Restore audio tracks Evidence Guide

NTISthis.com

Evidence Guide: CUSSOU304A - Restore audio tracks

Student: __________________________________________________

Signature: _________________________________________________

Tips for gathering evidence to demonstrate your skills

The important thing to remember when gathering evidence is that the more evidence the better - that is, the more evidence you gather to demonstrate your skills, the more confident an assessor can be that you have learned the skills not just at one point in time, but are continuing to apply and develop those skills (as opposed to just learning for the test!). Furthermore, one piece of evidence that you collect will not usualy demonstrate all the required criteria for a unit of competency, whereas multiple overlapping pieces of evidence will usually do the trick!

From the Wiki University

CUSSOU304A - Restore audio tracks

What evidence can you provide to prove your understanding of each of the following citeria?

Clarify scope of restoration project

In consultation with relevant personnel confirm restoration requirements
Ensure that documentation relevant to the project is available
Where source materials are not supplied, liaise with relevant personnel to locate the most original, best quality recording to be restored
Evaluate all recordings to be restored for auditioning purposes and technical selection as required

In consultation with relevant personnel confirm restoration requirements

Completed
Date:

Teacher:

Evidence:

Ensure that documentation relevant to the project is available

Completed
Date:

Teacher:

Evidence:

Where source materials are not supplied, liaise with relevant personnel to locate the most original, best quality recording to be restored

Completed
Date:

Teacher:

Evidence:

Evaluate all recordings to be restored for auditioning purposes and technical selection as required

Completed
Date:

Teacher:

Evidence:

Prepare source material for digital transfer

If required, physically repair and clean source material in preparation for playback, taking great care not to damage the source material
Select the most appropriate playback machine, taking into account the fragility of source material and the ability of the playback machine to provide the most authentic playback
Set up playback paths and recording settings to ensure a flat, transparent, and where possible uncompressed file
Set audio levels in line with technical parameters

If required, physically repair and clean source material in preparation for playback, taking great care not to damage the source material

Completed
Date:

Teacher:

Evidence:

Select the most appropriate playback machine, taking into account the fragility of source material and the ability of the playback machine to provide the most authentic playback

Completed
Date:

Teacher:

Evidence:

Set up playback paths and recording settings to ensure a flat, transparent, and where possible uncompressed file

Completed
Date:

Teacher:

Evidence:

Set audio levels in line with technical parameters

Completed
Date:

Teacher:

Evidence:

Make digital recording of source material

Record source material to defined quality standards
Monitor the recording, and document or mark sections that display recorded artefacts or damage
As required, record from more than one source

Record source material to defined quality standards

Completed
Date:

Teacher:

Evidence:

Monitor the recording, and document or mark sections that display recorded artefacts or damage

Completed
Date:

Teacher:

Evidence:

As required, record from more than one source

Completed
Date:

Teacher:

Evidence:

Apply restoration techniques to audio tracks

Select the most appropriate restoration equipment and tools for the job
Commence restoration by applying manual restoration techniques to the most audible artefacts first, then moving onto less noticeable faults
Following manual restoration, apply automated restoration processes as required
Seek feedback on work in progress from relevant personnel and make adjustments

Select the most appropriate restoration equipment and tools for the job

Completed
Date:

Teacher:

Evidence:

Commence restoration by applying manual restoration techniques to the most audible artefacts first, then moving onto less noticeable faults

Completed
Date:

Teacher:

Evidence:

Following manual restoration, apply automated restoration processes as required

Completed
Date:

Teacher:

Evidence:

Seek feedback on work in progress from relevant personnel and make adjustments

Completed
Date:

Teacher:

Evidence:

Make a copy of restored audio tracks

Apply appropriate processes to play-out and take into account the end use when creating required delivery format
Deliver master in the required format to relevant personnel in line with project requirements
Complete required documentation in line with enterprise procedures

Apply appropriate processes to play-out and take into account the end use when creating required delivery format

Completed
Date:

Teacher:

Evidence:

Deliver master in the required format to relevant personnel in line with project requirements

Completed
Date:

Teacher:

Evidence:

Complete required documentation in line with enterprise procedures

Completed
Date:

Teacher:

Evidence:

Assessed

Teacher: ___________________________ Date: _

Signature: ________________________________________________

Comments:

Instructions to Assessors

Evidence Guide

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: distinguish between the original sound and unwanted artefacts use appropriate equipment to restore soundtracks to as close to the original recording within guidelines and available resources apply correct post-production processes prescribed for the designated outcome when making a copy of the restored soundtrack meet production deadlines.
Context of and specific resources for assessment	Assessment must ensure: access to a range of current and obsolete industry equipment 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, and written or oral questioning to assess candidate's understanding of white noise and the process of de-noising soundtracks recordings of original soundtracks and authenticated de-noised versions done by the candidate.
Guidance information for assessment	Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: CUFIND301A Work effectively in the screen and media industries CUFSOU301A Prepare audio assets CUSSOU305A Analyse soundtracks.

Required Skills and Knowledge

This section describes the skills and knowledge required for this unit.

Required skills

communication, teamwork and literacy skills sufficient to:

interpret and clarify written and verbal instructions

complete workplace documentation

read and interpret technical manuals

respond positively to constructive feedback on own performance

critical-listening and aural-discrimination skills in the context of restoring audio tracks

technical skills sufficient to:

use specialised equipment to perform audio restoration work

operate other studio equipment for playback and recording

planning and self-management skills sufficient to:

prioritise work tasks

meet deadlines

seek expert assistance when problems arise

problem-solving skills sufficient to identify typical faults that may occur in audio-production environments

Required knowledge

acoustic principles related to noise and distortion on audio tracks

aesthetics of sound production

operation of current and obsolete audiovisual equipment

appropriate handling and storage of fragile and archival material

preservation methods for preparation of source materials

restoration principles, tools and technique to apply to different artefacts

techniques and principles for removing or masking audio artefacts, including:

features and operating characteristics of restoration tools

compatibility with mono, stereo or multi-channel systems

use of timecode equipment

format encoders and decoders

principles of media archiving

issues and challenges that arise in the context of working with soundtracks

OHS principles of safe listening, including safeguards against hearing loss

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.
Relevant personnel may include:	client production designer post-production manager production manager preservation supervisor supervisor head of department director of photography artist director producer technical director other technical staff other specialist staff designer animation production personnel sound recordist sound editor sound-editing personnel.
Requirements may include:	artistic technical, e.g. final format for master budget production schedules organisational policies and procedures resources OHS requirements audience confidentiality content contractual arrangements copyright duration intellectual property purpose style.
Documentation may include:	pre-mix scripts mixing sheets track sheets de-noising documents cue sheets edit decision lists (EDL) dubbing sheets queries notes manuals databases fault reports.
Source materials may include:	film and television soundtracks, including: music dialogue sound effects oral histories location recordings optical soundtracks analogue audio recordings in different formats, such as: tape, e.g. open reel and cassette wire recording cylinder vinyl disc lacquer disc film mag digital recordings in different formats, such as: digital audiotape CD.
Repairing and cleaning source material may involve:	replacing dry or sticky film splices attaching leader to film removing adhesive left behind by sticky splices repairing broken or damaged perforations on film sonic cleaning film manually cleaning film baking magnetic oxide tape using hot-pen on audiotape scraping to remove oxide or other matter from oxide tape manually cleaning oxide tape removing mould by vacuum or alcohol swab re-housing tapes if cassette damaged cleaning discs cleaning vinyl discs cleaning and repairing cylinders affixing lacquer fragments that are loose or separated from backing disc to lacquer discs correcting warp in vinyl discs detangling wire recordings joining broken wire recordings.
Artefacts may include:	white noise hiss clicks pops crackle sibilance hum.
Recording from more than one source may be required if:	sections are missing from the original version sections are heavily damaged corresponding sections are available from another source and can be edited during the restoration process.
Equipment and tools may include:	noise reduction systems mono, stereo or multi-channel systems timecode equipment format encoders and decoders audio editing systems sound mixing desks multi-track equipment software packages hard drives analogue and digital playback equipment restoration tools.
Manual restoration techniques may include:	editing out artefacts editing in missing sections from another source waveform restoration.
Automated restoration processes may include:	high and low pass filters de-noise de-click de-scratch de-crackle de-hiss repair filter pitch correction noise reduction.
Appropriate processes may include:	expander limiter compressor compander playback curve.
Formats may include:	digital file: AIF (AIFF) WAV broadcast WAV format (BWF) WMA OGG advanced audio coding (AAC) Real Audio QuickTime MP3 digital storage: CD DVD USB hard drive linear tape-open (LTO) analogue: film.

NTISthis.com

Evidence Guide: CUSSOU304A - Restore audio tracks

Student: __________________________________________________

Signature: _________________________________________________

Tips for gathering evidence to demonstrate your skills

CUSSOU304A - Restore audio tracks

Clarify scope of restoration project

Prepare source material for digital transfer

Make digital recording of source material

Apply restoration techniques to audio tracks

Make a copy of restored audio tracks

Assessed

Teacher: ___________________________________ Date: _________

Signature: ________________________________________________

Comments:

Instructions to Assessors

Teacher: ___________________________ Date: _