- CUSSOU601A - Manage production of sound designs
Unit of Competency Mapping – Information for Teachers/Assessors – Information for Learners
CUSSOU601A Mapping and Delivery Guide
Manage production of sound designs
Version 1.0
Issue Date: May 2024
Qualification | - |
Unit of Competency | CUSSOU601A - Manage production of sound designs |
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Description | This unit describes the performance outcomes, skills and knowledge required to manage the production of a sound design project. Well-developed planning and organisational skills are required, along with an ability to work collaboratively and creatively in a leadership role with those who contribute to the production of sound designs, e.g. artists, performers, producers and sound engineers.No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement. | ||
Employability Skills | This unit contains employability skills. | ||
Learning Outcomes and Application | Production administrators, executive producers or project managers apply the skills and knowledge described in this unit. They are responsible for managing the production of sound designs, including planning and monitoring the production, engaging specialists where required and overseeing and evaluating sound aspects of productions. They could be working in the live entertainment or screen production industries. | ||
Duration and Setting | X weeks, nominally xx hours, delivered in a classroom/online/blended learning setting. |
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Prerequisites/co-requisites | |||
Competency Field | Media and entertainment production - audio/sound |
Development and validation strategy and guide for assessors and learners | Student Learning Resources | Handouts Activities |
Slides PPT |
Assessment 1 | Assessment 2 | Assessment 3 | Assessment 4 | |
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Elements of Competency | Performance Criteria | |||||||
Element: Clarify sound design brief |
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Element: Plan the production of sound designs |
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Element: Direct the production of sound designs |
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Element: Finalise production of sound designs |
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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: demonstrate high-level management and communication skills as a team leader manage at a practical level the production of sound designs produce creative solutions within constraints of budgets and resources. |
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 a range of productions 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 sounddesigns, where the production was managed by candidate, and of their quality in terms of meeting specifications written or oral questioning to test knowledge as listed in the required knowledge section of this unit case studies to assess ability to manage the production ofsound designs for different types of productions or events observation or video/audio recordings of production meetings chaired by the candidate to assess team leading skills. |
Guidance information for assessment | Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example: BSBFIM501A Manage budgets and financial plans BSBOHS509A Ensure a safe workplace BSBPMG510A Manage projects CUFCMP501A Manage and exploit copyright arrangements CUSSOU602A Manage production of sound recordings. |
Submission Requirements
List each assessment task's title, type (eg project, observation/demonstration, essay, assignment, 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 skills sufficient to: interact effectively with people with diverse interests and needs show strong leadership qualities and work closely with team members conduct effective negotiations with a wide range of production personnel, external suppliers and service providers coordinate production meetings and brief staff to achieve required outcomes identify and deal positively and constructively with conflictin a timely and collaborative mannerto achieve best production outcomes well-developed planning and organisational skills sufficient to coordinate all aspects of managing the production of sound designs, including working within budgets well-developed project management skills covering both physical and human resources self-management skills sufficient to: work under pressure provide appropriate and timely documentation meet deadlines evaluate own performance initiative and flexibility when responding to unexpected changes in the production schedule or process literacy skills sufficient to interpret written instructions and to prepare progress and evaluation reports numeracy skills sufficient to interpret, monitor and adjust budgets and cost estimates |
Required knowledge |
meeting procedures and protocols as they relate to productions musical, artistic and technical elements associated with music productions and recordings well-developed understanding of: administrative procedures associated with managing a production content, format and timing of different types of documentation duty of care to colleagues and general public industry knowledge, including: structure of the relevant industry sector roles and responsibilities of personnel current industry practices, e.g. industrial awards, workers' compensation and contracts music and sound terminology sources of products, supplies and equipment impact of technology on production operations phases and practices in the production process issues and challenges that typically arise in the context of managing the production of sound designs OHS and public safety legislation and regulations as they apply to productions |
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: | clients artists, musicians and performers program managers audio personnel: sound engineers sound technicians sound editors sound designers sound effects personnel post-production editors foldback mixers front-of-house mixers recordists re-recording mixers audio stagehands broadcasters broadcast engineers directors producers photographers program managers stage managers floor managers film/video crew. |
Sound-design specifications may include: | dubbing charts cue sheets scripts storyboards scores oral descriptions recording formats. |
Productions may include: | feature films and videos short films and videos documentaries drama programs variety programs news and current affairs commercials print advertisements talkback programs live events and performances music programs interactive games. |
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. |
Documentation may include: | pre-mix scripts mixing sheets track sheets de-noising documents cue sheets dubbing sheets queries notes manuals. |
Operational requirementsmay include: | sound materials sound sources facilities, equipment and personnel technical specifications schedules. |
Facilities may include: | dubbing theatre on location, including interior and exterior outside broadcast post-production studio recording studio sound stage. |
Equipment and accessories may include: | amplifiers analogue to digital converters cables compact disc (CD) and digital versatile disc (DVD) players and burners computer technology and associated software recording devices: hard disk recorder, e.g. digital audio workstation (DAW) mini disc recorder (MD) modular digital multi-track recorder (MDM) digital audio players, such as: iPod MP3 headphones microphones and accessories mixing consoles monitors and speakers signal processors and plug-ins. |
Copyright requirements may include: | provisions of current Copyright Act copyright permission procedures attribution moral rights and performers' 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. |
Sound components may include: | dialogue additional dialogue recording (ADR) music literal sound effects sound samples synthesised sound atmospheric sound ambient sound sound effects (FX) foley. |
Media may include: | radio video CD DVD computer hard drive internet mobile device film. |
Evaluation techniques may include: | interviews surveys questionnaires focus groups demographic data feedback reviews evaluation may include: clients stakeholders audience project personnel specialists. |
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 |
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Participate in preliminary concept meetings with relevant personnel to discuss sound-design specifications for productions | |||
Read and interpret sound-design specifications to determine and confirm production requirements | |||
Identify and confirm personnel required for the production | |||
Take account of financial and time constraints when planning production of sound designs | |||
Document all operational requirements needed for the production of sound designs | |||
Secure the personnel, facilities and equipment needed in a timely fashion | |||
Ensure that copyright requirements are met | |||
Contract and brief personnel as required | |||
Ensure that arrangements are in place for ongoing communication with sound designers and other relevant personnel so that artistic vision of sound designs can be achieved and resources are available when required | |||
Anticipate issues that may arise during the production of sound designs and plan accordingly | |||
Source and obtain all sound components necessary to fulfil creative and technical requirements of production briefs | |||
Comply with relevant OHS legislation and guidelines throughout all stages of productions | |||
Direct the final mix, including recording, mixing and/or editing sound components to achieve the desired sonic finish/style and spatial placement | |||
Obtain feedback from relevant personnel about the sound design and negotiate changes as required | |||
Deal effectively and promptly with conflicts that arise and work towards solutions that cause least disruption to production schedules | |||
Ensure that final mixdown is locked off and transferred to a suitable medium in line with production requirements | |||
Ensure that backup copies are provided for relevant personnel in the required format | |||
Maintain documentation as required through all stages of sound-design implementation | |||
Discuss and obtain agreement from relevant personnel about evaluation techniques | |||
Focus evaluations on the design-production management process and document results | |||
Evaluate own role in operations and note areas for improvement | |||
Provide feedback to team members on their performance as required | |||
Document evaluation of operations in line with enterprise procedures | |||
Communicate results to relevant personnel and use results to improve future practice |
Forms
Assessment Cover Sheet
CUSSOU601A - Manage production of sound designs
Assessment task 1: [title]
Student name:
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I declare that the assessment tasks submitted for this unit are my own work.
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Result: Competent Not yet competent
Feedback to student
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Assessment Record Sheet
CUSSOU601A - Manage production of sound designs
Student name:
Student ID:
Assessment task 1: [title] Result: Competent Not yet competent
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Feedback to student:
Overall assessment result: Competent Not yet competent
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