Sound recordists and boom operators apply the skills and knowledge described in this unit. They are responsible for recording sound effects and location atmosphere. They are also responsible for using boom mounted microphones and radio microphones to record dialogue in both outdoor and indoor locations. The operation of the boom requires precision and physical stamina to ensure that the optimum quality sound is captured without interfering with camera operation or the movement of actors.

ELEMENT

PERFORMANCE CRITERIA

Prepare for location recording

1. Confirm recording requirements in consultation with relevant personnel and with reference to scripts and other production documentation

2. Check that sound equipment and accessories are in working order prior to shoots

3. Ensure adequate supply of consumables is available for duration of sound recordings

Capture dialogue

4. Participate in technical run-throughs or rehearsals to determine optimum positioning of boom and microphone for recording shots

5. Rig sound equipment and accessories in line with safety, technical and production requirements

6. Attach radio or clip microphones to actors' clothing as required

7. Ensure run-up time is sufficient and synchronisation codes are referenced to allow stable sound recording

8. Move boom according to scripted shots and respond to direction

9. Follow the actions and anticipate movements of relevant personnel

10. Ensure movement of boom is unobtrusive and sympathetic to actions of relevant personnel and does not generate unwanted noise

11. Monitor sound through headphones to ensure unwanted sounds are not being captured

12. Communicate with relevant personnel with minimal disruption to operations

13. Correct equipment failures with minimal disruption to operations

Capture sound effects

14. Record background location sound for use in post-production

15. Place multiple microphones in different positions to capture sound perspective of effects being recorded

16. Listen critically to recorded sound and re-record as required to achieve desired effect

Finalise sound-recording operations

17. Save recordings in the appropriate format and log/file in line with organisational procedures

18. Make safety copies or backups in line with organisational procedures

19. De-rig, check and clean sound equipment and accessories

20. Leave locations clean and restored to their pre-recording condition

21. Evaluate own performance against technical and creative criteria and note areas for improvement

Required skills

communication and teamwork skills sufficient to:

work cooperatively with camera and lighting operators and others involved in film shoots

respond appropriately to requests from performers

treat performers sensitively and with respect when positioning microphones

numeracy skills sufficient to calculateduration and capacity of recording media at various speed/sample rates

learning skills sufficient to maintain currency of knowledgeof recording equipment upgrades

literacy skills sufficient to read and interpret scripts and production documentation

planning and organisational skills sufficient to:

prioritise work tasks

meet deadlines

initiative and enterprise skills in the context of:

finding creative solutions to sound-recording challenges

demonstrating a precise attention to detail

problem-solving and self-management skills sufficient to:

apply critical-listening skills to sound recordings to identify faults in recording

promptly and effectively rectify equipment problems

comply with on-set protocols

work effectively under pressure

technology skills sufficient to:

use a variety of sound-recording equipment

manage file structures to ensure compatibility with syncing and editing

make regular backups

Required knowledge

roles and responsibilities of film and television production personnel

on-set protocols

well-developed understanding of how sound is used in film productions, including the interrelationship of dialogue, sound effects and musical elements

principles and techniques of recordingsound for screen productions, including:

picture and sound synchronisation

creating a sense of audio continuity

interaction with camera and lighting crew

principles of sound, in particular direct versus reflected sound, and sound perspective

operational principles of microphones, including microphone placement

operational/technical limitations of recording media

acceptable compromises when it comes to the quality of captured sound

potential for parallax errors when operating side-on to the sound source

cues and how to respond to them

recording formats and technical standards

timecode levels and standards in analogue and digital applications

issues and challenges that typically arise in the context of recording sound on location

OHS principles of safe listening, including safeguards against hearing loss

relevant sections of the Safety Guidelines for the Entertainment Industry

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:

record dialogue using a boom pole for at least two screen productions

record live sound effects on location

work cooperatively in a team environment

meet deadlines

observe safety guidelines on set.

Context of and specific resources for assessment

Assessment must ensure:

access to screen projects where dialogue and sound are being recorded

access to industry-current sound equipment and accessories

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:

case studies to assess candidate's ability to deal with challenges that typically arise in the context of recording sound on location

evaluation of dialogue and sound recorded by the candidate

observation of candidate recording sound on location

written or oral questioning to test knowledge as listed in the required 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:

CUSSOU401A Record sound

CUSSOU407A Coordinate location sound recording.

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:

director

producer

director of photography

production manager

first assistant director (1st AD)

sound supervisor

sound designer

sound recordist

boom operator

sound engineer

performer

actor

camera operator.

Documentation may include:

production schedules

scripts

storyboards

shot lists.

Equipment and accessories may include:

hard disk recorders

headphones

batteries

microphones, including:

dynamic

condenser

radio

omnidirectional

cardioid

hyper-cardioid

figure of eight

shotgun

microphone accessories, including

tripod

windscreens

boom pole, including:

aluminium

carbon fibre

fisher

hand-held

perambulator

remote panner

cables, including:

balanced

unbalanced

cable extensions

clips

connectors, including:

female

male

XLR

housing

pop filters

shock mounts

stands, including:

desk

floor

gooseneck

amplifiers

mixers

speakers.

Consumables may include:

CDs

DVDs

memory cards

batteries

masking tape, marker pens and labels

cue sheets.

Positioning may involve:

ensuring that boom and microphone are out of the frame of the camera

placing boom and microphone overhead

miking from below

mounting boom and microphone on a dolly

determining movement of boom and microphone during recording of shots

ensuring that position of the microphone, mounts, their shadows and reflections are as unobtrusive as possible

ensuring that extraneous and unwanted noises are not captured

ensuring that boom and microphone are not safety hazards.

Productions may include:

feature films

documentaries

short films and videos

animation

corporate videos

training films and videos

drama programs

variety and lifestyle programs

news and current affairs

music videos

recordings of live productions

commercials

print advertisements.

Synchronisation may include:

frame rates

synchronising sound and picture on film, such as:

crystal

sync tones

slating

time codes, such as:

longitudinal

SMPTE

vertical interval

MIDI

IEC standard

time formats, such as:

real time

music time

film time

transfers and dubs, such as:

analogue to digital audio

digital to digital audio

film transferring.

Unwanted sounds may include:

rustling from radio microphones

wind noise

hum or buzz

distortion

cable noise

extraneous location noises, such as:

traffic

doors closing

electrical appliances.

Unit sector

Media and entertainment production - audio/sound

This unit contains employability skills.