- CUSSOU505A - Compile music for soundtracks
Assessor Resource
CUSSOU505A
Compile music for soundtracks
Assessment tool
Version 1.0
Issue Date: April 2024
Music editors apply the skills and knowledge described in this unit. They work collaboratively with composers, music supervisors, screen producers and/or directors on the selection, production and recording of music for soundtracks for screen productions. At a production level, they are responsible for matching and synchronising music components.
This unit describes the performance outcomes, skills and knowledge required to integrate musical elements into soundtracks for screen productions. An excellent ear for music and a broad knowledge of music styles are essential, along with good interpersonal communication skills, since music editors are sometimes called upon to help smooth out differences between composers and directors.
You may want to include more information here about the target group and the purpose of the assessments (eg formative, summative, recognition)
Prerequisites
Not applicable
Employability Skills
Not applicable
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 ability to: compile at least three music soundtracks that: demonstrate well-developed critical-listening and aural-discrimination skills meet creative and artistic requirements meet technical requirements for screen soundtracks work creatively, collaboratively and constructively in a team environment. |
Context of and specific resources for assessment | Assessment must ensure: access to a range of industry-current equipment as listed in the range statement access to productions that require music soundtracks use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of learners and the work being performed. |
Method of assessment | The following assessment methods are appropriate for this unit: evaluation of the quality of music soundtracks compiled by candidate in terms of meeting artistic and technical requirements written or oral questioning to test knowledge as listed in the required knowledge section of this unit case studies or scenarios to discuss issues, methods and strategies in compiling music soundtracks for screen productions authenticated recordings of productions where the candidate compiled the music soundtrack. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUFCMP501A Manage and exploit copyright arrangements CUFIND401A Provide services on a freelance basis CUSMCP501A Compose music using electronic media CUSMCP502A Compose music for screen. |
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:
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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.
Required skills |
research skills sufficient to locate musical components for soundtracks literacy skills sufficient to: read and interpret design briefs follow a full notated music score listening and technical skills sufficient to: make music sequencing decisions based on timeframes and beats discriminate sound texture and colour sequence sound in time with pictures for appropriate textures, harmonies, duration and dynamics at each required point ensure soundtrack quality use sound effects and sound samples in compiling soundtrack operate industry-standard sound editing and synchronisation software communication and teamwork skills sufficient to: work cooperatively with composers, directors, producers and other artists work effectively in a production team initiative, enterprise and creativity in the context of: matching the most appropriate musicto screen images in line with overall artistic vision of productions using innovative approaches to meet soundtrackrequirements listening critically to continuously evaluate and adjust the sound balance listening critically to the creative and technical work of others planning and organisational skills sufficient to: work within established budgets and timeframes to achieve planned outcomes demonstrate reliability in all agreed work commitments use time-management strategies to set priorities self-management skills sufficient to: meet deadlines provide appropriate and timely documentation |
Required knowledge |
well-developed understanding of: principles and techniques involved in compiling music for soundtracks computer technologies relevant to compiling music for soundtracks film-making aesthetics, processes and technologies issues and challenges that typically arise in the context of compiling music for soundtracks music knowledge, including: musical styles musical concepts and ideas in the context of compiling music for soundtracks typical formats for musical plans relevant musical terminology copyright law and permissions OHS principles of safe listening, including safeguards against hearing loss |
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. | |
Relevant personnel may include: | client musician performer composer musical assistant music mixer music supervisor effects editor effects mixer recordist re-recording mixer audio operators and dubbing machine operator audio and sound engineer broadcaster director producer post-production editor program manager sound designer. |
Production values may include: | artistic style and quality overall sound quality aligned with production vision performance quality manifested in recordings position and blend of sound sources relative levels of sound sources transitions between sound sources overall sound balance clarity of sound colour of sound sound textures timbre orchestration attack articulation dynamics melody and harmony mood/phrasing and expression. |
Productions may include: | feature films documentaries animated productions short films commercials filmed events or performances music videos television productions of any type. |
Factors may include: | design briefs available personnel number of people required to complete task recording requirements available resources communication requirements production values available budget provision of a quote for services complexity of soundtrack intellectual property production schedules technical considerations timelines. |
Technical requirements may include: | working sympathetically with musical elements in productions coordinating performances of music to be included in a soundtrack sourcing additional sound and effects recording a range of different types of instruments from live and synthesised sources plotting sound to picture sequencing prescoring animatics voice-over. |
Equipment may include: | music-recording equipment MIDI electronic hardware and software for generating or orchestrating music timecode systems preamp, signal processor and compressor mixers sequencers DAT special effects devices. |
Production requirements may include: | technical creative artistic attributions audience budget confidentiality content contractual arrangements copyright deadlines direct quotes duration intellectual property interviews location purpose schedule style. |
Music components may include: | original music scored for screen productions music tracks music sequences samples themes temp tracks incidental music. |
Copyright requirements may include: | provisions of current Copyright Act copyright permission procedures attribution moral rights and performer's rights negotiating with copyright organisations, such as: owners of copyright: publishers, composers, etc. Australasian Performing Rights Association (APRA) Phonographic Performance Company of Australia Limited (PPCA) Australasian Mechanical Copyright Owners Society (AMCOS) Copyright Agency Limited (CAL) archives. |
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 |
|---|---|---|---|
Forms
Assessment Cover Sheet
CUSSOU505A - Compile music for soundtracks
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Assessment Record Sheet
CUSSOU505A - Compile music for soundtracks
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Assessment task 1: [title] Result: Competent Not yet competent
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Overall assessment result: Competent Not yet competent
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