Unit of competency Outline
Date retreived
22/07/2026 6:47 AM AWST
22/07/2026 6:47 AM AWST
Whilst all efforts are made to provide accurate and timely information from the relevant source/documentation, please be aware that the information supplied may not be the most current version. The accuracy of the detail has not been confirmed by the Department and therefore should not be relied upon without first confirming the contents.
Edit complex screen productions
Edit complex screen productions
Unit of competency
National Code
CUFPOS501A
CUFPOS501A
State Code
D1165
D1165
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
26/08/2009
Field of Education
100701 - Audio Visual Studies
Original Release Date
26/08/2009
Nominal Hours
60
Description
This unit describes the performance outcomes, skills and knowledge required to edit complex productions in film, television and interactive media.No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.
Notes
Elements and Performance Criteria
Clarify post-production briefs
- 1. Confirm technical and creative criteria associated with proposed productions in close consultation with relevant production personnel
- 2. Contribute meaningful and creative solutions for productions based on a thorough analysis of editing processes and available documentation
- 3. Brief post-production staff on production goals and encourage them to contribute creative ideas consistent with production concepts
- 4. Appraise technical and creative criteria for potential impact on post-production schedules and relevance to production briefs
- 5. Notify relevant production personnel of issues that may adversely affect the post-production process and negotiate appropriate solutions as required
Prepare for edit
- 6. Confirm proposed treatment with relevant production personnel
- 7. Assess source materials as they become available and monitor for technical and creative relevance to meet production requirements
- 8. Ensure source materials are available in required format and are compatible with editing equipment and operating software
- 9. Explore alternative editing decisions where initial concepts are proving unworkable and discuss with relevant production personnel
- 10. Assess requirements for consumables and arrange for adequate supplies to be provided
Undertake editing activity
- 11. Identify potential shots and sequences, including additional materials to achieve envisaged creative outcomes
- 12. Organise and file selected materials into accessible storage systems according to enterprise procedures
- 13. Provide technical and creative feedback to relevant production personnel on source materials as they are received and suggest creative solutions to resolve identified problems
- 14. Maximise creative outcomes through appropriate use of post-production techniques while maintaining integrity of overall production
- 15. Arrange for specialised post-production techniques to be carried out by suitably qualified production personnel, ensuring production schedules and timelines are maintained
- 16. Monitor quality of edited materials according to production briefs and arrange for viewing and evaluation by relevant production personnel on an ongoing basis
- 17. Implement changes and modifications based on ongoing evaluation of edited materials and provide relevant production personnel with accurate documentation for each post-production stage
- 18. Ensure that OHS requirements are met according to enterprise procedures
Finalise edits
- 19. Check editing requirements have been met and report on problems encountered during post-production
- 20. Compile final editing decisions and display final cuts for evaluation and confirmation by relevant production personnel
- 21. Update required documentation and record and file according to enterprise requirements
- 22. Review and reflect on own performance and note areas for improvement
- 23. Provide feedback on performance to post-production colleagues where appropriate
RANGE STATEMENT
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Technical and creative criteria may include:
ADR (additional dialogue recording)
analogue
black
broadcast quality
colour bars
colour burst
complex vision and sound mixes
digital
effects
film leaders
grading
lateral solutions
non-broadcast quality
production style/aesthetics
sound quality
story-line
tape black
vision quality
visual expression.
Productions may include:
animated productions
commercials
documentaries
feature films
interactive programs
music videos
pre-recorded events or performances, e.g. concerts, live events
short films
television productions, e.g. music, drama, comedy, variety, sport.
Production personnel may include:
assistant editor
CGI (computer generated imagery) personnel
colour graders
designers
director
director of photography
editor
laboratory technicians
music composer
picture editing
producer
production designer
production manager
sound editing
sound effects
studio crew
technical director
writers
other technical/specialist staff.
Editing processes may include:
digital non-linear
film
interactive media
kine
linear - tape to tape
off-line
online.
Documentation may include:
assembly order
camera reports
computer generated
contracts
EDLs (edit decision lists)
fault reports
hire agreements
list of sequences with relevant shot numbers
log sheets for location
manually written
manufacturer specifications/instructions
marked-up scripts
marked-up transcripts
memos of instruction
operational/project plan
production notes
production schedules
scripts
sound recordings
sound reports
sound sheets
time-code printout
wild-line and sound effects log sheets.
Post-production staff may include:
assistant editors
digitiser
editors
laboratory technicians
mixer
negative cutters
SFX operator
sound engineer.
Treatment may include:
aesthetics
characters
ideas
presentation
screenplay
script
structure.
Source materials may include:
audio tapes
camera tapes
CDs
DVDs
film
graphics
internet
stills
work prints
work tapes.
Production requirements may include:
ADR (additional dialogue recording)
animations
atmosphere tracks
durations
effects
graphics
music
production titles
time code, e.g.:
SMPTE/EBU, e.g. VITC, LTC
burned-in code
keyed-in code
MIDI (MTC)
edge code/number
voice-overs.
Format may include:
audio/sound, e.g.:
DAT
AIFF
WAV
MIDI
magnetic tape
computerised data
film of any gauge
graphics
stills
video of any format, e.g.:
DVC
VHS
Beta
HDTV.
Editing equipment may include:
computers: Mac, PC
digital non-linear, e.g. Mac G5, Avid
editing bins
flat-bed film viewer, e.g. Steenbeck
linear, e.g. tape to tape
pic sync
rewinders
synchronisers
video recorders/replay, e.g. Beta, VHS
viewers, e.g. Moviola, flat-bed viewer.
Software may include:
computer programs, e.g. Final Cut Pro
EDL software
Flash
freeware
Illustrator
Photoshop
shareware
Editing decisions may include:
action cutting
aspect ratios
cinematic time, e.g.:
flashback, flash forward,
condensing time, expanding time
parallel editing
composition
coverage
dialogue
effects transitions, e.g.:
wipes
dissolves
fades
use of graphics
frame ratio and rate
framing
freeze frames
jump cut
music
narration
pacing
script changes
soundtrack
special effects
style/aesthetics
tempo - duration of shots and segments
timings
voice-overs.
Consumables may include:
chinagraph pencils
computer disks
cotton gloves
film cans
film leader
labels
marker pens
sound tapes of any format, e.g.:
DAT
cartridge
compact audio cassette
reel to reel
spare videotapes of any format, e.g.:
DVC
Beta
VHS
mini-DVD
HDTV
splicing glue, splicing tape.
Shots and sequences may include:
angles, e.g.:
three-quarter
over the shoulder
level
high
low
tilt
camera viewpoint, e.g.:
objective
subjective
point of view
cinematic time, e.g.:
flashback
flash forward
condensing time
expanding time
parallel editing
sequences, e.g.:
vision cuts
sound editing
audio excerpts
voice-over
music
rough cuts
fine cuts
shots, e.g.:
wide shots
mid shot
medium close-ups
close-ups
two shot
long shot
wide-angle
high-angle
low-angle
bird's eye
pans
tilts
cutaways
two shots
noddy
reverses.
Additional materials may include:
archival footage:
sound
images
file images
stills
stock footage:
sound
images.
Storage systems may include:
computer hard drives
data disks, e.g. DVD, CD, Blu-ray
film bins
iPods
optical disks, e.g. holographic.
Problems may include:
audio levels
break in control track
distorted audio
faulty equipment
glitches
non-sync issues
poor exposures
retakes
sound and vision drop-outs.
Post-production techniques may include:
animations
aspect ratio
atmosphere inserts
colour grading
editing conventions, e.g.:
jump cut
cut away
cut in
cut out
fades and dissolves
freeze frame
action cutting (before, during and after the action)
montage
continuity (crossing the line, eyeline)
consistency of style
interactive elements
optical effects
pacing
rhythm
sound effects
special effects, e.g. Adobe After Effects, Photoshop
story-telling
transitions.
The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Technical and creative criteria may include:
ADR (additional dialogue recording)
analogue
black
broadcast quality
colour bars
colour burst
complex vision and sound mixes
digital
effects
film leaders
grading
lateral solutions
non-broadcast quality
production style/aesthetics
sound quality
story-line
tape black
vision quality
visual expression.
Productions may include:
animated productions
commercials
documentaries
feature films
interactive programs
music videos
pre-recorded events or performances, e.g. concerts, live events
short films
television productions, e.g. music, drama, comedy, variety, sport.
Production personnel may include:
assistant editor
CGI (computer generated imagery) personnel
colour graders
designers
director
director of photography
editor
laboratory technicians
music composer
picture editing
producer
production designer
production manager
sound editing
sound effects
studio crew
technical director
writers
other technical/specialist staff.
Editing processes may include:
digital non-linear
film
interactive media
kine
linear - tape to tape
off-line
online.
Documentation may include:
assembly order
camera reports
computer generated
contracts
EDLs (edit decision lists)
fault reports
hire agreements
list of sequences with relevant shot numbers
log sheets for location
manually written
manufacturer specifications/instructions
marked-up scripts
marked-up transcripts
memos of instruction
operational/project plan
production notes
production schedules
scripts
sound recordings
sound reports
sound sheets
time-code printout
wild-line and sound effects log sheets.
Post-production staff may include:
assistant editors
digitiser
editors
laboratory technicians
mixer
negative cutters
SFX operator
sound engineer.
Treatment may include:
aesthetics
characters
ideas
presentation
screenplay
script
structure.
Source materials may include:
audio tapes
camera tapes
CDs
DVDs
film
graphics
internet
stills
work prints
work tapes.
Production requirements may include:
ADR (additional dialogue recording)
animations
atmosphere tracks
durations
effects
graphics
music
production titles
time code, e.g.:
SMPTE/EBU, e.g. VITC, LTC
burned-in code
keyed-in code
MIDI (MTC)
edge code/number
voice-overs.
Format may include:
audio/sound, e.g.:
DAT
AIFF
WAV
MIDI
magnetic tape
computerised data
film of any gauge
graphics
stills
video of any format, e.g.:
DVC
VHS
Beta
HDTV.
Editing equipment may include:
computers: Mac, PC
digital non-linear, e.g. Mac G5, Avid
editing bins
flat-bed film viewer, e.g. Steenbeck
linear, e.g. tape to tape
pic sync
rewinders
synchronisers
video recorders/replay, e.g. Beta, VHS
viewers, e.g. Moviola, flat-bed viewer.
Software may include:
computer programs, e.g. Final Cut Pro
EDL software
Flash
freeware
Illustrator
Photoshop
shareware
Editing decisions may include:
action cutting
aspect ratios
cinematic time, e.g.:
flashback, flash forward,
condensing time, expanding time
parallel editing
composition
coverage
dialogue
effects transitions, e.g.:
wipes
dissolves
fades
use of graphics
frame ratio and rate
framing
freeze frames
jump cut
music
narration
pacing
script changes
soundtrack
special effects
style/aesthetics
tempo - duration of shots and segments
timings
voice-overs.
Consumables may include:
chinagraph pencils
computer disks
cotton gloves
film cans
film leader
labels
marker pens
sound tapes of any format, e.g.:
DAT
cartridge
compact audio cassette
reel to reel
spare videotapes of any format, e.g.:
DVC
Beta
VHS
mini-DVD
HDTV
splicing glue, splicing tape.
Shots and sequences may include:
angles, e.g.:
three-quarter
over the shoulder
level
high
low
tilt
camera viewpoint, e.g.:
objective
subjective
point of view
cinematic time, e.g.:
flashback
flash forward
condensing time
expanding time
parallel editing
sequences, e.g.:
vision cuts
sound editing
audio excerpts
voice-over
music
rough cuts
fine cuts
shots, e.g.:
wide shots
mid shot
medium close-ups
close-ups
two shot
long shot
wide-angle
high-angle
low-angle
bird's eye
pans
tilts
cutaways
two shots
noddy
reverses.
Additional materials may include:
archival footage:
sound
images
file images
stills
stock footage:
sound
images.
Storage systems may include:
computer hard drives
data disks, e.g. DVD, CD, Blu-ray
film bins
iPods
optical disks, e.g. holographic.
Problems may include:
audio levels
break in control track
distorted audio
faulty equipment
glitches
non-sync issues
poor exposures
retakes
sound and vision drop-outs.
Post-production techniques may include:
animations
aspect ratio
atmosphere inserts
colour grading
editing conventions, e.g.:
jump cut
cut away
cut in
cut out
fades and dissolves
freeze frame
action cutting (before, during and after the action)
montage
continuity (crossing the line, eyeline)
consistency of style
interactive elements
optical effects
pacing
rhythm
sound effects
special effects, e.g. Adobe After Effects, Photoshop
story-telling
transitions.
EVIDENCE GUIDE
The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Overview of assessment
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the following is essential:
effective editing of an extended range of screen content that:
meets the creative requirements of a production
takes account of technical and resource constraints
ability to edit material within timelines
collaborative approach to work, including the ability to supervise team members.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of editing equipment and materials currently used by the film, television, or interactive media industries
opportunity to work on a range of relatively complex materials
opportunity to supervise a team of post-production personnel
access to appropriate learning and assessment support when required
use of culturally appropriate processes and techniques appropriate to the language and literacy capacity of learners and the work being performed.
Method of assessment
A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit:
direct questioning combined with review of portfolios of evidence and third-party workplace reports of on-the-job performance
evaluation of extended sequences edited by the candidate for at least two types of different screen productions
written or verbal questioning to test knowledge as listed in the required skills and knowledge section of this unit.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUFANM403A Create titles for screen productions
CUFPPM602A Plan and manage film and media post-production.
The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Overview of assessment
Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the following is essential:
effective editing of an extended range of screen content that:
meets the creative requirements of a production
takes account of technical and resource constraints
ability to edit material within timelines
collaborative approach to work, including the ability to supervise team members.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of editing equipment and materials currently used by the film, television, or interactive media industries
opportunity to work on a range of relatively complex materials
opportunity to supervise a team of post-production personnel
access to appropriate learning and assessment support when required
use of culturally appropriate processes and techniques appropriate to the language and literacy capacity of learners and the work being performed.
Method of assessment
A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit:
direct questioning combined with review of portfolios of evidence and third-party workplace reports of on-the-job performance
evaluation of extended sequences edited by the candidate for at least two types of different screen productions
written or verbal questioning to test knowledge as listed in the required skills and knowledge section of this unit.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUFANM403A Create titles for screen productions
CUFPPM602A Plan and manage film and media post-production.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWH56 | CUAPOS501 | Edit complex screen productions | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D207 | CUF60107 | Advanced Diploma of Screen and Media | Qualification |
| D201 | CUF50107 | Diploma of Screen and Media | Qualification |