Entertainment Industry 2025 HSC exam pack

Students should:

• read the question carefully ensuring important components of the question are not missed
• have a clear understanding of key words in the question, recognising the intent and its requirements
• use the first page of the answer booklet to develop a plan to assist in logical sequencing of information for the extended response
• engage with the question, rather than presenting a prepared response
• relate to the question throughout the entire response, rather than just at the beginning
• demonstrate knowledge and understanding of HSC content from the syllabus
• communicate ideas and information using workplace examples and entertainment industry terminology
• be prepared to address a range of industry issues and contexts
• demonstrate knowledge of employability skills, relevant to various situations
• include relevant annotations when providing a diagram
• present a logical and cohesive response answering the question
• review the response to ensure it addresses question requirements
• apply understanding of course/subject knowledge to the context addressed in the question, rather than supplying a generic answer based on the topic of the question.

Question 16

In better responses, students were able to:

• correctly identify two pieces of equipment required to produce the look shown in the image, for example, the profile lantern, gobo, haze, or lighting desk
• use correct industry terminology, for example, profile lantern with gobo or fog/hazer machine
• name the two pieces of equipment, rather than writing an explanation, to enable better examination time management.

Areas for students to improve include:

• understanding the functions of different lanterns and their accessories.

Question 17 (a)

In better responses, students were able to:

• outline accurately the responsibilities of an audio technician during the production phase of a school production assembly with a range of procedures, for example, operating, balancing, troubleshooting and cueing the audio
• distinguish between the role of the audio technician and the audio operator.

Areas for students to improve include:

• placing the activities clearly in the correct part of the production process, for example, discussing bump in, rather than the production itself
• outlining the responsibilities of the audio team using industry terminology
• providing a range of responsibilities beyond enacting cues and monitoring volume, for example, adjusting EQ, adjusting gain, and troubleshooting.

Question 17 (b)

In better responses, students were able to:

• refer to the return of hire equipment as a part of bump out, for example, explaining the importance of paperwork, reporting damage, fulfilling contractual agreements, correct packing of equipment for transport, and separating activities from a ‘regular’ bump out process
• draw on relevant terminology from audio bump out and communication, for example, email or mobile/phone for communication with the hire company.

Areas for students to improve include:

• using correct industry terminology in relation to working with hire companies, for example, audio, equipment lists and contractual agreements
• discussing the difference between a ‘regular’ bump out and one requiring the return of hired equipment, for example, consultation of invoice and/or manifests, and packing for safe transportation.

Question 18 (a)

In better responses, students were able to:

• provide a clear outline of the specific actions the camera operator can prepare for cue 3 to go live, for example, zoom out from the closeup, pan and refocus on the wide shot of the stage
• refer specifically to the cue sheet and event, for example, referencing camera 1 change from cue 1 to cue 3
• consider when the camera operator would prepare for cue 3, for example, during cue 2.

Areas for students to improve include:

• preparing for cue 3 and outlining how the camera 1 operator prepares when camera 2 is live
• differentiating between the role of a camera operator and a vision operator, for example, the perspective of the camera operator is not that of the vision switcher
• referring to the actions of the camera 1 operator using industry terminology, for example, zoom, pan, focus, tight/wide shot.

Question 18 (b)

In better responses, students were able to:

• describe the functions of a vision switcher/mixer and how they are used to successfully execute vision cues for this event accurately, for example, using fade, cut and wipe functions to switch between video sources after checking them on a preview monitor
• describe how the vision operator can use the functions, for example, use a transition function to switch between input sources
• refer specifically to the event, for example, the vision operator would check camera 2 on the preview monitor while cue 1 is live and fade into the next cue when called by the stage manager.

Areas for students to improve include:

• describing the specific functions of a vision switcher/mixer, rather than the roles and responsibilities of the vision operator, for example, the vision operator would select the input source on the switcher to change the output source
• referencing the cue sheet and the event when describing the functions of the vision switcher, for example, switching to camera 1 when cue 3 is actioned
• referencing the vision operator rather than the camera operator, for example, the vision operator operates the switcher/mixer and the camera operator operates the camera.

Question 19 (a)

In better responses, students were able to:

• demonstrate a clear understanding of cast induction with relevant information regarding the movement of scenic truck, for example, spiking, referring to weight of truck, stage plans and cues
• reference manual handling, for example, using safe lifting techniques, team lifting, where to push/pull the truck
• identify a stage truck and its characteristics accurately, for example, how a scenic truck moves on and off stage, and considerations of stage tracks and brakes.

Areas for students to improve include:

• demonstrating understanding of the differences between a general site induction and a specialised induction for cast relating to the movement of the scenic truck, for example, training on manual handling and team lifting techniques to safely move the scenic truck on and off stage
• describing training the cast on safe manual handling techniques effectively, for example, using legs instead of back for lifting/moving a heavy scenic truck
• referring to the scenic truck in the induction process, for example, how the cast will move the truck.

Question 19 (b)

In better responses, students were able to:

• provide a clear description of the troubleshooting process relevant to the scenic truck with a clear resolution, for example, identify the cause, such as a loose screw, and attempt to tighten the screw, test the fix by practising the movements, and review the fix
• show ongoing monitoring as part of the process after providing a resolution, for example, continuing to monitor the wheel throughout the production
• demonstrate a clear understanding of scenic elements, for example, castor wheel, bearings and stage geography
• incorporate risk management procedures effectively as part of a proactive way to troubleshoot the process, for example, substituting the loose wheel for another one, isolating the truck while not in use, and engineering controls, such as using blocks to hold the truck up while being repaired.

Areas for students to improve include:

• demonstrating understanding of the troubleshooting process and resolutions to issues identified, for example, identifying causes for the wheel coming loose and providing logical and practical solutions to fix the scenic truck
• demonstrating understanding of scenic element metalanguage and the impact on the production, for example, show stop, steps in the troubleshooting process, and isolating the truck
• differentiating between the troubleshooting process and the hierarchy of controls, for example, troubleshooting has a methodical process to identify, correct and review an issue, and the hierarchy of control refers to ranking of risk management strategies from most to least effective.

Question 20

In better responses, students were able to:

• demonstrate a clear understanding of quality customer service with linked examples towards the charity fundraiser, for example, effective verbal and non-verbal communication strategies
• present a discussion with appropriate strategies framed towards the charity executives and volunteers, for example, the use of ushers for executives, non-verbal communication strategies for the volunteers, signage to break rooms for volunteers
• incorporate relevant customer service terminology, for example, active listening
• differentiate the needs, preferences and expectations of varied customers, for example, the executives expect to be seated at the front of the venue.

Areas for students to improve include:

• describing quality customer service techniques, for example, personal presentation and greetings, ushers showing executives to their seats in the theatre
• applying quality customer service terminology, for example, using open and closed questions
• demonstrating understanding of the difference between the needs, preferences and expectations of different types of customers, for example, providing executives with an exclusive area.

Question 21 (a)

In better responses, students were able to:

• outline two different risk management control methods to ensure the safety of crew members while repairing scenery, for example, the person on the ladder should be maintaining three points of contact at all times to ensure stability, the worker below the ladder should wear a hard hat to avoid injury from falling objects
• refer to the hierarchy of control, for example, isolate the working area with caution tape and eliminate the hazard of working at heights by laying the flat down to work on it.

Areas for students to improve include:

• demonstrating understanding of the control method, for example, the worker who is painting should be using a mask to prevent the inhalation of fumes from the paint
• differentiating between risk management and hazard identification, for example, a hazard can potentially cause harm, and risk management is controlling the hazard to minimise the risk of harm/injury.

Question 21 (b)

In better responses, students were able to:

• consider the differences in location of the scenery and how it affects the lighting state, for example, the larger venue may require lanterns to be re-positioned and re-focused to recreate the lighting state of the smaller venue
• refer to stage geography accurately, for example, scenery moved ‘further upstage’ means it is further from the audience
• consider the need to maintain the same lighting state in each venue, for example, the lighting designer and operator need to consider how the change in distance affects the vision/look.

Areas for students to improve include:

• demonstrating understanding of stage geography to accurately describe the changing lighting requirements in the larger venue, for example, scenery moved upstage requires brighter or more powerful lighting fixtures to account for the greater throw distance required in the larger venue
• describing the considerations, rather than listing, for example, more lights required to increase lighting coverage on the stage and overall brightness/luminance
• using industry terminology to describe considerations, for example, a narrower beam angle is required due to the increased distance from the lanterns.

Question 22 (a)

In better responses, students were able to:

• demonstrate a clear understanding of the pre-production phase occurring prior to bump in, for example, apply for the performance rights of the production
• provide a range of activities undertaken in the pre-production phase, for example, pre-production meetings and communication with personnel, and tasks performed such as development of paperwork, plots and cue sheets, site visits and/or inductions, and reference to relevant information such as WHS and copyright
• consider the production elements specific to the context of the question, for example, the community theatre's first production in a new performing arts centre, the musical and the existence of a counterweight fly system
• use pre-production terminology, for example, production meeting.

Areas for students to improve include:

• demonstrating understanding of the difference between pre-production and bump in or performance
• identifying multiple considerations and activities in the pre-production phase, for example, hiring of personnel, development of plans, and hiring of equipment
• demonstrating understanding of industry terminology and its application, for example, creating a props list to ensure all props are sourced
• providing contextual information to avoid generalisations, for example, the type of rehearsal, such as a sitzprobe.

Question 22 (b)

In better responses, students were able to:

• distinguish between impacts and implications of the incident, for example, explaining what would happen and the follow-on effects for the individual and the production
• use WHS terminology in categorising the costs of workplace injuries and their implications on the production, for example, the impact of the injury to the production's reputation.

Areas for students to improve include:

• differentiating between the immediate impact and the broader implications of the incident, for example, the injured worker needing medical assistance and potentially to be replaced
• considering a range of implications on the production, for example, economic, organisational, human and social costs
• considering the implications for a range of stakeholders, for example, the worker and the company.

Question 23

In better responses, students were able to:

• address all areas of audio and provide a logical sequence of installation to ensure the audio system works effectively, for example, providing specific correct cables and accessories for the different needs, including keyboard, microphone, and guitars
• explain aspects of lighting, including positioning, powering, patching, addressing and testing, and provide details of what is involved at each step. For example, a LED lighting fixture needs to be allocated a DMX address which matches the DMX soft patching in the lighting console
• explain the areas of audio and lighting installation, for example, documentation to assess equipment needs, bump in, set up, patch, test, and WHS checks
• use industry terminology such as foldback, XLR, signal flow, DMX, universe and provide specific technical details, for example, naming the specific microphone type, such as a condenser which is suitable as an overhead drum microphone
• provide a cohesive explanation of the best industry practice for both audio and lighting equipment to be functional in relation to the diagram, for example, using speakon cables to connect the audio amplifier to passive speakers as these cables lock and are not easily disconnected.

Areas for students to improve include:

• describing the setting up of equipment, rather than engaging with the technical aspects of the questions, for example, mentioning the patching of equipment and programming of the audio or lighting console
• providing a clear series of logical steps to be followed when installing technical equipment and avoid generalisations, for example, naming the steps in the order the technicians follow for correct installation
• referring to both installation of lighting and audio equipment
• clarifying the different functions of audio equipment for specific needs, for example, distinguishing between instrument and audio system amplifiers and how they both contribute to the overall sound
• explaining the process of installation, for example, providing details of the equipment, where and how it is used in the installation
• identifying technical equipment and processes, for example, active or passive speakers, soft patching, DMX channels and universe.