In the summer of 1998, the NVQ Standards came up for review and amending. Unfortunately, due to a misunderstanding at Skillset, notification of the coming review was sent to an AMPS member whose name was supplied on request from Skillset by BKSTS, despite the fact that I had been involved with Skillset and the Sound Standards from the outset of the scheme in 1991. The AMPS member who received the notices must have been much puzzled and binned the correspondence, as nothing was heard from the recipient.
I became aware of the Standards Review from adverts placed in the BECTU journal and BKSTS' 'Image Technology' by Skillset, asking for film industry people to comment on the film standards with a view to amending.
I naturally supposed that AMPS, or I, would be informed and asked for our input. But as the weeks went by I realised that something was amiss and so contacted Adrian Bishop-Laggett, leader of the Sound Standards Group since its inception, asking why AMPS had not been informed of the review. He was surprised that there had been no communication and had wondered why he'd not heard from me. From him I learnt that meetings had already been held at BECTU and that the closing date for amendments was now past. However he said that he would ask for an extension on our behalf, ensure that I was sent a copy of the existing standards, and if I acted quickly he would see that any suggestions made were taken on board.
A set of Sound Standards duly arrived along with apologies and explanations from Kate O'Connor of Skillset. Unfortunately there wasn't time to distribute copies to other AMPS members, so I got on with it and put forward a number of points for change, most of which I'm pleased to say were incorporated in the rewritten standard now published.
It's disappointing that AMPS members didn't have a chance of making amendments for this review. I have been unhappy all along that there was never sufficient input during the formation of the Sound Standards from film sound people. Apart from Harry Fairburn and myself, all the main people in the working party were from studio television and sound radio resulting in what I considered a strong bias towards the working practises of these two industries. By rationalising the wording of any of the standards I felt were contentious, I was able to accept them, knowing that any film sound candidate pursuing an NVQ would be observed and assessed by persons highly experienced in film sound; thus the original standards went for publication.
Another problem I foresaw was what were listed as Mandatory units and Optional units. Mandatory units are those considered as basic skills for each level of NVQ, and must be obtained by all candidates. Optional units are those skills that a candidate may require in his/her particular job, the candidate selecting from the list the required number of units to complete the particular grade of NVQ.
All NVQ units must be assessed by qualified assessors observing candidates performing their jobs in actual working conditions. In the original lists of Mandatory units were skills which while, film sound people would be capable of performing, there would be little likelihood that they would ever be able to be seen doing them in the work place.
Fortunately this situation has now been relieved somewhat in the 1998 revision. Now there are designated routes for Film, Television and Radio. Several of the Mandatory units have now been changed to Optional thus allowing the remaining units on the Mandatory list to be obtainable by candidates from all branches. The Optional units now allow quite a wide choice of activities to be assessed.
While these are good steps forward there are still anomalies regarding film sound that must be sorted out. There will be a further chance in three years time and it is imperative that AMPS plays a significant part in that review of the NVQ Standards.
Further work must be done by AMPS to see that there are suitable assessors appointed to assess film sound candidates; that there are suitable sound assessment centres established; that there are methods of financing candidates to pay for their assessments.
I am aware that there is a great deal of antipathy towards NVQs amongst film sound people, especially in senior grades. It's quite understandable that they should feel affronted, that with all their years in the business, some unknown authority says they have to be examined for an unneeded qualification.
Despite the fact that two of the film sound people invited to participate in the original working party pulled out because they considered NVQs wouldn't work in the film industry, the work went on. Perhaps by not contributing they thought the whole idea would go away. Well it hasn't, because NVQs, under EU directives, are here to stay, like it or not, and they will eventually become an essential requirement for all CVs and work insurance cover.
In January of this year I met with Kate O'Connor at her Skillset office in Oxford Street. We had a lengthy discussion during which she explained how they were now making an all out effort to get the film industry properly organised for all NVQs.
She also told me that at last, after my many protestations on behalf of sound editors, it had been agreed there should be a set of standards for sound editing, separate from picture editing standards.
It is hoped that sometime during the coming months to arrange an AMPS meeting with Kate O'Connor where she can update members and explain future plans. Watch out for further details.
One further point. I have for the past eight years been the only link between AMPS and NVQs. Despite the seeming lack of interest of AMPS members, I have kept the contact up because I consider it essential that AMPS has a say in proceedings. As I am now reaching my 'BEST BEFORE' date I need help from AMPS members to take interest in NVQ affairs and take up the work needed to keep AMPS in the picture.
So please, if you are the slightest bit interested in NVQs, get in touch with me as soon as possible.