A TECHNICAL REPORT ON STUDENT
INDUSTRIAL WORK EXPERIENCE SCHEME
(S.I.W.E.S)
UNDERTAKEN AT
EBONYLIFE
TELEVISION
6, INDUSTRIAL AVENUE, OFF TOWN PLANNING WAY,
ILUPEJU, OSHODI, LAGOS.
BY
AGBAOYE ADEDEJI OLUWATOBI
F/ND/3420019
DEPARTMENT OF ELECTRICAL / ELECTRONICS ENGINEERING,
SCHOOL OF INDUSTRIAL AND MANUFACTURING ENGINEERING,
YABA COLLEGE OF TECHNOLOGY.
INSTITUTION BASED SUPERVISOR:
ENGR. ADENIRAN F. B
SUBMITTED IN PARTIAL FUFILMENT OF THE AWARD OF
NATIONAL DIPLOMA (OND) IN ELECTRICAL / ELECTRONICS
ENGINEERING.
FROM:
MAY 2016 TO AUGUST 2016
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CERTIFICATION
This is to certify that AGBAOYE ADEDEJI OLUWATOBI of Matric number
F/ND/3420019 compiled this report based on his fourteen weeks Student Industrial
Working Experience Scheme (S.I.W.E.S.) training carried out at EbonyLife TV. 6,
Industrial Avenue, Off Town Planning Way, Ilupeju, Oshodi, Lagos
………………………………..
Name of Student
………………………
Signature and Date
…………………………………
Name of Academic Supervisor
………………………
Signature and Date
Company’s stamp and date ……………………
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DEDICATION
This report is dedicated foremost to Almighty God for his infinite grace upon my life and for his
favour upon my life in leading me through my four-month SIWES training exercise.
I would also use this opportunity to thank my ever dearest mum, Mrs. Eunice Agbaoye for her
extreme care, love and her continuous motivation which never ceased to develop me in all areas of
my life. I would also thank my Industry based supervisor, Engr. Ohuneniyan Oluh Paul, my mentor
who inspired, motivated, and impacted a whole lot of knowledge in me throughout my training
exercise.
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ACKNOWLEDEGEMENT
My gratitude goes to the Industrial Training Fund for their prudence in putting this program in
place and also to the Electrical / Electronic Engineering Department, Yaba College of
Technology, Yaba for providing a platform on which I was engaged on the training.
I am thankful to EbonyLife Television for granting me with such an opportunity to be exposed to
telecommunication engineering, high definition satellite and streaming transmission, live studio
broadcast, studio facilities and electronics.
I also want to say a big thank you to my industry based supervisor Engr. Ohuneniyan Paul Oluh
and to the Technical Director Mr. Zac Almeida also to Engr. Fagbenro Tolulope, and every
personnel of the Engineering/ Technical Department for welcoming me into the
telecommunication industry with open hands.
To Mr. Olufade Oladayo and Mr. Bassey Ita of the IT department, thank you all for taking me in
like a brother. To Rotimi, Justice, Archibong, Bright and every staff in the production control room
department, God bless you all.
To my parents and siblings thank you all for your moral and financial support. I cannot wish for
a better family.
I am deeply indebted to God Almighty, the giver of all wisdom, knowledge and understanding,
without whom I would have achieved nothing at all.
Finally, to my Institution based supervisor Engr. Adeniran F. B. for his support and to my other
friends and colleagues. Thank you all. I am highly grateful.
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ABSTRACT
This Industrial Report presents the experience garnered during my six months of Industrial
training commenced at EbonyLife TV, 6, Industrial Avenue, off Town Planning Way,
Ilupeju, Oshodi, Lagos.
My training was on telecommunication engineering domain of electrical engineering, television
broadcast, production and master control room operations, central apparatus room, electronic
instruments and devices relating to telecommunication and television broadcast, and HD fidelity
satellite and streaming transmission.
I acquired practical knowledge on how to identify equipment in the MCR and the production
control room.
I also learned how to fix coaxial cables according to their pin configurations e.g. 3-pin XLR ports,
mono and stereo jack plugs, implementation of continuity test using buzzer test by multimeters on
circuit boards, cables, port pins and sockets and power plugs.
I was able to develop software skills i.e. Multisim Pro and Ultiboard 14.0 in designing and
simulating circuits, I was able to solder, unsolder using lead suckers, tin metals with lead and build
circuits using various components on circuit boards
I installed triac connectors to triac cables connected to the camera control unit, BNC to mono and
stereo port installation, XLR to mono and stereo jacks and RCA ports for clip-on microphones, and
body-pack transmitters and hand held receivers
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TABLE OF CONTENT Title Page
Certification
i
Dedication
ii
Acknowledgement
iii
Abstract
iv
Table of Content
v
Chapter 1
Introduction to Training Program
9
1.0
Purpose of Training
10
1.1
Company’s profile
11
Chapter 2
The Training Program
2.0
Description of Work done
2.1
Production Control Room Equipment
2.2
2.11
19-inch rack
2.12
Camera control unit
2.13
Mixing Console
2.14
Vision mixer
2.15
Patch Panel
2.16
Teleprompter
Studio and Broadcast Operations
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2.21
Production Control Room
2.23
Master Control Room (MCR)
2.24
Television Studio
Chapter 3
Telecommunication Electronics
3.0
Equipment and Devices for broadcast
3.01
Audio Connectors
3.02
Audio Cables
3.04
Triaxial Cables
3.05
XLR Connectors
3.11
High Definition Multimedia Interface (HDMI)
3.14
Microphones
3.16
Wiring XLR connectors to one or two TRS mono and stereo jacks
3.17
Wiring XLR connectors to RCA connectors
Chapter 4
Observations and Contributions ……………………………………………………………5
5.0
Observations …………………………………………………………………….........34
5.1
Contributions …………………………………………………………………………35
5.2
Relevance of experience gained to classroom knowledge……………………………35
Chapter 5
Conclusion and Recommendation………………………………………………………….6
6.0
Conclusion ……………………………………………………………………………36
6.1
Recommendation …………………………………………………………………….36
6.2
Challenges encountered during period of Training………………………………......36
References …………………………………………………………………………………...37
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8|P age
CHAPTER 1
INTRODUCTION TO TRAINING PROGRAM
1.0 PURPOSE OF TRAINING
The Students Industrial Work Experience Scheme (SIWES) was initiated in 1973 by the Industrial
Training Fund (ITF). This was to update practical knowledge of students in the Universities,
Polytechnics and Colleges of Technology. It was aimed at bridging the gap between the theoretical
knowledge acquired in classes and technical knowledge in the industries by providing students
with the opportunities to apply their educational knowledge in real work situations.
Over the years, SIWES has contributed immensely to building the common pool of technical and
allied skills available to the Nigerian economy which are needed for the nation’s industrial
development.
Furthermore, the place and relevance of SIWES is underscored by the fact that the scheme
contributes to improving the quality of technical skills generally available in the pool from which
employer’s source technical manpower.
It also gives students the opportunity to blend theoretical knowledge acquired in the Classroom
with practical hands-on application of knowledge required to perform work in the industry. Also,
it prepares students for employment & makes the transition from school to the world of work easier
after graduation.
I assumed my SIWES training at EbonyLife TV, which was located at 6, Industrial Avenue, off
Town Planning Way, Ilupeju, Lagos which Lasted from May 03, 2016 to August 05, 2016. (14
weeks).
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1.1 COMPANY’S PROFILE:
EbonyLife TV, Africa’s first Global Black Entertainment and Lifestyle network, was launched on
the 1st July 2013, to a Pan-African audience by a license agreement with Multichoice (DStv) Africa,
Africa’s largest Pay TV platform. The channel is distributed to 49 African countries, including South
and Southern African.
Ranked as one of the most watched channels on DStv platform, EbonyLife TV is focused at the
African youth, aged 18 to 34, annually providing over1000 hours of premium, original and
homegrown Anglo-African entertainment programming ranging from Talk, Reality, Comedy,
Drama, Factual, among others. Distribution wise, EbonyLife TV also sits on the Talk Talk and Lebara
Play platforms in the UK and it has equally signed agreements to distribute in Canada via Ethnic
Channels Group Limited, with plans for wider global distribution via Virgin Media in the UK as well
as other platforms in the UAE, the Caribbean and US.
EbonyLife TV is owned by Mosunmola Abudu, Executive Chairman and CEO. EbonyLife TV has a
head office and principal studio at Tinapa, Calabar and a branch office and studios at Ilupeju, Lagos,
the company has a staff strength of approximately 500 individuals.
1.2 COMPANY’S MISSION STATEMENT
EbonyLife TV’s mission is to create original, premium and inspiring content with an African soul
that showcases the best of the content for a Global Black audience.
1.3 CORPORATE GOAL
EbonyLife TV’s goal is to be the preferred global network for premium African entertainment, in
order to attain this goal, EbonyLife TV channel broadcasts exclusively African original
programming which is both inspirational and aspirational celebrating style and success; and exciting
24-Hour viewing bliss where every programme from Reality to Talk; Drama to Entertainment:
Magazine to Comedy- leaves the audience with that cool, glossy, polished and sophisticated
experience
1.4 THE COMPANY’S SCOPE OF WORK
In areas of specialization EbonyLife TV has the capacity of providing the following
services:
-
Live studio broadcast
-
Satellite and streaming transmission
-
Airing of drama, talk, reality and factual shows
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-
Information Technology
-
Sponsoring and advert of other shows, products and services on its media platform
EbonyLife TV is made up of six (6) major departments. They are:
1. Engineering Department
2. Administration/Finance Department
3. Social media Department
4. Moments
5. The Spot
6. Information Technology Department (IT)
7. Studio, Camera-related, and control room section
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CHAPTER
2
THE TRAINING
PROGRAM
2.0 DESCRIPTION OF WORK DONE
At EbonyLife TV, the technical department is divided into the Engineering Department, the
studio, camera-related & control room section and the IT department, the engineering
department is in charge of repair, maintenance, formation of equipment in the central
apparatus room, master control room and production control room, the department is also
responsible for setting up connectors to cables, audio mixers, camera control unit. The studio
section consists of the floor manager for heeding to instructions from the director, and
ordering instructions to camera operators and presenters, it also consists of camera operators
for handling the professional video camera, HD picture recording and handling of the
adjustable crane camera. The studio manager controls, controls and inspects all activities
carried out in the studio. The IT department is responsible for handling every computerized,
software and hardware aspects of the TV and streaming broadcast, they handle LAN and WiFi connections, software programming, uploading of media content to the server, fixing of
technical and digital issues
MONTH
SECTION
MAY
Engineering Department
JUNE
Production Control Room
JULY
IT Department
AUGUST
Master Control Room and Studio
Table 1: Showing departments specialized in three months of internship
During my stay in EbonyLife TV, for the first month, I was assigned to the Engineering
department as an Intern, under the Studio Broadcast Engineer, Technical Director and
Facility Engineer
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2.1 PRODUCTION CONTROL ROOM EQUIPMENT
2.11. 19-INCH RACK
A 19-inch rack is a standardized frame or enclosure for mounting multiple equipment modules.
Each module has a front panel that is 19 inches (482.6 mm) wide. The 19-inch dimension includes
the edges or ears that protrude on each side which allow the module to be fastened to the rack frame
with screws.
Figure 2.04– 19-Inch Rack
Figure 2.05 – 19-Inch Rack at PCR
2.12. CAMERA CONTROL UNIT (CCU)
CCU (Camera Control Unit) refers to a range of equipment and operations related to remote
control of video/television camera functions. This can include either partial or complete camera
control. CCU operations are an important component in many types of television production, in
particular multi-camera productions.
The person operating the CCU units is known as a CCU Operator, Vision Controller or (in some
cases) a Technical Director (TD).
Partial CCU Control
This is a common method for controlling camera functions in television production. It is a
professional approach, allowing for maximum control and quality.
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Most of the camera functions (framing, focus, etc.) are controlled normally by a camera operator,
whilst certain functions (colour balance, shutter speed, etc.) are controlled remotely by the CCU
operator. This allows the camera operator to concentrate on framing and composition without being
distracted by technical issues. At the same time the CCU operator, who is a specialist in the more
technical issues, is concentrating on the quality and consistency of the pictures.
Figure 2.07 - Sony Camera Control Unit at EbonyLife TV’s Control Room
In addition to these, there are usually options internally generating a test card for testing, return
feeds or talkback. For more complex production, pre-set scene files can be recalled to quickly
change the settings of the camera on the fly.
2.14. MIXING CONSOLE
In audio, a mixing console (also known as an audio mixer, mixing desk or sound mixer) is an
electronic device for combining (also called "mixing"), routing, and changing the level, timbre
(tone colour) and/or dynamics of many different audio signals, such as microphones being used by
singers, mics picking up acoustic instruments such as drums or saxophones, or signals from electric
or electronic instruments such as the electric bass or synthesizer. In the 2010s, a mixer is able to
control analogue or digital signals, depending on the type of mixer. The modified signals (voltages
or digital samples) are summed to produce the combined output signals, which are then broadcast,
amplified through a sound reinforcement system or recorded (or some combination of these
applications).
Mixing consoles are used in many applications, including recording studios, public address
systems, sound reinforcement systems, broadcasting, television, and film post-production. A
typical, simple application combines signals from two microphones (each used by vocalists singing
a duet, perhaps) into an amplifier that drives one set of speakers simultaneously. In live
performances, the signal from the mixer usually goes directly to an amplifier (unless the mixer has
a built in power amplifier or is connected to powered speakers). A DJ mixer may have only two
channels, for mixing two record players. A coffeehouse's tiny stage might only have a six channel
mixer, enough for a duo of singer-guitarists. A nightclub stage's mixer for rock music shows may
have 24 channels for mixing the signals from a rhythm section and several vocalists. A mixing
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console for a large concert may have 48 channels. A mixing console in a professional recording
studio may have as many as 72 channels.
Figure 2.10 - A 16-channel mixing console
2.15. VISION MIXERS
A vision mixer (also called video switcher, video mixer or production switcher) is a device used
to select between several different video sources and in some cases compositing (mix) video
sources together to create special effects. This is similar to what a mixing console does for audio.
The terms vision mixer and video mixer that describe both the equipment and the device operator
are used outside the USA. In the United States, the equipment is called a video production switcher
What Does a Vision Mixer Do?
The main purpose of a vision mixer is to create a master output for a real-time video recording or
broadcast. Typically vision mixers are used for live events, or any event where multiple sources
need to be mixed in real-time (as opposed to post-production editing).
Vision mixers can also be used to create various visual effects, from simple mixes and wipes
between sources to advanced composite effects.
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Figure 2.11 – A vision mixer
2.16. PATCH PANEL
A patch panel, patch bay, patch field or jack field is a device or unit featuring a number of jacks,
usually of the same or similar type, for the use of connecting and routing circuits for monitoring,
interconnecting, and testing circuits in a convenient, flexible manner. Patch panels are commonly
used in computer networking, recording studios, radio and television.
2.18. TELEPROMPTER
A teleprompter is a display device that prompts the person speaking with an electronic visual text
of a speech or script. Using a teleprompter is similar to using cue cards. The screen is in front of,
and usually below, the lens of a professional video camera, and the words on the screen are
reflected to the eyes of the presenter using a sheet of clear glass or a specially prepared beam
splitter. Light from the performer passes through the front side of the glass into the lens, while a
shroud surrounding the lens and the back side of the glass prevents unwanted light from entering
the lens.
Because the speaker does not need to look down to consult written notes, he appears to have
memorized the speech or to be speaking spontaneously, looking directly into the camera lens. Cue
cards, on the other hand, are always placed away from the lens axis, making the speaker look at a
point beside the camera, which leaves an impression of distraction.
Figure 2.14 - Schematic representation: (1) Video camera; (2) Shroud; (3) Video monitor; (4) Clear
glass or beam splitter; (5) Image from subject; (6) Image from video monitor
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Figure 2.15 – Teleprompter displaying text
2.2. STUDIO AND BROADCAST OPERATIONS
2.21. PRODUCTION CONTROL ROOM
The production control room or studio control room (SCR) is the place in a television studio in
which the composition of the outgoing program takes place. An SCR is also often the acronym for
the Satellite Control Room, from here TV feeds are sent to & received from the local Satellite used
by the TV station
The production control room is occasionally also called an SCR or a gallery – the latter name
comes from the original placement of the director on an ornately carved bridge spanning the BBC's
first studio at Alexandra Palace which was once referred to as like a minstrels' gallery. Master
control is the technical hub of a broadcast operation common among most over-the-air television
stations and television networks. Master control is distinct from a PCR in television studios where
the activities such as switching from camera to camera are coordinated. A transmission control
room (TCR) is usually smaller in size and is a scaled-down version of central-casting
AUDIO CONNECTORS
There are a variety of different audio connectors available. The most common types are 3-pin XLR,
RCA, and 6.5mm TRS plugs (also known as ¼" jacks).
3-PIN XLR
3-pin XLR connectors are mainly used for balanced audio signals. Using a balanced signal reduces
the risk of inference.



Pin 1 is the earth (or shield)
Pin 2 is the +ve (or 'hot')
Pin 3 is the -ve (or 'cold).
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There are a number of different XLR's: 3-pin, 4-pin, 5-pin, etc.
3-PIN XLR MALE
3-PIN XLR FEMALE
1/4" TRS PLUG (6.5MM, AKA PHONE PLUG OR JACK PLUG)
There are two types of 6.5mm plugs: Mono and stereo. The mono plug has a tip and a sleeve, the
stereo plug has ring, a tip and a sleeve.



On the mono plug the tip is the +ve, and the sleeve is the -ve or shield.
On a stereo plug being used for a balanced signal, the tip is the +ve, the ring is the -ve, and
the sleeve is the shield.
On a stereo plug being used for a stereo signal (left and right), the tip is the left, the ring is
the right, and the sleeve is the shield.
Jacks also come in various sizes - 6.5mm (¼"), 3.5mm, 2.5mm. The wiring for all of them is the
same.
1/4" MONO PHONE PLUG (TS, TIP-SLEEVE)
1/4" STEREO PHONE PLUG (TRS, TIP-RING-SLEEVE)
Audio Cables
There are two main types of audio cable we will look at: Single core / shielded (unbalanced) and
One pair / shielded (balanced).
Single Core / Shielded Cable
In a single core / shielded cable, the single core is used for the +ve, or 'hot', and the shield is used
for the -ve, or 'cold'. This type of cable is used for unbalanced audio signals.
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Single core / shielded cable
One Pair / Shielded Cable
A one pair / shielded cable has one core as the +ve, and the other core is -ve. The shield is earthed.
This type of cable is used for balanced audio signals.
One pair / shielded cable
Triaxial cable, often referred to as triax for short, is a type of electrical cable similar to coaxial
cable, but with the addition of an extra layer of insulation and a second conducting sheath. It
provides greater bandwidth and rejection of interference than coax, but is more expensive.
The most common use of triaxial cable is in television industry as a connecting cable between a
camera and its CCU. The outer sheath is commonly used as a protective earth conductor. The core
provides both power and signal connections, with the return for the power being provided through
the inner screen. Through frequency-division multiplexing, the camera can send audio and video
signals along the triax while the CCU can send camera control information, such as exposure
settings, intercom, return audio and video (usually that of the program), and tally (a signal alerting
the operator that their camera is on the air) and power for the camera
The XLR connector is a style of electrical connector, primarily found on professional audio, video,
and stage lighting equipment. The connectors are circular in design and have between 3 and 7 pins.
They are most commonly associated with balanced audio interconnection, including AES3 digital
audio, but are also used for lighting control, low-voltage power supplies, and other applications.
XLR connectors are available from a number of manufacturers and are covered by an international
standard for dimensions, IEC 61076-2-103. They are superficially similar to the older and smaller
DIN connector range, but are not physically compatible with them.
HDMI (High-Definition Multimedia Interface) is a proprietary audio/video interface for
transferring uncompressed video data and compressed or uncompressed digital audio data from an
HDMI-compliant source device, such as a display controller, to a compatible computer monitor,
video projector, digital television, or digital audio device. HDMI is a digital replacement for analog
video standards.
Stereo Jack to 2x RCA
When a stereo 1/4" jack is being used for a stereo signal (as opposed to a balanced mono signal),
the left and right parts of the stereo signal can be split off to two separate connectors. For example,
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a stereo headphone output can be split into left and right connectors, and one possible use for this
would be to use these two independent connectors to feed left and right monitoring speakers.
XLR to 1/4" Mono Plug
The most common way to wire a 3-pin XLR to a 1/4 inch (6.5mm) mono plug (sometimes called a
jack plug), is to join the negative and shield together.
This can be done by either soldering the shield and negative wires of the XLR to the sleeve of the
plug......
Or by soldering a jumper on the XLR...
XLR TO 2X RCA
A 3-pin XLR with a stereo signal can be split into left and right by wiring pin 2 of the XLR to the
tip of one RCA plug, and pin 3 of the XLR to another RCA tip. Pin 1 of the XLR connects to the
sleeve of both RCA plugs.
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CHAPTER 3
OBSERVATIONS AND CONTRIBUTIONS
5.0 OBSERVATIONS
-
As a student my first observation was the cognition of the difference between the school
environment and the labour market, as it is a different ball game entirely
-
Neatness was also a key attribute as even though the job is usually seen as a dirty job,
technicians were always admonished to be as neat as possible in their dressing and in
carrying out their duties. This was further encouraged by rewarding technicians that
could fully adhere to this.
-
The hospitality shown to customers was of another level as customers were treated with
so much care and respect. From provision of free breakfast and lunch, to a brief internal
training, to free medical checkup the customers were always made to feel at ease.
-
Communication played a vital role in the successful execution of jobs, from among
personnel in a section to departments communicating with other departments present in
the company and also customers with company’s personnel. Good flow of information
was required and as a result most jobs that were returned or problematic, come about as a
result of poor communication between parties.
5.1 CONTRIBUTIONS
My training was on telecommunication engineering domain of electrical engineering, television
broadcast, production and master control room operations, central apparatus room, electronic
instruments and devices relating to telecommunication and television broadcast, and HD fidelity
satellite and streaming transmission.
I acquired practical knowledge on how to identify equipment in the MCR and the production
control room.
I also learned how to fix coaxial cables according to their pin configurations e.g. 3-pin XLR ports,
mono and stereo jack plugs, implementation of continuity test using buzzer test by multimeters on
circuit boards, cables, port pins and sockets and power plugs.
I was able to develop software skills i.e. Multisim Pro and Ultiboard 14.0 in designing and
simulating circuits, I was able to solder, unsolder using lead suckers, tin metals with lead and build
circuits using various components on circuit boards
I installed triac connectors to triac cables connected to the camera control unit, BNC to mono and
stereo port installation, XLR to mono and stereo jacks and RCA ports for clip-on microphones, and
body-pack transmitters and hand held receivers
CHAPTER 6
CONCLUSION AND RECOMMENDATION
6.0 CONCLUSION
My 6 months’ industrial attachment as a junior technician at Germaine Auto Centre was a
huge success and a great time of acquisition of knowledge and skills. Through my training I
was able to appreciate my chosen course of study even more, because I had the opportunity
to blend the theoretical knowledge acquired from school with the practical hands-on
application of knowledge gained here to perform very important tasks that contributed in a
way to my productivity in the company. My training here has given me a broader view to the
importance and relevance of Electrical / Electronics Engineers in the immediate society and
the world as a whole, as I now look forward to impacting it positively after graduation. I have
also been able to improve my communication and presentation skills and thereby developed
good relationship with my fellow colleagues at work. I have also been able to appreciate the
connection between my course of study and other disciplines in producing a successful result.
6.1 RECOMMENDATION
I use this means to make the following recommendations concerning the training of students
in Industrial Attachments.
i.
I would like to recommend that the Engineering curriculum in the University
of Lagos be adjusted such as would provide going on industrial attachments
for a longer period of time as opposed to 6 months or making the program to
occur twice throughout an engineering degree program.
ii.
Allowances should be paid to students during their programme just like
NYSC and not after. This would help them a great deal to handle some
financial problems during their training course.
6.2 CHALLENGES ENCOUNTERED DURING PERIOD OF TRAINING

I wasn’t allowed to drive cars after repair. So I could not do active test using
Diagnostic machines on my own.

And I was not allow to go out to repair car. I was restricted to the workshop.
REFERENCES
 “Company’s Profile, EbonyLife TV
 Mediacollege.com
OLADEJI ADEOLA .I.
100403071
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