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Elements and Performance Criteria

  1. Prepare for editing sound
  2. Assemble sequences for editing
  3. Edit sound sequences
  4. Finalise sound edits

Required Skills

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 prerecorded content eg 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

selfmanagement 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 eg 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 postproduction personnel

sound editing software and equipment for both broadcast and nonbroadcast

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

Evidence Required

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 prerecorded sound footage

access to industrycurrent 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 thirdparty workplace reports of onthejob 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

CUFPOSA Perform basic vision and sound editing

CUFPOS201A Perform basic vision and sound editing

CUFSOUA Prepare audio assets

CUFSOU301A Prepare audio assets

CUFSOUA Compile audio material for broadcast

CUFSOU302A Compile audio material for broadcast.


Range Statement

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.