Unit of competency Outline
Date retreived
22/07/2026 3:51 PM AWST
22/07/2026 3:51 PM 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.
Perform basic sound editing
Perform basic sound editing
Unit of competency
National Code
CUFSOU204A
CUFSOU204A
State Code
D1192
D1192
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
16/05/2014
Field of Education
100701 - Audio Visual Studies
Original Release Date
16/05/2014
Nominal Hours
60
Description
This unit describes the performance outcomes, skills and knowledge required to for basic digital sound editing.No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.
Notes
Elements and Performance Criteria
Prepare for editing sound
- 1. In consultation with relevant production personnel, clarify editing requirements, including creative and technical expectations of productions
- 2. Obtain and label source materials and additional materials as required and keep them in a safe, clean location with appropriate documentation
- 3. Organise transfer of source materials to appropriate equipment where necessary, ensuring sufficient digital storage capacity is available
- 4. Check editing equipment is operational and suited to the designated editing processes and according to enterprise procedures
- 5. Organise additional equipment and consumables needed to minimise interruptions during the editing process
- 6. If required, obtain sign-off to proceed with edits
Assemble sequences for editing
- 7. Digitise audio content and additional sound materials in the specified format, ensuring format is compatible with available software and editing equipment
- 8. Monitor digital output and arrange for problems to be fixed where necessary
- 9. Identify sound edit positions using appropriate documentation and optimise quality where applicable
- 10. Log and assess sound sequences according to production requirements and arrange digital back-up copies as insurance against editing errors
- 11. Consider how materials may be edited efficiently to meet technical and creative criteria
Edit sound sequences
- 12. Edit audio sequences according to production requirements and accurately document details of each edited sound sequence
- 13. Generate an appropriate track list to facilitate subsequent stages of sound mixing processes
- 14. Accurately chart positions and durations of sound sequences, noting requirements for transitions where applicable
- 15. Apply effects and digital enhancements to maximise creative outcomes of sound sequences according to production requirements
- 16. Manipulate editing software and equipment to produce required sequences and to resolve identified problems
- 17. Seek feedback on work in progress from relevant production personnel and refine edits as required
- 18. Submit final edits by the agreed deadline in accordance with enterprise procedures
Finalise sound edits
- 19. Archive edited audio files and complete associated documentation according to enterprise procedures
- 20. Advise relevant production personnel of editing equipment requiring maintenance and leave workstation in original or improved condition
- 21. Participate in post-production debriefing sessions as required
- 22. Evaluate own performance against technical and creative criteria and discuss with 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.
Production personnel may include:
assistant editor
broadcasters
CGI (computer generated imagery) personnel
director
musicians
producer
production manager
sound designer
sound editor
sound effects personnel
sound engineer
sound recording studio personnel
station manager
supervisor
technical director
volunteers coordinator
other technical/specialist personnel.
Productions may include:
animated productions
CD/DVD
commercials
documentaries
feature films
features - television and film
filmed events or performances
interactive media products
music
music videos
news and current affairs
podcasts
promotional trailers
radio broadcasts
short films
television programs, e.g.:
music
drama
comedy
variety
sport
websites.
Source materials may include:
archival recordings
atmosphere
CD/DVD recordings
foley effects
live captured effects
music
SFX (sound effects)
synthesised sound
voice recordings/dialogue.
Additional materials may include:
archival sound footage
file images
stock sound footage.
Documentation may include:
assembly order
computer generated
duration print-outs
EDLs (edit decision lists)
fault reports
hire agreements
list of sequences with relevant shot numbers
log sheets for location
manually written
marked-up scripts
marked-up transcripts
memos of instruction
operational/project plan
production schedules
scripts
sound recordings
sound/audio reports
wild-line and sound effects log sheets.
Digital storage may include:
cassettes
CD
DAT
DMSS (digital mass storage systems)
DVD
hard disks
internal sound cards
magneto-optical
optical
tape.
Editing equipment may include:
amplifiers
audio converters
audio desk/mixers
CD player/burner
CDs
DAT (digital audio tape)
digital and analogue recording devices
digital non-linear (online) editing systems
DVDs
effects rack
hard disk recorder
headphones
linear (off-line) editing systems
mini disks
mixing console/desk analogue, digital, digitally controlled analogue (hybrid)
sequence sampler
speakers
tape machines.
Additional equipment may include:
cassette player/recorder
CD player/recorder
DVD player/recorder
headphones
iPod
microphones
sound cables
speakers.
Consumables may include:
computer disks
labels
marker pens
mini disks
sound tapes, e.g.:
DAT
cartridge
compact audio cassette
reel-to-reel
16 mm magnetic.
Audio content may include:
atmosphere recordings
dialogue
foley effects
interviews
live recordings
music
sound effects
synthesised audio.
Formats may include:
audio/sound, e.g.:
DAT
AIF (AIFF)
WAV
WAV (BWF - broadcast WAV format)
WMA
MIDI
OGG
AAC (advanced audio coding)
Apple lossless
magnetic tape
Real Audio
QuickTime
MP3
computerised data.
Software may include:
after effects package
computer programs, e.g.:
Pro Tools
Sound Forge
Adobe Audition
Final Cut Pro
Adobe After Effects
EDL software
freeware
shareware.
Sound edit may include:
computerised data
digital non-linear
edit of rough and fine cuts
edit of source and recorded materials
film and video audio assets
initial edit of sound rushes
integration of the picture (image) editing process to ensure sound and picture are in sync
linear
off-line
on-line.
Sound sequences may include:
atmosphere tracks
dialogue
foley effects
music
sound effects tracks that have been:
pre-recorded (using sound effects libraries)
recorded live (foley sound effects, production sound effects)
electronically generated (synthesised/computer generated sound effects)
voice-overs.
Production requirements may include:
ADR (additional dialogue recordings)
aesthetic
atmosphere tracks
durations
effects
music
technical
vision and sound edit
voice-overs.
Technical and creative criteria may include:
ADR (additional dialogue recordings)
audio levels
balance between track levels
balance of background music
compression factors, e.g. codecs
consistency of voice levels
continuity of background ambience in location recordings
distortion
durations
editorial requirements
enhancement of visual images
foley
natural pausation
sound balance, e.g. music
synchronisation of sound and vision.
Details may include:
copyright details
durations
in and out points
quality assessment
source details
specific content
take options
technical notes.
Manipulating editing software and equipment may include:
adjusting and normalising audio levels
inserting, e.g.:
transitions
sound effects
music
voice-overs
overlays
manipulating audio clips, e.g.:
cutting
pasting
copying
moving
splitting.
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.
Production personnel may include:
assistant editor
broadcasters
CGI (computer generated imagery) personnel
director
musicians
producer
production manager
sound designer
sound editor
sound effects personnel
sound engineer
sound recording studio personnel
station manager
supervisor
technical director
volunteers coordinator
other technical/specialist personnel.
Productions may include:
animated productions
CD/DVD
commercials
documentaries
feature films
features - television and film
filmed events or performances
interactive media products
music
music videos
news and current affairs
podcasts
promotional trailers
radio broadcasts
short films
television programs, e.g.:
music
drama
comedy
variety
sport
websites.
Source materials may include:
archival recordings
atmosphere
CD/DVD recordings
foley effects
live captured effects
music
SFX (sound effects)
synthesised sound
voice recordings/dialogue.
Additional materials may include:
archival sound footage
file images
stock sound footage.
Documentation may include:
assembly order
computer generated
duration print-outs
EDLs (edit decision lists)
fault reports
hire agreements
list of sequences with relevant shot numbers
log sheets for location
manually written
marked-up scripts
marked-up transcripts
memos of instruction
operational/project plan
production schedules
scripts
sound recordings
sound/audio reports
wild-line and sound effects log sheets.
Digital storage may include:
cassettes
CD
DAT
DMSS (digital mass storage systems)
DVD
hard disks
internal sound cards
magneto-optical
optical
tape.
Editing equipment may include:
amplifiers
audio converters
audio desk/mixers
CD player/burner
CDs
DAT (digital audio tape)
digital and analogue recording devices
digital non-linear (online) editing systems
DVDs
effects rack
hard disk recorder
headphones
linear (off-line) editing systems
mini disks
mixing console/desk analogue, digital, digitally controlled analogue (hybrid)
sequence sampler
speakers
tape machines.
Additional equipment may include:
cassette player/recorder
CD player/recorder
DVD player/recorder
headphones
iPod
microphones
sound cables
speakers.
Consumables may include:
computer disks
labels
marker pens
mini disks
sound tapes, e.g.:
DAT
cartridge
compact audio cassette
reel-to-reel
16 mm magnetic.
Audio content may include:
atmosphere recordings
dialogue
foley effects
interviews
live recordings
music
sound effects
synthesised audio.
Formats may include:
audio/sound, e.g.:
DAT
AIF (AIFF)
WAV
WAV (BWF - broadcast WAV format)
WMA
MIDI
OGG
AAC (advanced audio coding)
Apple lossless
magnetic tape
Real Audio
QuickTime
MP3
computerised data.
Software may include:
after effects package
computer programs, e.g.:
Pro Tools
Sound Forge
Adobe Audition
Final Cut Pro
Adobe After Effects
EDL software
freeware
shareware.
Sound edit may include:
computerised data
digital non-linear
edit of rough and fine cuts
edit of source and recorded materials
film and video audio assets
initial edit of sound rushes
integration of the picture (image) editing process to ensure sound and picture are in sync
linear
off-line
on-line.
Sound sequences may include:
atmosphere tracks
dialogue
foley effects
music
sound effects tracks that have been:
pre-recorded (using sound effects libraries)
recorded live (foley sound effects, production sound effects)
electronically generated (synthesised/computer generated sound effects)
voice-overs.
Production requirements may include:
ADR (additional dialogue recordings)
aesthetic
atmosphere tracks
durations
effects
music
technical
vision and sound edit
voice-overs.
Technical and creative criteria may include:
ADR (additional dialogue recordings)
audio levels
balance between track levels
balance of background music
compression factors, e.g. codecs
consistency of voice levels
continuity of background ambience in location recordings
distortion
durations
editorial requirements
enhancement of visual images
foley
natural pausation
sound balance, e.g. music
synchronisation of sound and vision.
Details may include:
copyright details
durations
in and out points
quality assessment
source details
specific content
take options
technical notes.
Manipulating editing software and equipment may include:
adjusting and normalising audio levels
inserting, e.g.:
transitions
sound effects
music
voice-overs
overlays
manipulating audio clips, e.g.:
cutting
pasting
copying
moving
splitting.
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:
a range of digitally edited sound sequences that meet production requirements
collaborative approach to work
attention to detail
ability to work to deadlines.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of pre-recorded sound footage
access to industry-current sound editing software as listed in the range statement
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 a range of sound sequences edited by the candidate in response to instructions received from a supervising editor
observation of the candidate preparing and editing sound sequences
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:
CUFPOS201A Perform basic vision and sound editing
CUFSOU301A Prepare audio assets
CUFSOU302A Compile audio material for broadcast.
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:
a range of digitally edited sound sequences that meet production requirements
collaborative approach to work
attention to detail
ability to work to deadlines.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of pre-recorded sound footage
access to industry-current sound editing software as listed in the range statement
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 a range of sound sequences edited by the candidate in response to instructions received from a supervising editor
observation of the candidate preparing and editing sound sequences
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:
CUFPOS201A Perform basic vision and sound editing
CUFSOU301A Prepare audio assets
CUFSOU302A Compile audio material for broadcast.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWF36 | CUASOU202 | Perform basic sound editing | Unit of competency |