Unit of competency Outline

Date retreived
23/07/2026 2:28 AM AWST

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Compile music for soundtracks

Compile music for soundtracks

Unit of competency
National Code
CUSSOU505A
State Code
D2974
TGA Status
Replaced
DTWD Status
Replaced
Current Release Number
2.00
Current Release Date
02/11/2011
View on TGA
State Implementation and Classification
Approved Date
21/05/2014
Field of Education
100701 - Audio Visual Studies
Original Release Date
21/05/2014
Nominal Hours
34
Description
This unit describes the performance outcomes, skills and knowledge required to integrate musical elements into soundtracks for screen productions. An excellent ear for music and a broad knowledge of music styles are essential, along with good interpersonal communication skills, since music editors are sometimes called upon to help smooth out differences between composers and directors.
Notes
Elements and Performance Criteria
1. Confirm scope of soundtrack project
  • 1.1 Liaise with relevant personnel to confirm production values and expectations in relation to the soundtrack
  • 1.2 Confirm role of all personnel involved in compiling the soundtrack for a production, including own role
  • 1.3 Identify factors that may affect the compilation of the soundtrack and plan own work accordingly
2. Determine technical and musical requirements
  • 2.1 Confirm studio arrangements to ensure that all resources are sufficient to meet agreed technical requirements
  • 2.2 Obtain a shot list and music components for the soundtrack and map musical events and duration to film shots
  • 2.3 Assess whether any specific equipment is needed to produce required music score in line with the shot list
  • 2.4 Ensure that required equipment is available on time to meet production requirements
  • 2.5 Check which music components are live and which are to come from other sources and ensure that all components will be available in line with production schedules
3. Compile soundtracks for moving image sequences
  • 3.1 Determine moving image sequences that require theme, incidental or other music
  • 3.2 Establish routines with the director and film editor for viewing, assessing and discussing shot material
  • 3.3 Source, secure and prepare music components for the soundtrack ensuring that copyright requirements are met
  • 3.4 Monitor the acoustic quality of the soundtrack to consistently achieve the required sound
  • 3.5 Incorporate feedback from others on work in progress as required
4. Synchronise music components of soundtracks to moving image sequences
  • 4.1 Identify and observe correct frame rate for video or film to ensure synchronisation between sound and images
  • 4.2 Match music components to screen images or sequences
  • 4.3 Confirm with relevant personnel that the quality of music/sound components aligns with overall production concept and style
  • 4.4 Modify settings or sound quality of musical components in soundtracks according to feedback and other sound elements as required
  • 4.5 Ensure the integrity of timing, sequencing, sound quality and integration with other elements of soundtracks
  • 4.6 Present completed soundtrack to relevant personnel in line with production requirements
5. Evaluate work
  • 5.1 In consultation with relevant personnel identify aspects of the process of compiling music for a soundtrack that worked well and those that could be improved
  • 5.2 Evaluate the quality and success of the music soundtrack in meeting production requirements and planned outcomes
  • 5.3 Evaluate own role in operations and note areas for improvement
  • 5.4 Compare work against previous compositions to assess innovation and the development of techniques and ideas
  • 5.5 Provide feedback to team members on their performance as required
  • 5.6 Document evaluation of operations in line with enterprise procedures and use results of evaluation to improve own work practices
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.
Relevant personnel may include:
client
musician
performer
composer
musical assistant
music mixer
music supervisor
effects editor
effects mixer
recordist
re-recording mixer
audio operators and dubbing machine operator
audio and sound engineer
broadcaster
director
producer
post-production editor
program manager
sound designer.
Production values may include:
artistic style and quality
overall sound quality aligned with production vision
performance quality manifested in recordings
position and blend of sound sources
relative levels of sound sources
transitions between sound sources
overall sound balance
clarity of sound
colour of sound
sound textures
timbre
orchestration
attack
articulation
dynamics
melody and harmony
mood/phrasing and expression.
Productions may include:
feature films
documentaries
animated productions
short films
commercials
filmed events or performances
music videos
television productions of any type.
Factors may include:
design briefs
available personnel
number of people required to complete task
recording requirements
available resources
communication requirements
production values
available budget
provision of a quote for services
complexity of soundtrack
intellectual property
production schedules
technical considerations
timelines.
Technical requirements may include:
working sympathetically with musical elements in productions
coordinating performances of music to be included in a soundtrack
sourcing additional sound and effects
recording a range of different types of instruments from live and synthesised sources
plotting sound to picture
sequencing
prescoring
animatics
voice-over.
Equipment may include:
music-recording equipment
MIDI
electronic hardware and software for generating or orchestrating music
timecode systems
preamp, signal processor and compressor
mixers
sequencers
DAT
special effects devices.
Production requirements may include:
technical
creative
artistic
attributions
audience
budget
confidentiality
content
contractual arrangements
copyright
deadlines
direct quotes
duration
intellectual property
interviews
location
purpose
schedule
style.
Music components may include:
original music scored for screen productions
music tracks
music sequences
samples
themes
temp tracks
incidental music.
Copyright requirements may include:
provisions of current Copyright Act
copyright permission procedures
attribution
moral rights and performer's rights
negotiating with copyright organisations, such as:
owners of copyright: publishers, composers, etc.
Australasian Performing Rights Association (APRA)
Phonographic Performance Company of Australia Limited (PPCA)
Australasian Mechanical Copyright Owners Society (AMCOS)
Copyright Agency Limited (CAL)
archives.
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 ability to:
compile at least three music soundtracks that:
demonstrate well-developed critical-listening and aural-discrimination skills
meet creative and artistic requirements
meet technical requirements for screen soundtracks
work creatively, collaboratively and constructively in a team environment.
Context of and specific resources for assessment
Assessment must ensure:
access to a range of industry-current equipment as listed in the range statement
access to productions that require music soundtracks
use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of learners and the work being performed.
Method of assessment
The following assessment methods are appropriate for this unit:
evaluation of the quality of music soundtracks compiled by candidate in terms of meeting artistic and technical requirements
written or oral questioning to test knowledge as listed in the required knowledge section of this unit
case studies or scenarios to discuss issues, methods and strategies in compiling music soundtracks for screen productions
authenticated recordings of productions where the candidate compiled the music soundtrack.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:
CUFCMP501A Manage and exploit copyright arrangements
CUFIND401A Provide services on a freelance basis
CUSMCP501A Compose music using electronic media
CUSMCP502A Compose music for screen.
Replaces
State Code National Code Title Type
C4039 CUSSOU20A Prepare and compile music for a soundtrack Unit of competency
Replaced By
State Code National Code Title Type
AWG64 CUASOU507 Compile music for soundtracks Unit of competency