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This apprenticeship has been retired

Overview of the role

Co-ordinate productions using specialist production management skills, knowledge and experience.

Details of standard

This standard has options. Display duties and KSBs for:

Occupation summary

This occupation is found in the creative media industries, as part of a production team delivering a film, TV or animated series, commercials or in specialist post production departments. A production co-ordinator may be employed by television, film or radio/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 co-ordinate productions using specialist production management skills, knowledge and experience. A production co-ordinator can work across all genres in film, television, 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 Manager or VFX Producer and the wider production or post production teams and with clients and crew. On larger productions they may work in a team with production assistants working to them.

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 and/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 Apprenticeship Standard, to reflect the varied roles that come under the production co-ordinator occupation in the creative media 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: Film, TV, Commercial, Short Form Radio and Audio Production – The Production Co-ordinator working as a member of the Production team will provide operational support to the Production Manager. 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, accommodation and equipment and scheduling productions. Production Co-ordinators will have a clear understanding of the production process and the changing needs and demands of the production team.

Option 2: Post, VFX/CG and Animation - The Production Coordinator or Junior Bookings Producer working in post-production, VFX/CG or Animation areas 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:

Booking co-ordinator Junior booking producer Production co-ordinator

Core occupation duties

Duty KSBs

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

K1 K2 K3 K6 K31

S1 S2 S3 S5

B1 B2

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

K4 K5 K6 K7 K8 K9

S1 S7 S8 S9 S11

B1 B3

Duty 3 Co-ordinate the financial management of productions in line with production requirements

K9 K10 K11 K12

S6 S9 S10 S11 S18

B1 B6

Duty 4 Ensure the production complies with Health and Safety policies, processes and procedures, including completion of risk assessments


S1 S11 S12 S38


Duty 5 Take responsibility for the compliance of the production with legislative, organisational and industry standards and requirements

K3 K9 K14

S1 S10 S11


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

K19 K20 K21 K24 K41 K42

S4 S5 S19 S20 S22 S23 S24 S25 S26 S39 S40

Duty 7 Manage others on productions as required

K1 K21 K22 K23 K24

S4 S5 S19 S20 S21 S22 S23 S24 S26

B3 B5

Duty 8 Manage production workflows throughout the stages of a production in line with requirements

K1 K6 K25 K26 K28 K35

S1 S4 S20 S28 S30 S33 S37 S38

B1 B3

Option duties

Film, TV, Commercial, Short Form, Radio and Audio Production duties

Duty KSBs

Duty 9 Apply technical knowledge and skills to ensure the delivery of Film, TV, Commercial, Short Form, Radio or Audio content in line with the deadlines and requirements of the production

K34 K35 K36 K37 K38 K42

S27 S30 S31 S32 S35

B1 B3

Duty 12 Determine and obtain the clearances required for materials being used on productions

K15 K16 K17 K18 K29

S13 S14 S15 S16 S17

B1 B4

Post Production, VFX and Animation Production duties

Duty KSBs

Duty 10 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

K30 K31 K32 K39 K40

S29 S34 S36

B1 B3

Duty 11 Apply post-production technical knowledge and skills to ensure the delivery of post- production outputs meet deadlines and requirements of clients

K32 K33 K34 K40

S28 S30 S33 S34

B1 B3



K1: The context of their role within the production, the department they are working in, and the subsequent stages of the workflow process Back to Duty

K2: How, where and when to record and communicate information regarding the progress of the production Back to Duty

K3: The requirements and production documentation that may be needed when travelling for example, carnet Back to Duty

K4: The different environments, formats and types and scales of production that affect the nature and quantity of resources required Back to Duty

K5: Where to locate and how to use, appropriate and reliable financial information and advice Back to Duty

K6: What is required by other departments, facilities and/or clients for the production Back to Duty

K7: The specifications for the crew, the facilities and the technical services required for the production Back to Duty

K8: How to access potential suppliers and crew members, and secure contracts and rates Back to Duty

K9: Organisational policies, legal and financial requirements which apply to obtaining resources Back to Duty

K10: The commercial goals and priorities of productions you work on and how these impact on budgets and schedules Back to Duty

K11: How to accurately code all production expenditure and record ongoing production costs against budget projections to monitor and report back on the production budget Back to Duty

K12: The duration, cost and value of production activities and the impact they have, on remaining on schedule and on budget Back to Duty

K13: How to identify potential health and safety risks for a production, the company procedures for reporting hazards and risks to the appropriate personnel and feeding into the production team’s plans to ensure the health and safety of others on a production Back to Duty

K14: The industry regulations, codes of practice, required licenses and/or legal requirements that may affect a production when working such as work permits, diversity monitoring, or carbon calculators Back to Duty

K15: The key issues relating to the clearance of copyright materials Back to Duty

K16: The effect different types of copyright has on different types of material Back to Duty

K17: The needs of a production in using copyright material/content, and the processes required to obtain the necessary legal rights of this Back to Duty

K18: Where to obtain advice and information from specialist sources for materials that are subject to complex and unusual copyright regulations Back to Duty

K19: The importance of the production co-ordinator role, responsibilities within the team and impact of own actions in achieving the vision and aims of the production Back to Duty

K20: How to use effective communication techniques to build rapport with a range of colleagues and suppliers e.g. using positive questioning and active listening Back to Duty

K21: How to create an environment of trust and mutual respect with production partners Back to Duty

K22: How to co-ordinate and run review sessions with the team, supervisors and/or clients as appropriate Back to Duty

K23: How to influence and motivate others to achieve results Back to Duty

K24: The importance of accurate, effective and timely communication within own team, and with other departments to ensure efficient progress of the production Back to Duty

K25: The production process from pre to post, and key aspects of each stage within end-to-end production workflows; the different types of activities which occur in the stages of production, and the production co-ordinator’s responsibility for these Back to Duty

K26: The life cycle of a film, television, short form, commercial, radio/audio, VFX or animation production including the organisational framework Back to Duty

K27: The importance of agreed workflows and how to adapt these to meet the needs of a production Back to Duty

K28: The needs of a particular production and the technical processes required to deliver those Back to Duty

K29: How and when to obtain creative content and ensure the production company owns the necessary legal rights Back to Duty

K30: The requirements of the post-production schedule and the post production process Back to Duty

K31: How to utilise relevant database and scheduling software/tools to communicate information to the relevant teams/departments Back to Duty

K32: The editorial process and how to manage activities such as client turnover, ingest, client review, finishing or and/or deliverables Back to Duty

K33: The workflow of both live-action and computer generated based projects and the functions of relevant departments within that workflow Back to Duty

K34: The common file formats and resolutions used in the production process Back to Duty

K35: How to schedule a production, and the factors that need to be considered when scheduling Back to Duty

K36: How to prepare scripts for use in scripted and non-scripted productions Back to Duty

K37: How technical operations work in studios, sets and/or on location Back to Duty

K38: How to increase production content distribution via multiple platforms Back to Duty

K39: How best to use facilities in order to advise production teams on the most appropriate Post-Production route, taking into account availability of staff and facilities Back to Duty

K40: The purpose of post-production within the end-to-end production process Back to Duty

K41: How and when to ask questions to improve your practice and performance Back to Duty

K42: How to use resources, such as online sites, to update knowledge and identify industry trends Back to Duty


S1: Operate within and adhere to agreed organisational policies, standards and procedures, adapting to operational changes as they occur for a production Back to Duty

S2: Be responsible for creating and maintaining production documentation and records such as: schedules, scripts, call sheets, technical requisitions, camera sheets, client feedback, review notes cast, and/or crew lists Back to Duty

S3: Compile resourcing and progress reports, drawing on information from all relevant departments in line with production requirements Back to Duty

S4: Liaise with other departments, acting as first point of contact on the production Back to Duty

S5: Provide production personnel with up-to-date information on production activities Back to Duty

S6: Monitor the use of production materials, equipment and supplies ensuring these are used effectively Back to Duty

S7: Assist with, sourcing or booking crew, contributors, talent or suppliers to meet production requirements crew and suppliers to meet production requirements Back to Duty

S8: Manage logistics and/or travel, liaising with other departments when required Back to Duty

S9: Assist with the preparation of a production budget, analyse the use of the production budget to maintain accurate financial records Back to Duty

S10: Monitor and control compliance for the production relating to legal, regulatory, organisational and industry codes of practice Back to Duty

S11: Identify and mitigate any risks to the production, escalating issues if necessary Back to Duty

S12: Comply with company Health and Safety policies and practices,and complete risk assessments for tasks and work activities within and relevant to, own role Back to Duty

S13: Research and establish sources of copyright for the materials being used on a production Back to Duty

S14: Analyse the proposed use, and wider impact on the budget, of using copyright materials for a production Back to Duty

S15: Lead liaison with copyright owners and license holders to obtain their terms and conditions Back to Duty

S16: Acquire clearances and permission for material as agreed with the producer, and maintain accurate records Back to Duty

S17: Store materials/content obtained, in accordance with organisational policies and procedures Back to Duty

S18: Co-ordinate activities and logistics to support the production team Back to Duty

S19: Build rapport and collaborate effectively with partners on productions such as cast, crew, and contributors, including chaperones and tutors where appropriate Back to Duty

S20: Communicate factually and tactfully with colleagues and clients; resolving problems on productions when required Back to Duty

S21: Allocate resources and delegate tasks within the production to meet deadlines Back to Duty

S22: Conduct discussions and negotiations in ways which promote good working relationships e.g. using positive questioning and active listening, adapting communication methods as required Back to Duty

S23: Work in line with agreed workflows, adapting to operational changes as they occur Back to Duty

S24: Assist with management of the set, studio or location of the production Back to Duty

S25: Accommodate the technical needs of the creative team, including pre and post production Back to Duty

S26: Work collaboratively with senior personnel to ensure the final product is delivered to industry standards including technical and legal requirements Back to Duty

S27: Manage liaison with the appropriate government agencies as required e.g. for work permits, licenses Back to Duty

S28: Assess the project schedule and interpret/relay the priorities to the team Back to Duty

S29: Liaise with other Post Production facilities, Animators and Broadcasters representing the organisation’s interests and relationships, acting as the contact point for the Post Production Department Back to Duty

S30: Co-ordinate the scheduling of the production in line with organisational requirements Back to Duty

S31: Prepare production promotion, presentation and support material such as online, stills, press packages Back to Duty

S32: Prepare scripts for use in scripted and non-scripted productions; formatting, supervising or managing versioning Back to Duty

S33: Manage the delivery process of materials to clients/external companies, keeping parties informed of progress and change Back to Duty

S34: Negotiate delivery dates and format requirements with productions Back to Duty

S35: Proactively look for ways to improve efficiency within the production environment Back to Duty

S36: Integrate the schedules of parallel productions, balancing genre and facilities clashes to ensure priorities are met and the best business outcome is achieved Back to Duty

S37: Multitask on simultaneous productions, often for different clients, deciding how to prioritise the work to ensure that all tasks are completed on schedule Back to Duty

S38: Take ownership to resolve and/or escalate faults/incidents/problems to the appropriate person, within agreed governance parameters Back to Duty

S39: Create and maintain a professional development record to document progress against key competencies and enable effective learning from the workplace Back to Duty

S40: Seek out learning and networking opportunities that will be most beneficial to you Back to Duty


B1: Adding Value - Provides information that positively contributes to influencing business and production decisions whilst continually striving to improve own working processes and those of the production. Back to Duty

B2: Resilience and Enthusiasm - Adapts positively to changing work priorities and patterns, ensuring deadlines continue to be met. Is proactive and explores new ideas and non-standard ways of working which will enhance and deliver the best results for the production Back to Duty

B3: Productivity - Organises work effectively and achieves required results within deadlines. Demonstrates the drive and energy to get things done in pressurised situations and escalates appropriately when necessary. Back to Duty

B4: Ethics and Integrity - Honest and principled in all of their actions and interactions. They will be respectful and inclusive of others, and meet the ethical requirements of their profession. Back to Duty

B5: Flexibility - Willing to both listen and learn and to accept changing priorities and working requirements and has the flexibility to maintain high standards in a changing production environment. Back to Duty

B6: Personal Accountability -Takes the initiative and responsibility for own learning and development. Proactively takes responsibility for completing tasks and meeting expectations. Consistently prioritises in order to achieve timely outcomes for a production. Recognises when mistakes are made and taking personal responsibility to address them. Back to Duty


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.

Additional details

Occupational Level:


Duration (months):



This apprenticeship standard will be reviewed after three years

Status: Retired
Level: 4
Reference: ST0792
Version: 1.0
Date updated: 08/06/2023
Route: Creative and design
Typical duration to gateway: 18 months (this does not include EPA period)
Maximum funding: £8000
Options: Film, TV, Commercial, Short Form, Radio and Audio Production, Post Production, VFX and Animation Production
LARS Code: 598
EQA Provider: Ofqual

Contact us about this apprenticeship

Employers involved in creating the standard: All Spring Media, BBC, Bauer Media, BFBS, Boomerang , Channel 4, Framestore, Global TV, Lime Pictures Production Guild , Red Bee Media , Ericsson , Resource Productions, Uplands TV

Version log

Version Change detail Earliest start date Latest start date Latest end date
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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