- CUFSOU204A - Perform basic sound editing
Assessor Resource
CUFSOU204A
Perform basic sound editing
Assessment tool
Version 1.0
Issue Date: April 2024
Assistant sound editors and production personnel in the community broadcasting sector apply the skills and knowledge described in this unit. They are responsible for preparing, organising and digitally editing relatively simple sound sequences or programs for radio, television, film and interactive media.
They are expected to contribute to creative outcomes, including selection and acquisition of sound materials.
In a production house environment, they typically work under the supervision of a picture editor or senior sound editor, and are often involved in editing both sound and vision. Combined editing skills at a basic level are covered in:
CUFPOS201A Perform basic vision and sound editing.
More complex skills associated with editing sound, including dialogue, are covered in:
CUSSOU403A Perform advanced sound editing.
This unit describes the performance outcomes, skills and knowledge required to for basic digital sound editing.
No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.
You may want to include more information here about the target group and the purpose of the assessments (eg formative, summative, recognition)
Employability Skills
This unit contains employability skills.
Evidence Required
List the assessment methods to be used and the context and resources required for assessment. Copy and paste the relevant sections from the evidence guide below and then re-write these in plain English.
The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package. | |
Overview of assessment | |
Critical aspects for assessment and evidence required to demonstrate competency in this unit | Evidence of the following is essential: a range of digitally edited sound sequences that meet production requirements collaborative approach to work attention to detail ability to work to deadlines. |
Context of and specific resources for assessment | Assessment must ensure: access to a range of pre-recorded sound footage access to industry-current sound editing software as listed in the range statement access to appropriate learning and assessment support when required use of culturally appropriate processes and techniques appropriate to the language and literacy capacity of learners and the work being performed. |
Method of assessment | A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit: direct questioning combined with review of portfolios of evidence and third-party workplace reports of on-the-job performance evaluation of a range of sound sequences edited by the candidate in response to instructions received from a supervising editor observation of the candidate preparing and editing sound sequences written or verbal questioning to test knowledge as listed in the required skills and knowledge section of this unit. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUFPOS201A Perform basic vision and sound editing CUFSOU301A Prepare audio assets CUFSOU302A Compile audio material for broadcast. |
Submission Requirements
List each assessment task's title, type (eg project, observation/demonstration, essay, assingnment, checklist) and due date here
Assessment task 1: [title] Due date:
(add new lines for each of the assessment tasks)
Assessment Tasks
Copy and paste from the following data to produce each assessment task. Write these in plain English and spell out how, when and where the task is to be carried out, under what conditions, and what resources are needed. Include guidelines about how well the candidate has to perform a task for it to be judged satisfactory.
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Required skills |
communication, teamwork and organisational skills sufficient to: arrange sound media logically and accurately liaise with relevant production personnel understand and follow instructions technical skills sufficient to: edit a range of audio sequences and segments digitise pre-recorded content, e.g. digital and analogue audio, sound effects change audio from one format to another follow relevant file management protocols for specified operating systems identify faults that occur in audio production environments initiative and enterprise in the context of editing sound to meet creative production requirements aural discrimination skills in the context of listening critically to, and enhancing the quality of, sound elements and sequences self-management skills sufficient to: prioritise work tasks and meet deadlines seek expert assistance when problems arise literacy and numeracy skills sufficient to: identify and label accurately source materials and copies read and interpret sound documentation and plans implement and record codes and timings document sound components, e.g. maintenance of logging sheets |
Required knowledge |
familiarity with basic sound editing conventions, practices and techniques editing and audio terminology understanding of the roles and skills associated with other post-production personnel sound editing software and equipment for both broadcast and non-broadcast varied characteristics of sound in a range of environments OHS standards in relation to: using a computer and keyboard for periods of time observing safe noise levels |
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included. | |
Production personnel may include: | assistant editor broadcasters CGI (computer generated imagery) personnel director musicians producer production manager sound designer sound editor sound effects personnel sound engineer sound recording studio personnel station manager supervisor technical director volunteers coordinator other technical/specialist personnel. |
Productions may include: | animated productions CD/DVD commercials documentaries feature films features - television and film filmed events or performances interactive media products music music videos news and current affairs podcasts promotional trailers radio broadcasts short films television programs, e.g.: music drama comedy variety sport websites. |
Source materials may include: | archival recordings atmosphere CD/DVD recordings foley effects live captured effects music SFX (sound effects) synthesised sound voice recordings/dialogue. |
Additional materials may include: | archival sound footage file images stock sound footage. |
Documentation may include: | assembly order computer generated duration print-outs EDLs (edit decision lists) fault reports hire agreements list of sequences with relevant shot numbers log sheets for location manually written marked-up scripts marked-up transcripts memos of instruction operational/project plan production schedules scripts sound recordings sound/audio reports wild-line and sound effects log sheets. |
Digital storage may include: | cassettes CD DAT DMSS (digital mass storage systems) DVD hard disks internal sound cards magneto-optical optical tape. |
Editing equipment may include: | amplifiers audio converters audio desk/mixers CD player/burner CDs DAT (digital audio tape) digital and analogue recording devices digital non-linear (online) editing systems DVDs effects rack hard disk recorder headphones linear (off-line) editing systems mini disks mixing console/desk analogue, digital, digitally controlled analogue (hybrid) sequence sampler speakers tape machines. |
Additional equipment may include: | cassette player/recorder CD player/recorder DVD player/recorder headphones iPod microphones sound cables speakers. |
Consumables may include: | computer disks labels marker pens mini disks sound tapes, e.g.: DAT cartridge compact audio cassette reel-to-reel 16 mm magnetic. |
Audio content may include: | atmosphere recordings dialogue foley effects interviews live recordings music sound effects synthesised audio. |
Formats may include: | audio/sound, e.g.: DAT AIF (AIFF) WAV WAV (BWF - broadcast WAV format) WMA MIDI OGG AAC (advanced audio coding) Apple lossless magnetic tape Real Audio QuickTime MP3 computerised data. |
Software may include: | after effects package computer programs, e.g.: Pro Tools Sound Forge Adobe Audition Final Cut Pro Adobe After Effects EDL software freeware shareware. |
Sound edit may include: | computerised data digital non-linear edit of rough and fine cuts edit of source and recorded materials film and video audio assets initial edit of sound rushes integration of the picture (image) editing process to ensure sound and picture are in sync linear off-line on-line. |
Sound sequences may include: | atmosphere tracks dialogue foley effects music sound effects tracks that have been: pre-recorded (using sound effects libraries) recorded live (foley sound effects, production sound effects) electronically generated (synthesised/computer generated sound effects) voice-overs. |
Production requirements may include: | ADR (additional dialogue recordings) aesthetic atmosphere tracks durations effects music technical vision and sound edit voice-overs. |
Technical and creative criteria may include: | ADR (additional dialogue recordings) audio levels balance between track levels balance of background music compression factors, e.g. codecs consistency of voice levels continuity of background ambience in location recordings distortion durations editorial requirements enhancement of visual images foley natural pausation sound balance, e.g. music synchronisation of sound and vision. |
Details may include: | copyright details durations in and out points quality assessment source details specific content take options technical notes. |
Manipulating editing software and equipment may include: | adjusting and normalising audio levels inserting, e.g.: transitions sound effects music voice-overs overlays manipulating audio clips, e.g.: cutting pasting copying moving splitting. |
Copy and paste from the following performance criteria to create an observation checklist for each task. When you have finished writing your assessment tool every one of these must have been addressed, preferably several times in a variety of contexts. To ensure this occurs download the assessment matrix for the unit; enter each assessment task as a column header and place check marks against each performance criteria that task addresses.
Observation Checklist
| Tasks to be observed according to workplace/college/TAFE policy and procedures, relevant legislation and Codes of Practice | Yes | No | Comments/feedback |
|---|---|---|---|
| In consultation with relevant production personnel, clarify editing requirements, including creative and technical expectations of productions | |||
| Obtain and label source materials and additional materials as required and keep them in a safe, clean location with appropriate documentation | |||
| Organise transfer of source materials to appropriate equipment where necessary, ensuring sufficient digital storage capacity is available | |||
| Check editing equipment is operational and suited to the designated editing processes and according to enterprise procedures | |||
| Organise additional equipment and consumables needed to minimise interruptions during the editing process | |||
| If required, obtain sign-off to proceed with edits | |||
| Digitise audio content and additional sound materials in the specified format, ensuring format is compatible with available software and editing equipment | |||
| Monitor digital output and arrange for problems to be fixed where necessary | |||
| Identify sound edit positions using appropriate documentation and optimise quality where applicable | |||
| Log and assess sound sequences according to production requirements and arrange digital back-up copies as insurance against editing errors | |||
| Consider how materials may be edited efficiently to meet technical and creative criteria | |||
| Edit audio sequences according to production requirements and accurately document details of each edited sound sequence | |||
| Generate an appropriate track list to facilitate subsequent stages of sound mixing processes | |||
| Accurately chart positions and durations of sound sequences, noting requirements for transitions where applicable | |||
| Apply effects and digital enhancements to maximise creative outcomes of sound sequences according to production requirements | |||
| Manipulate editing software and equipment to produce required sequences and to resolve identified problems | |||
| Seek feedback on work in progress from relevant production personnel and refine edits as required | |||
| Submit final edits by the agreed deadline in accordance with enterprise procedures | |||
| Archive edited audio files and complete associated documentation according to enterprise procedures | |||
| Advise relevant production personnel of editing equipment requiring maintenance and leave workstation in original or improved condition | |||
| Participate in post-production debriefing sessions as required | |||
| Evaluate own performance against technical and creative criteria and discuss with colleagues where appropriate |
Forms
Assessment Cover Sheet
CUFSOU204A - Perform basic sound editing
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Assessment Record Sheet
CUFSOU204A - Perform basic sound editing
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