Key information

  1. Status: Approved for delivery
  2. Reference: ST1297
  3. Version: 1.0
  4. Level: 3
  5. Typical duration to gateway: 24 months
  6. Typical EPA period: 3 months
  7. Maximum funding: £14000
  8. Route: Creative and design
  9. Date updated: 30/08/2023
  10. Approved for delivery: 29 August 2023
  11. Lars code: 721
  12. EQA provider: Ofqual
  13. Review:

    This apprenticeship standard will be reviewed after three years

This apprenticeship has options. This document is currently showing the following option:

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Apprenticeship summary

Overview of the role

To prepare, build, set up, and operate functioning systems for creative productions.

Occupation summary

This occupation is found in creative settings. This ranges from screen production studios, outside locations, entertainment venues and theatres, through to organisations that provide technical solutions for the setup of live, recorded and streamed events. Production technicians work in three main roles; as creative venue technicians, live event technicians or screen lighting technicians. The roles can be venue based or they can be mobile; working across a variety of sites and environments.  Technicians may work across both indoor and outdoor locations. Creative venue technicians play an active role in the technical setup and operation of a variety of established creative venues such as theatres, arts centres, broadcast and film studios. Live event technicians provide technical solutions for live performance and event projects of all sizes across the UK, Europe, and worldwide. The events range from concerts, festivals and theatrical performances through to exhibitions, conferences, product launches, and showcases. Screen lighting technicians provide the lighting and power solutions for film and TV both on location or in studios to enable screen production requirements to be met.

The broad purpose of the occupation is to prepare, build, set up, and operate functioning systems for creative productions; including screen, theatre, live performance and events. These systems can include sound, lighting, power or video. Technicians read, interpret and give appropriate technical information to colleagues and clients. They use a variety of tools to assemble, install and maintain technical and production systems. 

This is a core and options apprenticeship with three options: 

Option 1: Creative venue technician - also known as CVT 

A CVT provides technical support for the construction, rehearsal, presentation and removal of a live performance. They are multi-skilled across a wide range of technical disciplines. They possess a broad level of knowledge relevant to the venue in which they operate. CVTs will be competent in lighting, audio, video and stage systems related to live performance. They apply these competencies to their resident premises and production. They are skilled in stagecraft techniques such as operating stage machinery and performing scene changes. This allows them to set up, rig, operate, maintain and carry out basic repairs of technical equipment used in creative venues. 

Option 2: Live event technician -  also known as LET 

LETs set-up technical equipment for live events and usually specialise in sound, lighting or video. They have knowledge of the equipment used in different environments and will have the ability to calibrate systems. They specify components to deliver high quality outputs across a range of different settings. LETs are responsible for the control, servicing, repair and storage of complex technical equipment. Their specialist knowledge enables them to troubleshoot and repair components and systems at sub assembly level. 

Option 3: Screen lighting technician - also known as SLT

SLTs set-up technical lighting and power equipment systems for film and television productions.  They have knowledge of the equipment used in different environments and will have the ability to set up and de-rig lighting packages either on location or in a studio setup. They will be able to understand the lighting plan and install lighting fixtures to deliver the desired effect across a range of different settings. SLTs are responsible for the control, setup, de-rig and storage of complex technical equipment. Their specialist knowledge enables them to troubleshoot lighting and power solutions on set or on location.

In their daily work, technicians interact with a wide range of partners and collaborators. This may include art departments, camera operators, sound technicians, production team, performers, directors and producers. They may also interact with presenters, audiences, and members of the general public. Although technicians are required to work independently and may be required to support junior colleagues, they usually operate under the direction and supervision of a supervisor or manager.

All technicians will be proactive in finding solutions to problems and identifying areas for improving processes, ensuring work is accurate and of high quality. In any context working safely and efficiently is paramount. Technicians may be required to work at height.  Many projects are carried out in fast-moving, dynamic workplaces. Technicians may be required to work flexible working hours, weekends and evenings. 

Typical job titles include:

Creative venue technician Film electrician Lighting technician Live event technician Production technician Rigging electrician Site engineers Site technician Sound engineer Sound technician Stage technician Theatre technician Venue technician Video engineer Video technician

Duties

  • Duty 1 Interpret system specifications for productions, live performance and events. These systems can include sound or lighting or video.
  • Duty 2 Assemble and configure systems to meet the specification requirements for sound, lighting, power or video.
  • Duty 3 Test, troubleshoot and maintain equipment and systems.
  • Duty 4 Collaborate with stakeholders and work with team members.
  • Duty 5 Operate and maintain technical equipment.
  • Duty 6 Dynamically risk assess the work environment and situation. Adapt working practices to ensure the safety of self and others.
  • Duty 7 Disassemble and store technical equipment safely and efficiently at the end of the event, ensuring that the integrity of the components is maintained.
  • Duty 8 (Live Event Technician (LET)) Repair complex systems and sub-assemblies at component level.
  • Duty 9 (Live Event Technician (LET)) Utilise lifting and rigging equipment to set up event systems.
  • Duty 10 (Live Event Technician (LET)) Specify equipment and system requirements suitable for the operational environment.
  • Duty 11 (Live Event Technician (LET)) Prepare and pack systems for local or international transportation prior to the event.
  • Duty 12 (Creative Venue Technician (CVT)) Monitor and operate systems or services relevant to own workplace.
  • Duty 13 (Creative Venue Technician (CVT)) Assemble scenery and staging systems to meet performance requirements.
  • Duty 14 (Creative Venue Technician (CVT)) Carry out live scene changes and operate stage and suspension systems.
  • Duty 15 (Creative Venue Technician (CVT)) Inspect systems or services relevant to own workplace and carry out maintenance, basic repairs, and upkeep.
  • Duty 16 (Screen Lighting Technician (SLT)) Transport, prepare and operate lighting systems to include, LED, Discharge and Tungsten fixtures.
  • Duty 17 (Screen Lighting Technician (SLT)) Prepare battery and power solutions to run lighting equipment and systems.
  • Duty 18 (Screen Lighting Technician (SLT)) Install lighting equipment using accessories and mounting equipment.
  • Duty 19 (Screen Lighting Technician (SLT)) Provide lighting to meet the desired effect for productions.

Apprenticeship summary

ST1297, creative industries production technician level 3

This is a summary of the key things that you – the apprentice and your employer need to know about your end-point assessment (EPA). You and your employer should read the EPA plan for the full details. It has information on assessment method requirements, roles and responsibilities, and re-sits and re-takes.

What is an end-point assessment and why it happens

An EPA is an assessment at the end of your apprenticeship. It will assess you against the knowledge, skills, and behaviours (KSBs) in the occupational standard. Your training will cover the KSBs. The EPA is your opportunity to show an independent assessor how well you can carry out the occupation you have been trained for.

Your employer will choose an end-point assessment organisation (EPAO) to deliver the EPA. Your employer and training provider should tell you what to expect and how to prepare for your EPA.

The length of the training for this apprenticeship is typically 24 months. The EPA period is typically 3 months.

The overall grades available for this apprenticeship are:

  • fail
  • pass
  • distinction

When you pass the EPA, you will be awarded your apprenticeship certificate.

EPA gateway

The EPA gateway is when the EPAO checks and confirms that you have met any requirements required before you start the EPA. You will only enter the gateway when your employer says you are ready.

The gateway requirements for your EPA are:

  • achieved English and mathematics qualifications in line with the apprenticeship funding rules
  • for the professional discussion underpinned by a portfolio of evidence, you must submit a portfolio of evidence

Assessment methods


Practical assessment with questions

You will be observed by an independent assessor completing a set of tasks. It will last 3 hours. They will ask you at least 10 questions.


Professional discussion underpinned by a portfolio of evidence

You will have a professional discussion with an independent assessor. It will last 90 minutes. They will ask you at least 10 questions. The questions will be about certain aspects of your occupation. You need to compile a portfolio of evidence before the EPA gateway. You can use it to help answer the questions.

The EPAO will confirm where and when each assessment method will take place.

Who to contact for help or more information

You should speak to your employer if you have a query that relates to your job.

You should speak to your training provider if you have any questions about your training or EPA before it starts.

You should receive detailed information and support from the EPAO before the EPA starts. You should speak to them if you have any questions about your EPA once it has started.


Reasonable adjustments

If you have a disability, a physical or mental health condition or other special considerations, you may be able to have a reasonable adjustment that takes this into account. You should speak to your employer, training provider and EPAO and ask them what support you can get. The EPAO will decide if an adjustment is appropriate.

Print occupational standard

Details of the occupational standard

Occupation summary

This occupation is found in creative settings. This ranges from screen production studios, outside locations, entertainment venues and theatres, through to organisations that provide technical solutions for the setup of live, recorded and streamed events. Production technicians work in three main roles; as creative venue technicians, live event technicians or screen lighting technicians. The roles can be venue based or they can be mobile; working across a variety of sites and environments.  Technicians may work across both indoor and outdoor locations. Creative venue technicians play an active role in the technical setup and operation of a variety of established creative venues such as theatres, arts centres, broadcast and film studios. Live event technicians provide technical solutions for live performance and event projects of all sizes across the UK, Europe, and worldwide. The events range from concerts, festivals and theatrical performances through to exhibitions, conferences, product launches, and showcases. Screen lighting technicians provide the lighting and power solutions for film and TV both on location or in studios to enable screen production requirements to be met.

The broad purpose of the occupation is to prepare, build, set up, and operate functioning systems for creative productions; including screen, theatre, live performance and events. These systems can include sound, lighting, power or video. Technicians read, interpret and give appropriate technical information to colleagues and clients. They use a variety of tools to assemble, install and maintain technical and production systems. 

This is a core and options apprenticeship with three options: 

Option 1: Creative venue technician - also known as CVT 

A CVT provides technical support for the construction, rehearsal, presentation and removal of a live performance. They are multi-skilled across a wide range of technical disciplines. They possess a broad level of knowledge relevant to the venue in which they operate. CVTs will be competent in lighting, audio, video and stage systems related to live performance. They apply these competencies to their resident premises and production. They are skilled in stagecraft techniques such as operating stage machinery and performing scene changes. This allows them to set up, rig, operate, maintain and carry out basic repairs of technical equipment used in creative venues. 

Option 2: Live event technician -  also known as LET 

LETs set-up technical equipment for live events and usually specialise in sound, lighting or video. They have knowledge of the equipment used in different environments and will have the ability to calibrate systems. They specify components to deliver high quality outputs across a range of different settings. LETs are responsible for the control, servicing, repair and storage of complex technical equipment. Their specialist knowledge enables them to troubleshoot and repair components and systems at sub assembly level. 

Option 3: Screen lighting technician - also known as SLT

SLTs set-up technical lighting and power equipment systems for film and television productions.  They have knowledge of the equipment used in different environments and will have the ability to set up and de-rig lighting packages either on location or in a studio setup. They will be able to understand the lighting plan and install lighting fixtures to deliver the desired effect across a range of different settings. SLTs are responsible for the control, setup, de-rig and storage of complex technical equipment. Their specialist knowledge enables them to troubleshoot lighting and power solutions on set or on location.

In their daily work, technicians interact with a wide range of partners and collaborators. This may include art departments, camera operators, sound technicians, production team, performers, directors and producers. They may also interact with presenters, audiences, and members of the general public. Although technicians are required to work independently and may be required to support junior colleagues, they usually operate under the direction and supervision of a supervisor or manager.

All technicians will be proactive in finding solutions to problems and identifying areas for improving processes, ensuring work is accurate and of high quality. In any context working safely and efficiently is paramount. Technicians may be required to work at height.  Many projects are carried out in fast-moving, dynamic workplaces. Technicians may be required to work flexible working hours, weekends and evenings. 

Typical job titles include:

Creative venue technician Film electrician Lighting technician Live event technician Production technician Rigging electrician Site engineers Site technician Sound engineer Sound technician Stage technician Theatre technician Venue technician Video engineer Video technician

Entry requirements

For the screen lighting technician option, it is desirable that apprentices have either a pre-existing level 2 or above qualification - the most common that applicants hold is the City and Guilds 2365-02; or the ability to obtain the qualification during the apprenticeship period.

Core occupation duties

Duty KSBs

Duty 1 Interpret system specifications for productions, live performance and events. These systems can include sound or lighting or video.

K11 K14 K16

S1 S2 S3 S15

B8

Duty 2 Assemble and configure systems to meet the specification requirements for sound, lighting, power or video.

K6 K7 K9 K10 K15 K16

S4 S13

B1 B4 B6 B7 B9

Duty 3 Test, troubleshoot and maintain equipment and systems.

K12 K13 K15 K17 K18

S5 S7 S12

B5 B6 B7

Duty 4 Collaborate with stakeholders and work with team members.

K2 K3 K19

S8 S9 S10 S15

B2 B3 B7

Duty 5 Operate and maintain technical equipment.

K4 K5 K7 K8 K15

S6 S11 S12

B3 B6 B7

Duty 6 Dynamically risk assess the work environment and situation. Adapt working practices to ensure the safety of self and others.

K1 K8 K15

S11 S12

B3 B6 B7

Duty 7 Disassemble and store technical equipment safely and efficiently at the end of the event, ensuring that the integrity of the components is maintained.

K7 K9 K15

S14

B6 B7 B9

Option duties

Creative Venue Technician (CVT) duties

Duty KSBs

Duty 12 Monitor and operate systems or services relevant to own workplace.

S28 S29

B6 B8

Duty 13 Assemble scenery and staging systems to meet performance requirements.

K11 K27 K28 K30

S3 S23 S25 S26

B5 B6 B8

Duty 14 Carry out live scene changes and operate stage and suspension systems.

Duty 15 Inspect systems or services relevant to own workplace and carry out maintenance, basic repairs, and upkeep.

K26 K29 K30

S10 S24 S25 S27

B1 B2 B6 B7

Live Event Technician (LET) duties

Duty KSBs

Duty 8 Repair complex systems and sub-assemblies at component level.

K8 K20 K21 K23

S16 S17 S19

B1 B5 B6 B8

Duty 9 Utilise lifting and rigging equipment to set up event systems.

K1 K4 K6

S22

B4 B6

Duty 10 Specify equipment and system requirements suitable for the operational environment.

K22 K24

S1 S3 S18 S20 S29

B1 B8

Duty 11 Prepare and pack systems for local or international transportation prior to the event.

K6 K10 K15 K25

S21 S22

B6 B7 B9

Screen Lighting Technician (SLT) duties

Duty KSBs

Duty 16 Transport, prepare and operate lighting systems to include, LED, Discharge and Tungsten fixtures.

K32 K34

S34 S36

Duty 17 Prepare battery and power solutions to run lighting equipment and systems.

K32 K35 K36

S30 S31 S35 S36

Duty 18 Install lighting equipment using accessories and mounting equipment.

K31 K32 K33

S31 S34

Duty 19 Provide lighting to meet the desired effect for productions.

K33 K34 K36

S32 S33 S34

KSBs

Knowledge

K1: Health and safety standards including: manual handling, work at height provision and use of work equipment, construction - design and management, noise, first aid, working time regulations, electricity at work, fire and emergency procedures, accident reporting, HSE guidance on running events safely, personal protective equipment, legal requirements for the maintenance of technical systems. Back to Duty

K2: Typical management structures within the production, performance and events work environment. Etiquette and culture, and interdependencies between departments. Back to Duty

K3: The sub-sectors, relevant industry bodies and their roles in the creative industries such as Production Services Association (PSA), Association of British Theatre Technicians (ABTT), Live Events Network Charter, BECTU, Professional Lighting and Sound Association (PLASA), Association of Studio and Production Equipment Companies (ASPEC), Producers Alliance for Cinema and Television (PACT). Back to Duty

K4: Lifting operations; theory and practice. Back to Duty

K5: Security and control of equipment protocols. Back to Duty

K6: Planning processes required to deliver a production, live performance or event and the importance of eliminating errors. Back to Duty

K7: Principles used to select the correct tools and equipment for tasks. Back to Duty

K8: Electricity and temporary electrical supplies; theory, practice and safety. Back to Duty

K9: Stock control, storage, logistics and transportation. Back to Duty

K10: Approaches used to control environmental impact and how these contribute to sustainable management. Back to Duty

K11: Software and tools to view, extract information and realise specifications from system designs. Back to Duty

K12: Principles of systematic and methodical approaches to problem solving. Back to Duty

K13: Methods used to identify potential improvements to systems and procedures. Back to Duty

K14: The use and function of mechanical and electromechanical systems relevant to your workplace such as stage machinery, moving fixtures, safety curtains, powered hoists and winches. Back to Duty

K15: The importance of keeping work and storage areas clean, tidy and free from the build-up of waste materials. Back to Duty

K16: Principles and terminology relating to the set-up of lighting, sound or video systems for live performance and events. Back to Duty

K17: Methods used to prepare, test and maintain lighting, sound or video equipment and systems. Back to Duty

K18: Methods used to troubleshoot and carry out basic repairs to lighting, sound or video equipment and systems. Back to Duty

K19: Different verbal and digital communication methods and how these may be adapted to suit for different stakeholders. Back to Duty

K20: The application of troubleshooting techniques to fault find and repair complex issues at sub assembly and component level. Back to Duty

K21: Procedures to calibrate equipment and systems and the impact this has on the final production. Back to Duty

K22: Venue specific considerations and application of products in different environments such as the scale of the venue, indoor or outdoor productions. Back to Duty

K23: How to identify and undertake service requirements after use - as per manufacturer recommendations. Back to Duty

K24: Network interface and compatibility requirements across live event systems. Back to Duty

K25: Techniques used to identify required packing space for equipment and for truck packs. How to prepare carnets and manifests for shows travelling across customs boarders. Back to Duty

K26: Principles of stage and production management. Back to Duty

K27: Types and styles of performance spaces such as proscenium arch, thrust, traverse, studio, open air and site specific venues and the impact on production design. Back to Duty

K28: History and development of lighting, sound and set design. Back to Duty

K29: The application of troubleshooting techniques to fault find and carry out basic repairs to creative venue systems. Back to Duty

K30: Appreciation of other departmental requirements and production design elements – scenic, lighting, audio and visual. Back to Duty

K31: The key information for installing wiring or temporary wiring for practicals and equipment, including the use of specialty lighting and starting systems and various voltage systems. Back to Duty

K32: The legislation, regulatory requirements and current British standards relevant to assessing and monitoring power supply systems. Back to Duty

K33: How to install and operate electrical distribution systems: multiple phases, balanced loads; and the switch gear loading characteristics on the shoot and the different earthing systems. Back to Duty

K34: The types of lighting effects available, when to use them, and the methods of achieving them, using different lighting fixtures, ancillary equipment and techniques. Back to Duty

K35: Key issues relating to preparing and operating extra low voltage lighting equipment and systems. Back to Duty

K36: How to optimise consistent beam quality, colour temperature and lamp life. Back to Duty

Skills

S1: Interpret system specifications and drawings such as sound, lighting or video. Back to Duty

S2: Prepare system specifications and drawings. Back to Duty

S3: Use specialist software systems such as computer aided design and asset management to extract information and input basic information. Back to Duty

S4: Assemble systems to support production, live performance or events from component parts using correct tools. Back to Duty

S5: Troubleshoot and fault find issues in discrete pieces of equipment. Back to Duty

S6: Deploy, operate and maintain technical equipment and tools. Back to Duty

S7: Prepare, test, repair and maintain lighting, sound or video equipment and systems. Back to Duty

S8: Collaborate with stakeholders and adapt communication appropriately to suit the audience. Back to Duty

S9: Use digital collaboration tools to collaborate with colleagues and stakeholders. Back to Duty

S10: Direct team members taking into consideration their level of experience. Back to Duty

S11: Interpret and apply method statements in response to dynamic risk assessment to help ensure safe planning and delivery of work processes. Back to Duty

S12: Use safety and access equipment in accordance with manufacturer instructions or to an alternative safe scheme of use. Back to Duty

S13: Assemble and configure structures and systems from component parts to production specification. Back to Duty

S14: Disassemble structures and systems, storing component parts and equipment safely. Back to Duty

S15: Prepare written information and reports. Back to Duty

S16: Trouble shoot, fault find and repair at sub assembly and component level. Back to Duty

S17: Calibrate equipment and systems to meet production requirements. Back to Duty

S18: Identify, specify and use components, systems and products applicable for the environment. Back to Duty

S19: Identify and undertake servicing requirements in line with manufacturer recommendations. Back to Duty

S20: Achieve effective network connectivity across live event systems. Back to Duty

S21: Identify required packing space for equipment and for truck packs. Back to Duty

S22: Prepare and operate lifting and ground rigging equipment. Back to Duty

S23: Comply with creative venue budgetary and financial management protocols. Back to Duty

S24: Undertake set and change scenes in live performance – setting and striking scenic elements under show conditions. Back to Duty

S25: Operate suspension systems. Back to Duty

S26: Undertake stage crafts such as basic scenic construction, carpentry, metalwork, stage machinery, props, scene changes, knots and terminations. Back to Duty

S27: Trouble shoot, fault find and carry out basic repairs to creative venue and production systems. Back to Duty

S28: As directed, inspect, test and maintain creative venue systems and production systems. Back to Duty

S29: Program and operate production control consoles. Undertake cueing and operation during the live performance or event. Back to Duty

S30: Program and operate lighting control systems. Back to Duty

S31: Assess and monitor power supply systems, installing wiring for practicals and equipment as required. Back to Duty

S32: Prepare, set and operate lighting equipment to create the desired effect. Back to Duty

S33: Manipulate and modify lighting, using diffusion materials, filters or reflectors to create the desired effect. Back to Duty

S34: Adapt lighting to meet short notice creative changes in the production design or script. Back to Duty

S35: Prepare and operate extra low voltage lighting equipment and systems. Back to Duty

S36: Identify the dangers and restrictions in the use of battery supplies including charging and mitigate for these. Back to Duty

Behaviours

B1: Adopts a flexible approach and is adaptable to change. Back to Duty

B2: Punctual, reliable and personally responsible. Back to Duty

B3: Team-focused, respectful of others and works and communicates effectively with stakeholders. Back to Duty

B4: Self-motivated with a positive and disciplined approach to work. Takes ownership of work and personal responsibility for timely delivery. Back to Duty

B5: Committed to achieving clear goals and ambitions and to continuously improve and develop. Back to Duty

B6: Puts safety first for themselves and others. Back to Duty

B7: Remains calm and safe when exposed to time pressures or deadlines. Back to Duty

B8: Proactively identifies solutions and keeps up to date with industry best practice. Back to Duty

B9: Takes personal responsibility for sustainable outcomes in how they carry out the duties of their role by reference to environmental good practice. Back to Duty

Qualifications

English and Maths

Apprentices without level 2 English and maths will need to achieve this level prior to taking the End-Point Assessment. For those with an education, health and care plan or a legacy statement, the apprenticeship’s English and maths minimum requirement is Entry Level 3. A British Sign Language (BSL) qualification is an alternative to the English qualification for those whose primary language is BSL.

Print EPA plan

End-point assessment plan

V1.0

Introduction and overview

This document explains the requirements for end-point assessment (EPA) for the creative industries production technician apprenticeship. End-point assessment organisations (EPAOs) must follow this when designing and delivering the EPA.

Creative industries production technician apprentices, their employers and training providers should read this document.

This is a core and options apprenticeship. An apprentice must be trained and assessed against the core and one option. The options are:

  • Creative Venue Technician (CVT)
  • Live Event Technician (LET)
  • Screen Lighting Technician (SLT)

A full-time creative industries production technician apprentice typically spends 24 months on-programme. The apprentice must spend at least 12 months on-programme and complete the required amount of off-the-job training in line with the apprenticeship funding rules.

The EPA should be completed within an EPA period lasting typically 3 months.

The apprentice must complete their training and meet the gateway requirements before starting their EPA. The EPA will assess occupational competence.

An approved EPAO must conduct the EPA for this apprenticeship. Employers must select an approved EPAO from the apprenticeship provider and assessment register (APAR).

This EPA has 2 assessment methods.

The grades available for each assessment method are below.

Assessment method 1 - practical assessment with questions:

  • fail
  • pass
  • distinction

Assessment method 2 - professional discussion underpinned by a portfolio of evidence:

  • fail
  • pass
  • distinction

The result from each assessment method is combined to decide the overall apprenticeship grade. The following grades are available for the apprenticeship:

  • fail
  • pass
  • distinction

EPA summary table

On-programme - typically 24 months

The apprentice must:

  • complete training to develop the knowledge, skills and behaviours (KSBs) outlined in this apprenticeship’s standard
  • complete training towards English and mathematics qualifications in line with the apprenticeship funding rules

  • compile a portfolio of evidence

End-point assessment gateway

The apprentice’s employer must be content that the apprentice is occupationally competent.

The apprentice must:

  • confirm they are ready to take the EPA
  • have achieved English and mathematics qualifications in line with the apprenticeship funding rules

For the professional discussion underpinned by a portfolio of evidence, the apprentice must submit a portfolio of evidence.

Gateway evidence must be submitted to the EPAO, along with any organisation specific policies and procedures requested by the EPAO.

End-point assessment - typically 3 months

The grades available for each assessment method are below

Practical assessment with questions:

  • fail

  • pass

  • distinction

Professional discussion underpinned by a portfolio of evidence:

  • fail

  • pass

  • distinction

Overall EPA and apprenticeship can be graded:

    • fail
    • pass
    • distinction

Re-sits and re-takes
  • re-take and re-sit grade cap: pass
  • re-sit timeframe: typically 2 months
  • re-take timeframe: typically 3 months

Duration of end-point assessment period

The EPA is taken in the EPA period. The EPA period starts when the EPAO confirms the gateway requirements have been met and is typically 3 months.

The EPAO should confirm the gateway requirements have been met and start the EPA as quickly as possible.

EPA gateway

The apprentice’s employer must be content that the apprentice is occupationally competent. That is, they are deemed to be working at or above the level set out in the apprenticeship standard and ready to undertake the EPA. The employer may take advice from the apprentice's training provider, but the employer must make the decision. The apprentice will then enter the gateway.

The apprentice must meet the gateway requirements before starting their EPA.

They must:

  • confirm they are ready to take the EPA
  • have achieved English and mathematics qualifications in line with the apprenticeship funding rules

  • submit a portfolio of evidence for the professional discussion underpinned by a portfolio of evidence

Portfolio of evidence requirements:

The apprentice must compile a portfolio of evidence during the on-programme period of the apprenticeship. It should only contain evidence related to the KSBs that will be assessed by this assessment method. It will typically contain 10 discrete pieces of evidence. Evidence must be mapped against the KSBs. Evidence may be used to demonstrate more than one KSB; a qualitative as opposed to quantitative approach is suggested.

Evidence sources may include:

  • workplace documentation and records, for example:
  • workplace policies and procedures
  • witness statements - detailing specific occasions when skills and behaviours have been carried out. Behaviours cannot be documented by the apprentice and must be observed by a witness or trainer.
  • annotated photographs
  • video clips of apprentices carrying out skills such as flying and scene changes, maximum total duration 10 minutes; the apprentice must be in view and identifiable
  • Plans or technical drawings

This is not a definitive list; other evidence sources can be included.

The portfolio of evidence should not include reflective accounts or any methods of self-assessment. Any employer contributions should focus on direct observation of performance (for example, witness statements) rather than opinions. The evidence provided should be valid and attributable to the apprentice; the portfolio of evidence should contain a statement from the employer and apprentice confirming this.

The EPAO should not assess the portfolio of evidence directly as it underpins the discussion. The independent assessor should review the portfolio of evidence to prepare questions for the discussion . They are not required to provide feedback after this review.

Gateway evidence must be submitted to the EPAO, along with any organisation specific policies and procedures requested by the EPAO.

Order of assessment methods

The assessment methods can be delivered in any order.

The result of one assessment method does not need to be known before starting the next.

Practical assessment with questions

Overview

In a practical assessment with questions, an independent assessor observes the apprentice completing a task or series of tasks set by the EPAO. The EPAO decides where it takes place. The assessment environment must closely relate to the apprentice’s natural working environment. It gives the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method.

Rationale

This EPA method is being used because:

  • It results in reliable, valid and authentic assessment of a practical occupation.
  • This is a practical occupation requiring the demonstration of knowledge, skills and behaviours. Practical assessment will ensure that safety critical and seasonal aspects can be tested in a manner that is repeatable and consistent. The breadth of knowledge, skills and behaviours are unlikely to occur in a specific real-life scenario and this method ensures consistency for candidates operating across a range of diverse locations.
  • It allows for the assessment to be delivered off-site where confidentiality may not be compromised.

Delivery

The practical assessment with questions must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.

An independent assessor must conduct and assess the practical assessment with questions.

The independent assessor must only observe one apprentice at a time to ensure quality and rigour. They must be as unobtrusive as possible.

The EPAO must give an apprentice 7 days' notice of the . practical assessment with questions

The practical assessment with questions must take 3 hours.

The independent assessor can increase the time of the practical assessment with questions by up to 10%. This time is to allow the apprentice to complete a task or respond to a question if necessary.

The practical assessment with questions cannot be split, other than for comfort breaks or to allow apprentices to move from one location to another. Where breaks occur, they will not count towards the total EPA time.

The EPAO must manage invigilation of the apprentice during the assessment, to maintain security of the EPA, in line with their malpractice policy. This includes breaks and moving between locations.

The independent assessor must explain to the apprentice the format and timescales of the practical assessment with questions before it starts. This does not count towards the assessment time.

The independent assessor must observe the following during the practical assessment:

Apprentices will be observed carrying out a range of creative industries technician activities. This will be carried out over a three-hour period and includes:

  • a 2 and a half hour practical assessment which includes a 15-minute briefing session. The briefing session will provide an opportunity for the apprentice to ask questions, related to the brief, to the assessor.
  • a maximum of 30-minutes questioning at the end of the assessment.

A brief will need to be submitted by the employer at gateway. The purpose of the brief is to provide a context relevant to the apprentices work, that will meet all the knowledge, skills and behaviours for this assessment method. Example briefs, for each option can be found below.

The assessment can be:

  • completed by a combination of workplace activities from the apprentice’s normal work environment - and a simulation,
  • all workplace activity,
  • an activity based on a scenario.

The rationale for this is that it provides flexibility to the apprentice, EPAO and employer. Non disclosure agreements (NDA's), scheduling or show times may limit assessment opportunities and a combination of workplace activities, simulation or scenario may be required.

Practical assessment requirements for all apprentices

All four areas must be covered during the practical assessment - activities to cover these should be clearly detailed within the brief:

1. Planning- Access, analyse, interpret, and prepare information and documentation relating to the task, set in the brief, ensuring compliance with relevant procedures and requirements relating to safe systems of work.

2.Preparation- Prepare and establish the work environment, selecting the appropriate personal protective equipment (PPE), tools, and access equipment, ensuring these are safe and suitable for use, and ensure the work environment complies with the relevant policies and procedures relating to Health and Safety and codes of conduct. Assemble and configure technical structures and systems used to facilitate live performance, production or rehearsal, employing investigative fault-finding techniques as required and confirming compliance in accordance with the specification.

3. Undertaking- Operate and maintain technical equipment under live performance, production or rehearsal conditions following specified procedures, protocols, and communication strategies.

4. Reporting- Extract and interpret relevant information and produce records, reports and other documentation such as risk assessments, riders or briefs as required. Please note: for reporting, any documentation that might be required to support the apprentice demonstration of the KSBs for this area can be prepared beforehand and shown to the independent assessor during the observation.

Option example practical assessment briefs:

Screen lighting technician (SLT)

They will then be given a brief or plan from the art department from which they will set the plot for the lighting.

There will be three types of lighting to set up: Tungsten, LED and discharge lamps.

The apprentice will have to set the colour temperature of the lighting in line with the brief.

A suggested room layout for a set is as follows:

A room set with at least 2 walls one with a window, so that light can be adjusted through it.

- A sofa

- A standard lamp – these covers installing practical at plug in.

- Two wall lights – these cover the wired practicals.

- The brief will also ask the apprentice to use diffusion materials, filters or reflectors to create the desired lighting effect.

Creative venue technician (CVT)

Live show - Rig or fly for event or live performance.

- Participate, at the expected level and requirement, in the rigging and flying for an event or live performance

- This should include scenery, trussing, using hoists, counterweight or hemp systems during a rehearsal or performance.

Live event technician (LET)

Rig and operate a video system.

- The apprentice should set-up a video system.

- They should rig, patch, test and programme the video system.

- This should include 2 projectors or screens, control system, switchers and output device. (This can be in a performance space such as a theatre or a studio or site specific space - but the apprentice must be seen assembling the system.)

These activities provide the apprentice with the opportunity to demonstrate the KSBs mapped to this assessment method.

The independent assessor must ask questions. The purpose of the independent assessor's questions will be to test the apprentice’s breadth and depth of underpinning knowledge against the grading descriptors.

Questioning can occur both during and after the practical assessment. The time for questioning is included in the overall assessment time. The independent assessor must ask at least 10 questions. To remain as unobtrusive as possible, the independent assessor should ask questions during natural stops between tasks and after completion of work rather than disrupting the apprentice’s flow. The independent assessor must use the questions from the EPAO’s question bank or create their own questions in line with the EPAO’s training.

The independent assessor can ask follow-up questions to clarify answers given by the apprentice. These questions are in addition to the above set number of questions for the practical assessment with questions.

The independent assessor must make the grading decision. The independent assessor must assess the practical assessment and responses to questions holistically when deciding the grade. 

The independent assessor must keep accurate records of the assessment. They must record:

  • the KSBs observed
  • the apprentice’s answers to questions
  • KSBs demonstrated in answers to questions
  • the grade achieved

Assessment location

The practical assessment with questions must take place in a simulated environment selected by the EPAO for example, the EPAO’s or employer’s premises. The simulated environment must relate to the apprentice’s natural work environment. Equipment and resources needed for the practical assessment with questions must be provided by the EPAO, who can liaise with the employer to provide these.

Question and resource development

The EPAO must develop a purpose-built assessment specification and question bank. It is recommended this is done in consultation with employers of this occupation. The EPAO must maintain the security and confidentiality of EPA materials when consulting with employers. The assessment specification and question bank must be reviewed at least once a year to ensure they remain fit-for-purpose.

The assessment specification must be relevant to the occupation and demonstrate how to assess the KSBs mapped to this assessment method. The EPAO must ensure that questions are refined and developed to a high standard. The questions must be unpredictable. A question bank of sufficient size will support this. 

The EPAO must ensure that the apprentice has a different set of tasks and questions in the case of re-sits and retakes, to minimise predictability.

The EPAO must produce the following materials to support the practical assessment with questions:

  • independent assessor assessment materials which include:
    • training materials
    • administration materials
    • moderation and standardisation materials
    • guidance materials
    • grading guidance
    • question bank
  • EPA guidance for the apprentice and the employer

The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.

Professional discussion underpinned by a portfolio of evidence

Overview

In the professional discussion, an independent assessor and apprentice have a formal two-way conversation. It gives the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method.

The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence.

Rationale

This EPA method is being used because:

  • It can be used for synoptic assessment of knowledge, skills and behaviours.
  • It helps to assess the apprentice’s in-depth understanding of their work and covers aspects of the occupation that are difficult to observe and take place in restricted and confidential settings.
  • It is a consistent method that applies across work settings in the industry
  • It is reflective of industry best practice for reporting orally on projects and justifying decisions taken.

Delivery

The professional discussion must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.

An independent assessor must conduct and assess the professional discussion.

The purpose of the independent assessor's questions will be to authenticate evidence, experience and competence.

The EPAO must give an apprentice 7 days' notice of the professional discussion.

The independent assessor must have at least 2 weeks to review the supporting documentation.

The apprentice must have access to their portfolio of evidence during the professional discussion.

The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence however, the portfolio of evidence is not directly assessed.

The professional discussion must last for 90 minutes. The independent assessor can increase the time of the professional discussion by up to 10%. This time is to allow the apprentice to respond to a question if necessary.

The independent assessor must ask at least 10 questions. The independent assessor must use the questions from the EPAO’s question bank or create their own questions in line with the EPAO’s training. Follow-up questions are allowed where clarification is required.

The independent assessor must make the grading decision.

The independent assessor must keep accurate records of the assessment. They must record:

  • the apprentice’s answers to questions
  • the KSBs demonstrated in answers to questions
  • the grade achieved 

Assessment location

The professional discussion must take place in a suitable venue selected by the EPAO for example, the EPAO’s or employer’s premises.

The professional discussion can be conducted by video conferencing. The EPAO must have processes in place to verify the identity of the apprentice and ensure the apprentice is not being aided.

The professional discussion should take place in a quiet room, free from distractions and influence.

Question and resource development

The EPAO must develop a purpose-built assessment specification and question bank. It is recommended this is done in consultation with employers of this occupation. The EPAO must maintain the security and confidentiality of EPA materials when consulting with employers. The assessment specification and question bank must be reviewed at least once a year to ensure they remain fit-for-purpose.

The assessment specification must be relevant to the occupation and demonstrate how to assess the KSBs mapped to this assessment method. The EPAO must ensure that questions are refined and developed to a high standard. The questions must be unpredictable. A question bank of sufficient size will support this.

The EPAO must ensure that the apprentice has a different set of questions in the case of re-sits or re-takes.

The EPAO must produce the following materials to support the professional discussion underpinned by a portfolio of evidence:

  • independent assessor assessment materials which include:
    • training materials
    • administration materials
    • moderation and standardisation materials
    • guidance materials
    • grading guidance
    • question bank
  • EPA guidance for the apprentice and the employer

The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.

Grading

Practical assessment with questions

Fail - does not meet pass criteria

Theme
KSBs
Pass
Apprentices must demonstrate all of the pass descriptors
Distinction
Apprentices must demonstrate all of the pass descriptors and all of the distinction descriptors
(Core) Planning and preparation
K6 K7 K11 K12 K17 S1 S3 S4 S7 B6

Reviews the drawings, system specifications and delivery plans for production, live performance or event, prioritising safety for themselves and others.

K6, S1, B6

Uses methodical approaches to interpret system specifications and drawings and uses specialist software to view, extract and input information to solve problems.

K11, K12, S3

Assembles, prepares and maintains lighting, sound or video equipment using appropriate component parts and tools to support production, live performance or events.

K7, K17, S4, S7

 

 

 

 

 

Explains the impact of potential improvements to the system specifications and delivery plans for production, live performance or event.

K6, S1

Evaluates how effective systematic and methodical approaches alongside the use of specialist software systems aids problem solving.

K12, S3 

 

(Core) Delivery
K14 K15 K16 K18 S5 S6 S11 S12 S13 S15 B1 B7

 

Uses mechanical and electromechanical systems in their workplace and accesses; technical and specialist equipment and tools to assemble and configure structures and systems to production specification and safely within deadlines.

K14, S6, S12, S13, B7

Checks equipment to identify the cause of problems and carry out basic repairs whilst ensuring that the work and storage areas are clean, tidy and free from the build-up of waste materials.

K15, K18, S5

Prepares reports and written information when using dynamic risk assessment and method statements to ensure safe planning and delivery of work processes, adapting to change where required.

S11, S15, B1

Sets-up lighting, sound or video systems for live performance and events.

K16

 

Evaluates the effectiveness of the dynamic risk assessments and method statements used in ensuring safe planning and delivery of work processes and explains the impact of the adaptations made.

S11, B1

(Live Event Technician) Preparation
K21 S17

Calibrates equipment and systems to ensure that they meet the final production requirements.

K21, S17

 

 

 

No grading criteria for this descriptor.

(Live Event Technician) Troubleshooting and repair
K20 S16

Demonstrates how to diagnose and repair faults at sub assembly and component level.

K20, S16

Analyses and justifies the use of fault-finding techniques to diagnose problems in components and systems.

K20, S16

 

(Creative Venue Technician) Preparation
S28 S29

Demonstrates how to inspect, test and maintain creative venue systems and production systems.

S28

Demonstrates how to program and operate production control consoles, including cueing and operation, during the live performance or event.

S29

 

No grading criteria for this descriptor.

(Creative Venue Technician) Troubleshooting and repair
K29 S27

Demonstrates how to diagnose faults and carry out basic repairs to creative venue systems.

K29, S27

 

 

Analyses and justifies the use of fault-finding techniques to diagnose problems in components and systems.

K29, S27

 

(Screen Lighting Technician (SLT)) Preparation
K31 K32 K34 S30 S31 S33

 

Demonstrates how to assess and monitor power supply systems and install wiring for practicals and equipment in line with legislation, regulatory requirements and current British standards.

K31, K32, S31

 

Demonstrates how to program and operate lighting control systems and use diffusion materials, lighting fixtures, ancillary equipment and techniques to manipulate and modify lighting.

K34, S30, S33

 

Analyses the methods and techniques that they used to manipulate and modify lighting.

K34, S30, S33

 

 

(Screen Lighting Technician (SLT)) Lighting principles and effects
K36 S32 S35

Prepares and operates extra low voltage lighting equipment and systems, optimising beam quality, colour temperature and lamp life.

K36, S35

Create the desired effect by preparing, setting and operating lighting equipment and systems.

S32

No grading criteria for this descriptor.

Professional discussion underpinned by a portfolio of evidence

Fail - does not meet pass criteria

Theme
KSBs
Pass
Apprentices must demonstrate all of the pass descriptors
Distinction
Apprentices must demonstrate all of the pass descriptors and all of the distinction descriptors
(Core) Communication
K19 S8 S9 S10 B3 B4

Explains how they take responsibility to deliver their work by collaborating with team members and stakeholders, using a variety of different communication methods including digital tools, written information and reports.

K19 S8, S9, B4

Explains how they have successfully adapted their communication style with stakeholders and when directing team members, taking into consideration their level of experience.

S10, B3

 

 

Evaluates the effectiveness of the communication methods used with team members and stakeholders and explains what changes they would make in the future.

K19 S8, S9, B4

(Core) Compliance
K1 K2 K3 K9 K10 B2 B9

Explain how they personally ensure they comply in a timely manner with relevant Health and Safety standards in their work.

K1, B2

Explains management structures within production and the culture and interdependencies between departments. Outlines the roles of sub-sectors and industry bodies in the creative industries.

K2, K3

Describes the principles of stock control, storage, logistics and transportation and explains how they have taken responsibility for achieving sustainable outcomes by referencing environmental good practice. Describes the security and control of equipment protocols they follow and why they are important.

K9, K10, B9

 

 

No grading criteria for this descriptor.

(Core) Continuous improvement
K13 B5

Explains how they have proactively kept up to date with industry best practice and any potential improvements to systems and procedures they have identified.

K13, B5

 

Evaluates the impact that potential improvements to systems and procedures can have on the business.

K13, B5

(Core) Technical ability
K4 K5 K8 S2 S14 B8

Outlines how they implement and adapt lifting operations, security and control of equipment protocols. 

K4 , K5

Explains the theory, practice and safety of electricity and temporary electrical supplies. 

K8

Explains the preparation of system specifications and drawings and the strategies they use to safely disassemble structures and systems and store component parts and equipment according to current industry best practice 

S2, S14, B8

No grading criteria for this descriptor.

(Creative Venue Technician) Principles (CVT)
K26 K27 K28

Explains how they applied the history and, development of lighting, sound and set design and principles of stage and product management to production design and practice. 

K26, K28

Explains how different characteristics of a creative venue impacted on production design and practice.

K27

No grading criteria for this descriptor.

(Creative Venue Technician (CVT)) Identify and consider requirements (CVT)
K30

Demonstrates an appreciation of other departmental requirements and production design elements such as scenic, lighting, audio and visual.

K30

Analyses interdependencies between teams and identifies potential changes to improve ways of working. 

K30

 

(Creative Venue Technician (CVT)) Compliance (CVT)
S23

Explains how they have complied with venue budgetary and financial management protocols. 

S23

No grading criteria for this descriptor.

(Creative Venue Technician (CVT)) Technical ability (CVT)
S24 S25 S26

Describes how they have carried out set and scene changes, setting and striking scene elements under show conditions. 

S24

Explains how they have carried out stage crafts and the operation of suspension systems correctly. 

S25, S26

 

 

No grading criteria for this descriptor.

(Live Event Technician (LET)) Identify and consider requirements (LET)
K22 K23 S18 S19

Describes how they have identified, specified and used components, systems and products in different environments.

K22, S18

Explains how to identify service requirements in a variety of environments in line with manufacturer recommendations.

K23, S19

 

Analyses the relationship between environmental requirements and the impact on component selection, identifying potential changes to improve ways of working.

K22, S18

 

(Live Event Technician (LET)) Technical ability (LET)
K24 S20

Explains how they have successfully achieved network connectivity across live event systems.

K24, S20

 

Evaluates potential improvements to ways of working on network connectivity.

K24 S20

(Live Event Technician (LET)) Carnets and manifests (LET)
K25 S21 S22

Explains how to identify the required packing space for equipment and truck packs and prepare carnets and manifests for shows travelling across borders.

K25 S21

Explains how to prepare and operate lifting and ground rigging equipment.

S22

No grading criteria for this descriptor.

(Screen Lighting Technician (SLT)) Screen lighting safety
K33 K35 S36

Explain how to install and operate electrical distribution systems: multiple phases, balanced loads; and the switch gear loading characteristics on the shoot and the different earthing systems.

K33

Explains how to prepare and operate extra low voltage lighting equipment and systems. 

K35

Explains how you mitigated the dangers and restrictions in the use of battery supplies including charging.

S36

 

No grading criteria for this descriptor.

(Screen Lighting Technician (SLT)) Lighting principles and effects
S34

Describe how to adapt lighting to meet short notice creative changes in the production design or script and how you optimised the consistent beam quality, colour temperature and lamp life.

S34

Evaluates the impact on performances when meeting short notice creative changes to lighting in the production design or script.

S34

 

Overall EPA grading

Performance in the EPA determines the overall grade of:

  • fail

  • pass

  • distinction

An independent assessor must individually grade the practical assessment with questions and professional discussion underpinned by a portfolio of evidence in line with this EPA plan.

The EPAO must combine the individual assessment method grades to determine the overall EPA grade.

If the apprentice fails one assessment method or more, they will be awarded an overall fail.

To achieve an overall pass, the apprentice must achieve at least a pass in all the assessment methods. In order to achieve an overall EPA ‘distinction’, apprentices must achieve a distinction in both assessment methods.

Grades from individual assessment methods must be combined in the following way to determine the grade of the EPA overall.

Practical assessment with questions Professional discussion underpinned by a portfolio of evidence Overall Grading
Any grade Fail Fail
Fail Any grade Fail
Pass Pass Pass
Distinction Pass Pass
Pass Distinction Pass
Distinction Distinction Distinction

Re-sits and re-takes

If the apprentice fails one assessment method or more, they can take a re-sit or a re-take at their employer’s discretion. The apprentice’s employer needs to agree that a re-sit or re-take is appropriate. A re-sit does not need further learning, whereas a re-take does. The apprentice should have a supportive action plan to prepare for a re-sit or a re-take.

The employer and the EPAO should agree the timescale for a re-sit or re-take. A re-sit is typically taken within 2 months of the EPA outcome notification. The timescale for a re-take is dependent on how much re-training is required and is typically taken within 3 months of the EPA outcome notification.

Failed assessment methods must be re-sat or re-taken within a 6-month period from the EPA outcome notification, otherwise the entire EPA will need to be re-sat or re-taken in full.

Re-sits and re-takes are not offered to an apprentice wishing to move from pass to a higher grade.

The apprentice will get a maximum EPA grade ofif pass they need to re-sit or re-take one or more assessment methods, unless the EPAO determines there are exceptional circumstances.

Roles and responsibilities

Roles Responsibilities

Apprentice

As a minimum, the apprentice should:

  • complete on-programme training to meet the KSBs as outlined in the apprenticeship standard for a minimum of 12 months
  • complete the required amount of off-the-job training specified by the apprenticeship funding rules and as arranged by the employer and training provider
  • understand the purpose and importance of EPA
  • prepare for and undertake the EPA including meeting all gateway requirements

Employer

As a minimum, the apprentice's employer must:

  • select the EPAO and training provider
  • work with the training provider, where applicable, to support the apprentice in the workplace and to provide the opportunities for the apprentice to develop the KSBs
  • arrange and support off-the-job training to be undertaken by the apprentice 
  • decide when the apprentice is working at or above the apprenticeship standard and is ready for EPA
  • ensure the apprentice is prepared for the EPA
  • ensure that all supporting evidence required at the gateway is submitted in line with this EPA plan
  • confirm arrangements with the EPAO for the EPA in a timely manner, including who, when, where
  • provide the EPAO with access to any employer-specific documentation as required for example, company policies
  • ensure that the EPA is scheduled with the EPAO for a date and time which allows appropriate opportunity for the apprentice to meet the KSBs
  • ensure the apprentice is given sufficient time away from regular duties to prepare for, and complete the EPA
  • ensure that any required supervision during the EPA period, as stated within this EPA plan, is in place
  • ensure the apprentice has access to the resources used to fulfil their role and carry out the EPA for workplace based assessments
  • remain independent from the delivery of the EPA
  • pass the certificate to the apprentice upon receipt

EPAO

As a minimum, the EPAO must:

  • conform to the requirements of this EPA plan and deliver its requirements in a timely manner
  • conform to the requirements of the apprenticeship provider and assessment register
  • conform to the requirements of the external quality assurance provider (EQAP)
  • understand the apprenticeship including the occupational standard and EPA plan 
  • make all necessary contractual arrangements including agreeing the price of the EPA
  • develop and produce assessment materials including specifications and marking materials, for example mark schemes, practice materials, training material
  • maintain and apply a policy for the declaration and management of conflict of interests and independence. This must ensure, as a minimum, there is no personal benefit or detriment for those delivering the EPA or from the result of an assessment. It must cover:
    • apprentices
    • employers
    • independent assessors
    • any other roles involved in delivery or grading of the EPA
  • have quality assurance systems and procedures that ensure fair, reliable and consistent assessment and maintain records of internal quality assurance (IQA) activity for external quality assurance (EQA) purposes
  • appoint independent, competent, and suitably qualified assessors in line with the requirements of this EPA plan
  • appoint administrators, invigilators and any other roles where required to facilitate the EPA
  • deliver induction, initial and on-going training for all their independent assessors and any other roles involved in the delivery or grading of the EPA as specified within this EPA plan. This should include how to record the rationale and evidence for grading decisions where required 
  • conduct standardisation with all their independent assessors before allowing them to deliver an EPA, when the EPA is updated, and at least once a year 
  • conduct moderation across all of their independent assessors decisions once EPAs have started according to a sampling plan, with associated risk rating of independent assessors 
  • monitor the performance of all their independent assessors and provide additional training where necessary 
  • develop and provide assessment recording documentation to ensure a clear and auditable process is in place for providing assessment decisions and feedback to all relevant stakeholders 
  • use language in the development and delivery of the EPA that is appropriate to the level of the apprenticeship
  • arrange for the EPA to take place in a timely manner, in consultation with the employer
  • provide information, advice, and guidance documentation to enable apprentices, employers and training providers to prepare for the EPA
  • confirm the gateway requirements have been met before they start the EPA for an apprentice
  • arrange a suitable venue for the EPA
  • maintain the security of the EPA including, but not limited to, verifying the identity of the apprentice, invigilation and security of materials
  • where the EPA plan permits assessment away from the workplace, ensure that the apprentice has access to the required resources and liaise with the employer to agree this if necessary
  • confirm overall grade awarded
  • maintain and apply a policy for conducting appeals

Independent assessor

As a minimum, an independent assessor must: 

  • be independent, with no conflict of interest with the apprentice, their employer or training provider, specifically, they must not receive a personal benefit or detriment from the result of the assessment
  • have, maintain and be able to evidence up-to-date knowledge and expertise of the occupation
  • have the competence to assess the EPA and meet the requirements of the IQA section of this EPA plan
  • understand the apprenticeship’s occupational standard and EPA plan
  • attend induction and standardisation events before they conduct an EPA for the first time, when the EPA is updated, and at least once a year
  • use language in the delivery of the EPA that is appropriate to the level of the apprenticeship
  • work with other personnel, where used, in the preparation and delivery of assessment methods
  • conduct the EPA to assess the apprentice against the KSBs and in line with the EPA plan
  • make final grading decisions in line with this EPA plan
  • record and report assessment outcome decisions
  • comply with the IQA requirements of the EPAO
  • comply with external quality assurance (EQA) requirements

Training provider

As a minimum, the training provider must: 

  • conform to the requirements of the apprenticeship provider and assessment register
  • ensure procedures are in place to mitigate against any conflict of interest
  • work with the employer and support the apprentice during the off-the-job training to provide the opportunities to develop the KSBs as outlined in the occupational standard
  • deliver training to the apprentice as outlined in their apprenticeship agreement
  • monitor the apprentice’s progress during any training provider led on-programme learning
  • ensure the apprentice is prepared for the EPA
  • advise the employer, upon request, on the apprentice’s readiness for EPA
  • ensure that all supporting evidence required at the gateway is submitted in line with this EPA plan
  • remain independent from the delivery of the EPA

Marker

As a minimum, markers should:

  • attend induction training as directed by the EPAO
  • have no direct connection or conflict of interest with the apprentice, their employer or training provider in all instances including when the EPAO is the training provider (i.e. HEI)
  • mark test answers accurately according to the EPAO’s mark scheme and procedures

Invigilator

As a minimum, invigilators should:

  • attend induction training as directed by the EPAO
  • have no direct connection or conflict of interest with the apprentice, their employer or training provider; in all instances, including when the EPAO is the training provider (i.e. HEI)
  • invigilate and supervise apprentices during tests and in breaks during assessment methods to prevent malpractice in accordance with the EPAO’s invigilation procedures

Reasonable adjustments

The EPAO must have reasonable adjustments arrangements for the EPA.

This should include:

  • how an apprentice qualifies for a reasonable adjustment
  • what reasonable adjustments may be made

Adjustments must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.

Special considerations

The EPAO must have special consideration arrangements for the EPA.

This should include:

  • how an apprentice qualifies for a special consideration
  • what special considerations will be given

Special considerations must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.

Internal quality assurance

Internal quality assurance refers to the strategies, policies and procedures that an EPAO must have in place to ensure valid, consistent and reliable EPA decisions.

EPAOs for this EPA must adhere to the requirements within the roles and responsibilities table.

They must also appoint independent assessors who:

  • have recent relevant experience of the occupation or sector to at least occupational level 4 gained in the last 2 years or significant experience of the occupation or sector

Value for money

Affordability of the EPA will be aided by using at least some of the following:

  • utilising digital remote platforms to conduct applicable assessment methods
  • conducting assessment methods on the same day

Professional recognition

This apprenticeship is not aligned to professional recognition.

KSB mapping table

Knowledge Assessment methods
K1: Core.

Health and safety standards including: manual handling, work at height provision and use of work equipment, construction - design and management, noise, first aid, working time regulations, electricity at work, fire and emergency procedures, accident reporting, HSE guidance on running events safely, personal protective equipment, legal requirements for the maintenance of technical systems.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K2: Core.

Typical management structures within the production, performance and events work environment. Etiquette and culture, and interdependencies between departments.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K3: Core.

The sub-sectors, relevant industry bodies and their roles in the creative industries such as Production Services Association (PSA), Association of British Theatre Technicians (ABTT), Live Events Network Charter, BECTU, Professional Lighting and Sound Association (PLASA), Association of Studio and Production Equipment Companies (ASPEC), Producers Alliance for Cinema and Television (PACT).

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K4: Core.

Lifting operations; theory and practice.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K5: Core.

Security and control of equipment protocols.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K6: Core.

Planning processes required to deliver a production, live performance or event and the importance of eliminating errors.

Back to Grading
Practical assessment with questions
K7: Core.

Principles used to select the correct tools and equipment for tasks.

Back to Grading
Practical assessment with questions
K8: Core.

Electricity and temporary electrical supplies; theory, practice and safety.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K9: Core.

Stock control, storage, logistics and transportation.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K10: Core.

Approaches used to control environmental impact and how these contribute to sustainable management.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K11: Core.

Software and tools to view, extract information and realise specifications from system designs.

Back to Grading
Practical assessment with questions
K12: Core.

Principles of systematic and methodical approaches to problem solving.

Back to Grading
Practical assessment with questions
K13: Core.

Methods used to identify potential improvements to systems and procedures.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K14: Core.

The use and function of mechanical and electromechanical systems relevant to your workplace such as stage machinery, moving fixtures, safety curtains, powered hoists and winches.

Back to Grading
Practical assessment with questions
K15: Core.

The importance of keeping work and storage areas clean, tidy and free from the build-up of waste materials.

Back to Grading
Practical assessment with questions
K16: Core.

Principles and terminology relating to the set-up of lighting, sound or video systems for live performance and events.

Back to Grading
Practical assessment with questions
K17: Core.

Methods used to prepare, test and maintain lighting, sound or video equipment and systems.

Back to Grading
Practical assessment with questions
K18: Core.

Methods used to troubleshoot and carry out basic repairs to lighting, sound or video equipment and systems.

Back to Grading
Practical assessment with questions
K19: Core.

Different verbal and digital communication methods and how these may be adapted to suit for different stakeholders.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K20: Live Event Technician (LET).

The application of troubleshooting techniques to fault find and repair complex issues at sub assembly and component level.

Back to Grading
Practical assessment with questions
K21: Live Event Technician (LET).

Procedures to calibrate equipment and systems and the impact this has on the final production.

Back to Grading
Practical assessment with questions
K22: Live Event Technician (LET).

Venue specific considerations and application of products in different environments such as the scale of the venue, indoor or outdoor productions.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K23: Live Event Technician (LET).

How to identify and undertake service requirements after use - as per manufacturer recommendations.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K24: Live Event Technician (LET).

Network interface and compatibility requirements across live event systems.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K25: Live Event Technician (LET).

Techniques used to identify required packing space for equipment and for truck packs. How to prepare carnets and manifests for shows travelling across customs boarders.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K26: Creative Venue Technician (CVT).

Principles of stage and production management.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K27: Creative Venue Technician (CVT).

Types and styles of performance spaces such as proscenium arch, thrust, traverse, studio, open air and site specific venues and the impact on production design.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K28: Creative Venue Technician (CVT).

History and development of lighting, sound and set design.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K29: Creative Venue Technician (CVT).

The application of troubleshooting techniques to fault find and carry out basic repairs to creative venue systems.

Back to Grading
Practical assessment with questions
K30: Creative Venue Technician (CVT).

Appreciation of other departmental requirements and production design elements – scenic, lighting, audio and visual.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K31: Screen Lighting Technician (SLT).

The key information for installing wiring or temporary wiring for practicals and equipment, including the use of specialty lighting and starting systems and various voltage systems.

Back to Grading
Practical assessment with questions
K32: Screen Lighting Technician (SLT).

The legislation, regulatory requirements and current British standards relevant to assessing and monitoring power supply systems.

Back to Grading
Practical assessment with questions
K33: Screen Lighting Technician (SLT).

How to install and operate electrical distribution systems: multiple phases, balanced loads; and the switch gear loading characteristics on the shoot and the different earthing systems.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K34: Screen Lighting Technician (SLT).

The types of lighting effects available, when to use them, and the methods of achieving them, using different lighting fixtures, ancillary equipment and techniques.

Back to Grading
Practical assessment with questions
K35: Screen Lighting Technician (SLT).

Key issues relating to preparing and operating extra low voltage lighting equipment and systems.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K36: Screen Lighting Technician (SLT).

How to optimise consistent beam quality, colour temperature and lamp life.

Back to Grading
Practical assessment with questions
Skill Assessment methods
S1: Core.

Interpret system specifications and drawings such as sound, lighting or video.

Back to Grading
Practical assessment with questions
S2: Core.

Prepare system specifications and drawings.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S3: Core.

Use specialist software systems such as computer aided design and asset management to extract information and input basic information.

Back to Grading
Practical assessment with questions
S4: Core.

Assemble systems to support production, live performance or events from component parts using correct tools.

Back to Grading
Practical assessment with questions
S5: Core.

Troubleshoot and fault find issues in discrete pieces of equipment.

Back to Grading
Practical assessment with questions
S6: Core.

Deploy, operate and maintain technical equipment and tools.

Back to Grading
Practical assessment with questions
S7: Core.

Prepare, test, repair and maintain lighting, sound or video equipment and systems.

Back to Grading
Practical assessment with questions
S8: Core.

Collaborate with stakeholders and adapt communication appropriately to suit the audience.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S9: Core.

Use digital collaboration tools to collaborate with colleagues and stakeholders.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S10: Core.

Direct team members taking into consideration their level of experience.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S11: Core.

Interpret and apply method statements in response to dynamic risk assessment to help ensure safe planning and delivery of work processes.

Back to Grading
Practical assessment with questions
S12: Core.

Use safety and access equipment in accordance with manufacturer instructions or to an alternative safe scheme of use.

Back to Grading
Practical assessment with questions
S13: Core.

Assemble and configure structures and systems from component parts to production specification.

Back to Grading
Practical assessment with questions
S14: Core.

Disassemble structures and systems, storing component parts and equipment safely.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S15: Core.

Prepare written information and reports.

Back to Grading
Practical assessment with questions
S16: Live Event Technician (LET).

Trouble shoot, fault find and repair at sub assembly and component level.

Back to Grading
Practical assessment with questions
S17: Live Event Technician (LET).

Calibrate equipment and systems to meet production requirements.

Back to Grading
Practical assessment with questions
S18: Live Event Technician (LET).

Identify, specify and use components, systems and products applicable for the environment.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S19: Live Event Technician (LET).

Identify and undertake servicing requirements in line with manufacturer recommendations.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S20: Live Event Technician (LET).

Achieve effective network connectivity across live event systems.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S21: Live Event Technician (LET).

Identify required packing space for equipment and for truck packs.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S22: Live Event Technician (LET).

Prepare and operate lifting and ground rigging equipment.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S23: Creative Venue Technician (CVT).

Comply with creative venue budgetary and financial management protocols.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S24: Creative Venue Technician (CVT).

Undertake set and change scenes in live performance – setting and striking scenic elements under show conditions.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S25: Creative Venue Technician (CVT).

Operate suspension systems.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S26: Creative Venue Technician (CVT).

Undertake stage crafts such as basic scenic construction, carpentry, metalwork, stage machinery, props, scene changes, knots and terminations.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S27: Creative Venue Technician (CVT).

Trouble shoot, fault find and carry out basic repairs to creative venue and production systems.

Back to Grading
Practical assessment with questions
S28: Creative Venue Technician (CVT).

As directed, inspect, test and maintain creative venue systems and production systems.

Back to Grading
Practical assessment with questions
S29: Live Event Technician (LET),Creative Venue Technician (CVT).

Program and operate production control consoles. Undertake cueing and operation during the live performance or event.

Back to Grading
Practical assessment with questions
S30: Screen Lighting Technician (SLT).

Program and operate lighting control systems.

Back to Grading
Practical assessment with questions
S31: Screen Lighting Technician (SLT).

Assess and monitor power supply systems, installing wiring for practicals and equipment as required.

Back to Grading
Practical assessment with questions
S32: Screen Lighting Technician (SLT).

Prepare, set and operate lighting equipment to create the desired effect.

Back to Grading
Practical assessment with questions
S33: Screen Lighting Technician (SLT).

Manipulate and modify lighting, using diffusion materials, filters or reflectors to create the desired effect.

Back to Grading
Practical assessment with questions
S34: Screen Lighting Technician (SLT).

Adapt lighting to meet short notice creative changes in the production design or script.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S35: Screen Lighting Technician (SLT).

Prepare and operate extra low voltage lighting equipment and systems.

Back to Grading
Practical assessment with questions
S36: Screen Lighting Technician (SLT).

Identify the dangers and restrictions in the use of battery supplies including charging and mitigate for these.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
Behaviour Assessment methods
B1: Core.

Adopts a flexible approach and is adaptable to change.

Back to Grading
Practical assessment with questions
B2: Core.

Punctual, reliable and personally responsible.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
B3: Core.

Team-focused, respectful of others and works and communicates effectively with stakeholders.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
B4: Core.

Self-motivated with a positive and disciplined approach to work. Takes ownership of work and personal responsibility for timely delivery.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
B5: Core.

Committed to achieving clear goals and ambitions and to continuously improve and develop.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
B6: Core.

Puts safety first for themselves and others.

Back to Grading
Practical assessment with questions
B7: Core.

Remains calm and safe when exposed to time pressures or deadlines.

Back to Grading
Practical assessment with questions
B8: Core.

Proactively identifies solutions and keeps up to date with industry best practice.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
B9: Core.

Takes personal responsibility for sustainable outcomes in how they carry out the duties of their role by reference to environmental good practice.

Back to Grading
Professional discussion underpinned by a portfolio of evidence

Mapping of KSBs to grade themes

Practical assessment with questions

KSBS GROUPED BY THEME Knowledge Skills Behaviour
(Core) Planning and preparation
K6 K7 K11 K12 K17
S1 S3 S4 S7
B6

Planning processes required to deliver a production, live performance or event and the importance of eliminating errors. (K6)

Principles used to select the correct tools and equipment for tasks. (K7)

Software and tools to view, extract information and realise specifications from system designs. (K11)

Principles of systematic and methodical approaches to problem solving. (K12)

Methods used to prepare, test and maintain lighting, sound or video equipment and systems. (K17)

Interpret system specifications and drawings such as sound, lighting or video. (S1)

Use specialist software systems such as computer aided design and asset management to extract information and input basic information. (S3)

Assemble systems to support production, live performance or events from component parts using correct tools. (S4)

Prepare, test, repair and maintain lighting, sound or video equipment and systems. (S7)

Puts safety first for themselves and others. (B6)

(Core) Delivery
K14 K15 K16 K18
S5 S6 S11 S12 S13 S15
B1 B7

The use and function of mechanical and electromechanical systems relevant to your workplace such as stage machinery, moving fixtures, safety curtains, powered hoists and winches. (K14)

The importance of keeping work and storage areas clean, tidy and free from the build-up of waste materials. (K15)

Principles and terminology relating to the set-up of lighting, sound or video systems for live performance and events. (K16)

Methods used to troubleshoot and carry out basic repairs to lighting, sound or video equipment and systems. (K18)

Troubleshoot and fault find issues in discrete pieces of equipment. (S5)

Deploy, operate and maintain technical equipment and tools. (S6)

Interpret and apply method statements in response to dynamic risk assessment to help ensure safe planning and delivery of work processes. (S11)

Use safety and access equipment in accordance with manufacturer instructions or to an alternative safe scheme of use. (S12)

Assemble and configure structures and systems from component parts to production specification. (S13)

Prepare written information and reports. (S15)

Adopts a flexible approach and is adaptable to change. (B1)

Remains calm and safe when exposed to time pressures or deadlines. (B7)

(Live Event Technician) Preparation
K21
S17

Procedures to calibrate equipment and systems and the impact this has on the final production. (K21)

Calibrate equipment and systems to meet production requirements. (S17)

None

(Live Event Technician) Troubleshooting and repair
K20
S16

The application of troubleshooting techniques to fault find and repair complex issues at sub assembly and component level. (K20)

Trouble shoot, fault find and repair at sub assembly and component level. (S16)

None

(Creative Venue Technician) Preparation

S28 S29

None

As directed, inspect, test and maintain creative venue systems and production systems. (S28)

Program and operate production control consoles. Undertake cueing and operation during the live performance or event. (S29)

None

(Creative Venue Technician) Troubleshooting and repair
K29
S27

The application of troubleshooting techniques to fault find and carry out basic repairs to creative venue systems. (K29)

Trouble shoot, fault find and carry out basic repairs to creative venue and production systems. (S27)

None

(Screen Lighting Technician (SLT)) Preparation
K31 K32 K34
S30 S31 S33

The key information for installing wiring or temporary wiring for practicals and equipment, including the use of specialty lighting and starting systems and various voltage systems. (K31)

The legislation, regulatory requirements and current British standards relevant to assessing and monitoring power supply systems. (K32)

The types of lighting effects available, when to use them, and the methods of achieving them, using different lighting fixtures, ancillary equipment and techniques. (K34)

Program and operate lighting control systems. (S30)

Assess and monitor power supply systems, installing wiring for practicals and equipment as required. (S31)

Manipulate and modify lighting, using diffusion materials, filters or reflectors to create the desired effect. (S33)

None

(Screen Lighting Technician (SLT)) Lighting principles and effects
K36
S32 S35

How to optimise consistent beam quality, colour temperature and lamp life. (K36)

Prepare, set and operate lighting equipment to create the desired effect. (S32)

Prepare and operate extra low voltage lighting equipment and systems. (S35)

None

Professional discussion underpinned by a portfolio of evidence

KSBS GROUPED BY THEME Knowledge Skills Behaviour
(Core) Communication
K19
S8 S9 S10
B3 B4

Different verbal and digital communication methods and how these may be adapted to suit for different stakeholders. (K19)

Collaborate with stakeholders and adapt communication appropriately to suit the audience. (S8)

Use digital collaboration tools to collaborate with colleagues and stakeholders. (S9)

Direct team members taking into consideration their level of experience. (S10)

Team-focused, respectful of others and works and communicates effectively with stakeholders. (B3)

Self-motivated with a positive and disciplined approach to work. Takes ownership of work and personal responsibility for timely delivery. (B4)

(Core) Compliance
K1 K2 K3 K9 K10

B2 B9

Health and safety standards including: manual handling, work at height provision and use of work equipment, construction - design and management, noise, first aid, working time regulations, electricity at work, fire and emergency procedures, accident reporting, HSE guidance on running events safely, personal protective equipment, legal requirements for the maintenance of technical systems. (K1)

Typical management structures within the production, performance and events work environment. Etiquette and culture, and interdependencies between departments. (K2)

The sub-sectors, relevant industry bodies and their roles in the creative industries such as Production Services Association (PSA), Association of British Theatre Technicians (ABTT), Live Events Network Charter, BECTU, Professional Lighting and Sound Association (PLASA), Association of Studio and Production Equipment Companies (ASPEC), Producers Alliance for Cinema and Television (PACT). (K3)

Stock control, storage, logistics and transportation. (K9)

Approaches used to control environmental impact and how these contribute to sustainable management. (K10)

None

Punctual, reliable and personally responsible. (B2)

Takes personal responsibility for sustainable outcomes in how they carry out the duties of their role by reference to environmental good practice. (B9)

(Core) Continuous improvement
K13

B5

Methods used to identify potential improvements to systems and procedures. (K13)

None

Committed to achieving clear goals and ambitions and to continuously improve and develop. (B5)

(Core) Technical ability
K4 K5 K8
S2 S14
B8

Lifting operations; theory and practice. (K4)

Security and control of equipment protocols. (K5)

Electricity and temporary electrical supplies; theory, practice and safety. (K8)

Prepare system specifications and drawings. (S2)

Disassemble structures and systems, storing component parts and equipment safely. (S14)

Proactively identifies solutions and keeps up to date with industry best practice. (B8)

(Creative Venue Technician) Principles (CVT)
K26 K27 K28

Principles of stage and production management. (K26)

Types and styles of performance spaces such as proscenium arch, thrust, traverse, studio, open air and site specific venues and the impact on production design. (K27)

History and development of lighting, sound and set design. (K28)

None

None

(Creative Venue Technician (CVT)) Identify and consider requirements (CVT)
K30

Appreciation of other departmental requirements and production design elements – scenic, lighting, audio and visual. (K30)

None

None

(Creative Venue Technician (CVT)) Compliance (CVT)

S23

None

Comply with creative venue budgetary and financial management protocols. (S23)

None

(Creative Venue Technician (CVT)) Technical ability (CVT)

S24 S25 S26

None

Undertake set and change scenes in live performance – setting and striking scenic elements under show conditions. (S24)

Operate suspension systems. (S25)

Undertake stage crafts such as basic scenic construction, carpentry, metalwork, stage machinery, props, scene changes, knots and terminations. (S26)

None

(Live Event Technician (LET)) Identify and consider requirements (LET)
K22 K23
S18 S19

Venue specific considerations and application of products in different environments such as the scale of the venue, indoor or outdoor productions. (K22)

How to identify and undertake service requirements after use - as per manufacturer recommendations. (K23)

Identify, specify and use components, systems and products applicable for the environment. (S18)

Identify and undertake servicing requirements in line with manufacturer recommendations. (S19)

None

(Live Event Technician (LET)) Technical ability (LET)
K24
S20

Network interface and compatibility requirements across live event systems. (K24)

Achieve effective network connectivity across live event systems. (S20)

None

(Live Event Technician (LET)) Carnets and manifests (LET)
K25
S21 S22

Techniques used to identify required packing space for equipment and for truck packs. How to prepare carnets and manifests for shows travelling across customs boarders. (K25)

Identify required packing space for equipment and for truck packs. (S21)

Prepare and operate lifting and ground rigging equipment. (S22)

None

(Screen Lighting Technician (SLT)) Screen lighting safety
K33 K35
S36

How to install and operate electrical distribution systems: multiple phases, balanced loads; and the switch gear loading characteristics on the shoot and the different earthing systems. (K33)

Key issues relating to preparing and operating extra low voltage lighting equipment and systems. (K35)

Identify the dangers and restrictions in the use of battery supplies including charging and mitigate for these. (S36)

None

(Screen Lighting Technician (SLT)) Lighting principles and effects

S34

None

Adapt lighting to meet short notice creative changes in the production design or script. (S34)

None

Find an apprenticeship

Contact us about this apprenticeship

Employers involved in creating the standard: 4Wall Entertainment, Adlib, Albany Theatre, London, Ambassador Theatre Group, Association of British Theatre Technicians (ABTT), BECTU Certified Branch representative, Belgrade Theatre, Coventry, Birmingham Repertory Theatre, Britannia Row Productions, Encore, Entec Sound & Light, Factory Grips, Fairfield Halls, Fineline Lighting, Glyndebourne, John Young Creative Industries (JYCI), LW Theatres, MBSE UK, National Theatre, Neg Earth Lights, Oldham Coliseum, Panalux, Panaz, PixiPixel, PKE Lighting, PRG UK, Production Services Association (PSA), Quartermaster Studios, Roundhouse, Royal Albert Hall, Royal Opera House London, Sadlers Wells Theatre, Screenskills industry body, SFL, Skan PA Hire, South Bank Centre, Stage Electrics, Tait Stage Technologies, The North Wall, Oxford, The Old Rep Theatre, White Light

Version log

Version Change detail Earliest start date Latest start date Latest end date
1.0 Approved for delivery 29/08/2023 Not set Not set

Crown copyright © 2024. You may re-use this information (not including logos) free of charge in any format or medium, under the terms of the Open Government Licence. Visit www.nationalarchives.gov.uk/doc/open-government-licence

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