Unit of competency Outline
Date retreived
23/07/2026 12:46 AM AWST
23/07/2026 12:46 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.
Establish the creative vision for screen productions
Establish the creative vision for screen productions
Unit of competency
National Code
CUFDRT601A
CUFDRT601A
State Code
D1125
D1125
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
20/08/2009
Field of Education
100103 - Drama And Theatre Studies
Original Release Date
20/08/2009
Nominal Hours
50
Description
This unit describes the performance outcomes, skills and knowledge required to use sound and visual images to transform written scripts into screen productions.No licensing, legislative, regulatory or certification requirements apply to this unit at the time of endorsement.
Notes
Elements and Performance Criteria
1. Review and interpret scripts.
- 1.1. Read available drafts of scripts and arrange meetings with appropriate creative personnel to discuss potential interpretations of the vision.
- 1.2. Assess the intended creative aims of scripts, define proposed objectives and explore how they may be realised visually or through the use of sound.
- 1.3. Generate and consider a range of ideas for visualising scripts until a clear narrative emerges.
- 1.4. Identify research and reference materials to inform creative directions and to assist in providing the context for productions.
- 1.5. Review script drafts in collaboration with writers, agree on the need for any rewrites and organise timetables for completions.
- 1.6. Prepare clear development notes for script writers to produce script re-drafts as required.
- 1.7. Document perceived visual and dramatic elements in scripts as the basis for shot plans.
2. Prepare shot plans to realise visual narrative.
- 2.1. 1.1 Mark up working script into its component scenes and identify key dramatic elements and technical parameters within each scenic unit.
- 2.2. Plot key dramatic elements within each scene and between scenes to realise the transformation of the written narrative into its visual representation.
- 2.3. Consider the whole of the narrative and scenes to determine the location of characters and other elements for each individual shot.
- 2.4. Assess the photographic qualities of proposed shots and how they may impact on interpreting the story overall and within each scene.
- 2.5. Ensure overall shot plans allow both narrative and visual aspects to be controlled and carried forward to meet overall production requirements.
- 2.6. Discuss shot plans with relevant production personnel prior to development of any storyboards.
3. Review and communicate proposed shot plan.
- 3.1. Identify and document areas of productions that may be affected by script versions and discuss changes with colleagues.
- 3.2. Arrange sign-off for final script with producers if applicable and ensure it is distributed to relevant creative personnel.
- 3.3. Maintain an ongoing review of script and shot plans and organise for any further rewrites while production is underway.
- 3.4. Provide relevant production personnel with appropriate documentation, including latest version of script or script updates as applicable.
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.
Creative personnel may include:
• directors
• directors of photography
• eyewitnesses
• performers
• performers
• producers
• script editors
• writers
• other technical/specialist staff.
Research and reference materials may include:
• actual events
• audience analysis in location for production
• characters
• environment
• historical and cultural context
• imagination and inspiration
• life experience
• locations
• newspapers and magazines
• notes
• paintings, photographs and sketches
• period
• review of corporate objectives
• review of other productions
• settings
• social analysis (current or historical).
Productions may include:
• advertisements/commercials
• animations
• documentaries
• features
• interactive media products
• live-on stage performances
• promotions and presentations
• short films
• television series and serials
• training videos.
Dramatic elements may include:
• action points
• beats or action change
• character:
• goals
• transformation
• sub-text
• objectives
• actions
• history
• turning points
• arcs
• climax
• conflict
• content
• environments within the story
• events
• first impressions
• interview questions
• location
• narration
• place
• plots
• production genre
• purpose
• resolution
• scenes
• set up
• story
• story turning point
• structure
• themes
• three act structures or other structures
• time
• style:
• method
• approach
• fashion
• mode
• way of presenting things
• manner of exhibiting characteristics.
Shot plan issues may include:
• camera angle
• choice of lighting
• choice of the lens
• context of each scene within the whole narrative
• size of the shot
• special effects
• staging of the action
• whole narrative.
Technical parameters may include:
• audio
• climate
• costume
• design issues
• general staging
• interior or exterior
• lighting
• location
• seasons
• set, props and scenic art
• time of day.
Scenic unit may be defined as:
• acts
• dramatic sequences
• episodes
• scenes.
Production requirements may include:
• art direction
• budget
• codes of practice
• confidentiality
• content
• contractual
• copyright
• deadlines
• duration
• intellectual property
• location
• production design
• purpose
• schedule
• sound design.
Documentation may include:
• cast list
• cast, character, costume and props matrix
• doubling list
• extract list
• lighting plot
• notated score
• quick change list
• rehearsal notes
• rehearsal scene breakdown
• scene by scene principals and extras list
• script versions
• technical notes.
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.
Creative personnel may include:
• directors
• directors of photography
• eyewitnesses
• performers
• performers
• producers
• script editors
• writers
• other technical/specialist staff.
Research and reference materials may include:
• actual events
• audience analysis in location for production
• characters
• environment
• historical and cultural context
• imagination and inspiration
• life experience
• locations
• newspapers and magazines
• notes
• paintings, photographs and sketches
• period
• review of corporate objectives
• review of other productions
• settings
• social analysis (current or historical).
Productions may include:
• advertisements/commercials
• animations
• documentaries
• features
• interactive media products
• live-on stage performances
• promotions and presentations
• short films
• television series and serials
• training videos.
Dramatic elements may include:
• action points
• beats or action change
• character:
• goals
• transformation
• sub-text
• objectives
• actions
• history
• turning points
• arcs
• climax
• conflict
• content
• environments within the story
• events
• first impressions
• interview questions
• location
• narration
• place
• plots
• production genre
• purpose
• resolution
• scenes
• set up
• story
• story turning point
• structure
• themes
• three act structures or other structures
• time
• style:
• method
• approach
• fashion
• mode
• way of presenting things
• manner of exhibiting characteristics.
Shot plan issues may include:
• camera angle
• choice of lighting
• choice of the lens
• context of each scene within the whole narrative
• size of the shot
• special effects
• staging of the action
• whole narrative.
Technical parameters may include:
• audio
• climate
• costume
• design issues
• general staging
• interior or exterior
• lighting
• location
• seasons
• set, props and scenic art
• time of day.
Scenic unit may be defined as:
• acts
• dramatic sequences
• episodes
• scenes.
Production requirements may include:
• art direction
• budget
• codes of practice
• confidentiality
• content
• contractual
• copyright
• deadlines
• duration
• intellectual property
• location
• production design
• purpose
• schedule
• sound design.
Documentation may include:
• cast list
• cast, character, costume and props matrix
• doubling list
• extract list
• lighting plot
• notated score
• quick change list
• rehearsal notes
• rehearsal scene breakdown
• scene by scene principals and extras list
• script versions
• technical notes.
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:
script visualisations and associated shot plans that demonstrate:
well-developed understanding of visual story telling techniques
ability to generate original and fresh approaches to visualising scripts
ability to prepare performance outlines, scripts and shot plans in an appropriate format within agreed production deadlines
ability to analyse and interpret scripts to inform production planning
collaborative approach to work, including ability to work with writers and other members of a creative team.
Context of and specific resources for assessment
Assessment must ensure:
practical demonstration of skills through visualisation of at least two scripts to the stage where detailed shot plans have been prepared
access to suitable production opportunities for script development
availability of suitable script material and writers
access to appropriate learning and assessment support when required
the use of culturally appropriate processes, and techniques appropriate to the oracy, language and literacy capacity of the assessee and the work being performed.
Method of assessment
The following assessment method is appropriate for this unit:
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 selection of shot plans and script documentation prepared by the candidate to determine candidate's understanding of the script development and directing process
written or oral 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:
CUFDRT602A Audition and select performers
CUFDRT604A Devise camera coverage
CUFDRT605A Collaborate with editors during 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:
script visualisations and associated shot plans that demonstrate:
well-developed understanding of visual story telling techniques
ability to generate original and fresh approaches to visualising scripts
ability to prepare performance outlines, scripts and shot plans in an appropriate format within agreed production deadlines
ability to analyse and interpret scripts to inform production planning
collaborative approach to work, including ability to work with writers and other members of a creative team.
Context of and specific resources for assessment
Assessment must ensure:
practical demonstration of skills through visualisation of at least two scripts to the stage where detailed shot plans have been prepared
access to suitable production opportunities for script development
availability of suitable script material and writers
access to appropriate learning and assessment support when required
the use of culturally appropriate processes, and techniques appropriate to the oracy, language and literacy capacity of the assessee and the work being performed.
Method of assessment
The following assessment method is appropriate for this unit:
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 selection of shot plans and script documentation prepared by the candidate to determine candidate's understanding of the script development and directing process
written or oral 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:
CUFDRT602A Audition and select performers
CUFDRT604A Devise camera coverage
CUFDRT605A Collaborate with editors during post-production.
Replaces
| State Code | National Code | Title | Type |
|---|---|---|---|
| C4160 | CUFDRT01A | Read and interpret the script | Unit of competency |
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWJ13 | CUADRT601 | Establish the creative vision for screen productions | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| D207 | CUF60107 | Advanced Diploma of Screen and Media | Qualification |