This is not the latest approved version of this apprenticeship. View the latest version

This revised version has been agreed and is available for information only at present. It will replace the version 1.1 for new starts from 15 August 2024 with a funding band of £11,000. Further details of this and other apprenticeships in revision are available in the revisions status report.

This apprenticeship is in revision

Key information

  1. Status: In development
  2. Ticked Proposal approved
    Ticked Occupational standard approved
    Ticked End-point assessment plan approved
    Ticked Funding approved
  3. Reference: ST0792
  4. Level: 4
  5. Typical duration to gateway: 18 months
  6. Typical EPA period: 2 months
  7. Maximum funding: £11000
  8. Route: Creative and design
  9. Date updated: 16/07/2024
  10. Lars code: 598
  11. EQA provider: Ofqual
  12. Example progression routes:
  13. Review: this apprenticeship will be reviewed in accordance with our change request policy.

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

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Print occupational standard

Details of the occupational standard

Occupation summary

This occupation is found in the creative media industries. Junior production coordinators work as part of a production team delivering film, radio, audio, TV, digital content or animated series, commercials or in specialist post production departments. A junior production coordinator may be employed by television, film, digital, radio or audio production companies or VFX or post production facilities. They may work for a production, or a series of productions, seeing them through from pre-production through to post production, or through a specific part of the process.

The broad purpose of the occupation is to coordinate productions using specialist production management skills, knowledge and experience. A junior production coordinator can work across all genres in film, television, digital, radio, audio or commercials; they may work in the production office, on set, in a studio or on location, in the UK or internationally. In their daily work, an employee in this occupation interacts with and supports the production coordinator, production manager or VFX producer and the wider production or post production teams and with clients and crew. 

An employee in this occupation will be responsible for supporting and delivering the operational elements of productions in film, TV, commercials, short form production, radio, audio, post production, animation and VFX. This may include logistics, finance, personnel, equipment or content for productions, both on and off set, studio or on location. Specific roles and responsibilities may vary from production to production depending on the genre.

This is a core and options standard, to reflect the varied roles that come under the production coordinator occupation in the creative industries. All learners will undertake the core element of the apprenticeship, and then they will choose to specialise in one of the two production options.

Option 1: Production coordinator – The junior production coordinator, working as a member of the production team, will provide operational support to the production manager or senior producer. They will help the team deliver the needs of the production, including obtaining rights and legal clearances to production content, producing and maintaining production documentation, organising resources and logistics including transport, guests, contributors, accommodation and equipment and scheduling productions. Junior production coordinators will have a clear understanding of the production process and the changing needs and demands of the production team.

Option 2: Post production coordinator - The junior post production coordinator or junior bookings producer working in post-production, VFX/CG or animation areas and is responsible for assisting their team with the day to day running of a single project or multiple projects. They act as the first point of contact for the productions they are working with, dealing with specific post production workflow queries, staffing and facility schedules, post production deliverables and cost reports. This can include managing the reviewing of work and ensuring that appropriate notes and records are kept, liaising with clients over ingest of content, deliverables and client attended review sessions, scheduling and assisting with other logistical tasks as requested. They work with the producer, leads and supervisors to track and manage the workflow through the departments meeting internal and external deadlines

Typical job titles include:

Audio coordinator Booking coordinator Junior booking producer Post production coordinator Production coordinator Production management assistant Production secretary Radio coordinator

Core occupation duties

Duty KSBs

Duty 1 Create, populate and manage production documentation such as schedules, production or show plans, call sheets and daily reports.

K1 K2 K3 K9

S1 S2 S3 S5

B1 B4

Duty 2 Identify, obtain and manage resources for a media production, such as crew, facilities and media assets in line with timescales and budget.

K1 K3 K4 K5 K9

S1

B1 B3

Duty 3 Contribute to the compliance and the financial management of productions in line with production requirements.

K6 K7 K8 K9

S4 S5

B1

Duty 4 Contribute to the compliance with health and safety policies, processes and procedures, including completion of risk assessments on productions.

K10 K11 K12

S1 S7 S11

Duty 5 Support the compliance of the production with legislative, organisational and industry standards and requirements.

K3 K10 K11 K12 K15 K16

S1 S7 S9 S10 S11 S15

B3 B4

Duty 6 Work autonomously and collaboratively with colleagues, clients or customers, in order to meet agreed production requirements.

K13

S5 S6 S9 S10 S12 S13

B2 B4

Duty 7 Manage others on productions as required.

K1 K10 K13

S2 S3 S4 S5 S6 S8 S9 S12 S13

B2

Duty 8 Manage production workflows throughout the stages of a production in line with requirements, resolving or escalating any problems.

K1 K10 K14 K15 K16

S1 S2 S3 S7 S8 S9 S13 S14 S16 S17

B2 B3

Option duties

Production coordinator duties

Duty KSBs

Duty 9 Apply technical knowledge and skills to ensure the delivery of productions or content in line with the deadlines and requirements of the production.

K17 K18 K19 K20 K21 K22 K23

S18 S19 S20

Duty 10 Determine and obtain the clearances required for materials being used on productions.

K17 K18 K19 K20 K21 K22 K23

S18 S19 S20

Post production coordinator duties

Duty KSBs

Duty 11 Use industry standard tools and processes to track and manage the post-production workflow in line with production requirements for Post-Production, VFX or Animation.

K24 K25 K27 K28 K29

S21 S22

Duty 12 Apply post production technical knowledge and skills to ensure the delivery of post production outputs meet deadlines and requirements of clients.

K24 K26 K27 K28 K29

S21 S22 S23

KSBs

Knowledge

K1: How structure, vision and purpose affects production. Back to Duty

K2: The requirements of each department and how they work with each other. Back to Duty

K3: The role, responsibilities and impact this has on the success of the production. Back to Duty

K4: How to record and communicate information on the progress of the production which complies with organisational policies including safe storage of data. Back to Duty

K5: How different production environments, formats and scale affect the types and quantity of required resources. Back to Duty

K6: The importance of financial procedures and policies. Back to Duty

K7: How to research and access resources such as suppliers, contributors and crew members. Back to Duty

K8: How to reconcile and code production expenditure. Back to Duty

K9: The production lifecycle. Key aspects and industry terminology of each stage within end-to-end production workflows. Back to Duty

K10: Requirements and production documentation that may be needed when travelling. Back to Duty

K11: How to identify and report potential health and safety risks and hazards for a production. Back to Duty

K12: Industry regulations, codes of practice, organisational policies, licences and legal requirements that might affect a production including social media policy. Back to Duty

K13: Communication styles. How the type, format and frequency of communication can impact on the success of a production. Back to Duty

K14: How to keep up to date with tools, standards and trends and emerging technologies and their use and impact across the sector. Back to Duty

K15: The value of production content and confidentiality to the business or organisation. Why it is important to maintain data security, and the legal and regulatory requirements such as copyright and intellectual property rights. Back to Duty

K16: The importance of environmental sustainability and departmental processes for working on a production. For example, Albert Carbon Calculator for screen or activities that contribute to the monitoring and reduction of the carbon footprint. Back to Duty

K17: Current workplace rules and procedures regarding safeguarding, for example child protection. Back to Duty

K18: Process for liaising with organisations or government agencies as required. For example, work permits, licenses, child licenses, location permissions or recording permits. Back to Duty

K19: The intended use and impact of a piece of copyright material or content. Back to Duty

K20: The processes required to obtain the necessary legal rights to the copyright. Where to obtain advice and information for different types of copyrighted materials. Back to Duty

K21: How to ensure that all media or creative content is cleared for use and owned or licenced by the production. For example, obtaining release forms or interpreting the rights on PPP or contacts. Back to Duty

K22: The importance of post-production paperwork in the delivery of creative material. The impact of sharing incorrect information. Back to Duty

K23: How technical operations work in studios, sets and on location. For example, process studio rig, or kit and crew requirements based on location. Back to Duty

K24: How to interpret post-production process, workflows and functions to meet deliverables. Back to Duty

K25: How to utilise database and scheduling software and tools to communicate information to relevant teams or departments. Back to Duty

K26: How to coordinate and run review sessions with the team, supervisors or clients. Back to Duty

K27: The influence and timing of post-production on the end-to-end production process. Back to Duty

K28: The common file formats and resolutions used in the production and post production process. Back to Duty

K29: The editorial process in relation to client turnover, ingest, client review, finishing or deliverables. Back to Duty

Skills

S1: Operate within agreed organisational policies, standards and procedures; adapting to operational changes as they occur. Back to Duty

S2: Meet the needs of the creative team, such as technical, logistical or organisational requirements and be aware of the impact this can have on the production such as budget. Back to Duty

S3: Create, maintain and share production documentation and records such as schedules, call sheets, show plans, technical requisitions, client feedback, review notes. Back to Duty

S4: Research and assist with sourcing or booking of resources, crew, contributors, talent or suppliers to meet production requirements. Back to Duty

S5: Monitor the use of resources such as production materials, equipment and supplies. Back to Duty

S6: Coordinate logistics or travel activity for the production, liaising with other departments when required. Back to Duty

S7: Collaborate with the production team to check that the final product is delivered to industry standards including technical and legal requirements. Back to Duty

S8: Monitor the production schedule to ensure that changing priorities or deadlines are communicated to the team. Back to Duty

S9: Prioritise the work to ensure that tasks are completed on schedule. Back to Duty

S10: Resolve, and where required escalate, faults, incidents or problems, within agreed policies and procedures. Back to Duty

S11: Contribute to the monitoring and compliance for the production relating to legal, regulatory, organisational and industry codes of practice. Back to Duty

S12: Build relationships with partners on productions such as cast, crew, and contributors. Back to Duty

S13: Liaise with other departments, acting as a point of contact on the production. Back to Duty

S14: Keep up to date with tools, standards, trends and emerging technologies and their use and impact across the sector. Back to Duty

S15: Operate within legislation, regulations, organisational policies, industry standards and procedures such as health and safety, confidentiality, security. Back to Duty

S16: Follow sustainable practices in line with industry standard recommendations. Back to Duty

S17: Promote and market skills and services. Back to Duty

S18: Assist with establishing sources of copyright for the materials being used on a production. Back to Duty

S19: Obtain terms and conditions from copyright owners and license holders acting as a point of contact when required. Back to Duty

S20: Prepare deliverables documentation in readiness for handover such as billings, schedules, production promotion, presentation and support material such as online, stills or press packages. Back to Duty

S21: Act as intermediary between the production team and the technical or creative teams, utilising knowledge of the post-production process, workflows and functions. Back to Duty

S22: Support the production team by liaising with counterparts in external organisations such as clients or other vendors to facilitate communication, meeting arrangements, deliverables or queries. Back to Duty

S23: Manage the delivery process of materials to clients or external companies, keeping parties informed of progress and change. Back to Duty

Behaviours

B1: Work on own initiative, be proactive and inquisitive; if mistakes are made take personal responsibility to address them. Back to Duty

B2: Act in a professional and ethical manner, in line with accepted production etiquette, embracing equality, diversity and inclusion in the workplace. Back to Duty

B3: Take the initiative and responsibility for own learning and development, working with and learning from peers. Back to Duty

B4: Maintain commercial confidentiality and professional practice at all times, and in all settings. 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

Introduction and overview

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

Junior production coordinator 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:

  • Production coordinator
  • Post production coordinator

A full-time junior production coordinator apprentice typically spends 18 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 2 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 work with the training provider to select an approved EPAO from the apprenticeship providers and assessment register (APAR).

This EPA has 2 assessment methods.

The grades available for each assessment method are below.

Assessment method 1 - presentation and 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
  • merit
  • distinction

EPA summary table

On-programme - typically 18 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 2 months

The grades available for each assessment method are below

Presentation and questions:

  • fail

  • pass

  • distinction

Professional discussion underpinned by a portfolio of evidence:

  • fail

  • pass

  • distinction

Overall EPA and apprenticeship can be graded:

    • fail
    • pass
    • merit
    • distinction

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 2 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 the professional discussion. It will contain 18 to 20 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:
  • production schedules
  • planning notes
  • witness statements
  • annotated photographs
  • video clips with a maximum total duration 10 minutes; the apprentice must be in view and identifiable

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.

Presentation and questions

Overview

In the presentation with questions, the apprentice delivers a presentation to an independent assessor on a set subject. The independent assessor must ask questions after the presentation. It gives the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method.

Rationale

This assessment method is being used because:

  • it assesses KSBs that cannot be directly observed in practice
  • it allows the apprentice to present information in a style and format that showcases their occupational competence against the mapped KSBs
  • it allows for the presentation of evidence and testing of responses where there are a range of potential answers
  • it can be conducted remotely, potentially reducing cost

Delivery

The presentation and 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 presentation with questions.

The presentation must cover:

  • An overview of own junior production coordinator role and responsibilities for the selected production.
  • The scope and lifecycle of the phase or phases for the selected production.
  • Workplace rules and procedures required for selected production.
  • The resources used, budget information and the impact on sustainability targets.
  • A production plan including milestones, deadlines and those involved.
  • A walkthrough of technical operations.
  • Production outcomes and impact of the junior production coordinator input.
  • Conclusions and recommendations.

The purpose of the presentation is to allow the apprentice to demonstrate their competence against the grading descriptors.

The apprentice must submit any presentation materials to the EPAO by the end of week 4 of the EPA period. The apprentice must notify the EPAO, at that point, of any technical requirements for the presentation.

During the presentation, the apprentice must have access to:

  • audio-visual presentation equipment
  • computer

The independent assessor must have at least 2 weeks to review any presentation materials, before the presentation is delivered by the apprentice, to allow them to prepare questions. The EPAO must give the apprentice at least 2 weeks' notice of the presentation assessment.

The independent assessor must ask questions after the presentation.

The purpose of the questions is:

  • to seek clarification where required
  • to assess the level of competence against the grading descriptors

The presentation and questions must last 60 minutes. This will typically include a presentation of 30 minutes and questioning lasting 30 minutes. The independent assessor must use the full time available for questioning. The independent assessor can increase the total time of the presentation and questioning by up to 10%. This time is to allow the apprentice to complete their last point or respond to a question if necessary.

The independent assessor must ask at least 5 questions. They 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 apprentice may choose to end the assessment method early. The apprentice must be confident they have demonstrated competence against the assessment requirements for the assessment method. The independent assessor or EPAO must ensure the apprentice is fully aware of all assessment requirements. The independent assessor or EPAO cannot suggest or choose to end the assessment methods early, unless in an emergency. The EPAO is responsible for ensuring the apprentice understands the implications of ending an assessment early if they choose to do so. The independent assessor may suggest the assessment continues. The independent assessor must document the apprentice’s request to end the assessment early.

The independent assessor must make the grading decision. The independent assessor must assess the presentation and answers to questions holistically when deciding the grade.

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

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

Assessment location

The presentation with questions must take place in a suitable venue selected by the EPAO for example, the EPAO’s or employer’s premises. The presentation with questions 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 presentation and questions:

  • independent assessor EPA 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.

Rationale

This assessment method is being used because:

  • it assesses KSBs holistically and objectively
  • it allows for the assessment of KSBs that do not occur on a predictable or regular basis
  • it allows for assessment of responses where there are a range of potential answers
  • it can be conducted remotely, potentially reducing cost

reduces the assessment burden on the apprentice

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 assess the apprentice’s competence against the following themes:

  • Production context
  • Regulations and health and safety
  • Resourcing and logistics coordination
  • Communication
  • CPD
  • Data protection and confidentiality
  • Copyright (production option)
  • Deliverables (post production option)

The EPAO must give an apprentice 2 weeks' 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 7 questions. The independent assessor must use the questions from the EPAO’s question bank. Follow-up questions are allowed where clarification is required.

The apprentice may choose to end the assessment method early. The apprentice must be confident they have demonstrated competence against the assessment requirements for the assessment method. The independent assessor or EPAO must ensure the apprentice is fully aware of all assessment requirements. The independent assessor or EPAO cannot suggest or choose to end the assessment methods early, unless in an emergency. The EPAO is responsible for ensuring the apprentice understands the implications of ending an assessment early if they choose to do so. The independent assessor may suggest the assessment continues. The independent assessor must document the apprentice’s request to end the assessment early.

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

Presentation and questions

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) The role
K3 S2 S3

Explains how they create, maintain and share production documentation to meet the needs of the creative team and the impact this has on the success of the production. 

K3, S2, S3

 

 

 

 

No distinction grading criteria.

(Core) Financials
K6 K8 S4

Explains the use of financial policy and procedures when sourcing and booking resources to meet production requirements.

K6, K8, S4

 

No distinction grading criteria.

(Core) Production monitoring
S8 S10 B1

Explains how they use their own initiative to monitor the production schedule, communicating changes and adjustments to the team and proactively resolving identified problems.

S8, S10, B1 

 

Evaluates their approach to monitoring the production schedule and how they foresee potential issues or consequences with changing priorities.

S8, S10

(Core) Communication and collaboration
K2 K4 S12 S13 B2

Demonstrates an understanding of the organisations departmental structure and the need to work in a professional and ethical manner when building relationships with partners in their role as a point of contact on a production. 

K2, S12, S13, B2

Explains how they record and communicate production progress information whilst adhering to organisational policies.

K4

 

Analyses the impact of collaborative ways of working on the overall functioning of the organisation.

K2, S13

 

(Core) Sustainability
K16 S16

Explains how they follow environmental sustainability practices in line with industry standard recommendations when working on a production. 

K16, S16

 

Evaluates areas to improve sustainable practices on the selected production. 

K16, S16

(Production coordinator) Production compliance
K17 K18 S20

Describes managing critical aspects of production, including safeguarding, liaison with external entities, and obtaining documentation and the pivotal role they play in ensuring seamless operations and successful project handovers.

K17, K18, S20

 

No distinction grading criteria.

(Production coordinator) Policies and procedures
K22 K23

Explains how technical operations work in studios, sets and on location and the importance of sharing accurate post-production paperwork in the delivery of creative material. 

K22, K23

 

No distinction grading criteria

 

 

(Post production coordinator) The post production schedule
K24 K25 S21

Explains how they use database and scheduling software and tools and interpret post-production process, workflows and functions to communicate information to relevant teams or departments. 

K24, K25, S21

 

 

No distinction grading criteria.

 

 

(Post production coordinator) Processes and workflows
K26 K27 S22

Explains how they support the production team by running review sessions and liaising with external stakeholders and the impact of timing of post-production on the end-to-end process.

K26, K27, S22

No distinction grading criteria.

 

 

Professional discussion underpinned by a portfolio of evidence

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) Production context
K1 K9 S9

Explains how they prioritise the work throughout the production lifecycle to ensure that tasks are completed on schedule and how structure, vision and purpose can affect production. 

K1, K9, S9

Justifies decisions for prioritising tasks and adapting to work. 

S9

 

(Core) Regulations and health and safety
K11 K12 S11 S15

Explains how to identify and report potential health and safety risks and hazards for a production. 

K11

Explains how they monitor and comply with industry regulations, organisational policies, codes of practice, required licenses and legal requirements when working on a production.    

K12, S11, S15

No distinction grading criteria.

(Core) Resourcing and logistics coordination
K5 K7 K10 S1 S5 S6

Explains how they adapt to different production environments, formats, scale and operational changes whilst working within agreed organisational policies, standards and procedures. 

K5, S1

Describes how to research, access and monitor the use of resources to meet production requirements. 

K7, S5

Explains the requirements and production documentation that may be needed when travelling and how to coordinate logistics or travel activity for the production.

K10, S6

 

Justifies their selection of suppliers, crew members and resources.

K7, S5

(Core) Communication
K13 S7

Explains the communication techniques used to build rapport with a range of colleagues and suppliers to ensure the final product is delivered to industry standards meeting technical and legal requirements.

K13, S7

 

No distinction grading criteria.

(Core) CPD
K14 S14 S17 B3

Demonstrates initiative and responsibility for own learning by keeping up to date with tools, standards, trends and emerging technologies to promote and market skills and services.

K14, S14 , S17, B3

Analyses the impact of utilising emerging technology and latest tools, standards and trends.

S14

(Core) Data protection and confidentiality
K15 B4

Explains the value of confidentiality to the organisation and the importance of maintaining data security and intellectual property rights. 

K15, B4 

No distinction grading criteria.

(Production coordinator) Copyright
K19 K20 K21 S18 S19

Describes different types of copyright, how copyrighted material is used, its impact, and how to get legal permission to use it. 

K19, K20, K21, S18, S19

 

 

No distinction grading criteria.

 

 

(Post production coordinator) Deliverables
K28 K29 S23

Describes the common file formats and resolutions used in the production process and how they manage the editorial and delivery process of materials to external clients. 

 

K28, K29, S23

No distinction grading criteria.

 

 

Overall EPA grading

Performance in the EPA determines the overall grade of:

  • fail

  • pass

  • merit

  • distinction

An independent assessor must individually grade the presentation and 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. To achieve a merit the apprentice must secure a distinction in one assessment method. To achieve a distinction the apprentice must secure 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.

Presentation and questions Professional discussion underpinned by a portfolio of evidence Overall Grading
Fail Any grade Fail
Any grade Fail Fail
Pass Pass Pass
Pass Distinction Merit
Distinction Pass Merit
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 1 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 1 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 training provider
  • work with the training provider to select the EPAO
  • 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 the 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
  • work with the employer to select the EPAO
  • 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

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 2 gained in the last 3 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:

  • completing applicable assessment methods online, for example computer-based assessment
  • 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.

How structure, vision and purpose affects production.

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

The requirements of each department and how they work with each other.

Back to Grading
Presentation and questions
K3: Core.

The role, responsibilities and impact this has on the success of the production.

Back to Grading
Presentation and questions
K4: Core.

How to record and communicate information on the progress of the production which complies with organisational policies including safe storage of data.

Back to Grading
Presentation and questions
K5: Core.

How different production environments, formats and scale affect the types and quantity of required resources.

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

The importance of financial procedures and policies.

Back to Grading
Presentation and questions
K7: Core.

How to research and access resources such as suppliers, contributors and crew members.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K8: Core.

How to reconcile and code production expenditure.

Back to Grading
Presentation and questions
K9: Core.

The production lifecycle. Key aspects and industry terminology of each stage within end-to-end production workflows.

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

Requirements and production documentation that may be needed when travelling.

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

How to identify and report potential health and safety risks and hazards for a production.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K12: Core.

Industry regulations, codes of practice, organisational policies, licences and legal requirements that might affect a production including social media policy.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K13: Core.

Communication styles. How the type, format and frequency of communication can impact on the success of a production.

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

How to keep up to date with tools, standards and trends and emerging technologies and their use and impact across the sector.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K15: Core.

The value of production content and confidentiality to the business or organisation. Why it is important to maintain data security, and the legal and regulatory requirements such as copyright and intellectual property rights.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K16: Core.

The importance of environmental sustainability and departmental processes for working on a production. For example, Albert Carbon Calculator for screen or activities that contribute to the monitoring and reduction of the carbon footprint.

Back to Grading
Presentation and questions
K17: Production coordinator.

Current workplace rules and procedures regarding safeguarding, for example child protection.

Back to Grading
Presentation and questions
K18: Production coordinator.

Process for liaising with organisations or government agencies as required. For example, work permits, licenses, child licenses, location permissions or recording permits.

Back to Grading
Presentation and questions
K19: Production coordinator.

The intended use and impact of a piece of copyright material or content.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K20: Production coordinator.

The processes required to obtain the necessary legal rights to the copyright. Where to obtain advice and information for different types of copyrighted materials.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K21: Production coordinator.

How to ensure that all media or creative content is cleared for use and owned or licenced by the production. For example, obtaining release forms or interpreting the rights on PPP or contacts.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K22: Production coordinator.

The importance of post-production paperwork in the delivery of creative material. The impact of sharing incorrect information.

Back to Grading
Presentation and questions
K23: Production coordinator.

How technical operations work in studios, sets and on location. For example, process studio rig, or kit and crew requirements based on location.

Back to Grading
Presentation and questions
K24: Post production coordinator.

How to interpret post-production process, workflows and functions to meet deliverables.

Back to Grading
Presentation and questions
K25: Post production coordinator.

How to utilise database and scheduling software and tools to communicate information to relevant teams or departments.

Back to Grading
Presentation and questions
K26: Post production coordinator.

How to coordinate and run review sessions with the team, supervisors or clients.

Back to Grading
Presentation and questions
K27: Post production coordinator.

The influence and timing of post-production on the end-to-end production process.

Back to Grading
Presentation and questions
K28: Post production coordinator.

The common file formats and resolutions used in the production and post production process.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K29: Post production coordinator.

The editorial process in relation to client turnover, ingest, client review, finishing or deliverables.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
Skill Assessment methods
S1: Core.

Operate within agreed organisational policies, standards and procedures; adapting to operational changes as they occur.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S2: Core.

Meet the needs of the creative team, such as technical, logistical or organisational requirements and be aware of the impact this can have on the production such as budget.

Back to Grading
Presentation and questions
S3: Core.

Create, maintain and share production documentation and records such as schedules, call sheets, show plans, technical requisitions, client feedback, review notes.

Back to Grading
Presentation and questions
S4: Core.

Research and assist with sourcing or booking of resources, crew, contributors, talent or suppliers to meet production requirements.

Back to Grading
Presentation and questions
S5: Core.

Monitor the use of resources such as production materials, equipment and supplies.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S6: Core.

Coordinate logistics or travel activity for the production, liaising with other departments when required.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S7: Core.

Collaborate with the production team to check that the final product is delivered to industry standards including technical and legal requirements.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S8: Core.

Monitor the production schedule to ensure that changing priorities or deadlines are communicated to the team.

Back to Grading
Presentation and questions
S9: Core.

Prioritise the work to ensure that tasks are completed on schedule.

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

Resolve, and where required escalate, faults, incidents or problems, within agreed policies and procedures.

Back to Grading
Presentation and questions
S11: Core.

Contribute to the monitoring and compliance for the production relating to legal, regulatory, organisational and industry codes of practice.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S12: Core.

Build relationships with partners on productions such as cast, crew, and contributors.

Back to Grading
Presentation and questions
S13: Core.

Liaise with other departments, acting as a point of contact on the production.

Back to Grading
Presentation and questions
S14: Core.

Keep up to date with tools, standards, trends and emerging technologies and their use and impact across the sector.

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

Operate within legislation, regulations, organisational policies, industry standards and procedures such as health and safety, confidentiality, security.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S16: Core.

Follow sustainable practices in line with industry standard recommendations.

Back to Grading
Presentation and questions
S17: Core.

Promote and market skills and services.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S18: Production coordinator.

Assist with establishing sources of copyright for the materials being used on a production.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S19: Production coordinator.

Obtain terms and conditions from copyright owners and license holders acting as a point of contact when required.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S20: Production coordinator.

Prepare deliverables documentation in readiness for handover such as billings, schedules, production promotion, presentation and support material such as online, stills or press packages.

Back to Grading
Presentation and questions
S21: Post production coordinator.

Act as intermediary between the production team and the technical or creative teams, utilising knowledge of the post-production process, workflows and functions.

Back to Grading
Presentation and questions
S22: Post production coordinator.

Support the production team by liaising with counterparts in external organisations such as clients or other vendors to facilitate communication, meeting arrangements, deliverables or queries.

Back to Grading
Presentation and questions
S23: Post production coordinator.

Manage the delivery process of materials to clients or external companies, keeping parties informed of progress and change.

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

Work on own initiative, be proactive and inquisitive; if mistakes are made take personal responsibility to address them.

Back to Grading
Presentation and questions
B2: Core.

Act in a professional and ethical manner, in line with accepted production etiquette, embracing equality, diversity and inclusion in the workplace.

Back to Grading
Presentation and questions
B3: Core.

Take the initiative and responsibility for own learning and development, working with and learning from peers.

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

Maintain commercial confidentiality and professional practice at all times, and in all settings.

Back to Grading
Professional discussion underpinned by a portfolio of evidence

Mapping of KSBs to grade themes

Presentation and questions

KSBS GROUPED BY THEME Knowledge Skills Behaviour
(Core) The role
K3
S2 S3

The role, responsibilities and impact this has on the success of the production. (K3)

Meet the needs of the creative team, such as technical, logistical or organisational requirements and be aware of the impact this can have on the production such as budget. (S2)

Create, maintain and share production documentation and records such as schedules, call sheets, show plans, technical requisitions, client feedback, review notes. (S3)

None

(Core) Financials
K6 K8
S4

The importance of financial procedures and policies. (K6)

How to reconcile and code production expenditure. (K8)

Research and assist with sourcing or booking of resources, crew, contributors, talent or suppliers to meet production requirements. (S4)

None

(Core) Production monitoring

S8 S10
B1

None

Monitor the production schedule to ensure that changing priorities or deadlines are communicated to the team. (S8)

Resolve, and where required escalate, faults, incidents or problems, within agreed policies and procedures. (S10)

Work on own initiative, be proactive and inquisitive; if mistakes are made take personal responsibility to address them. (B1)

(Core) Communication and collaboration
K2 K4
S12 S13
B2

The requirements of each department and how they work with each other. (K2)

How to record and communicate information on the progress of the production which complies with organisational policies including safe storage of data. (K4)

Build relationships with partners on productions such as cast, crew, and contributors. (S12)

Liaise with other departments, acting as a point of contact on the production. (S13)

Act in a professional and ethical manner, in line with accepted production etiquette, embracing equality, diversity and inclusion in the workplace. (B2)

(Core) Sustainability
K16
S16

The importance of environmental sustainability and departmental processes for working on a production. For example, Albert Carbon Calculator for screen or activities that contribute to the monitoring and reduction of the carbon footprint. (K16)

Follow sustainable practices in line with industry standard recommendations. (S16)

None

(Production coordinator) Production compliance
K17 K18
S20

Current workplace rules and procedures regarding safeguarding, for example child protection. (K17)

Process for liaising with organisations or government agencies as required. For example, work permits, licenses, child licenses, location permissions or recording permits. (K18)

Prepare deliverables documentation in readiness for handover such as billings, schedules, production promotion, presentation and support material such as online, stills or press packages. (S20)

None

(Production coordinator) Policies and procedures
K22 K23

The importance of post-production paperwork in the delivery of creative material. The impact of sharing incorrect information. (K22)

How technical operations work in studios, sets and on location. For example, process studio rig, or kit and crew requirements based on location. (K23)

None

None

(Post production coordinator) The post production schedule
K24 K25
S21

How to interpret post-production process, workflows and functions to meet deliverables. (K24)

How to utilise database and scheduling software and tools to communicate information to relevant teams or departments. (K25)

Act as intermediary between the production team and the technical or creative teams, utilising knowledge of the post-production process, workflows and functions. (S21)

None

(Post production coordinator) Processes and workflows
K26 K27
S22

How to coordinate and run review sessions with the team, supervisors or clients. (K26)

The influence and timing of post-production on the end-to-end production process. (K27)

Support the production team by liaising with counterparts in external organisations such as clients or other vendors to facilitate communication, meeting arrangements, deliverables or queries. (S22)

None

Professional discussion underpinned by a portfolio of evidence

KSBS GROUPED BY THEME Knowledge Skills Behaviour
(Core) Production context
K1 K9
S9

How structure, vision and purpose affects production. (K1)

The production lifecycle. Key aspects and industry terminology of each stage within end-to-end production workflows. (K9)

Prioritise the work to ensure that tasks are completed on schedule. (S9)

None

(Core) Regulations and health and safety
K11 K12
S11 S15

How to identify and report potential health and safety risks and hazards for a production. (K11)

Industry regulations, codes of practice, organisational policies, licences and legal requirements that might affect a production including social media policy. (K12)

Contribute to the monitoring and compliance for the production relating to legal, regulatory, organisational and industry codes of practice. (S11)

Operate within legislation, regulations, organisational policies, industry standards and procedures such as health and safety, confidentiality, security. (S15)

None

(Core) Resourcing and logistics coordination
K5 K7 K10
S1 S5 S6

How different production environments, formats and scale affect the types and quantity of required resources. (K5)

How to research and access resources such as suppliers, contributors and crew members. (K7)

Requirements and production documentation that may be needed when travelling. (K10)

Operate within agreed organisational policies, standards and procedures; adapting to operational changes as they occur. (S1)

Monitor the use of resources such as production materials, equipment and supplies. (S5)

Coordinate logistics or travel activity for the production, liaising with other departments when required. (S6)

None

(Core) Communication
K13
S7

Communication styles. How the type, format and frequency of communication can impact on the success of a production. (K13)

Collaborate with the production team to check that the final product is delivered to industry standards including technical and legal requirements. (S7)

None

(Core) CPD
K14
S14 S17
B3

How to keep up to date with tools, standards and trends and emerging technologies and their use and impact across the sector. (K14)

Keep up to date with tools, standards, trends and emerging technologies and their use and impact across the sector. (S14)

Promote and market skills and services. (S17)

Take the initiative and responsibility for own learning and development, working with and learning from peers. (B3)

(Core) Data protection and confidentiality
K15

B4

The value of production content and confidentiality to the business or organisation. Why it is important to maintain data security, and the legal and regulatory requirements such as copyright and intellectual property rights. (K15)

None

Maintain commercial confidentiality and professional practice at all times, and in all settings. (B4)

(Production coordinator) Copyright
K19 K20 K21
S18 S19

The intended use and impact of a piece of copyright material or content. (K19)

The processes required to obtain the necessary legal rights to the copyright. Where to obtain advice and information for different types of copyrighted materials. (K20)

How to ensure that all media or creative content is cleared for use and owned or licenced by the production. For example, obtaining release forms or interpreting the rights on PPP or contacts. (K21)

Assist with establishing sources of copyright for the materials being used on a production. (S18)

Obtain terms and conditions from copyright owners and license holders acting as a point of contact when required. (S19)

None

(Post production coordinator) Deliverables
K28 K29
S23

The common file formats and resolutions used in the production and post production process. (K28)

The editorial process in relation to client turnover, ingest, client review, finishing or deliverables. (K29)

Manage the delivery process of materials to clients or external companies, keeping parties informed of progress and change. (S23)

None

Employers involved in creating the standard: BBC, Bauer Media, Framestore, Amazon, National Film and Television School, Screen Skills, Sony

Version log

Version Change detail Earliest start date Latest start date Latest end date
Revised version awaiting implementation Occupational standard, end-point assessment plan and funding band revised 15/08/2024 Not set Not set
1.1 Standard and end-point assessment plan revised 08/06/2023 Not set Not set
1.0 Approved for delivery 24/08/2020 07/06/2023 Not set

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