be followed if found; change settings and equipment configuration as necessary.

2.5 Compose the images: frame the subject as required; consider rules of photography and composition e.g. rule of thirds, use of lines, frames, perspective; consider positioning of subject in the frame and focal point/depth of field.

2.6 Appropriate and sufficient photographs: use chosen photographic equipment and settings; review digital photographs taken during the assignment and retake as required; check for correct exposure and image sharpness.

2.7 Unload film safely or download digital images: remove film from camera; unload in darkroom or pass on to film processing service; connect digital camera or memory card to computer system; transfer photographs to computer system.

2.8 Store images: use file naming conventions and folder management; create backup copies of photographic images.

2.9 Record supporting information: to include for example:

• Photographer name

• Date taken

• Location

• Name(s) of people and models

• Signed releases from people and models

• Equipment used



• Client name

• Copyright status • Keywords

2.10 Dismantle:

• Remove camera/lens from tripod

• Disconnect lens from camera if required, replacing with body/lens caps

• Dismantle and store tripod

• Disconnect power and triggers from studio lights

• Pack studio lights away in transport cases/bags as required

Learning Outcome 3 3.1 Obtain feedback: present photographs taken; obtain feedback on standard of work and whether fit for purpose.

3.2 Sources of information: to include use of for example:

• Photographic Association websites, newsletters and magazines

• Photographic publications and periodicals

• Networking with professionals working in the photo imaging sector

• Trade shows and exhibitions

Learning Outcome 4 4.1 Key aspects of legislation: to include for example:


• Possibility of causing an obstruction in a public place

• Possibility of causing harassment of photographic subject • Permission to take photographs


• Subject of photographs e.g. people, children, wildlife, property, copyrighted materials trademarks, bank notes

4.2 Code of ethics/conduct: in line with organisational and photographic association guidelines e.g. Editorial guidelines, SWPP, Press Complaints Commission.

4.3 Business requirements: to include for example:

• Deliverables and any requested extras (at agreed cost)

• Timescales for processing and delivering photographic work

• Budget constraints

Learning Outcome 5 5.1 Health and safety legislation: review organisational health and safety policies; solitary working if applicable; safe use of chemicals as appropriate; lifting

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procedures and handling methods for heavy equipment; review assignment location in terms of local hazards, risks, fire evacuation routes, first aid facilities.

5.2 Appropriate action: check information provided on a risk assessment regarding action to be taken to minimise risks on the photographic assignment. For example, action to be taken in case of:

• Fire • Injury • Falls





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Unit Title: Assist with Radio Productions


Unit Level: Three




Unit Sector: 9.3 Media and Communication Unit Summary The aim of this unit is to provide learners with an understanding of the assistant’s role on radio productions. Learners will achieve competency in administrative duties that are associated with the production of radio programmes including maintaining the supply of resources, maintaining records of copyright, regulatory and other compliance documentation and the management of guests and contributors to radio programmes.





1. Be able to undertake administrative duties relating to radio productions

1.1. Acknowledge instructions promptly and accurately

1.2. Carry out instructions promptly and accurately

1.3. Ensure that producers’ requirements are met prior to and during production

1.4. Locate relevant sources of information, checking its accuracy

1.5. Deal promptly with all related correspondence

1.6. Check that all equipment and materials are in satisfactory condition for re-use

1.7. Order replacement equipment and materials as required

1.8. Establish the need for any licenses,





clearances, permissions and performance fees, taking account of any copyright and music licensing issues

1.9. Maintain accurate and up-to-date records and documentation, ensuring compliance with relevant reporting requirements

1.10. Contribute to the smooth recording of programmes or items, responding to any requests for assistance

1.11. Carry out all duties within the limits of own authority and in accordance with managers’ expectations

2. Be able to deal with guests and contributors

2.1. Conduct fact-finding conversations with potential contributors, summarising the outcome for each production

2.2. Invite selected contributors to attend studios or locations at a mutually convenient time

2.3. Greet guests and contributors courteously on arrival, informing them of health and safety requirements and studio/location practices

2.4. Accompany guests and contributors to relevant production personnel

2.5. Introduce guests and contributors to relevant production personnel

2.6. Inform the studio promptly if contributors are late

2.7. Ensure that contracts are arranged for artistes and contributors as required





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Unit Title: Comply with the Law when Working in Radio


Unit Level: Three





Unit Summary The aim of this unit is ensure that learners are conversant with the need to comply with the law when working in the radio industry. This includes understanding copyright law and how it affects radio content, the workings of the Freedom of Information Act in respect of broadcasting and the ability to evaluate the legality of radio content prior to broadcast.





1. Understand the general principles of defamation

1.1. Explain what constitutes a defamatory statement, identifying who can sue and who can be sued

1.2. Explain the scope and requirements of the defences available to broadcasters for use in defamation cases

1.3. Identify potential instances of defamation in different types of radio content





2. Understand copyright law and its relevance to radio content

2.1. Explain what is protected by copyright 2.2. Explain the role of the Performing Rights

Society (PRS) for Music in respect of radio content

2.3. Explain the role of the Public Performance License (PPL) in respect of radio content

2.4. Ensure that own radio content has required information in respect of ownership and usage of copyrighted material

3. Understand information gathering and reporting in the context of a broadcast radio

3.1. Identify rights of access to information under UK and European freedom of information legislation and the legal limitations on such access

3.2. Explain the concept of open justice and the rights, responsibilities and restrictions involved in court reporting, publication, access to information and freedom of expression in the context of broadcast radio

3.3. Explain how injunctions may be used to constrain broadcasters in order to prevent invasion of privacy or harassment, and in what circumstances these can be overturned

3.4. Identify any reporting restrictions to protect the legal process when reporting active criminal cases

3.5. Identify any reporting restrictions to protect the identity of juveniles and victims of crime





4. Be able to evaluate the legality of radio content

4.1. Comply with any legal restrictions attached to court reporting

4.2. Exercise legal rights to access information and know what challenges can be made against any efforts to limit that access

4.3. Ensure that source information is relevant and reliable, especially where there are consequences for ongoing investigations and/or criminal cases

4.4. Ensure that research undertaken does not breach any legislation governing public order, prevention of terrorism, race relations and/or protection of children

4.5. Refer issues for expert advice in any instance where legality is uncertain




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Unit Title: Conduct Yourself Ethically When Working in Radio


Unit Level: Three





Unit Summary The aim of this unit is ensure that learners are conversant with issues of ethics in broadcasting. Learners will gain an understanding of the regulatory framework within which the UK broadcasting industry operates and the implications of radio station codes of conduct. Through this, learners will be able to ensure that their own radio content complies with broadcasting regulations and legislation.







1. Understand the regulatory framework that governs UK broadcasting

1.1. Explain the role of Ofcom Broadcasting Code as it replies to radio

1.2. Explain the role of the BBC Trust and the content of the BBC’s Editorial guidelines as they apply to radio

1.3. Explain the role of the Broadcast Committee of Advertising Practice (BCAP) on the content of the Radio Advertise Standards Code

1.4. Explain the role of PhonePayPlus and the content of its Code Of Practice for premium rate phone services

2. Understand relevant radio station codes of conduct, policies and procedures

2.1. Identify key aspects of policies on running competitions and handling complaints

2.2. Ensure adherence to the principles of fair play and the use of explicit selection criteria in all forms of competition

2.3. Respond in a timely fashion to programme complaints in line with legal obligations and organisations own codes of conduct





3. Be able to ensure own radio content meets required regulatory standards

3.1. Ensure radio content complies with relevant regulatory requirements and industry codes of conduct

3.2. Ensure the due impartiality and accuracy of any news items featured in radio content

3.3. Ensure that any individuals and organisations featuring in radio content are treated fairly

3.4. Ensure that any material which may cause offence is justified by the context

3.5. Identify and declare any potential conflicts of interest in terms of the subject matter of own radio content

3.6. Consider issues of health and safety and equality and diversity in relation to own radio content

3.7. Identify when it is necessary to seek editorial and/or legal advice

3.8. Seek the advice of appropriately qualified and experience people in any instance of ethical uncertainty

4. Understand legal and regulatory issues relevant to ethical conduct

4.1. Identify the organisations responsible for developing and regulating health and safety in the workplace

4.2. Identify key aspects of health and safety legislation relevant to radio broadcasting

4.3. Identify the organisation(s) responsible for developing and regulating equality and diversity in the workplace

4.4. Identify key aspects of equality and diversity legislation relevant to radio broadcasting





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Unit Title: Contribute to the Creative Process in Radio


Unit Level: Three





Unit Summary The aim of this unit is to develop learner understanding of how creative thinking in the use of different formats, structures, choice of genre, application of storytelling principles and other key concepts can be applied to the creative programme making process in radio. Learners will then develop and present their own creative ideas.







1. Understand key aspects of the creative process in radio

1.1. Compare creativity and creative thinking in different genres of radio

1.2. Define the concepts of format and structure in radio station output

1.3. Define the concepts of format and structure in radio programmes

1.4. Describe creative opportunities of existing and emerging forms of multiplatform distribution identifying limitations

1.5. Identify techniques used to generate ideas and stimulate creative thinking

1.6. Explain how to apply key principles of storytelling to the creation of effective radio content

1.7. Explain the benefits of collaborative working and knowledge sharing

1.8. Explain how to take acceptable risks to create, innovate and improve own practice

2. Be able to contribute to the creative process in radio

2.1. Identify the creative possibilities in different genres of radio

2.2. Identify different platforms for distribution of audio content

2.3. Develop creative content using appropriate format and structure

2.4. Use a range of creative thinking techniques to generate ideas

2.5. Identify practical ways to overcome potential barriers to creativity

2.6. Present own ideas to others to gain their support

2.7. Respond constructively to the ideas of others



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Unit Title: Edit, Process and Mix Audio


Unit Level: Three





Unit Summary The aim of this unit is to develop learner’s understanding of the main aspects of audio processing and editing. Learners will develop skills in destructive and non-destructive editing of material. Further skills will be developed in the mixing and balancing of pre-recorded audio material from a range of sources. Learners will also become competent in completing the appropriate documentation.





1. Understand key issues relating to editing audio

1.1. Explain key elements of audio editing 1.2. Explain the difference between

destructive and non-destructive editing 1.3. Identify the timescales and available

budget for the edit





2. Be able to edit and process audio material

2.1. Identify the editorial intent, required artistic effect and target audience

2.2. Establish how the edited material will be used

2.3. Select the most appropriate audio editing software of techniques for specific situations

2.4. Select clips and structure audio in a way which tells a story clearly, accurately and fairly

2.5. Select clips and structure audio in a way which reflects the key content of an interview without altering its meaning

2.6. Select clips and structure audio in a way which preserves the integrity of an original musical performance

2.7. Select edit points which create a smooth transition in the material to achieve the required effects

2.8. Use digital audio files to carry out basic timeline based editing operations to meet the requirements of the brief

3. Be able to mix audio material 3.1. Use sound effects and acoustic effects appropriately

3.2. Confirm that sources of sound have suitable acoustic qualities and appropriate dynamic range

3.3. Create a sound mix, ensuring that the position and blend of sound sources achieve the required artistic effect

3.4. Balance all elements of the audio material to meet requirements of the target audience

3.5. Confirm that transitions between sound sources are technically accurate

3.6. Suggest practical solutions to any problems with the sound mix





4. Be able to complete relevant documentation

4.1. Label audio materials accurately following organisational protocols

4.2. Complete documentation clearly and accurately, ensuring it is up-to-date, accessible in an approved organisational formats





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Unit Title: Evaluate Ideas for Radio Content


Unit Level: Three





Unit Summary In this unit learners will develop an understanding of how to judge ideas for radio content against specific criteria, taking into account station requirements, cost, technical and logistical implications and audience. Learners will then select and develop an idea for radio content whilst recognising relevant legal, regulatory and organisational limitations.







1. Understand how to select ideas for radio content

1.1. Identify programme and station requirements against which ideas are to be judged

1.2. Describe key characteristics of potential audiences

1.3. Identify the specific criteria for judging and selecting ideas

1.4. Explain key strengths and limitations of ideas for radio content in relation to the specific selection criteria

1.5. Identify levels of acceptable creative risk in the pursuit of new and original ideas

1.6. Select ideas that have the greatest potential for meeting programme requirements

1.7. Explain clearly the reasons for selecting and rejecting ideas

1.8. Provide constructive feedback to others about their ideas

2. Understand how to develop an idea for radio content

2.1. Identify the cost, technical and logistical implications of realising an idea

2.2. Define the concepts of format and structure as relevant to the development of an idea for radio content

2.3. Explain how the development of an idea meets programme requirements

2.4. Provide sufficient opportunities for other relevant parties to contribute to the development of an idea





3. Understand legal, regulatory and organisational requirements relevant to evaluating ideas for radio content

3.1. Identify key aspects of laws, industry regulations and organisational guidelines relevant to an idea

3.2. Ensure that own practice complies with relevant laws, industry regulations and organisational guidelines



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Unit Title: Know How to Produce Speech Content for Radio


Unit Level: Three





Unit Summary The aim of this unit is give learners the skills to enable them to specify, source, evaluate and assemble speech content for the production of specific radio programmes, with due regard to appropriate legal, regulatory and institutional requirements of the radio station concerned.





1. Be able to identify, obtain and assemble speech content to meet production requirements

1.1. Identify the purpose and requirements of a production

1.2. Identify the type of speech content and its treatment which have the greatest potential to meet production requirements

1.3. Select options for the speech content and its treatment which have the greatest potential to meet production requirements

1.4. Confirm the availability of existing speech content material which matches the options selected





1.5. Identify the need for any original speech content which may be required

1.6. Specify the format in which the speech content is required, checking its availability

1.7. Explain the requirements for speech content clearly to colleagues and/or external suppliers

1.8. Identify appropriate alternative speech content as required

1.9. Compare the costs of content with available budgets, taking prompt action to address identified budget overruns

1.10. Sequence speech content in its final running order ensuring it offers the greatest potential to meet production requirements

2. Be able to evaluate obtained speech content

2.1. Check speech content on delivery to confirm that it meets production requirements

2.2. Reject any material which fails to meet requirements and cannot be modified

2.3. Encourage colleagues to evaluate and give feedback on the selected content

3. Understand legal, regulatory and organisational requirements relevant to producing speech content

3.1. Identify any licences, clearances and permissions which might be required

3.2. Obtain all required licenses, clearances and permissions to protect the interests of all relevant parties

3.3. Identify potentially sensitive or contentions materials, confirming that its use is within legal, regulatory and organisational requirements

3.4. Ensure that the use of any music or copyright material is recorded and reported accurately



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Unit Title: Know How to Produce Station Branding, Radio Trails and Commercials


Unit Level: Three





Unit Summary The aim of this unit is to enable learners to produce appropriate branding, trails and commercials for radio. Learners will develop the ability to interpret a production brief and produce appropriate content, including music, voice-overs and sound mixes, within a fixed budget and set timescale. Learners will also gain an understanding of relevant regulatory and legal requirements in relation to licences and copyright.





1. Understand key contextual information relating to the production of station branding, radio trails and commercials

1.1. Confirm the requirements of a specific brief for the production of radio material

2. Be able to interpret a brief for the production of radio material

2.1. Write a script for a radio trail to meet the requirements of the brief

2.2. Write a commercial to meet the requirements





3. Be able to produce station branding, trails and commercials

3.1. Select appropriate music and sound effects

3.2. Commission especially recorded music as required

3.3. Produce and record artistically effective voice-overs of good technical quality

3.4. Edit voices and sound effects effectively 3.5. Transfer recorded sounds for digital

editing, labelling appropriately 3.6. Create appropriate sound mixes that are

artistically and technically accurate 3.7. Complete the end products within the

set time scale as agreed with the client 3.8. Work within the budget set by the client 3.9. Maintain accurate documentation

4. Understand legal and regulatory issues relevant to producing station branding, radio trails and commercials

4.1. Check/obtain licenses for the use of music and sound effects

4.2. Describe the limitations on the use of certain music

4.3. Explain how to obtain licenses for the use of pre-recorded sound effects

4.4. Describe the compliance arrangements relevant to the production of commercials





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Unit Title: Manage Audio Material


Unit Level: Three





Unit Summary The aim of this unit is to give learners an understanding of relevant audio equipment to enable the management of digital audio material. Learners will become familiar with the use of different file formats for storing digital audio and will be able to transfer audio material between formats.





1. Understand issues relating to the management of digital audio

1.1. Explain the key differences between analogue and digital audio

1.2. Explain the key differences between mono and stereo audio, identifying the implications

2. Understand relevant audio equipment 2.1. Describe the key characteristics of microphones, accessories and applications

2.2. Describe the operating characteristics of digital recorders





3. Be able to transfer audio material 3.1. Import audio from different sources into a digital work station using the most appropriate method for the technology used

3.2. Transfer audio between different audio workstations and applications using the most appropriate method for the technology used

3.3. Use an appropriate interface between source and destination when transferring audio

3.4. Confirm that the sound material is in the desired format at the required level and has the appropriate dynamic range

3.5. Export audio files to a range of media 3.6. Find alternative solutions for importing

and exporting digital audio as required 3.7. Maintain the integrity of digital audio

throughout its use within a digital audio workstation

3.8. Complete recording within agreed timescales

3.9. Resolve any technical problems as required





4. Understand the use of different file formats for storing digital audio

4.1. Explain the difference between uncompressed and compressed file formats, identifying implications for use

4.2. Explain different forms of compression, identifying implications for use

4.3. Explain how the key characteristics of audio files are connected, identifying implications for use

4.4. Explain how a file’s audio characteristics will affect its size when stored on a digital audio workstation

4.5. Explain which file formats are most appropriate to specific platforms and applications

4.6. Save digital files securely in a format appropriate to the situation following best practice





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Unit Title: Operate a Radio Studio


Unit Level: Three





Unit Summary The aim of this unit is to give learners an understanding of technical operations and logistical issues applicable to radio studio operation for live and pre-recorded programmes. They will liaise with appropriate personnel and become familiar with health and safety legislation and procedures relevant to operating a radio studio.







1. Understand key issues relating to radio studio operation

1.1. Explain key differences between self-op and tech-op studios

1.2. Explain the roles, responsibilities and hierarchies of studio production teams

1.3. Explain key differences between studio operations for live or recorded programming

1.4. Describe the different technical formats and technologies used to link studios

1.5. Identify the range of potential remote sound sources

1.6. Explain the importance of good studio discipline

1.7. Identify the key characteristics of different digital playout systems

2. Be able to operate a radio studio 2.1. Operate studio equipment competently and safely

2.2. Simultaneously select sound sources, use the mixing desk and operate the playout system

2.3. Maintain an organised approach to studio operations, preparing for any potential problems

2.4. Deal with information or direction given via headphones and talkback without interrupting the flow of a live broadcast

2.5. Resolve any problems without distracting the audience where possible





3. Be able to liaise with appropriate personnel

3.1. Work effectively with other members of the production team as required

3.2. Contact suitably qualified personnel to resolve any technical problems as required

4. Understand health and safety legislation and procedures relevant to operating a radio studio

4.1. Identify the requirements of relevant health and safety legislation and procedures

4.2. Ensure that own practice complies with relevant health and safety legislation and procedures





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Unit Title: Originate and Develop Ideas for Radio Content


Unit Level: Three





Unit Summary The aim of this unit is to develop learner ability and understanding of the factors that influence the creative content production process. Through an understanding of different types of radio station, associated audiences and their specific programming requirements, the learners will develop original ideas into proposals to meet the programming needs of particular stations. Through collaborative working learners will develop their ideas into creative content.





1. Understand station or programme requirements

1.1. Identify the station or programme at which a particular idea is aimed

1.2. Describe key characteristics of the target audience(s) of the station or programme

1.3. Explain the requirements of the station or programme

1.4. Identify the expectations of commissioning decision-makers for the station or programme

1.5. Explain how relevant aspects of law, regulation or editorial policy should be addressed





2. Understand how to originate and develop realistic proposals to meet station or programme requirements

2.1. Use appropriate research methods to originate and develop ideas with the potential to meet production requirements drawing on relevant sources of specialist knowledge

2.2. Work collaboratively with others to discuss and test initial ideas developing considered proposals for radio content

2.3. Develop the detail of ideas to demonstrate the potential for achievement within available resources/budget and timescale

2.4. Explain how factors that have determined the success or failure of past programmes have been taken into account in developing particular ideas

2.5. Use available and accessible sources to verify the originality of ideas

2.6. Identify appropriate opportunities to exploit an idea across various platforms to create interactive content

3. Be able to develop creative content to meet station or programme requirements

3.1. Develop creative content for an identified target audience

3.2. Explain how and why a particular idea is likely to appeal to the identified target audience





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Unit Title: Pitch Ideas for Radio Content


Unit Level: Three





Unit Summary The aim of this unit is for learners to acquire pitching skills when presenting ideas for radio programme content. Learners will need to consider audience, station style, market characteristics, costs, technical and logistical implications when presenting their proposals. Relevant legal, ethical and regulatory issues, including copyright and broadcasting codes of practice, should also be considered.







1. Understand key issues relating to presenting ideas for radio content

1.1. Describe key characteristics of the potential audience and market for radio content

1.2. Describe key characteristics of the station style or programme format for radio content

1.3. Explain how to demonstrate that an idea or script is original and meets production requirements

1.4. Explain how to estimate production costs 1.5. Explain how ideas are realised in

different environments, identifying associated costs and technical and logistical implications

2. Be able to present ideas for radio content

2.1. Include sufficient, relevant and accurate background information to support own proposal(s)

2.2. Make proposals within timescales and budgets, identifying associated costs and technical and logistical implications

2.3. Present own proposal(s) clearly in an appropriate format, making a compelling and succinct case for the idea(s)

2.4. Respond confidently and positively to questions and criticisms as required

2.5. Adapt own proposal(s) as required in response to feedback from others





3. Understand legal, ethical and regulatory issues relevant to pitching ideas for radio content

3.1. Identify legal and ethical issues which affect the use of information

3.2. Identify relevant copyright restrictions 3.3. Identify relevant aspects of current

broadcasting codes of practise 3.4. Ensure that own ideas are compatible

with legal and copyright restrictions and current broadcasting codes of practice




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Unit Title: Prepare for and Conduct Radio Interviews


Unit Level: Three





Unit Summary The aim of this unit is to prepare learners for the role of an interviewer for a range of radio programmes. Learners will develop an understanding of the contextual issues relating to radio interviewing. They will be able to plan radio interviews, participate in the briefing prior to an interview and conduct radio interviews that meet appropriate production requirements.





1. Understand key contextual information relating to radio interviews

1.1. Identify the purpose and focus of radio interviews

1.2. Explain key features and requirements of different types of radio interviews

1.3. Explain key differences between planned and spontaneous interviews

1.4. Explain key factors relating to the house style of the station or programme





2. Understand key issues when planning radio interviews

2.1. Agree the brief for each interview, identifying whether live or recorded and target audience

2.2. Locate appropriate interviewees taking account of a need for balance and a mix of views as required

2.3. Confirm the relevance and authority of interviewees, drawing on background facts and personal details

2.4. Explain the use of release and consent forms

2.5. Describe the relevant dress code for specification

3. Carry out briefings for radio interviews 3.1. Brief interviewees clearly, fully and accurately, identifying all requirements and expectations for their contribution(s)

3.2. Check the understanding of interviewees, responding sensitively to any questions

3.3. Explain how to prepare to be interviewed, clarifying how to anticipate questions and prepare answers in advance

3.4. Brief all relevant personnel as required, liaising closely with production and technical team members





4. Conduct radio interviews to meet production requirements

4.1. Adopt an interviewing style that is appropriate to own objectives

4.2. Use questioning that sounds spontaneous and encourages the required responses from each interviewee

4.3. Listen carefully to each interviewee, following up on answers as required

4.4. Maintain appropriate nonverbal communication

4.5. Close interviews naturally and neatly, with appropriate editorial impact

4.6. Ensure that release and consent forms are signed, as appropriate

4.7. Ensure that the views of the interviewees are reflected fairly and accurately when interviews are edited

4.8. Identify interviewees clearly during programmes as required

4.9. Offer clarification for audiences in relation to any instances of assumed knowledge or use of specialist terminology in the interview

4.10. Work within available resource and budget limitations




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Unit Title: Present a Radio Programme


Unit Level: Three





Unit Summary The aim of this unit is to give learners skills to present radio programmes. From an understanding of the key issues around target audience, programme style and genre, learners will develop the ability to present radio programmes in compliance with relevant legal and regulatory requirements. They will review their presentation skills through a process of self-reflection and peer evaluation.







1. Understand key issues relating to the presentation of a radio programme

1.1. Identify the context and purpose of own particular role as a presenter

1.2. Identify the key characteristics of the intended target audiences

1.3. Describe the range of station styles, programme genres and formats in radio, identifying the different presentation roles each demands

1.4. Summarise the presentation disciplines relevant to different programme genres

1.5. Identify sources of audience information that are specific to a particular target audiences

1.6. Explain the importance of using language that is appropriate for all listeners





2. Be able to present a radio programme 2.1. Draw on own knowledge of an audience to build a rapport

2.2. Present material, demonstrating engagement with and understanding of the content

2.3. Use own knowledge of the subject matter and content to build credibility with an audience

2.4. Undertake commentary on a range of events in an appropriate style following adequate preparation and research

2.5. Operate recording and other relative equipment as required

2.6. Work within production requirements, observing the disciplines of the production process

2.7. Ensure that own personal presentation and appearance is appropriate when working in a face-to-face situation

3. Be able to review on performance on radio

3.1. Listen to own output to learn from experience

3.2. Reflect on listener feedback, contributing to any responses as required

3.3. Obtain regular feedback on own performance from relevant personnel

3.4. Identify opportunities to improve own performance

4. Be able to comply with legal and regulatory requirements relevant to present a radio programme

4.1. Comply with relevant laws and regulations governing the radio industry





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Unit Title: Produce Multi-Platform Content for Radio


Unit Level: Three





Unit Summary The aim of this unit is to ensure that learners understand the context in which multi- platform radio programme content is produced. This includes being competent to produce multi-platform content to meet production requirements within relevant regulatory and legal constraints.





1. Understand key contextual information relating to the production of multi- platform content for radio

1.1. Identify the practical uses and creative potential of the available technology

1.2. Identify the relative importance of the types of platform available

1.3. Describe the key characteristics and expectations of the intended target audience(s)

1.4. Identify the context and purpose of the multi-platform content





2. Be able to produce multi-platform content to meet production requirements

2.1. Specify the resources required to maintain the content throughout its duration

2.2. Provide content for online use in a suitable format for the intended target audience

2.3. Prepare audio for on-line use, using appropriate software

2.4. Upload audio content, making it available as required

2.5. Select visual material from appropriate sources to promote and visually explain on-line content

2.6. Prepare suitable visual images and video for on-line use

2.7. Work within agreed budgets and timescales

3. Understand legal and regulatory requirements relevant to producing multi-platform content for radio

3.1. Identify licences, clearances and permissions which might be required

3.2. Explain how to obtain licenses, clearances and permissions

3.3. Explain the reporting requirements for the use of music and copyright materials

3.4. Ensure that the use of any music or copyright material is recorded accurately





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Unit Title: Produce Music Radio


Unit Level: Three





Unit Summary The aim of this unit is to enable learners to understand the purpose, context and requirements of music radio. Learners will develop skills so they can obtain music appropriate for a specific programme, assemble it into a running order, work within agreed budget constraints and have knowledge of the legal and regulatory issues pertaining to its broadcast.







1. Understand key contextual information relating to the production of music radio

1.1. Identify the purpose and requirements of a specific production/radio station format

1.2. Describe the key characteristics of the target audience for a specific production/radio station format

1.3. Identify the formats of music content required

1.4. Identify the key requirements for recorded music content, drawing on production information

1.5. Identify the differences between live, pre-recorded or automated programming, explaining the implications in relation to key requirements

2. Be able to obtain music to meet production requirements

2.1. Access identified sources for the music content as required

2.2. Confirm the availability of the required music content with identified supply sources

2.3. Identify appropriate alternative music content as required

2.4. Check the music content on delivery to establish that it meets standards and requirements





3. Be able to assemble music content in its production order

3.1. Devise suitable music categories and clocks for input into standard scheduling systems, taking account of key principles for file management, evaluation of tracks and scheduling

3.2. Assemble the recorded music content in its running order

3.3. Confirm that the assembled music content is ready for transmission

3.4. Confirm that the materials meet the requirements for content, duration and consistency of quality

3.5. Perform relevant and valid tests to confirm that material meet the required standards

3.6. Confirm that the final running order offers the greatest potential for meeting production requirements

3.7. Seek feedback from colleagues on the selected music content

3.8. Keep accurate records of details and duration of music used for clearance purposes

4. Be able to work within agreed budgets 4.1. Identify the budgets available for music content

4.2. Compare the cost of content with available budgets

4.3. Take prompt action to remedy any identified budget over-runs





5. Understand legal and regulatory issues relevant to producing music

5.1. Identify key aspects of current broadcast standards and industry codes of practice

5.2. Obtain any licenses, clearances and permissions as required

5.3. Ensure that arrangements for obtaining licenses, clearances and permissions are sufficient to protect the interests of all relevant parties

5.4. Confirm that the use of a potentially sensitive or contentious material is within broadcasting standards, rejecting materials which do not meet requirements or standards which cannot be modified





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Unit Title: Produce Radio Broadcasts


Unit Level: Three





Unit Summary The aim of this unit is to enable learners to understand the context and content of radio broadcasts. The learners will develop skills in briefing presenters and contributors prior to broadcast, managing the activities of radio studio staff and monitoring programme and item timings, while working within appropriate legal and regulatory frameworks.





1. Understand key contextual information relating to the production of live radio broadcasts

1.1. Identify the purpose, intended outcome, content and structure of a specific programme

1.2. Identify the running order, cue, links inserts and timings for programme content

1.3. Identify the intended role of each contributor

1.4. Identify the date, time and location of each contributor’s participation





2. Be able to brief presenters and contributors

2.1. Identify the key characteristics and preferences of each presenter and contributor

2.2. Brief presenters clearly on the requirements of their role, allowing adequate opportunities for queries and clarification

2.3. Provide contributors with clear and concise information on their roles and responsibilities, explaining the intended outcomes and structure of the programme(s)

2.4. Give constructive and realistic feedback to presenters as required

3. Be able to manage the activities of studio teams

3.1. Direct studio teams to achieve production team members are clear, accurate and concise

3.2. Monitor all activities of studio teams to identify any actual or potential deviations from schedules, standards and plans

3.3. Communicate any changes to agreed plans promptly to the relevant parties





4. Be able to monitor programme timings 4.1. Calculate the duration of each programme and sequence accurately

4.2. Compare actual timings to estimates 4.3. Check sequence timings throughout the

programme, making appropriate adjustments to any variations which affect programme running order and duration

4.4. Identify rehearsal timings, remedying any significant discrepancies as required

4.5. Recalculate timings as required where changes are made to programme content and running order

4.6. Count pre-recorded inserts in and out accurately

4.7. Monitor the performance against the script accurately

4.8. Take appropriate action to maintain the editorial integrity of the programme in relation to any identified discrepancies between actual and scripted performance

5. Understand legal and regulatory issues relevant to producing radio broadcasts

5.1. Identify key aspects or current broadcasting standards and industry codes of practice

5.2. Identify appropriate actions to take to avoid potential problems arising from legal or ethical issues related to the subject matter or treatment

5.3. Identify licenses, clearances and permissions which might be required

5.4. Explain how to obtain licenses, clearances and permissions

5.5. Explain the reporting requirements for the use of music and copyright materials

5.6. Identify appropriate action to deal with breaches of the law or codes of practice as required

5.7. Ensure that the use of any music or copyright material is recorded accurately



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Unit Title: Record Audio on Location and in the Studio


Unit Level: Three





Unit Summary The aim of this unit is to give learners an understanding of key technical and logistical issues relating to recording audio from a variety of sources. Learners will learn how to resolve related problems, name, label and store audio recordings.





1. Understand key issues relating to recording audio

1.1. Explain key factors for consideration in recording audio from different sources

1.2. Explain the implications of recording material to be edited or recorded for ‘as live’ transmission

1.3. Describe the key characteristics and limitations of relevant equipment

1.4. Explain the difference between automatic and manual level control, identifying the implications in different situations





2. Be able to record audio from a variety of sources

2.1. Test equipment to ensure it is working correctly

2.2. Select appropriate microphones for given conditions, allowing for the particular characteristics of individual microphones when recording

2.3. Ensure that the audio volume is appropriate by checking recording levels and monitor inputs

2.4. Record audio on to the appropriate medium and format, taking account of the amount of original recorded material likely to be used in the final product

2.5. Ensure there is sufficient and suitable audio material to make the editing process as straightforward as possible, taking account of any issues arising during recording

2.6. Complete the recording within agreed timescales

2.7. Ensure that own actions do not present a safety hazard to others

3. Be able to resolve problems related to recording audio

3.1. Identify the acoustic characteristics of the studio or location to be used

3.2. Check a location for its suitability for recording, making provision to minimise noise

3.3. Rectify any sound defects, system failures or mechanical breakdowns seeking appropriate assistance as required

4. Be able to name, label and store audio recordings

4.1. Name audio materials, labelling accurately according to organisational protocols

4.2. Store audio materials securely according to organisational protocols



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Unit Title: Research Audiences for Radio


Unit Level: Three





Unit Summary The aim of this unit is to enable learners to identify the demographic of radio audiences and analyse their consumption of specific content and use of different distribution platforms. Using appropriate data learners will then develop radio programme content to match target audiences and platforms.





1. Understand how to identify a target radio audience

1.1. Explain, how, why and where people listen to the radio or access audio content on different platforms

1.2. Explain key principles of audience research techniques, identifying strengths and limitations

1.3. Explain key principles of demographics and market segmentation, identifying distinct audience groups with shared characteristics

1.4. Explain how and why particular radio content and its means of distribution is intended to appeal to different target audiences

1.5. Explain the role of the Radio Joint





Audience Research (RAJAR) in collecting, providing and defining audience information

1.6. Interpret relevant sources of information about audiences and their behaviour to identify the target audience for a specific station or specific programme content

1.7. Describe the key characteristics of the identified target audience

2. Be able to develop material for an identified target radio audience

2.1. Develop a station style for the identified target audience explaining the reason(s) for choice

2.2. Develop programme content for an identified target audience explaining the reason(s) for choice

2.3. Identify the distribution platform for an identified target audience explaining the reason(s) for choice



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Unit Title: Research the Structure of the Radio Industry


Unit Level: Three





Unit Summary The aim of this unit is to provide learners with an understanding of the structure, characteristics and funding methodologies of the UK radio industry. They will become familiar with a range of job roles and employment opportunities in the radio industry and will consider the impact of changing technologies on content for multi-platform distribution.





1. Understand key issues relating to the medium of radio

1.1. Explain the overall structure of the contemporary radio industry, identifying the characteristics of its sub sectors

1.2. Explain key differences between different sub sectors of the radio industry

1.3. Explain the implications of different business models and sources of funding in the radio industry

1.4. Explain the roles of a range of key stakeholders in the radio industry





2. Understand job roles and opportunities in the radio industry

2.1. Explain key functions and jobs in the radio industry

2.2. Explain the need for and expectations of multi-skilling in different roles in the radio industry

3. Understand the impact of key changes in the radio industry

3.1. Explain the impact of changing digital technologies on the radio industry

3.2. Explain the implications of multi- platform distribution of audio content identifying a range of different broadcast platforms



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Unit Title: Undertake Research for Radio Content


Unit Level: Three





Unit Summary The aim of this unit is to provide learners with an understanding of the uses and purpose of radio programme content research. Having learned how to plan research tasks, taking into consideration relevant legal and ethical issues, learners will undertake the collection, recording, validation and analysis of specific data for the production of radio programme content.





1. Understand the purpose and use of research for radio content

1.1. Identify areas for research relevant to the programme or content brief

1.2. Explain how the purpose of an identified research proposal relates to key characteristics of the radio programme or content and its target audience





2. Understand how to plan research for radio content

2.1. Understand how to plan research for radio content

2.2. Identify key parameters for radio content and the related research proposal

2.3. Itemise the practical research tasks involved in a research proposal

2.4. Identify different sources of potential information, agreeing the use of specialist sources

3. Understand how to collect and record relevant information

3.1. Explain the importance of keeping clear, detailed, accurate and up-to-date records

3.2. Maintain clear, detailed, accurate and up-to-date records, storing them securely

3.3. Devise questions and questioning techniques as relevant to the research brief

3.4. Explain how individuals will be approached for information

3.5. Explain how to undertake effective internet research

3.6. Collect relevant, authentic and accurate information from individuals and other sources, ensuring the information is sufficient to enable judgements of its value to be made

4. Understand how to analyse relevant information

4.1. Explain why the sources of information used are reliable

4.2. Identify any inconsistent or contradictory information

4.3. Review all information to select the material most suitable for realisation of the research brief

4.4. Use information from research to produce coherent and concise briefing notes for the end-user





5. Understand legal and ethical issues relevant to radio content research

5.1. Explain legal and ethical considerations which affect the use of information

5.2. Explain restrictions and conditions attached to information use

5.3. Explain the implications of using copyright material

5.4. Explain potential legal risks, factual errors and breaches of codes of conduct involved in using material from internet sources

5.5. Identify potential legally contentious areas in own research, obtaining appropriate advice as required





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Unit Title: Use and Develop the Voice for Radio


Unit Level: Three





Unit Summary The aim of this unit is to provide the learner with the skills to train their own voice and use it effectively in radio production. Learners will gain an understanding of how the human voice works, learning how to care for it and recognise when it is sensitive to damage. From this learners will develop the ability to use their voice appropriately in terms of tone, pitch, volume and pace when broadcasting on radio.





1. Understand how the human voice works 1.1. Explain the relationship between breathing and voice production

1.2. Explain the benefits of maintaining an easy, balanced and safe posture for voice production

1.3. Summarise the effects of different tones and styles of delivery, identifying





2. Understand how to take care of the human voice

2.1. Explain how to take care of the voice to keep it healthy

2.2. Explain how to recognise the warning signs of problems with and/or damage to the voice

2.3. Explain how to manage problems with and/or damage

3. Be able to use own voice effectively on radio

3.1. Manage breath efficiency and unobtrusively in spoken delivery, allowing voice to flow freely

3.2. Read and speak clearly, adopting any easy, balanced and safe posture

3.3. Use a tone of voice and style of delivery appropriate to the subject matter, programme format, time of day and target audience

3.4. Articulate words clearly and accurately, varying pace, pitch, volume, power and mood while communicating the intention effectively to listeners

3.5. Read aloud with assurance and clarity 3.6. Adapt delivery according to various

acoustic environments, different types of broadcasts and recording equipment





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Unit Title: Work Effectively in Radio


Unit Level: Three





Unit Summary The aim of this unit is to introduce learners to the key responsibilities and skills required to function creatively and effectively as a member of a team in the radio industry. Learners will develop a broad understanding of the medium of radio and its future position in a world of converging media, including the legal and regulatory framework within which the industry operates. Technical competence in operating current industry standard equipment will also be a focus, along with general IT skills and the ability to manage self-development.







1. Understand key issues relating to the medium of the radio

1.1. Explain what makes the medium of the radio distinctive

1.2. Explain the creative and technical possibilities of radio

1.3. Describe current innovations in radio 1.4. Explain the role of radio within the

converging media landscape 1.5. Describe different genres in music

and/or speech radio 1.6. Describe programme formats and/or

station styles in music and/or speech radio

1.7. Describe how own roles/anticipated role relates to other roles in radio





2. Be able to work creatively and effectively in radio as part of a team

2.1. Propose different ideas for radio and related multi-platform content, identifying the key strengths and limitations

2.2. Work collaboratively with colleagues, sharing knowledge and ideas

2.3. Conduct discussions and negotiations in a way that promotes co-operation and goodwill

2.4. Seek and respond constructively to advice or feedback from other relevant parties on aspects of own work

2.5. Adapt own work and/or behaviour in response to feedback from other relevant parties

2.6. Operate current industry standard equipment and software competently and safely

2.7. Use appropriate conventions for naming and storing digital data to facilitate identification and access by self and others

2.8. Produce contingency plans for potential setbacks affecting own ability to deliver the work on time

2.9. Devise contingency plans for potential setbacks affecting own ability to deliver the work on time

2.10. Implement contingency plans as required

3. Understand ways of maintaining the currency of own skills and knowledge

3.1. Identify relevant sources of information to keep own skills and knowledge up to date

3.2. Maintain up-to-date awareness of market developments, new technologies, creative ideas and techniques, and best practice





4. Understand the legal and regulatory environments in which the radio industry operates

4.1. Identify key aspects of laws and regulations governing the radio industry as a whole

4.2. Comply with specific codes of conduct in own organisation

4.3. Comply with all relevant laws and regulations governing the radio industry as a whole

4.4. Comply with specific codes of conduct in own organisation




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Unit Title: Work to a Brief for Radio Content


Unit Level: Three





Unit Summary The aim of this unit is to give learners an understanding of the requirements of working to a brief when producing content for radio programming. The learners will interpret a brief, identify the context and assess the competition. Contingency plans, communication with relevant parties, negotiable elements, budget and target audience will also be emphasised as the learners respond to a specific brief for radio programme content within a given timeframe.





1. Understand key issues relating to working to a brief for radio content

1.1. Explain the background context for the commission, identifying whether its competitive

1.2. Summarise different ways of responding to the brief

1.3. Explain how to factor in contingencies in response to potential problems





2. Be able to interpret a brief for radio content

2.1. Communicate effectively about the brief with all relevant parties

2.2. Identify which elements of the brief are fixed or negotiable

2.3. Identify the budget, deadlines, resources, target audience and objectives of the brief

3. Be able to respond to a brief for radio content

3.1. Write up the brief as necessary in an appropriate format, identifying agreed areas of responsibility

3.2. Respond effectively to problems and changing circumstances as required, keeping relevant parties informed

3.3. Deliver the content to the commissioner with agreed parameters




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Unit Title: Write for Multi-Platform Use in Radio


Unit Level: Three





Unit Summary The aim of this unit is to help learners to understand how to vary programme language, content and style to suit a chosen target audience. Learners will be write text for a specific platform and purpose including digital media, working to negotiated deadlines in consideration of relevant legal and regulatory requirements.







1. Understand how to vary language, content and style to suit the target audience

1.1. Explain the importance of varying language, content and style to engage with different target audiences

1.2. Identify the target audience for a specific text

1.3. Write clearly and accurately in simple sentences, avoiding use of jargon and cliché

1.4. Write text based content using a style suitable for the target audience

1.5. Maintain a consistent style within written texts

1.6. Maintain a consistent style between written and related texts

1.7. Check the accuracy of all text(s)

2. Be able to write text for a specific platform and purpose

2.1. Identify the purpose of and platform for a specific text

2.2. Write in a style suitable for the purpose and platform

3. Understand how to write for digital media

3.1. Structure the text-based content to suit the target audience and delivery medium, ensuring that it is easy to read and navigate

3.2. Produce appropriate captions or descriptions to accompany different assets

3.3. Provide clear, consistent and accessible wording for any hyperlinks

3.4. Resolve any identified problems where possible, seeking assistance as necessary





4. Be able to work to agreed deadlines 4.1. Agree the timescale, deadlines and length of the required scripts

4.2. Deliver scripts to agreed lengths and deadlines, informing relevant colleagues promptly if any difficulties arise

5. Understand legal and regulatory requirements relevant to writing for multi-platform use in radio

5.1. Identify key aspects of relevant laws and industry regulations

5.2. Ensure that own script content complies with relevant laws and industry regulations





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Unit Title: Write for Radio


Unit Level: Three





Unit Summary The aim of this unit is to develop an understanding of how to write radio content for a range of purposes. Learners will be able to vary language and style to suit different genres, formats and target audiences, working to agreed deadlines and taking into consideration relevant legal and regulatory requirements.







1. Demonstrate how to vary language, content and style to suit different genres, formats and target audiences

1.1. Explain key techniques of writing for the ear to address the individual listener clearly and directly

1.2. Explain the importance of varying language, content and style to suit different stations, programme or programme content in order to engage with the target audience

1.3. Write clearly and accurately in a conversational and readable style, avoiding use of jargon and cliché and using phonetics when required

1.4. Write the script, varying language, content and approach to suit the requirements of the genre, format and target audience

1.5. Check the accuracy of the script content

2. Understand writing for different purposes

2.1. Identify the purpose and intended use for a specific script

2.2. Explain how to write scripts to suit the vocal style of a presenter or performer

2.3. Write the script using relevant layout and annotation as required by the genre and purpose

2.4. Write appropriate intros, cues, outros or back announcements, avoiding duplication between cue and script

2.5. Explain when to add script to natural sound to enhance story telling





3. Be able to work to agreed deadlines 3.1. Agree the timescales, deadlines and length of the required script

3.2. Deliver scripts to agreed lengths and deadlines, informing relevant colleagues promptly if any difficulties arise

4. Understand legal and regulatory requirements relevant to writing for radio

4.1. Identify key aspects of relevant laws, industry regulations and organisational guidelines

4.2. Ensure that own practice complies with relevant laws, industry regulations and organisational guidelines


Section 3 Assessment and Quality

Assurance

AIM Qualifications Level 3 Diploma In Creative And Digital Media Qualification Handbook V6.Docx

295




Section 3 Assessment and Quality Assurance Centre Staff Requirements As an Awarding Organisation, we require that:

• Tutors have relevant teaching experience and/or a qualification, and experience

and/or a qualification in the relevant subject area. Suitable teaching qualifications include:

o Level 3 or 4 Preparing to Teach in the Lifelong Learning Sector (PTLLS) or above

o Level 3 Education and Training or above o Diploma or Certificate in Education o Bachelors or Masters Degree in Education

• Assessors should have an assessor qualification or evidence of recent relevant

experience. Suitable assessor qualifications include: o Level 3 Award in Assessing Competence in the Work Environment o Level 3 Certificate in Assessing Vocational Achievement o A1 Assess Candidate Performance using a Range of Methods o D32 Assess Candidate Performance and D33 Assess Candidate using Differing

Sources of Evidence

• In addition, Assessors must have: o Current and relevant occupational experience of working in the interactive

media sector and, where possible, a relevant qualification(s).

• Internal Verifiers (IV) should have an internal verification qualification or evidence of recent relevant experience. Suitable internal verification qualifications include:

o Level 4 Award in Internal Quality Assurance of Assessment Processes and Practice

o Level 4 Certificate in Leading the Internal Quality Assurance of Assessment Processes and Practice

o V1 Conduct Internal Quality Assurance of the Assessment Process o D34 Internally Verify the Assessment Process

• In addition, Internal Verifiers must have: o Occupational experience of working in the interactive media sector and,

where possible, relevant qualifications. How the Qualification is Assessed Mapped to Ofqual General Conditions of Recognition: E3.2i

To be awarded the qualification, learners must provide evidence of achievement of all the assessment criteria for all the units specified in the rules of combination (see Section 2 for guidance on rules of combination). The assessment process is as follows:

• Suitable assessment tasks are internally set at your centre that allow learners to be

able to provide evidence of achievement of the assessment criteria of the unit(s)

• All assessment tasks must be scrutinised by the Internal Verifier before they are delivered to your learners to ensure that they are fit for purpose

• Learners are assessed at the centre, using the IV approved assessment tasks

• The resulting assessed evidence is internally verified by an IV at the centre

• The assessed evidence is scrutinised by an AIM Qualifications appointed External

Verifier (EV) to ensure reliability and validity of assessment

A range of sample assessment materials are available on our website.

For more detailed guidance on working with AIM Qualifications qualifications, refer to “A Guide to Assessing AIM Qualifications Qualifications” in the following link: http://www.aimQualifications.org.uk/resources/centre-handbook-and-forms/

297


http://www.aimawards.org.uk/resources/centre-handbook-and-forms/

Section 4 Operational Guidance



Section 4 Operational Guidance Offering the Qualification Centres wishing to offer this qualification must be an AIM Qualifications recognised centre. New centres can apply to become a centre using the Centre Recognition Application Process on our website or by contacting the AIM Qualifications office.

We can advise centres on the best and most efficient methods for offering this qualification. All procedures for the use of this qualification, including approval, registration of learners, verification and certification will be completed through AIM Qualifications and all centres will have an allocated Customer Support Officer to support them.

Approval to Offer the Qualification Centres wishing to offer this qualification must complete and submit a Qualification Approval Request on the AIM Qualifications website. Some qualifications require that centres have specific resources in place and/or that their Assessors/ Internal Verifiers hold certain qualifications. Where this is the case, centres must provide evidence of resources/staff qualifications when completing the Qualification Approval Request.

Fees and Charges The AIM Qualifications Fees and Charges Brochure includes all qualification charges and is available on our website. Please note that registrations will not be processed if centre fees have not been paid. http://www.aimQualifications.org.uk/centres/our-fees-and-charges/

Registration and Certification Once your centre has approval to offer a qualification, you will be able to register learners via the AIM Qualifications Online Portal. Learners must be registered onto the correct programme via the Portal (a programme is the centre’s chosen set of units from their approved qualification). Centres should also check that the correct units are listed. All learner registrations must be checked carefully in order to avoid Maladministration and Malpractice.

A Recommendation for the Award of Credit (RAC) form will be produced for each programme once learners are registered. Centres will be able to download their RAC forms within four weeks of receipt of correctly submitted registrations. The RAC is used to claim the learners’ achievements at the end of the course and details must be checked carefully as these will appear on any certificates issued.

Once the RAC has been correctly completed and has been received by AIM Qualifications, certificates and a summary of credit achievement will be produced and issued. Learners that have achieved a qualification will be issued with a qualification certificate with details of the qualification and units achieved. Learners that have not achieved a qualification will be issued with a unit certificate with details of the units and credits achieved.



http://www.aimawards.org.uk/centres/our-fees-and-charges/

Section 5 Appendices



A Guide to Assessing AIM Qualifications can be found in the following link:

http://www.aimQualifications.org.uk/resources/centre-handbook-and-forms/


http://www.aimawards.org.uk/resources/centre-handbook-and-forms/

wards

For any queries, please contact AIM 3 Pride Point Drive Pride Park Derby DE24 8BX

01332 341822

[email protected]

mailto:[email protected]

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