Providing support and assistance to help with the delivery of content for TV or radio shows.
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.
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 15 months. The EPA period is typically 3 months.
The overall grades available for this apprenticeship are:
When you pass the EPA, you will be awarded your apprenticeship certificate.
The EPA gateway is when the EPAO checks and confirms that you have met any requirements required before you start the EPA. You will only enter the gateway when your employer says you are ready.
The gateway requirements for your EPA are:
Practical assessment with questions
You will be observed by an independent assessor completing a set of tasks. It will last 2 hours. They will ask you at least 5 questions.
Professional discussion underpinned by a portfolio of evidence
You will have a professional professional discussion with an independent assessor. It will last 60 minutes. They will ask you at least 9 questions. The questions will be about certain aspects of your occupation. You need to compile a portfolio of evidence before the EPA gateway. You can use it to help answer the questions.
The EPAO will confirm where and when each assessment method will take place.
You should speak to your employer if you have a query that relates to your job.
You should speak to your training provider if you have any questions about your training or EPA before it starts.
You should receive detailed information and support from the EPAO before the EPA starts. You should speak to them if you have any questions about your EPA once it has started.
If you have a disability, a physical or mental health condition or other special considerations, you may be able to have a reasonable adjustment that takes this into account. You should speak to your employer, training provider and EPAO and ask them what support you can get. The EPAO will decide if an adjustment is appropriate.
This occupation is found in 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.
| Duty | KSBs |
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Duty 1 Interpret a creative brief, scope, evaluate and develop production ideas. |
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Duty 2 Assist in the development of content and/or production assets. |
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Duty 3 Contribute to the production process, monitoring budgets and resources and adapting to operational changes as required. |
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Duty 4 Collaborate with internal and external stakeholders to plan and develop productions. |
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Duty 5 Maintain production documentation and/or programme logs. |
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Duty 6 Research, identify and suggest resources, logistics and equipment taking into consideration constraints. |
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Duty 7 Provide technical support to colleagues for audio and visual productions. |
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Duty 8 Edit production content to meet production requirements. |
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Duty 9 Reflect on the production and offer ideas for continuous improvement. |
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Duty 10 Review your own professional practice and keep up-to-date with trends and technology. |
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
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
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
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.
V1.1
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 complete the required amount of off-the-job training specified by the apprenticeship funding rules.
This EPA has 2 assessment methods.
The grades available for each assessment method are:
Assessment method 1 - scenario test - presentation and questioning:
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 15 months)
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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 maths qualifications in line with the apprenticeship funding rules. This includes those with an education, health and care plan or a legacy statement. British sign language (BSL) qualifications are an alternative to English qualifications for those who have BSL as their primary language. The apprentice must compile a portfolio of evidence. |
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End-point assessment gateway
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The employer must be content that the apprentice is working at or above the occupational standard.
The apprentice’s employer must confirm that they think the apprentice:
The apprentice must have achieved English and maths qualifications in line with the apprenticeship funding rules. This includes those with an education, health and care plan or a legacy statement. British sign language (BSL) qualifications are an alternative to English qualifications for those who have BSL as their primary language. For the professional discussion underpinned by a portfolio of evidence the apprentice must submit a portfolio of evidence. The apprentice must submit any policies and procedures as requested by the EPAO. |
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End-point assessment (typically 3 months)
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Grades available for each assessment method:
Scenario test - presentation and questioning
Professional discussion underpinned by a portfolio of evidence
Overall EPA and apprenticeship can be graded:
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Re-sits and re-takes
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The EPA is taken in the EPA period. The EPA period starts when the EPAO confirms the gateway requirements have been met and is typically 3 months.
The EPAO should confirm the gateway requirements have been met and the EPA should start as quickly as possible.
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:
Portfolio of evidence requirements:
The apprentice must compile a portfolio of evidence during the on-programme period of the apprenticeship. It should only contain evidence related to the KSBs that will be assessed by this assessment method. It will typically contain 10 discrete pieces of evidence. Evidence must be mapped against the KSBs. Evidence may be used to demonstrate more than one KSB; a qualitative as opposed to quantitative approach is suggested.
Evidence sources may include:
This is not a definitive list; other evidence sources can be included.
The portfolio of evidence should not include reflective accounts or any methods of self-assessment. Any employer contributions should focus on direct observation of performance (for example, witness statements) rather than opinions. The evidence provided should be valid and attributable to the apprentice; the portfolio of evidence should contain a statement from the employer and apprentice confirming this.
The EPAO should not assess the portfolio of evidence directly as it underpins the discussion . The independent assessor should review the portfolio of evidence to prepare questions for the discussion . They are not required to provide feedback after this review.
The apprentice must submit any policies and procedures as 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.
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:
This assessment method is being used because:
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:
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:
To support EPAOs in delivering the assessment, the production brief should set out:
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 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.
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.
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:
In the discussion, an independent assessor and apprentice have a formal two-way conversation.
The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence. It gives the apprentice the opportunity to demonstrate their competency across the KSBs mapped to this EPA method.
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.
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 is 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.
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 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:
Fail - does not meet pass criteria
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Theme
KSBs
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Pass
Apprentices must demonstrate all the pass descriptors
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Distinction
Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors
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Interpret the brief
K1 K9 S1 |
Interprets a production brief taking into account:
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 |
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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 |
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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 |
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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 |
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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 |
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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 |
Fail - does not meet pass criteria
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Theme
KSBs
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Pass
Apprentices must demonstrate all the pass descriptors
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Distinction
Apprentices must demonstrate all the pass descriptors and all of the distinction descriptors
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|---|---|---|
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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 |
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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 |
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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
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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 |
Performance in the EPA determines the overall grade of:
An independent assessor must individually grade the: scenario test - presentation and questioning 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 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 must be combined in the following way to determine the grade of the EPA overall.
| Scenario test - presentation and questioning | 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 |
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 | Responsibilities |
|---|---|
|
Apprentice |
As a minimum, the apprentice should:
|
|
Employer |
As a minimum, the apprentice's employer must:
Post-gateway, the employer must:
|
|
EPAO |
As a minimum, the EPAO must:
Pre-gateway, the EPAO must:
At the gateway, the EPAO must:
Post-gateway, EPAOs must:
|
|
Independent assessor |
As a minimum, an independent assessor must:
|
|
Training provider |
As a minimum, the training provider should:
|
|
Invigilator |
As a minimum, the invigilator must:
|
|
Independent Assessor |
be willing to sign a non-disclosure/confidentiality agreement if required |
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.
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:
The EPAO must also:
have technical skills and experience in production management and have held a position above the role of a production assistant (screen and audio)
have substanital and relevant industry experience of which at least 12 months should have been within the last 3 years, and maintain their cpd
Affordability of the EPA will be aided by using at least some of the following:
Professional body recognition is not relevant to this occupational apprenticeship.
| 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 |
| 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 |
| 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) |
Contact us about this apprenticeship