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Production assistant (screen and audio)

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

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
  3. Reference: ST0341
  4. Level: 3
  5. Typical duration to gateway: 15 months
  6. Typical EPA period: 3 months
  7. Maximum funding: £9000
  8. Route: Creative and design
  9. Date updated: 03/08/2022
  10. Lars code: 112
  11. EQA provider: Ofqual
  12. Example progression routes:
  13. Review:

    This apprenticeship standard will be reviewed after three years

Print occupational standard

Details of the occupational standard

Occupation summary

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This occupation is found in a wide range of organisations, primarily but not exclusively based in the creative industries. This includes screen and audio sectors such as Film, TV, Radio, Podcast and online content producers. Employers range in size from small independent production companies to large multi-national organisations.

The broad purpose of the occupation is to provide support and assistance to editorial or technical colleagues to ensure the smooth delivery of content for productions. Production Assistants are involved in the end to end process of a production. They work to a brief and collaborate with a wide range of stakeholders to plan productions. 

Production Assistants contribute to the research and development of production ideas. 

They may also provide support to colleagues in technical areas such as camera, lighting and sound. and offering up solutions to production problems. 

They research and identify resources, logistics and equipment. They have to consider production requirements and take into account project constraints such as budgets.  

Production Assistants are typically office based but they are also likely to work on set or within a studio.

In their daily work, an employee in this occupation interacts with a production team. They need to be adaptable and able to learn quickly on the job; building their knowledge and skills of screen and audio activities as they move across production teams. 

The Production Assistant will also work with a wide range of external stakeholders throughout the production process. This will typically include clients, cast, crew members and suppliers.  

They typically report to a Production Co-ordinator, Production Manager, Assistant Producer or Producer, depending on the size of the production.

An employee in this occupation will be responsible for supporting and assisting the production team throughout the end-to-end production process. They initiate and complete production tasks and have responsibility for the quality of their own work. They have the autonomy to carry out their duties in line with parameters set by the production team.

 

Typical job titles include:

Audio production assistant Broadcast assistant Production assistant Production management assistant Production pa Production secretary Programme assistant Runner Tv production assistant

Occupation duties

Duty

KSBs

Duty 1 Interpret a creative brief, scope, evaluate and develop production ideas.

K1 K2 K3 K4

S1 S2 S3

B1 B3

Duty 2 Assist in the development of content and/or production assets.

K5 K6 K7 K8 K9 K10

S4 S5

B1 B3

Duty 3 Contribute to the production process, monitoring budgets and resources and adapting to operational changes as required.

K11 K12 K13 K14

S6 S7 S8 S9

B2 B4 B5

Duty 4 Collaborate with internal and external stakeholders to plan and develop productions.

K15 K16 K17

S9 S10 S11

B2

Duty 5 Maintain production documentation and/or programme logs.

K10 K18 K19 K20 K21

S12 S13

B3

Duty 6 Research, identify and suggest resources, logistics and equipment taking into consideration constraints.

K13 K17 K21 K23 K24

S8 S14 S15 S16 S17

B2 B5

Duty 7 Provide technical support to colleagues for audio and visual productions.

K21 K22 K25 K26 K27 K28 K29

S18 S19 S20 S21 S22

B2

Duty 8 Edit production content to meet production requirements.

K11 K30 K31 K32

S13 S23 S24 S25 S26

B3

Duty 9 Reflect on the production and offer ideas for continuous improvement.

K3 K4 K33

S27 S28

B1

Duty 10 Review your own professional practice and keep up-to-date with trends and technology.

K1 K15 K34

S10 S17 S29

B4 B5


KSBs

Knowledge

K1: The effect organisational structures, regulations, commissioning processes and funding has on new productions and production activities. Back to Duty

K2: The differences between genre and how this affects the type and scale of production. Back to Duty

K3: The methods, tools and techniques used to scope and evaluate ideas and problem solving concepts for a production. Back to Duty

K4: The methods used to segment and understand audience engagement. Back to Duty

K5: The different styles of writing and tone of voice that is appropriate to the platform and the audience. Back to Duty

K6: The use of grammar, punctuation and spelling to facilitate clear and concise communication. Back to Duty

K7: The end-to-end production workflow and planning process, the key stages including post production, and own role within this. Back to Duty

K8: The regulatory and legal requirements when using media assets, such as copyright, intellectual property rights, non-disclosure agreements and licensing. Back to Duty

K9: How to incorporate the relevant branding into the production such as use of brand identity templates and logos for screen, online and audio production. Back to Duty

K10: How to source and identify media assets. Back to Duty

K11: Principles of budget allocation and methods used to monitor costs for a production and the potential impact. Back to Duty

K12: How organisational priorities, commercial pressures, project deadlines and working practices impact on production schedules. Back to Duty

K13: The legislation and organisational policies including health and safety, contingency planning and licensing as they apply to crew and contributors. Back to Duty

K14: The processes to follow when authorising the use of resources, and methods of monitoring usage in line with the production plan. Back to Duty

K15: Typical production hierarchies, the roles and responsibilities within production teams and the etiquette to follow. Back to Duty

K16: The communication and reporting processes to follow when acting as point of contact on a production. Back to Duty

K17: How to interpret a call sheet/schedule prior to a shoot. Back to Duty

K18: How to securely store and access captured materials and media assets for future use in line with GDPR and organisational policies. Back to Duty

K19: Own responsibilities for creation, maintenance and storage of production documentation. Back to Duty

K20: Methods used to transcribe documents/footage accurately and in line with production requirements. Back to Duty

K21: Processes to follow when scoping out and interpreting resource requirements from production documentation. Back to Duty

K22: Considerations when establishing optimal set or studio locations for the equipment Back to Duty

K23: The organisational procedures to follow when sourcing and obtaining locations, catering, accommodation, transport and technical equipment for productions. Back to Duty

K24: Sustainability and the typical activities which contribute to their ‘professional carbon footprint’ and steps to reduce this. Back to Duty

K25: How camera setup, function and application vary according to genre and budget. Back to Duty

K26: Principles to consider when operating media content capture equipment in a studio and on location. Back to Duty

K27: The particular characteristics of omni directional, directional, cardioid microphones, and accessories and the impact on recording. Back to Duty

K28: Methods used to identify the editorial intent, required artistic effect and target audience for audio material. Back to Duty

K29: The effect of the production environment on own role and the wider production. Back to Duty

K30: How to cut, edit and caption production content to meet output requirements. Back to Duty

K31: The importance of archiving, preserving and conserving media assets. Back to Duty

K32: Principles of online and broadcast resolution, ingesting, editing and exporting content and how to prepare a timeline. Back to Duty

K33: The audience data, and metrics selected and applied by own organisation, to evaluate the impact and success of a production against its objectives. Back to Duty

K34: Approaches to maintaining up-to-date knowledge of existing and evolving technology, trends and platforms and managing and marketing own skills and services. Back to Duty

Skills

S1: Interpret a production brief and identify the audience/end user requirements for the production. Back to Duty

S2: Scope and evaluate ideas and problem solving concepts for a production. Back to Duty

S3: Develop creative ideas and proposals for screen, online or audio productions. Back to Duty

S4: Create a brief for a production, including a storyboard and outline script of ideas. Back to Duty

S5: Present persuasive pitches, ideas and proposals for screen, online or audio productions. Back to Duty

S6: Work in line with agreed workflows, adapting to operational and creative changes as they occur and inform relevant stakeholders. Back to Duty

S7: Support the end-to-end process of production by monitoring budgets, resources and progress and adhering to legislation, regulations, organisational processes and procedures. Back to Duty

S8: Identify and minimise hazards and risks in the workplace such as Covid compliance. Back to Duty

S9: Assist cast and crew members and act as a point of contact with the production office and other departments. Back to Duty

S10: Develop and maintain positive working relationships when in production, establishing and using professional networks. Back to Duty

S11: Provide progress reports to your production coordinator or producer. Back to Duty

S12: Create, use and store production documentation throughout the end-to-end production workflow. Back to Duty

S13: Manage and store media assets, creating accurate records of material produced in line with workflows and organisational policies. Back to Duty

S14: Complete a call sheet/schedule prior to a shoot. Back to Duty

S15: Scope resource requirements; identify and prevent potential supply problems. Back to Duty

S16: Identify and assist with sourcing resources for a production, including locations, catering, accommodation, transport, equipment, crew, budget and existing media assets. Back to Duty

S17: Identify opportunities to deliver sustainable solutions in line with industry standard recommendations. Back to Duty

S18: Select microphones taking into account conditions and environments. Back to Duty

S19: Select and set up camera equipment as required. Back to Duty

S20: Monitor the sound levels and bit rate, identifying any issues during the capturing process. Back to Duty

S21: Work to a visual technical specification such as resolution, frame rate, pixellation. Back to Duty

S22: Operate current industry standard equipment and software safely during and post recording. Back to Duty

S23: Edit and optimise audio or visual material saving in the required format. Back to Duty

S24: Compress digital assets. Back to Duty

S25: Select edit points to create a smooth transition in the material and achieve required audio effects using sound and acoustic effects as required. Back to Duty

S26: Review edited material to ensure appropriateness for the target audience, house style and platform. Back to Duty

S27: Gather audience data to evaluate the impact and success of a production against its objectives. Back to Duty

S28: Use lessons learned to evaluate the success of the production and identify areas for improvement for future productions. Back to Duty

S29: Use continuing professional development planning to support own current and future training and development needs. Back to Duty

Behaviours

B1: Seeks to continuously improve the production. Back to Duty

B2: Acts collaboratively to build and maintain positive relationships with colleagues, customers and suppliers. Back to Duty

B3: Takes ownership of work, with a strong work ethic and commitment to achieving high standards. Back to Duty

B4: Committed to keeping up to date with new technologies and industry best practice. Resourceful in finding creative solutions to solve problems. Back to Duty

B5: Acts in an ethical manner, embracing, equality, diversity and inclusion in the workplace. Back to Duty


Qualifications

English & 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 Production assistant (screen and audio) apprenticeship. End-point assessment organisations (EPAOs) must follow this when designing and delivering the EPA.

Production assistant (screen and audio) apprentices, their employers and training providers should read this document.

An approved EPAO must conduct the EPA for this apprenticeship. Employers must select an approved EPAO from the Education and Skills Funding Agency’s Register of end-point assessment organisations (RoEPAO).

A full-time apprentice typically spends 15 months on-programme (this means in training before the gateway) working towards competence as a production assistant (screen and audio). All apprentices must spend at least 12 months on-programme. All apprentices must spend at least 20% of their on-programme time completing off-the-job training.

This EPA has 2 assessment methods.

The grades available for each assessment method are:

Assessment method 1 - professional discussion underpinned by a portfolio of evidence:

Assessment method 2 - scenario test - presentation and questioning:

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

EPA summary table

On-programme (typically 15 months)

The apprentice must complete training to develop the knowledge, skills and behaviours (KSBs) of the occupational standard.

The apprentice must complete training towards English and mathematics qualifications at Level 21, if required.

The apprentice must compile a portfolio of evidence.

End-point assessment gateway

The employer must be content that the apprentice is working at or above the level of the occupational standard.

The apprentice’s employer must confirm that they think the apprentice:

The apprentice must have achieved English and mathematics at Level 21.

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

The apprentice must submit all gateway evidence to the EPAO. The EPAO must review the evidence. When the EPAO confirms the gateway requirements have been met, the EPA period starts. The EPA typically takes 3 months to complete. The expectation is that the EPAO will confirm the gateway requirements have been met as quickly as possible.

The apprentice must submit any policies and procedures as requested by the EPAO.

End-point assessment (typically 3 months)

Re-sits and re-takes

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

1For those with an education, health and care plan or a legacy statement, the apprenticeship’s English and mathematics minimum requirement is Entry Level 3. British Sign Language (BSL) qualifications are an alternative to English qualifications for those who have BSL as their primary language.

Length of end-point assessment period

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

The expectation is that the EPAO will confirm the gateway requirements have been met and the EPA starts as quickly as possible.

EPA gateway

The apprentice’s employer must confirm that they think their apprentice is working at or above the occupational standard. The apprentice will then enter the gateway. The employer may take advice from the apprentice's training provider(s), but the employer must make the decision.

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

These are:

  • achieved English and mathematics at Level 21.

Portfolio of evidence requirements:

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

Evidence sources may include:

  • workplace documentation and records, for example:
  • production pitches/briefs created/showreels
  • work products
  • work instructions
  • reference materials and research undertaken
  • workplace documentation/records, for example workplace policies/procedure/records
  • colleague feedback/statements

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.

The apprentice must submit any policies and procedures as requested by the EPAO.

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.

Professional discussion underpinned by a portfolio of evidence

Overview

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

Rationale

This assessment method is being used because: it enable synoptic assessment of knowledge, skills and behaviours. this method also helps to assess apprentices in depth understanding of their work and covers aspects of the occupation that are difficult to observe and take place in restricted and confidential settings.

This is a consistent method that applies across work settings in the industry. It also replicates the approach taken to recruitment and reviewing candidate performance used in industry.

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.

The independent assessor conducts and assesses the professional discussion.

The purpose of the independent assessor's questions will be to authenticate evidence, experience and competence and check underpinned knowledge and understanding

The EPAO must give an apprentice 10 days notice of the professional discussion.

The independent assessor must have at least 2 week(s) 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 60 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.

For the professional discussion, the independent assessor must ask at least 9 questions. Follow-up questions are allowed. The independent assessor must use the questions from the EPAO’s question bank or create their own questions in-line with the EPAO’s training. The professional discussion must allow the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method at the highest possible grade.

The independent assessor must keep accurate records of the assessment. The records must include the KSBs met, the grade achieved and answers to questions.

The independent assessor will make all grading decisions.

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 write an assessment specification and question bank. The specification must be relevant to the occupation and demonstrate how to assess the KSBs shown in the mapping. It is recommended this is done in consultation with employers of this occupation. The EPAO should maintain the security and confidentiality of EPA materials when consulting employers. The questions must be unpredictable. A question bank of sufficient size will support this. The assessment specification and questions must be reviewed at least once a year to ensure they remain fit-for-purpose.

The EPAO must develop purpose-built question banks and ensure that appropriate quality assurance procedures are in place, for example, considering standardisation, training and moderation. The EPAO must ensure that questions are refined and developed to a high standard.

The EPAO must ensure that 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

Scenario test - presentation and questioning

Overview

The scenario test enables the apprentice to show how they react to a production brief, interpret information and present their findings.

The scenario test, presentation and questioning must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this EPA method to the highest available grade.

The scenario test, presentation and questioning is undertaken after the apprentice has gone through the gateway. The EPAO will set the scenario test and check that it meets the type of production the apprentice has worked on (for example, film, TV, radio, podcast or online content).

This assessment method includes two components:

  • Scenario test
  • Presentation with questions

Rationale

This assessment method is being used because:

Delivery

The scenario test - presentation and questioning 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 scenario test - presentation and questioning.



The EPAO must give an apprentice 2 weeks notice of the scenario test - presentation and questioning.

The scenario test - presentation and questioning must take 2 hours.

The independent assessor can increase the time of the scenario test - presentation and questioning (component 2 - presentation and questioning element only) by up to 10%. This time is to allow the apprentice to complete their response to a question if necessary.

The scenario test - presentation and questioning cannot be split, other than for comfort breaks. Where breaks occur, they will not count towards the total EPA time.

EPAOs must manage invigilation of the apprentice during the assessment, to maintain security of the EPA, in line with their malpractice policy. This role can be undertaken by the independent assessor as they will be present for the whole duration of the assessment.

The independent assessor must explain to the apprentice the format and timescales of the scenario test - presentation and questioning before it starts. This does not count towards the assessment time.

The scenario test - presentation and questioning is comprised of two components:

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

Component 1 – Scenario test

Delivery

Apprentices will be given a scenario test in the form of a production brief that will test their creative thinking, resourcing and planning skills. The assessor will be present for the scenario test, either face-to-face or via online video conferencing. If using an online platform, EPAOs must ensure appropriate measures are in place to prevent misrepresentation. They will be given 90 minutes to:

  • interpret a production brief and branding requirements
  • identify the audience/end user requirements for the production
  • scope, evaluate and develop production ideas for a screen, online or audio production and apply problem solving techniques to establish concepts for the production
  • prepare a storyboard and outline script of ideas
  • develop a proposed episode or programme structure for a production in line with customer requirements/parameters specified in line with the brief provided
  • identify resource requirements (including cast, crew and equipment) and legislative and regulatory requirement
  • consider logistics and budget constraints, adapting to operational change
  • consider sustainability when defining resource requirements
  • complete a call sheet or schedule
  • Prepare a presentation of the findings. This should include the proposed episode or programme structure for production

The EPAO will provide additional information to the apprentice 45 minutes into the scenario test.

An operational and creative change will be introduced at this stage and the apprentice will be required to demonstrate how they adapt.

Examples of changes might typically include one of the following:

  • a change to the client brief/specification requirements a change in production budget
  • the date of filming/recording being changed
  • some of the crew or resources not being available

To support EPAOs in delivering the assessment, the production brief should set out:

  • the budget, timelines and production workflow process
  • a production brief that will test their creative thinking, resourcing and planning skills and will require the apprentice to develop a proposed piece of production work in line with customer requirements
  • parameters specified to allow for an operational or creative change to be introduced 45 minutes into the practical assessment.

Component 2 – Presentation with questioning

Apprentices will prepare and deliver a presentation that appropriately covers the KSBs assigned to this method of assessment.

The presentation will be completed as part of the scenario test and will be presented to an independent assessor, either face-to-face or via online video conferencing.

If using an online platform, EPAOs must ensure appropriate measures are in place to prevent misrepresentation. The presentation will take place directly after the completion of the scenario test.

Outputs from the scenario test will not, therefore, be provided to the assessor in advance of the presentation.

The rationale for this assessment method is:

Production assistants (screen and audio) have to present their creative ideas or the resources needed for the delivery of productions to colleagues on projects undertaken.

Questions must be asked. The purpose of the questioning is to explore aspects of the presentation given by the apprentice and will assess the apprentice’s depth of understanding, skills and behaviours.

The questions will be drawn from a question bank supplied by the EPAO, but the independent assessor may generate their own questions pertinent to the scenario test and presentation. This must be in line with the EPAO’s training and moderation process.

Delivery

The presentation will be undertaken following the scenario test. The presentation and questions will take place either face to face or be presented to an independent assessor via online video conferencing.

The way in which the content of the presentation is delivered is not prescriptive but should include the use of written materials and a visual aid.

The presentation will outline the apprentices' findings from the scenario test; the apprentice’s proposed episode or programme structure for a screen, online or audio production. It will provide a summary detailing how the proposal satisfies the production brief provided in the scenario test

The presentation and questioning will last for 30 minutes. This includes a presentation lasting typically 10 minutes and questioning lasting typically 20 minutes.

The independent assessor has the discretion to increase the time of both the presentation and the questioning by up to 10% to allow the apprentice to complete their last point.

The independent assessor must ask questions. The purpose of the questioning is to explore aspects of the presentation given by the apprentice and will assess the apprentice’s depth of understanding, skills and behaviours.

The questions will be drawn from a question bank supplied by the EPAO, but the independent assessor may generate their own questions pertinent to the scenario test and presentation. This must be in-line with the EPAO’s training and moderation process.

Questions must be asked after the practical. The total duration of the practical is 2 hours and the time for questioning is included in the overall assessment time. The total time for the practical element is 90 minutes. The time allocated for the presentation and questioning is 30 minutes.

The independent assessor must ask at least 5 questions. The independent assessor must use the questions from their EPAO’s question bank or create their own questions in-line with the EPAO’s training.

The independent assessor can ask follow-up questions to clarify answers given by the apprentice. These questions are in addition to the above set number of questions for the scenario test - presentation and questioning and should be kept to a minimum..

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

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

The independent assessor must make the grading decision. The practical assessment and responses to questions must be assessed holistically by the independent assessor when they are deciding the grade. 

Assessment location

The scenario test - presentation and questioning will take place online or in a suitable environment selected by the EPAO (for example the EPAO’s or employer’s premises). Resources needed (for example, the brief and subsequent information) for the scenario test - presentation and questioning must be provided by the EPAO.

The scenario test - presentation and questioning should take place online and/or in an environment, 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 should maintain the security and confidentiality of EPA materials when consulting 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 scenario test - presentation and questioning:

  • 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

Grading

Professional discussion underpinned by a portfolio of evidence

Fail - does not meet pass criteria

Theme

KSBs

Pass

Apprentices must demonstrate all the pass descriptors

Distinction

Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors

Industry awareness
K2 K12 K15 K29

Explains the differences between genres and how this affects the type and scale of production.

Explains how the production environment affects own role and the wider production.

K2, K29

Describes how organisational culture, commercial pressures, project deadlines and working practices impact on schedules. Explains how their role fits within the production team, the production hierarchy and the etiquette to follow.

K12, K15

N/A

Obtain and store assests
K8 K10 K18 K20 K31 S13

Describes how they source, identify, manage, store and archive media assets to ensure preservation and conservation.

Creates and transcribes accurate records of material produced in line with workflows, organisational policies, and legal and regulatory requirements.

K8, K10, K18, K20, K31, S13

N/A

Planning
K14 K17 K23 S7 S8 S16

Explains how they follow procedures and interpret a call sheet/schedule to identify and assist with sourcing resources for a production, including locations, catering, accommodation, transport, equipment, crew, budget and existing media assets.

K14, K17, K23, S16

Describes how they identify and minimise hazards and risks in the workplace whilst supporting the end-to-end process of production by monitoring budgets, resources and progress and adhering to legislation, regulations, organisational processes and procedures.

S7, S8

Identifies potential problems with the requirements of the call sheet/schedule that could affect the production and acts to prevent them arising.

K17, K23, S16

 

 

Collabaration
K16 S9 S10 S11 B2 B5

Describes how they assist and communicate with cast and crew members and provide progress reports to the production lead when acting as a point of contact on a production.

K16, S9, S11

Explains how they embrace, equality, diversity and inclusion when collaborating with stakeholders and develop and maintain positive working relationships and networks.

S10, B2, B5

Evaluates the positive impacts of communication and collaboration when interacting with other departments on a production.

K16, S9, S11

 

Production documentation
K19 S12

Describes how they take responsibility for creating, using, maintaining and storing production documentation throughout the end-to-end production workflow.

K19, S12

N/A

Technical assistance
K22 K25 K26 K27 S18 S19 S20 S21 S22

Explains how they select microphones for given conditions, environments and their particular characteristics. Describes how they monitor the sound levels and bit rate, identifying any issues during the recording/ capturing process.

K27, S18, S20

Describes how they select and set up camera equipment to meet the needs of the technical specification and how these vary according to genre and budget.

K25, S19, S21

Explains how they capture media content during and post-recording using equipment and software safely and in optimal position in a studio and on location.

K22, K26, S22

N/A

Editing
K28 K30 K32 S23 S24 S25 S26

Describes how they ingest, edit and optimise audio or visual material to meet output requirements and compress, save and export digital assets in the required format and timeline.

K30, K32, S23, S24

Explains how they create a smooth transition through the selection of edit points and the required audio effects to meet the artistic effect and editorial intent. Explains how they review material to ensure appropriateness for the target audience and platform.

K28, S25, S26

N/A

Evaluation
K33 S27 S28 B1

Describes how they obtain and use audience data to evaluate the impact and success of a production against its objectives. Explains how they identify potential improvements to the production and for future productions.

K33, S27, S28, B1

Evaluates how to communicate lessons learnt to other areas of the organisation and the impact on other productions.

K33, S27, S28, B1

CPD
K34 S29 B4

Explains how they undertake professional development to support own development needs and maintain up-to-date industry knowledge on trends, evolving technology and best practice.

Describes how they use this development to solve problems creatively.

K34, S29, B4

Evaluates how they apply learning to ensure that production ideas are future-proofed and take advantage of technological advances.

K34, S29, B4

Scenario test - presentation and questioning

Fail - does not meet pass criteria

Theme

KSBs

Pass

Apprentices must demonstrate all the pass descriptors

Distinction

Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors

Interpret the brief
K1 K9 S1

Interprets a production brief taking into account:

  • branding requirements
  • the audience/end-user requirements
  • organisational structures and commissioning processes
  • funding and regulations

K1, K9, S1

Evaluates how potential issues with the brief and production requirements could have an impact on the final product and how these can be mitigated.

S1

Scope and evaluate ideas
K4 S2

Uses methods, tools and techniques to segment audience engagement, research, scope and evaluate ideas and concepts for a production.

K4, S2

Takes into account future-proofing when evaluating ideas and concepts for a production.

K4, S2

Develop production ideas
S3 S4

Develops and creates ideas, produces a storyboard and outlines script of ideas for the proposed screen, online or audio production.

S3, S4

Identifies opportunities to promote or expand the production outputs through additional elements such as social media packages.

S3, S4

Production planning
K3 K7 K13 S6 S14 B3

Prepares a call sheet/schedule taking into account the planning process from pre-to post-production, legislation and organisational policies including health and safety, contingency planning and licensing.

K3, K13, S14

Maps the end-to-end production workflow and planning process and their own role in the process and adapts to operational and creative changes whilst maintaining standards. Informs relevant stakeholders of the changes made.

K7, S6, B3

N/A

Resourcing
K11 K21 K24 S15 S17

Scopes and interprets resources, set and studio location requirements and budget allocation following processes aligned with the production plan.

Anticipates potential supply problems and considers methods of monitoring usage.

K11, K21, S15

Identifies opportunities to deliver sustainable solutions in line with industry standard recommendations and steps that could be taken to reduce the production's carbon footprint.

K24, S17

N/A

Presenting to the audience
K5 K6 S5

Presents a persuasive pitch clearly and concisely, for the proposed production. Presentation and style of writing meet grammar, punctuation and spelling guidelines, and is appropriate to the audience and platform.

K5, K6, S5

Identifies and presents opportunities for the production content to be re-purposed adding value to other areas of the business.

K5, K6, S5

Overall EPA grading

The assessment methods contribute equally to the overall EPA pass grade.

Performance in the EPA will determine the apprenticeship grade of:

Independent assessors must individually grade the: professional discussion underpinned by a portfolio of evidence and scenario test - presentation and questioning according to the requirements set out in this EPA plan.

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

An apprentice who fails one or more assessment method will be awarded an overall EPA fail.

An apprentice must achieve at least a pass in all the assessment methods to get an overall pass. To achieve an overall EPA ‘pass,’ the apprentice must achieve a pass in both assessment methods. To achieve an overall EPA 'merit', the apprentice must achieve a 'pass' in either assessment method and a 'distinction' in either assessment method. To achieve an overall EPA ‘distinction,’ the apprentice must achieve a pass in either assessment method and distinction in either assessment method

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

Professional discussion underpinned by a portfolio of evidence Scenario test - presentation and questioning Overall Grading
Fail
Pass
Merit
Merit
Pass
Distinction

Re-sits and re-takes

An apprentice who fails one or more assessment method(s) 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.

An apprentice should have a supportive action plan to prepare for a re-sit or a re-take.

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

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

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

An apprentice will get a maximum EPA grade of pass for a re-sit or re-take, unless the EPAO determines there are exceptional circumstances.

Roles and responsibilities

Roles Responsibilities

Apprentice

As a minimum, the apprentice should:

  • participate in and complete on-programme training to meet the KSBs as outlined in the occupational standard for a minimum of 12 months
  • undertake 20% off-the-job training as arranged by the employer and training provider
  • understand the purpose and importance of EPA
  • undertake the EPA including meeting all gateway requirements

 

Employer

As a minimum, the apprentice's employer must:

  • select the EPAO and training provider 
  • work with the training provider (where applicable) to support the apprentice in the workplace and to provide the opportunities for the apprentice to develop the KSBs
  • arrange and support a minimum of 20% off-the-job training to be undertaken by the apprentice 
  • decide when the apprentice is working at or above the level required by the occupational standard and so is ready for EPA
  • ensure that all supporting evidence required at the gateway is submitted in accordance with this EPA plan
  • remain independent from the delivery of the EPA
  • confirm arrangements with the EPAO for the EPA (who, when, where) in a timely manner (including providing 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 well prepared for the EPA
  • require the training provider and EPAO to ensure the EPA is booked in a timely manner

Post-gateway, the employer must: 

  • confirm arrangements with the EPAO for the EPA (who, when, where) in a timely manner (including providing 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 KSBs to be met
  • remain independent from the delivery of the EPA
  • ensure the apprentice is given sufficient time away from regular duties to prepare for, and complete all post-gateway elements of the EPA, and that any required supervision during this time (as stated within this EPA plan) is in place
  • where the apprentice is assessed in the workplace, ensure that the apprentice has access to the resources used on a daily basis
  • pass the certificate to the apprentice upon receipt from the EPAO

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 Register of end-point assessment organisations (RoEPAO)
  • conform to the requirements of the external quality assurance provider (EQAP) for this apprenticeship
  • understand the occupational standard
  • 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)
  • appoint suitably qualified and competent independent assessors and oversee their working
  • appoint administrators (and invigilators where required) to administer the EPA as appropriate
  • provide training for independent assessors in terms of good assessment practice, operating the assessment tools and grading
  • provide adequate information, advice and guidance documentation to enable apprentices, employers and training providers to prepare for the EPA
  • arrange for the EPA to take place, in consultation with the employer
  • where the apprentice is not assessed in the workplace, ensure that the apprentice has access to the required resources and liaise with the employer to agree this if necessary
  • develop and provide appropriate assessment recording documentation to ensure a clear and auditable process is in place for providing assessment decisions and feedback to all relevant stakeholders
  • have no direct connection with the apprentice, their employer or training provider; in all instances, including when the EPAO is the training provider for example, a HEI), there must be no conflict of interest
  • have policies and procedures for internal quality assurance (IQA), and maintain records of regular and robust IQA activity and moderation for external quality assurance (EQA) purposes
  • deliver induction training for independent assessors, and for invigilators and/or markers (where used)
  • undertake standardisation activity on this apprenticeship for all independent assessors before they conduct an EPA for the first time, if the EPA is updated and periodically as appropriate (a minimum of annually)
  • manage invigilation of the apprentice to maintain security of the assessment in line with the EPAO’s malpractice policy
  • verify the identity of the apprentice being assessed
  • use language in the development and delivery of the EPA that is appropriate to the level of the occupational standard

Pre-gateway, the EPAO must: 

  • make all necessary contractual arrangements, including agreeing the price of the EPA
  • provide adequate information, advice and guidance documentation to enable the apprentice, employers and training provider to prepare for the EPA
  • arrange for the EPA to take place, in consultation with the employer.

At the gateway, the EPAO must: 

  • confirm all gateway requirements have been met as quickly as possible.

Post-gateway, EPAOs must: 

  • where the apprentice is not assessed in the workplace, ensure that the apprentice has access to the required resources and liaise with the employer to agree this if necessary.

Independent assessor

As a minimum, an independent assessor must: 

  • have the competence to assess the apprentice at the level of this apprenticeship and hold any required qualifications and experience in line with the requirements of the independent assessor as detailed in the IQA section of this EPA plan
  • understand the occupational standard and the requirements of this EPA
  • have, maintain and be able to evidence, up-to-date knowledge and expertise of the subject matter
  • deliver the end-point assessment in-line with this EPA plan
  • comply with the IQA requirements of the EPAO
  • have no direct connection or conflict of interest with the apprentice, their employer or training provider; in all instances, including when the EPAO is the training provider for example HEI
  • attend induction training
  • attend standardisation events when they begin working for the EPAO, before they conduct an EPA for the first time and a minimum of annually on this apprenticeship 
  • assess each assessment method, as determined by the EPA plan, and without extending the EPA unnecessarily
  • assess against the KSBs assigned to each assessment method, as shown in the mapping of KSBs to assessment methods and as determined by the EPAO, and without extending the EPA unnecessarily
  • make all grading decisions
  • record and report all assessment outcome decisions, for each apprentice, following instructions and using assessment recording documentation provided by the EPAO, in a timely manner
  • use language in the development and delivery of the EPA that is appropriate to the level of the occupational standard
  • mark open (constructed) test answers accurately according to the EPAO’s mark scheme and procedures

Training provider

As a minimum, the training provider should:

  • work with the employer and support the apprentice during the off-the-job training to provide the opportunities to develop the knowledge, skills and behaviours as listed in the occupational standard
  • conduct training covering any knowledge, skill or behaviour requirement agreed as part of the Commitment Statement or the Individual Learning Plan
  • monitor the apprentice’s progress during any training provider led on-programme learning
  • advise the employer, upon request, on the apprentice’s readiness for EPA
  • remain independent from the delivery of the EPA. Where the training provider is the EPAO for example HEI, there must be procedures in place to mitigate against any conflict of interest. 

Invigilator

As a minimum, the invigilator must: 

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

Independent Assessor

be willing to sign a non-disclosure/confidentiality agreement if required

Reasonable adjustments

The EPAO must have reasonable adjustments arrangements for the EPA.

This should include:

  • how an apprentice qualifies for 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.

Internal quality assurance (IQA)

Internal quality assurance refers to how the EPAO ensures valid, consistent and reliable EPA decisions. The EPAO must adhere to the requirements within the roles and responsibilities section and:

  • have effective and rigorous quality assurance systems and procedures that ensure fair, reliable and consistent EPA regardless of employer, place, time or independent assessor
  • appoint independent assessors who are competent to deliver the EPA and who:
  • operate induction training for anyone involved in the delivery or assessment of the EPA
  • provide training for independent assessors in good assessment practice, operating the assessment tools and making grading decisions
  • provide ongoing training for markers and invigilators
  • provide standardisation activity for this apprenticeship standard for all independent assessors:
    • before they conduct an EPA for the first time
    • if the EPA is updated
    • periodically as appropriate (a minimum of annually)
  • conduct effective moderation of EPA decisions and grades
  • conduct appeals where required, according to the EPAO’s appeals procedure, reviewing and making final decisions on EPA decisions and grades
  • have no direct connection with the apprentice, their employer or training provider; in HEI.

Professional recognition

Professional body recognition is not relevant to this occupational apprenticeship.

Mapping of KSBs to assessment methods

Knowledge Assessment methods
K1

The effect organisational structures, regulations, commissioning processes and funding has on new productions and production activities.

Back to Grading
Scenario test - presentation and questioning
K2

The differences between genre and how this affects the type and scale of production.

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

The methods, tools and techniques used to scope and evaluate ideas and problem solving concepts for a production.

Back to Grading
Scenario test - presentation and questioning
K4

The methods used to segment and understand audience engagement.

Back to Grading
Scenario test - presentation and questioning
K5

The different styles of writing and tone of voice that is appropriate to the platform and the audience.

Back to Grading
Scenario test - presentation and questioning
K6

The use of grammar, punctuation and spelling to facilitate clear and concise communication.

Back to Grading
Scenario test - presentation and questioning
K7

The end-to-end production workflow and planning process, the key stages including post production, and own role within this.

Back to Grading
Scenario test - presentation and questioning
K8

The regulatory and legal requirements when using media assets, such as copyright, intellectual property rights, non-disclosure agreements and licensing.

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

How to incorporate the relevant branding into the production such as use of brand identity templates and logos for screen, online and audio production.

Back to Grading
Scenario test - presentation and questioning
K10

How to source and identify media assets.

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

Principles of budget allocation and methods used to monitor costs for a production and the potential impact.

Back to Grading
Scenario test - presentation and questioning
K12

How organisational priorities, commercial pressures, project deadlines and working practices impact on production schedules.

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

The legislation and organisational policies including health and safety, contingency planning and licensing as they apply to crew and contributors.

Back to Grading
Scenario test - presentation and questioning
K14

The processes to follow when authorising the use of resources, and methods of monitoring usage in line with the production plan.

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

Typical production hierarchies, the roles and responsibilities within production teams and the etiquette to follow.

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

The communication and reporting processes to follow when acting as point of contact on a production.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K17

How to interpret a call sheet/schedule prior to a shoot.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K18

How to securely store and access captured materials and media assets for future use in line with GDPR and organisational policies.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K19

Own responsibilities for creation, maintenance and storage of production documentation.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K20

Methods used to transcribe documents/footage accurately and in line with production requirements.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K21

Processes to follow when scoping out and interpreting resource requirements from production documentation.

Back to Grading
Scenario test - presentation and questioning
K22

Considerations when establishing optimal set or studio locations for the equipment

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K23

The organisational procedures to follow when sourcing and obtaining locations, catering, accommodation, transport and technical equipment for productions.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K24

Sustainability and the typical activities which contribute to their ‘professional carbon footprint’ and steps to reduce this.

Back to Grading
Scenario test - presentation and questioning
K25

How camera setup, function and application vary according to genre and budget.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K26

Principles to consider when operating media content capture equipment in a studio and on location.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K27

The particular characteristics of omni directional, directional, cardioid microphones, and accessories and the impact on recording.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K28

Methods used to identify the editorial intent, required artistic effect and target audience for audio material.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K29

The effect of the production environment on own role and the wider production.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K30

How to cut, edit and caption production content to meet output requirements.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K31

The importance of archiving, preserving and conserving media assets.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K32

Principles of online and broadcast resolution, ingesting, editing and exporting content and how to prepare a timeline.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K33

The audience data, and metrics selected and applied by own organisation, to evaluate the impact and success of a production against its objectives.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
K34

Approaches to maintaining up-to-date knowledge of existing and evolving technology, trends and platforms and managing and marketing own skills and services.

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

Interpret a production brief and identify the audience/end user requirements for the production.

Back to Grading
Scenario test - presentation and questioning
S2

Scope and evaluate ideas and problem solving concepts for a production.

Back to Grading
Scenario test - presentation and questioning
S3

Develop creative ideas and proposals for screen, online or audio productions.

Back to Grading
Scenario test - presentation and questioning
S4

Create a brief for a production, including a storyboard and outline script of ideas.

Back to Grading
Scenario test - presentation and questioning
S5

Present persuasive pitches, ideas and proposals for screen, online or audio productions.

Back to Grading
Scenario test - presentation and questioning
S6

Work in line with agreed workflows, adapting to operational and creative changes as they occur and inform relevant stakeholders.

Back to Grading
Scenario test - presentation and questioning
S7

Support the end-to-end process of production by monitoring budgets, resources and progress and adhering to legislation, regulations, organisational processes and procedures.

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

Identify and minimise hazards and risks in the workplace such as Covid compliance.

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

Assist cast and crew members and act as a point of contact with the production office and other departments.

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

Develop and maintain positive working relationships when in production, establishing and using professional networks.

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

Provide progress reports to your production coordinator or producer.

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

Create, use and store production documentation throughout the end-to-end production workflow.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S13

Manage and store media assets, creating accurate records of material produced in line with workflows and organisational policies.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S14

Complete a call sheet/schedule prior to a shoot.

Back to Grading
Scenario test - presentation and questioning
S15

Scope resource requirements; identify and prevent potential supply problems.

Back to Grading
Scenario test - presentation and questioning
S16

Identify and assist with sourcing resources for a production, including locations, catering, accommodation, transport, equipment, crew, budget and existing media assets.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S17

Identify opportunities to deliver sustainable solutions in line with industry standard recommendations.

Back to Grading
Scenario test - presentation and questioning
S18

Select microphones taking into account conditions and environments.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S19

Select and set up camera equipment as required.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S20

Monitor the sound levels and bit rate, identifying any issues during the capturing process.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S21

Work to a visual technical specification such as resolution, frame rate, pixellation.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S22

Operate current industry standard equipment and software safely during and post recording.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S23

Edit and optimise audio or visual material saving in the required format.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S24

Compress digital assets.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S25

Select edit points to create a smooth transition in the material and achieve required audio effects using sound and acoustic effects as required.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S26

Review edited material to ensure appropriateness for the target audience, house style and platform.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S27

Gather audience data to evaluate the impact and success of a production against its objectives.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S28

Use lessons learned to evaluate the success of the production and identify areas for improvement for future productions.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
S29

Use continuing professional development planning to support own current and future training and development needs.

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

Seeks to continuously improve the production.

Back to Grading
Professional discussion underpinned by a portfolio of evidence
B2

Acts collaboratively to build and maintain positive relationships with colleagues, customers and suppliers.

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

Takes ownership of work, with a strong work ethic and commitment to achieving high standards.

Back to Grading
Scenario test - presentation and questioning
B4

Committed to keeping up to date with new technologies and industry best practice. Resourceful in finding creative solutions to solve problems.

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

Acts in an ethical manner, embracing, equality, diversity and inclusion in the workplace.

Back to Grading
Professional discussion underpinned by a portfolio of evidence

Mapping of KSBs to grade themes

Professional discussion underpinned by a portfolio of evidence - Discussion

KSBS GROUPED BY THEME Knowledge Skills Behaviour
Industry awareness
K2 K12 K15 K29

The differences between genre and how this affects the type and scale of production. (K2)

How organisational priorities, commercial pressures, project deadlines and working practices impact on production schedules. (K12)

Typical production hierarchies, the roles and responsibilities within production teams and the etiquette to follow. (K15)

The effect of the production environment on own role and the wider production. (K29)

N/A

N/A

Obtain and store assests
K8 K10 K18 K20 K31
S13

The regulatory and legal requirements when using media assets, such as copyright, intellectual property rights, non-disclosure agreements and licensing. (K8)

How to source and identify media assets. (K10)

How to securely store and access captured materials and media assets for future use in line with GDPR and organisational policies. (K18)

Methods used to transcribe documents/footage accurately and in line with production requirements. (K20)

The importance of archiving, preserving and conserving media assets. (K31)

Manage and store media assets, creating accurate records of material produced in line with workflows and organisational policies. (S13)

N/A

Planning
K14 K17 K23
S7 S8 S16

The processes to follow when authorising the use of resources, and methods of monitoring usage in line with the production plan. (K14)

How to interpret a call sheet/schedule prior to a shoot. (K17)

The organisational procedures to follow when sourcing and obtaining locations, catering, accommodation, transport and technical equipment for productions. (K23)

Support the end-to-end process of production by monitoring budgets, resources and progress and adhering to legislation, regulations, organisational processes and procedures. (S7)

Identify and minimise hazards and risks in the workplace such as Covid compliance. (S8)

Identify and assist with sourcing resources for a production, including locations, catering, accommodation, transport, equipment, crew, budget and existing media assets. (S16)

N/A

Collabaration
K16
S9 S10 S11
B2 B5

The communication and reporting processes to follow when acting as point of contact on a production. (K16)

Assist cast and crew members and act as a point of contact with the production office and other departments. (S9)

Develop and maintain positive working relationships when in production, establishing and using professional networks. (S10)

Provide progress reports to your production coordinator or producer. (S11)

Acts collaboratively to build and maintain positive relationships with colleagues, customers and suppliers. (B2)

Acts in an ethical manner, embracing, equality, diversity and inclusion in the workplace. (B5)

Production documentation
K19
S12

Own responsibilities for creation, maintenance and storage of production documentation. (K19)

Create, use and store production documentation throughout the end-to-end production workflow. (S12)

N/A

Technical assistance
K22 K25 K26 K27
S18 S19 S20 S21 S22

Considerations when establishing optimal set or studio locations for the equipment (K22)

How camera setup, function and application vary according to genre and budget. (K25)

Principles to consider when operating media content capture equipment in a studio and on location. (K26)

The particular characteristics of omni directional, directional, cardioid microphones, and accessories and the impact on recording. (K27)

Select microphones taking into account conditions and environments. (S18)

Select and set up camera equipment as required. (S19)

Monitor the sound levels and bit rate, identifying any issues during the capturing process. (S20)

Work to a visual technical specification such as resolution, frame rate, pixellation. (S21)

Operate current industry standard equipment and software safely during and post recording. (S22)

N/A

Editing
K28 K30 K32
S23 S24 S25 S26

Methods used to identify the editorial intent, required artistic effect and target audience for audio material. (K28)

How to cut, edit and caption production content to meet output requirements. (K30)

Principles of online and broadcast resolution, ingesting, editing and exporting content and how to prepare a timeline. (K32)

Edit and optimise audio or visual material saving in the required format. (S23)

Compress digital assets. (S24)

Select edit points to create a smooth transition in the material and achieve required audio effects using sound and acoustic effects as required. (S25)

Review edited material to ensure appropriateness for the target audience, house style and platform. (S26)

N/A

Evaluation
K33
S27 S28
B1

The audience data, and metrics selected and applied by own organisation, to evaluate the impact and success of a production against its objectives. (K33)

Gather audience data to evaluate the impact and success of a production against its objectives. (S27)

Use lessons learned to evaluate the success of the production and identify areas for improvement for future productions. (S28)

Seeks to continuously improve the production. (B1)

CPD
K34
S29
B4

Approaches to maintaining up-to-date knowledge of existing and evolving technology, trends and platforms and managing and marketing own skills and services. (K34)

Use continuing professional development planning to support own current and future training and development needs. (S29)

Committed to keeping up to date with new technologies and industry best practice. Resourceful in finding creative solutions to solve problems. (B4)

Scenario test - presentation and questioning - PracticalAssessment

KSBS GROUPED BY THEME Knowledge Skills Behaviour
Interpret the brief
K1 K9
S1

The effect organisational structures, regulations, commissioning processes and funding has on new productions and production activities. (K1)

How to incorporate the relevant branding into the production such as use of brand identity templates and logos for screen, online and audio production. (K9)

Interpret a production brief and identify the audience/end user requirements for the production. (S1)

N/A

Scope and evaluate ideas
K4
S2

The methods used to segment and understand audience engagement. (K4)

Scope and evaluate ideas and problem solving concepts for a production. (S2)

N/A

Develop production ideas

S3 S4

N/A

Develop creative ideas and proposals for screen, online or audio productions. (S3)

Create a brief for a production, including a storyboard and outline script of ideas. (S4)

N/A

Production planning
K3 K7 K13
S6 S14
B3

The methods, tools and techniques used to scope and evaluate ideas and problem solving concepts for a production. (K3)

The end-to-end production workflow and planning process, the key stages including post production, and own role within this. (K7)

The legislation and organisational policies including health and safety, contingency planning and licensing as they apply to crew and contributors. (K13)

Work in line with agreed workflows, adapting to operational and creative changes as they occur and inform relevant stakeholders. (S6)

Complete a call sheet/schedule prior to a shoot. (S14)

Takes ownership of work, with a strong work ethic and commitment to achieving high standards. (B3)

Resourcing
K11 K21 K24
S15 S17

Principles of budget allocation and methods used to monitor costs for a production and the potential impact. (K11)

Processes to follow when scoping out and interpreting resource requirements from production documentation. (K21)

Sustainability and the typical activities which contribute to their ‘professional carbon footprint’ and steps to reduce this. (K24)

Scope resource requirements; identify and prevent potential supply problems. (S15)

Identify opportunities to deliver sustainable solutions in line with industry standard recommendations. (S17)

N/A

Presenting to the audience
K5 K6
S5

The different styles of writing and tone of voice that is appropriate to the platform and the audience. (K5)

The use of grammar, punctuation and spelling to facilitate clear and concise communication. (K6)

Present persuasive pitches, ideas and proposals for screen, online or audio productions. (S5)

N/A

Contact us about this apprenticeship

Employers involved in creating the standard: BBC, C4, Allspring media, Cancer, Actor’s Studio, Vice Principal: London Screen Academy (LSA), Sky, Amazon, BFBS, Osprey Television, ITV, Global Academy, Bauer Media

Version log

Version Change detail Earliest start date Latest start date Latest end date
Revised version awaiting implementation In development 07/09/2022 Not set Not set
1.0 Approved for delivery 24/06/2016 06/09/2022 Not set