Unit of competency Outline
Date retreived
22/07/2026 8:45 AM AWST
22/07/2026 8:45 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.
Direct cinematography for screen productions
Direct cinematography for screen productions
Unit of competency
National Code
CUFCAM601A
CUFCAM601A
State Code
D1093
D1093
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
23/05/2011
Field of Education
100701 - Audio Visual Studies
Original Release Date
23/05/2011
Nominal Hours
50
Description
This unit describes the performance outcomes, skills and knowledge required to devise and manage camera shoots across a wide range of screen, media and entertainment productions.No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.
Notes
Elements and Performance Criteria
Prepare for shoots
- 1. Participate in pre-production conferences with relevant production personnel to establish overall production requirements for shoots
- 2. Undertake comprehensive review of scripts or screenplays to understand fully the required artistic and visual outcomes
- 3. Conduct appropriate research relevant to needs of productions and contribute creative and technical solutions and ideas as required
- 4. Develop or refine existing camera plans according to production requirements
- 5. Negotiate amendments to camera plans and circulate final camera specifications to relevant production personnel
- 6. Prepare lists of required equipment and accessories, including supplies of stock, and arrange for acquisition in collaboration with relevant production personnel
- 7. Block shots for use during rehearsals and actual productions in collaboration with relevant production personnel, taking into account impact on overall production requirements
- 8. Assemble and brief relevant production personnel on production requirements, including equipment and accessories required for shoots
- 9. Follow OHS requirements as they apply to the preparation and implementation of shoots
Set up for shoots
- 10. Manage selection and set-up of equipment and accessories to meet planned shots, ensuring safety of relevant production personnel and other participants
- 11. Ensure cameras are matched correctly and check lighting is appropriate for intended shots and scenes
- 12. View proposed shots and set-ups through viewfinder or on monitors and make creative and technical adjustments as required
- 13. Participate in rehearsals, noting required changes and instruct camera and lighting crews accordingly
- 14. Ensure shots and lighting requirements are marked up and established to reflect artistic and style needs of the shoot
- 15. Maintain ongoing supervision and collaboration with relevant production personnel to maximise creative outcomes
Shoot content
- 16. Supervise technical and creative operations of camera shoots during productions consistent with actions devised during rehearsals
- 17. Monitor output of camera operations to ensure cuts and dissolves between shots produce required technical and creative outcomes
- 18. Operate camera where applicable while maintaining overview of creative and technical criteria
- 19. Ensure camera movements are planned to avoid interference with other camera operators, technical personnel or performers
- 20. Respond to cues received from relevant production personnel in a timely manner
- 21. Communicate clearly to relevant production personnel unavoidable variations from predetermined plans
- 22. Attend daily viewings of rushes to assess quality and relevance of recorded material and schedule reshoots where necessary
Wrap up shoot
- 23. Supervise dismantling, packing and storing of equipment and accessories and complete necessary documentation
- 24. Ensure locations are left in original or improved state
- 25. Participate in post-production editing activities as required, including providing additional materials, such as pick-ups
- 26. Participate in post-production debriefings and reflect on own performance and that of production crews, noting areas for future improvement
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:
camera operators, e.g. first assistant camera, second unit
costume designer
director/producer
floor manager
floor manager
gaffer
grip
heads of department
lighting director
location manager
other specialist staff
other technical staff
production manager
set designer
technical director.
Production requirements may include:
budgets
film or digital production
locations
period, e.g. historical
post-production requirements, e.g. editing style
production genre
style
timelines/deadlines.
Shoots may include:
combined video and audio function
daytime
external
fixed/supported
hand-held operation
interior
location
night time
separate video and audio record functions
single-camera
studio.
Research may include:
actual events
audience analysis in location for production
characters
cultural/historical context
environment
imagination/inspiration
life experience
locations
newspapers/magazines
notes
paintings/photographs/sketches
period
review of enterprise objectives
review of other productions, e.g. movies
settings
social analysis (current or historical).
Productions may include:
advertisements/commercials
animations
documentaries
features
interactive media
live on-stage performances
promotions/presentations
short films
television series/serials, e.g. drama
training videos.
Camera plans may include discussion of:
budget implications
camera movements
camera set-up
how creative production requirements will be met
lighting requirements
number of cameras required
OHS considerations.
personnel required
positioning of sets or other physical elements
shooting material under special conditions, e.g.:
underwater
from moving vehicles
studio and/or location constraints
timelines.
Equipment and accessories may include:
autocue monitor
batteries
cables
cameras, e.g.:
digital - digital Betacam, DVC Pro
film - Arriflex
camera supports, e.g.:
pedestal
mounts
cranes
dollies
track
tripods
spreaders
fluid heads
hotheads
microphones - fixed, pole, lapel
change bags
cue card holders
headphones
filters, e.g.:
colour correction
colour
graduated: hard-edge, soft-edge, attenuated coloured, neutral density
correction filters
ultraviolet
polarising
chromatic
non-specific colour
enhancers
lens hood
lenses, e.g.:
fixed
zoom
wide-angle
macro
micro
magazines
mobile phones
special effects equipment
talkback facility
tape recorder
two-way intercom.
Stock may include:
analogue format, e.g. Beta SP
digital tape, e.g.:
Beta
DVC Pro
mini-DV
film, e.g.:
16 mm
35 mm
HDTV
SDTV
video disks.
Shots may include:
close-up
cutaway shot
establishing or master shot
extreme close-up
eye-level shot
high-angle
long shot
low-angle
mid shot
overhead shot
point-of-view shot
wide shot
zoom.
Other participants may include:
actors
ambulance and medical staff
council staff
fire brigade
general public, e.g. studio audiences, spectators
interviewees
interviewers
journalists/reporters
performers
police
presenters.
Lighting requirements may include:
types of luminaires
architectural fixtures
digital moving (intelligent) lights
key light
fill light
back light
bounced light
effect light, e.g. on backgrounds
HMI (hydrargyrum medium arc-length iodide)
light meters.
lights and accessories, e.g.:
luminaires
floods
moving lights
gobos
interior lights
spot light
flood light
special effects units, e.g.:
electrical/electronic props
strobes, mirror balls and motors, smoke machines, fog machines,
ultraviolet light, oil and water crackers, effects projectors
theatre-based units
studio and location units
tungsten
Artistic and style needs may include:
aesthetics
camera height and distance from subject
camera position
composition
continuity
duration
framing
movement
shot type
timing.
Camera movements may include:
crab
crane rigs
dolly
pan
physical relocations/movement
tilt
track in/out
zoom in/zoom out.
Documentation may include:
camera plans
computer generated/manually written
emails/SMS
equipment and accessories lists
lighting plans
production schedules
running sheets
screenplay
scripts
shot lists.
Editing activities may include:
aspect ratios
camera videotapes
colour grading
computer disks
frame ratio and rates
retakes
rushes
script and script changes
sound effects libraries
sound tracks
tempo - duration of shots and segments
uncut film footage, e.g.:
work prints
negative prints
A and B rolls.
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:
camera operators, e.g. first assistant camera, second unit
costume designer
director/producer
floor manager
floor manager
gaffer
grip
heads of department
lighting director
location manager
other specialist staff
other technical staff
production manager
set designer
technical director.
Production requirements may include:
budgets
film or digital production
locations
period, e.g. historical
post-production requirements, e.g. editing style
production genre
style
timelines/deadlines.
Shoots may include:
combined video and audio function
daytime
external
fixed/supported
hand-held operation
interior
location
night time
separate video and audio record functions
single-camera
studio.
Research may include:
actual events
audience analysis in location for production
characters
cultural/historical context
environment
imagination/inspiration
life experience
locations
newspapers/magazines
notes
paintings/photographs/sketches
period
review of enterprise objectives
review of other productions, e.g. movies
settings
social analysis (current or historical).
Productions may include:
advertisements/commercials
animations
documentaries
features
interactive media
live on-stage performances
promotions/presentations
short films
television series/serials, e.g. drama
training videos.
Camera plans may include discussion of:
budget implications
camera movements
camera set-up
how creative production requirements will be met
lighting requirements
number of cameras required
OHS considerations.
personnel required
positioning of sets or other physical elements
shooting material under special conditions, e.g.:
underwater
from moving vehicles
studio and/or location constraints
timelines.
Equipment and accessories may include:
autocue monitor
batteries
cables
cameras, e.g.:
digital - digital Betacam, DVC Pro
film - Arriflex
camera supports, e.g.:
pedestal
mounts
cranes
dollies
track
tripods
spreaders
fluid heads
hotheads
microphones - fixed, pole, lapel
change bags
cue card holders
headphones
filters, e.g.:
colour correction
colour
graduated: hard-edge, soft-edge, attenuated coloured, neutral density
correction filters
ultraviolet
polarising
chromatic
non-specific colour
enhancers
lens hood
lenses, e.g.:
fixed
zoom
wide-angle
macro
micro
magazines
mobile phones
special effects equipment
talkback facility
tape recorder
two-way intercom.
Stock may include:
analogue format, e.g. Beta SP
digital tape, e.g.:
Beta
DVC Pro
mini-DV
film, e.g.:
16 mm
35 mm
HDTV
SDTV
video disks.
Shots may include:
close-up
cutaway shot
establishing or master shot
extreme close-up
eye-level shot
high-angle
long shot
low-angle
mid shot
overhead shot
point-of-view shot
wide shot
zoom.
Other participants may include:
actors
ambulance and medical staff
council staff
fire brigade
general public, e.g. studio audiences, spectators
interviewees
interviewers
journalists/reporters
performers
police
presenters.
Lighting requirements may include:
types of luminaires
architectural fixtures
digital moving (intelligent) lights
key light
fill light
back light
bounced light
effect light, e.g. on backgrounds
HMI (hydrargyrum medium arc-length iodide)
light meters.
lights and accessories, e.g.:
luminaires
floods
moving lights
gobos
interior lights
spot light
flood light
special effects units, e.g.:
electrical/electronic props
strobes, mirror balls and motors, smoke machines, fog machines,
ultraviolet light, oil and water crackers, effects projectors
theatre-based units
studio and location units
tungsten
Artistic and style needs may include:
aesthetics
camera height and distance from subject
camera position
composition
continuity
duration
framing
movement
shot type
timing.
Camera movements may include:
crab
crane rigs
dolly
pan
physical relocations/movement
tilt
track in/out
zoom in/zoom out.
Documentation may include:
camera plans
computer generated/manually written
emails/SMS
equipment and accessories lists
lighting plans
production schedules
running sheets
screenplay
scripts
shot lists.
Editing activities may include:
aspect ratios
camera videotapes
colour grading
computer disks
frame ratio and rates
retakes
rushes
script and script changes
sound effects libraries
sound tracks
tempo - duration of shots and segments
uncut film footage, e.g.:
work prints
negative prints
A and B rolls.
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 direction of cinematography for productions that demonstrates an ability to:
realise the desired visual style and atmosphere of productions
plan and organise shot lists for multi-camera shoots
collaborate with and direct camera and lighting crews
work under direction
meet production deadlines
take account of production and resource constraints
sound knowledge of:
properties of different cameras
lighting techniques
photographic principles.
Context of and specific resources for assessment
Assessment must ensure:
practical demonstration of skills through planning and directing cinematography for at least two different types of productions
access to a range of professional equipment currently used in the film and television industry based on items listed in the range statement
opportunities to work on single-camera and multi-camera shoots
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
observation of the candidate directing cinematography to assess candidate's ability to achieve desired effects and to work effectively with production crews and/or directors
evaluation of sequences filmed by the candidate to determine candidate's ability to meet creative production requirements
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:
CUFDRT604A Devise camera coverage.
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 direction of cinematography for productions that demonstrates an ability to:
realise the desired visual style and atmosphere of productions
plan and organise shot lists for multi-camera shoots
collaborate with and direct camera and lighting crews
work under direction
meet production deadlines
take account of production and resource constraints
sound knowledge of:
properties of different cameras
lighting techniques
photographic principles.
Context of and specific resources for assessment
Assessment must ensure:
practical demonstration of skills through planning and directing cinematography for at least two different types of productions
access to a range of professional equipment currently used in the film and television industry based on items listed in the range statement
opportunities to work on single-camera and multi-camera shoots
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
observation of the candidate directing cinematography to assess candidate's ability to achieve desired effects and to work effectively with production crews and/or directors
evaluation of sequences filmed by the candidate to determine candidate's ability to meet creative production requirements
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:
CUFDRT604A Devise camera coverage.
Replaces
| State Code | National Code | Title | Type |
|---|---|---|---|
| C4138 | CUFCAM02A | Develop and implement a camera plan | Unit of competency |
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWJ68 | CUACAM601 | Direct cinematography for screen productions | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| 1038 | 39240QLD | Certificate IV in Education (Aboriginal and Torres Strait Islander) | Accredited course |
| D207 | CUF60107 | Advanced Diploma of Screen and Media | Qualification |