Unit of competency Outline
Date retreived
23/07/2026 1:20 AM AWST
23/07/2026 1:20 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.
Implement lighting designs
Implement lighting designs
Unit of competency
National Code
CUFLGT401A
CUFLGT401A
State Code
D1146
D1146
TGA Status
Replaced
Replaced
DTWD Status
Replaced
Replaced
State Implementation and Classification
Approved Date
26/08/2009
Field of Education
100103 - Drama And Theatre Studies
Original Release Date
26/08/2009
Nominal Hours
60
Description
This unit describes the performance outcomes, skills and knowledge required to implement lighting designs for 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
Clarify design requirements
- 1. Discuss lighting designs/plans with relevant production personnel to determine overall production needs
- 2. Generate a range of ideas for the execution of lighting that provide creative solutions to technical and production issues
- 3. Seek feedback on ideas with relevant production personnel to maximise creative input into lighting effects
- 4. Confirm availability of lighting equipment and lighting accessories to implement different options for lighting effects
- 5. Use a range of criteria to decide which options are most feasible and obtain necessary equipment and accessories according to enterprise procedures
- 6. Ensure that options selected provide a correct visual interpretation of the script/production
Set up and test lighting options
- 7. Set up lighting equipment and accessories to test different options for lighting effects using appropriate light and exposure meters
- 8. Interpret information readouts and make necessary adjustments to achieve desired light quality
- 9. Ensure lighting equipment and lighting accessories are adjusted to take account of camera types and capture media to be used
- 10. Correct mixed light sources to achieve a uniform colour balance, using corrective filters to meet creative and technical requirements
- 11. Participate in ongoing production meetings and evaluation of work in progress on lighting effects
- 12. In consultation with relevant production personnel, agree on the final lighting configuration to be used and inform others as required
Participate in technical rehearsals
- 13. Rehearse technical aspects of a production and execute changes to the lighting set-up according to production requirements
- 14. Modify cue sheets and update pre-programmed automated systems according to final shooting requirements
- 15. In consultation with relevant production personnel, amend lighting effects to take account of limitations imposed by the type of camera or other aspects of productions
- 16. Check that required changes to lighting operations are implemented and that relevant documentation is completed prior to actual production
- 17. Ensure appropriate supervision is arranged to maintain continuity of lighting throughout the production period
Monitor lighting operations during productions
- 18. Check operational aspects of lighting equipment and lighting set-up to ensure they are correctly prepared for productions
- 19. Ensure placement of lighting equipment and accessories is mapped and connections to correct power sources and consoles are implemented and recorded
- 20. Maintain lighting conditions throughout filming to ensure that image and light quality meet the stylistic effect required
- 21. Identify and rectify basic problems and faults using appropriate test equipment and according to enterprise and OHS procedures
- 22. Ensure that technical quality is consistent with editing and post-production requirements
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:
choreographer
director
director of photography
gaffer
lighting designer
producer
production manager
senior lighting technician
stage manager
supervisor
technical director
other technical/specialist staff.
Productions may include:
animated productions
commercials
day
documentaries
EFP (electronic field production)
ENG (electronic news gathering)
feature films
filmed events or performances
in a studio
live or pre-recorded television productions, e.g. music, drama, comedy, variety, sport
multi-camera
music video
night
on location - exterior
on location - interior
outside broadcast
short films
single-camera.
Lighting equipment may include:
architectural fixtures, e.g. wall lights
cyclorama lights
ellipsoidal profile
floods
fresnels
outside broadcast equipment
PAR (parabolic aluminised reflector) lamps
PC (pebbled convex) lamps
profile
snoots
studio and theatre-based equipment.
Lighting accessories may include:
animation discs
cables, e.g. DMX
colour frames
colour scrollers
computers
cookies
cut-outs
filters
flags
flood mechanisms
fresnel/PC barn doors
gels
gobo holders
gobo rotators
irises
manually operated colour changers
power sources
profile shutters
snoots
spots.
Criteria may include:
availability of lighting equipment and accessories
availability of lighting operators
budget
creative requirements
pre-production timeframe
type of production.
Equipment and accessories may include:
dimmers:
analogue
multiplex: analogue and digital
single-unit, e.g. follow spot
lighting consoles and peripherals, e.g.:
monitors
printers
memory storage
effects unit
fader wings
luminaires and lanterns, e.g.:
fresnel
profile
HMI
PAR (parabolic aluminised reflector) lamps
plasma
theatre-based units
studio and location units
special effects
moving/digital moving lights
intelligent/automated lighting
production equipment, e.g.:
tripods
video stock
microphones
recording devices (e.g. audiotape recorder)
headphones
batteries
lenses and filters
cameras (see 'camera types' for examples)
rigging accessories, e.g.:
safety chains
hook clamps
boom arms
spigots
telescopic stands
H-stands
winch-up stands
mobile booms
T-bars
scaffold clamps
truss
chain blocks/motors
Information readout may include:
colour temperatures
exposures
heat
intensity.
Light quality may include:
colour quality
direction
dispersion
filters
intensity
object
pictorial lighting style
pictorial quality
sources
temperature
tonal differences and range
type of surface.
Camera types may include:
Betacam
Betacam SP
digital Betacam
digital DVC Pro
DV Cam (4:3, 16:9)
film cameras, e.g. Arricam ST, Bolex 16
HDTV
mini DV.
Capture media may include:
disk
DVD
film
videotape (digital).
Documentation may include:
accident reports
building specifications, room layouts
call sheet
colour coding schedules
colour lists, plots
cue sheets and modifications to cue sheets
equipment instructions
equipment lists
fault reports
floor sheets
focus notes
lantern schedules
lighting plan
manufacturer specifications/manuals
patch sheets
power requirements
production schedule
running sheet
script
venue procedures.
Test equipment may include:
analogue or digital multimeters
continuity tester
DMX, cable tester
test lamps.
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:
choreographer
director
director of photography
gaffer
lighting designer
producer
production manager
senior lighting technician
stage manager
supervisor
technical director
other technical/specialist staff.
Productions may include:
animated productions
commercials
day
documentaries
EFP (electronic field production)
ENG (electronic news gathering)
feature films
filmed events or performances
in a studio
live or pre-recorded television productions, e.g. music, drama, comedy, variety, sport
multi-camera
music video
night
on location - exterior
on location - interior
outside broadcast
short films
single-camera.
Lighting equipment may include:
architectural fixtures, e.g. wall lights
cyclorama lights
ellipsoidal profile
floods
fresnels
outside broadcast equipment
PAR (parabolic aluminised reflector) lamps
PC (pebbled convex) lamps
profile
snoots
studio and theatre-based equipment.
Lighting accessories may include:
animation discs
cables, e.g. DMX
colour frames
colour scrollers
computers
cookies
cut-outs
filters
flags
flood mechanisms
fresnel/PC barn doors
gels
gobo holders
gobo rotators
irises
manually operated colour changers
power sources
profile shutters
snoots
spots.
Criteria may include:
availability of lighting equipment and accessories
availability of lighting operators
budget
creative requirements
pre-production timeframe
type of production.
Equipment and accessories may include:
dimmers:
analogue
multiplex: analogue and digital
single-unit, e.g. follow spot
lighting consoles and peripherals, e.g.:
monitors
printers
memory storage
effects unit
fader wings
luminaires and lanterns, e.g.:
fresnel
profile
HMI
PAR (parabolic aluminised reflector) lamps
plasma
theatre-based units
studio and location units
special effects
moving/digital moving lights
intelligent/automated lighting
production equipment, e.g.:
tripods
video stock
microphones
recording devices (e.g. audiotape recorder)
headphones
batteries
lenses and filters
cameras (see 'camera types' for examples)
rigging accessories, e.g.:
safety chains
hook clamps
boom arms
spigots
telescopic stands
H-stands
winch-up stands
mobile booms
T-bars
scaffold clamps
truss
chain blocks/motors
Information readout may include:
colour temperatures
exposures
heat
intensity.
Light quality may include:
colour quality
direction
dispersion
filters
intensity
object
pictorial lighting style
pictorial quality
sources
temperature
tonal differences and range
type of surface.
Camera types may include:
Betacam
Betacam SP
digital Betacam
digital DVC Pro
DV Cam (4:3, 16:9)
film cameras, e.g. Arricam ST, Bolex 16
HDTV
mini DV.
Capture media may include:
disk
DVD
film
videotape (digital).
Documentation may include:
accident reports
building specifications, room layouts
call sheet
colour coding schedules
colour lists, plots
cue sheets and modifications to cue sheets
equipment instructions
equipment lists
fault reports
floor sheets
focus notes
lantern schedules
lighting plan
manufacturer specifications/manuals
patch sheets
power requirements
production schedule
running sheet
script
venue procedures.
Test equipment may include:
analogue or digital multimeters
continuity tester
DMX, cable tester
test lamps.
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:
ability to implement lighting designs in ways that address both the creative and technical requirements of productions
efficient set-up and testing of lighting options
knowledge of lighting terminology
effective teamwork skills
knowledge and application of relevant OHS legislation
application of knowledge about how lighting set-ups need to take account of camera types and capture media being used.
Context of and specific resources for assessment
Assessment must ensure:
practical demonstration of skills through the implementation of a lighting design for a minimum of two productions
involvement of and interaction with a production team to reflect the collaborative nature of the production process
assessment over an extended period of time to assess the experimental aspects of this unit
access to a range of locations, e.g. studio, theatre and outdoors
access to production scripts/performance outlines on which designs can be based.
access to a variety of production venues (e.g. indoor and outdoor) and a selection of industry-standard lighting equipment and cameras as identified 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 the lighting aspects of productions for which the candidate was responsible to determine whether design requirements have been met
direct observation of the candidate during technical rehearsals or productions to determine their ability to work effectively as a member of a production team
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:
CUFLGT501A Conceive and develop lighting designs
CUFLGT402A Set up, record and operate lighting cues and effects
BSBCRT402A Collaborate in a creative process.
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:
ability to implement lighting designs in ways that address both the creative and technical requirements of productions
efficient set-up and testing of lighting options
knowledge of lighting terminology
effective teamwork skills
knowledge and application of relevant OHS legislation
application of knowledge about how lighting set-ups need to take account of camera types and capture media being used.
Context of and specific resources for assessment
Assessment must ensure:
practical demonstration of skills through the implementation of a lighting design for a minimum of two productions
involvement of and interaction with a production team to reflect the collaborative nature of the production process
assessment over an extended period of time to assess the experimental aspects of this unit
access to a range of locations, e.g. studio, theatre and outdoors
access to production scripts/performance outlines on which designs can be based.
access to a variety of production venues (e.g. indoor and outdoor) and a selection of industry-standard lighting equipment and cameras as identified 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 the lighting aspects of productions for which the candidate was responsible to determine whether design requirements have been met
direct observation of the candidate during technical rehearsals or productions to determine their ability to work effectively as a member of a production team
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:
CUFLGT501A Conceive and develop lighting designs
CUFLGT402A Set up, record and operate lighting cues and effects
BSBCRT402A Collaborate in a creative process.
Replaced By
| State Code | National Code | Title | Type |
|---|---|---|---|
| AWI60 | CUALGT402 | Implement lighting designs | Unit of competency |
| State Code | National Code | Title | Type |
|---|---|---|---|
| C684 | CUE60203 | Advanced Diploma of Live Production, Theatre and Events (Technical Production) | Qualification |
| D195 | CUF40107 | Certificate IV in Screen and Media | Qualification |
| D201 | CUF50107 | Diploma of Screen and Media | Qualification |