This apprenticeship has options. This document is currently showing the following option:
To prepare, build, set up, and operate functioning systems for creative productions.
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.
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.
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:
When you pass the EPA, you will be awarded your apprenticeship certificate.
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:
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.
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.
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.
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.
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.
Duty | KSBs |
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Duty 1 Interpret system specifications for productions, live performance and events. These systems can include sound or lighting or video. |
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Duty 2 Assemble and configure systems to meet the specification requirements for sound, lighting, power or video. |
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Duty 3 Test, troubleshoot and maintain equipment and systems. |
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Duty 4 Collaborate with stakeholders and work with team members. |
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Duty 5 Operate and maintain technical equipment. |
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Duty 6 Dynamically risk assess the work environment and situation. Adapt working practices to ensure the safety of self and others. |
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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 | KSBs |
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Duty 12 Monitor and operate systems or services relevant to own workplace. |
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Duty 13 Assemble scenery and staging systems to meet performance requirements. |
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Duty 14 Carry out live scene changes and operate stage and suspension systems. |
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Duty 15 Inspect systems or services relevant to own workplace and carry out maintenance, basic repairs, and upkeep. |
Duty | KSBs |
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Duty 8 Repair complex systems and sub-assemblies at component level. |
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Duty 9 Utilise lifting and rigging equipment to set up event systems. |
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Duty 10 Specify equipment and system requirements suitable for the operational environment. |
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Duty 11 Prepare and pack systems for local or international transportation prior to the event. |
Duty | KSBs |
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Duty 16 Transport, prepare and operate lighting systems to include, LED, Discharge and Tungsten fixtures. |
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Duty 17 Prepare battery and power solutions to run lighting equipment and systems. |
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Duty 18 Install lighting equipment using accessories and mounting equipment. |
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Duty 19 Provide lighting to meet the desired effect for productions. |
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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.
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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).
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K4: Lifting operations; theory and practice.
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K5: Security and control of equipment protocols.
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K6: Planning processes required to deliver a production, live performance or event and the importance of eliminating errors.
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K7: Principles used to select the correct tools and equipment for tasks.
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K8: Electricity and temporary electrical supplies; theory, practice and safety.
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K9: Stock control, storage, logistics and transportation.
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K10: Approaches used to control environmental impact and how these contribute to sustainable management.
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K11: Software and tools to view, extract information and realise specifications from system designs.
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K12: Principles of systematic and methodical approaches to problem solving.
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K13: Methods used to identify potential improvements to systems and procedures.
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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.
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K15: The importance of keeping work and storage areas clean, tidy and free from the build-up of waste materials.
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K16: Principles and terminology relating to the set-up of lighting, sound or video systems for live performance and events.
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K17: Methods used to prepare, test and maintain lighting, sound or video equipment and systems.
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K18: Methods used to troubleshoot and carry out basic repairs to lighting, sound or video equipment and systems.
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K19: Different verbal and digital communication methods and how these may be adapted to suit for different stakeholders.
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K20: The application of troubleshooting techniques to fault find and repair complex issues at sub assembly and component level.
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K21: Procedures to calibrate equipment and systems and the impact this has on the final production.
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K22: Venue specific considerations and application of products in different environments such as the scale of the venue, indoor or outdoor productions.
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K23: How to identify and undertake service requirements after use - as per manufacturer recommendations.
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K24: Network interface and compatibility requirements across live event systems.
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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.
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K26: Principles of stage and production management.
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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.
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K28: History and development of lighting, sound and set design.
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K29: The application of troubleshooting techniques to fault find and carry out basic repairs to creative venue systems.
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K30: Appreciation of other departmental requirements and production design elements – scenic, lighting, audio and visual.
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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.
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K32: The legislation, regulatory requirements and current British standards relevant to assessing and monitoring power supply systems.
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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.
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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.
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K35: Key issues relating to preparing and operating extra low voltage lighting equipment and systems.
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K36: How to optimise consistent beam quality, colour temperature and lamp life.
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S1: Interpret system specifications and drawings such as sound, lighting or video.
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S2: Prepare system specifications and drawings.
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S3: Use specialist software systems such as computer aided design and asset management to extract information and input basic information.
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S4: Assemble systems to support production, live performance or events from component parts using correct tools.
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S5: Troubleshoot and fault find issues in discrete pieces of equipment.
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S6: Deploy, operate and maintain technical equipment and tools.
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S7: Prepare, test, repair and maintain lighting, sound or video equipment and systems.
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S8: Collaborate with stakeholders and adapt communication appropriately to suit the audience.
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S9: Use digital collaboration tools to collaborate with colleagues and stakeholders.
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S10: Direct team members taking into consideration their level of experience.
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S11: Interpret and apply method statements in response to dynamic risk assessment to help ensure safe planning and delivery of work processes.
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S12: Use safety and access equipment in accordance with manufacturer instructions or to an alternative safe scheme of use.
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S13: Assemble and configure structures and systems from component parts to production specification.
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S14: Disassemble structures and systems, storing component parts and equipment safely.
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S15: Prepare written information and reports.
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S16: Trouble shoot, fault find and repair at sub assembly and component level.
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S17: Calibrate equipment and systems to meet production requirements.
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S18: Identify, specify and use components, systems and products applicable for the environment.
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S19: Identify and undertake servicing requirements in line with manufacturer recommendations.
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S20: Achieve effective network connectivity across live event systems.
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S21: Identify required packing space for equipment and for truck packs.
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S22: Prepare and operate lifting and ground rigging equipment.
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S23: Comply with creative venue budgetary and financial management protocols.
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S24: Undertake set and change scenes in live performance – setting and striking scenic elements under show conditions.
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S25: Operate suspension systems.
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S26: Undertake stage crafts such as basic scenic construction, carpentry, metalwork, stage machinery, props, scene changes, knots and terminations.
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S27: Trouble shoot, fault find and carry out basic repairs to creative venue and production systems.
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S28: As directed, inspect, test and maintain creative venue systems and production systems.
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S29: Program and operate production control consoles. Undertake cueing and operation during the live performance or event.
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S30: Program and operate lighting control systems.
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S31: Assess and monitor power supply systems, installing wiring for practicals and equipment as required.
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S32: Prepare, set and operate lighting equipment to create the desired effect.
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S33: Manipulate and modify lighting, using diffusion materials, filters or reflectors to create the desired effect.
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S34: Adapt lighting to meet short notice creative changes in the production design or script.
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S35: Prepare and operate extra low voltage lighting equipment and systems.
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S36: Identify the dangers and restrictions in the use of battery supplies including charging and mitigate for these.
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B1: Adopts a flexible approach and is adaptable to change.
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B2: Punctual, reliable and personally responsible.
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B3: Team-focused, respectful of others and works and communicates effectively with stakeholders.
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B4: Self-motivated with a positive and disciplined approach to work. Takes ownership of work and personal responsibility for timely delivery.
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B5: Committed to achieving clear goals and ambitions and to continuously improve and develop.
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B6: Puts safety first for themselves and others.
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B7: Remains calm and safe when exposed to time pressures or deadlines.
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B8: Proactively identifies solutions and keeps up to date with industry best practice.
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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
V1.0
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:
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:
Assessment method 2 - professional discussion underpinned by a portfolio of evidence:
The result from each assessment method is combined to decide the overall apprenticeship grade. The following grades are available for the apprenticeship:
On-programme - typically 24 months
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The apprentice must:
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End-point assessment gateway
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The apprentice’s employer must be content that the apprentice is occupationally competent. The apprentice must:
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
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The grades available for each assessment method are below
Practical assessment with questions:
Professional discussion underpinned by a portfolio of evidence:
Overall EPA and apprenticeship can be graded:
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Re-sits and re-takes
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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.
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:
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:
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.
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.
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.
This EPA method is being used because:
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 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:
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 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.
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:
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.
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.
This EPA method is being used because:
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 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.
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:
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation and moderation.
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. |
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
|
Performance in the EPA determines the overall grade of:
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 |
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 | Responsibilities |
---|---|
Apprentice |
As a minimum, the apprentice should:
|
Employer |
As a minimum, the apprentice's employer must:
|
EPAO |
As a minimum, the EPAO must:
|
Independent assessor |
As a minimum, an independent assessor must:
|
Training provider |
As a minimum, the training provider must:
|
Marker |
As a minimum, markers should:
|
Invigilator |
As a minimum, invigilators should:
|
The EPAO must have reasonable adjustments arrangements for the EPA.
This should include:
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:
Special considerations must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.
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:
Affordability of the EPA will be aided by using at least some of the following:
This apprenticeship is not aligned to professional recognition.
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 |
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 |
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 |
Contact us about this apprenticeship
Version | Change detail | Earliest start date | Latest start date | Latest end date |
---|---|---|---|---|
1.0 | Approved for delivery | 29/08/2023 | Not set | Not set |
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