This apprenticeship has options. This document is currently showing the following option:
Co-ordinate productions using specialist production management skills, knowledge and experience.
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
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 18 months. The EPA period is typically 2 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:
Presentation with questions
You will produce and deliver a presentation to an independent assessor. You must submit your presentation slides and any supporting materials to the EPAO by the end of week You have 4 of the EPA period. The presentation and questions will last at least 60 minutes. The independent assessor will ask you at least 5 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 7 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.
You should speak to your employer if you have a query that relates to your job.
You should speak to your training provider if you have any questions about your training or EPA before it starts.
You should receive detailed information and support from the EPAO before the EPA starts. You should speak to them if you have any questions about your EPA once it has started.Reasonable adjustments
If you have a disability, a physical or mental health condition or other special considerations, you may be able to have a reasonable adjustment that takes this into account. You should speak to your employer, training provider and EPAO and ask them what support you can get. The EPAO will decide if an adjustment is appropriate.
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
| Duty | KSBs |
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Duty 1 Create, populate and manage production documentation such as schedules, production or show plans, call sheets and daily reports. |
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Duty 2 Identify, obtain and manage resources for a media production, such as crew, facilities and media assets in line with timescales and budget. |
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Duty 3 Contribute to the compliance and the financial management of productions in line with production requirements. |
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Duty 4 Contribute to the compliance with health and safety policies, processes and procedures, including completion of risk assessments on productions. |
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Duty 5 Support the compliance of the production with legislative, organisational and industry standards and requirements. |
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Duty 6 Work autonomously and collaboratively with colleagues, clients or customers, in order to meet agreed production requirements. |
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Duty 7 Manage others on productions as required. |
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Duty 8 Manage production workflows throughout the stages of a production in line with requirements, resolving or escalating any problems. |
| Duty | KSBs |
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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. |
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Duty 10 Determine and obtain the clearances required for materials being used on productions. |
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| Duty | KSBs |
|---|---|
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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. |
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Duty 12 Apply post production technical knowledge and skills to ensure the delivery of post production outputs meet deadlines and requirements of clients. |
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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
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
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
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.
V1.2
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:
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:
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:
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On-programme - typically 18 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. |
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End-point assessment - typically 2 months
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The grades available for each assessment method are below
Presentation and questions:
Professional discussion underpinned by a portfolio of evidence:
Overall EPA and apprenticeship can be graded:
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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 2 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 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:
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 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.
This assessment method is being used because:
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:
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:
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:
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 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.
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:
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.
This assessment 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 assess the apprentice’s competence against the following themes:
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 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.
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Theme
KSBs
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Pass
Apprentices must demonstrate all of the pass descriptors
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Distinction
Apprentices must demonstrate all of the pass descriptors and all of the distinction descriptors
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(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
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No distinction grading criteria. |
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(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
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No distinction grading criteria. |
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(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
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Evaluates their approach to monitoring the production schedule and how they foresee potential issues or consequences with changing priorities. S8, S10 |
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(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
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Analyses the impact of collaborative ways of working on the overall functioning of the organisation. K2, S13
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(Core) Sustainability
K16 S16 |
Explains how they follow environmental sustainability practices in line with industry standard recommendations when working on a production. K16, S16
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Evaluates areas to improve sustainable practices on the selected production. K16, S16 |
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(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
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No distinction grading criteria. |
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(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
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No distinction grading criteria
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(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
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No distinction grading criteria.
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(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.
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Theme
KSBs
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Pass
Apprentices must demonstrate all of the pass descriptors
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Distinction
Apprentices must demonstrate all of the pass descriptors and all of the distinction descriptors
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(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
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(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. |
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(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
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Justifies their selection of suppliers, crew members and resources. K7, S5 |
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(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
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No distinction grading criteria. |
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(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 |
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(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. |
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(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
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No distinction grading criteria.
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(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.
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Performance in the EPA determines the overall grade of:
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 |
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 | 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:
|
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.
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 |
| 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 |
| 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 |
| Version | Change detail | Earliest start date | Latest start date | Latest end date |
|---|---|---|---|---|
| 1.2 | 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 | 01/09/2024 | Not set |
| 1.0 | Approved for delivery | 24/08/2020 | 07/06/2023 | Not set |
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