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2011 HSC Notes from the Marking Centre – VET Entertainment Industry

Contents

• Introduction
• Section II
• Section III and IV

Introduction

This document has been produced for the teachers and candidates of the Stage 6 course in Entertainment Industry. It contains comments on candidate responses to the 2011 Higher School Certificate examination, indicating the quality of the responses and highlighting their relative strengths and weaknesses.

This document should be read along with the relevant syllabus, the 2011 Higher School Certificate examination, the marking guidelines and other support documents developed by the Board of Studies to assist in the teaching and learning of Entertainment Industry.

Teachers and candidates are reminded that – if candidates are undertaking the 240-hour VET Industry Curriculum Framework in Entertainment Industry and they want to undertake the HSC examination in Entertainment Industry – they need to be entered separately for the examination through Schools Online.

General comments

Teachers and candidates should be aware that examiners may ask questions that address the syllabus outcomes in a manner that requires candidates to respond by integrating the knowledge, understanding and skills they developed through studying the course.

Candidates need to be aware that the marks allocated to the short answer questions and the answer space (where this is provided on the examination paper) are guides to the length of the required response. A longer response will not in itself lead to higher marks in Section II. Writing far beyond the indicated space may reduce the time available for answering other questions. Candidates need to be aware that Section III and Section IV are both extended response style questions and require an answer that is of considerable length to ensure they cover all areas of the question and therefore maximise their mark potential.

Candidates need to be familiar with the Board’s Glossary of Key Words, which contains some terms commonly used in examination questions. However, candidates should also be aware that not all questions will start with or contain one of the key words from the glossary. Questions such as ‘how?’, ‘why?’ or ‘to what extent?’ may be asked, or verbs may be used that are not included in the glossary, such as ‘design’, ‘translate’ or ‘list’. Ensure all candidates know what such terms mean and they can respond appropriately.

Candidates need to be encouraged to draw on their experiences in both the practical and theoretical aspects of the course. Examples from their direct work-placement experience, school simulations and media etc should be used to support their responses in all questions. Candidates must remember that this course has a practical basis and answers should include practical examples where applicable.

Candidates should be exposed to a range of industry experiences. Ensure that candidates are given the opportunity to consider all topics, not only from the viewpoint of the traditional theatre, but also in a wide range of alternative contexts. Similarly, it is extremely important for candidates to consider the extensive variety of roles that are involved in all the major technical areas of the entertainment industry and the interrelationship they share.

While candidates often undertake some of their work-placement hours in a school environment, it is important that they are exposed to scenarios related to the industry as a whole. Candidates need to understand the difference in personnel between small-scale and large-scale productions, and that personnel in smaller productions often undertake more than one production role. It is important that candidates recognise this but do not blend these roles in their understanding of the entertainment industry as a whole. In a small production, for example, the lighting designer often rigs the lights and operates the desk. Candidates need to understand that these roles are usually carried out by different people in larger productions. Establishing a clear context when responding to a question, especially an extended response, will ensure the candidate does not present an ambiguous discussion.

Section II

Question 16

1. In better responses, candidates demonstrated a clear understanding of a thrust stage, including the implications for the audience being on three sides of the stage. Candidates often included detail on a variety of production elements, including staging, lighting, vision and audio.
   
   In weaker responses, candidates did not differentiate between types of stages. They gave a general staging answer with limited or no specific reference to a thrust stage.
   
   
2. In better responses, candidates demonstrated a clear understanding of the differences and similarities between a thrust stage and an in-the-round stage. They detailed a variety of technical considerations in relation to the in-the-round stage and often made comparison to a thrust stage.
   
   In weaker responses, candidates failed to compare an in-the-round stage with the thrust stage. Often candidates gave limited lists of general staging considerations.

Question 17

1. In better responses, candidates demonstrated a clear understanding of emerging technologies through the use of multiple examples. These responses clearly identified the emerging technology then discussed its characteristics, including showing a clear link to marketing and promotion of events.
   
   In weaker responses, candidates were limited in their discussion and often misunderstood the concept of emerging technologies. They tended to give general rather than emerging technology examples, in list form, with no characteristics discussed.
   
   
2. In better responses, candidates demonstrated a clear understanding of a variety of special effects within the entertainment industry and how emerging technologies have influenced these. Candidates clearly described the characteristics of emerging technology and gave specific workplace examples.
   
   In weaker responses, candidates often misinterpreted the question and tended to list types of special effects in film and were limited in their understanding of emerging technologies within special effects. Candidates tended to give technology examples in list form with no characteristics discussed.

Question 18

1. In better responses, candidates demonstrated a clear understanding of the role of the front-of-house (FOH) manager in this situation. They discussed both strategies for the seating of the late patron by the FOH staff as well as various customer-service techniques.
   
   In weaker responses, candidates provided very general information with little reference to specific roles of the FOH manager.
   
   
2. In better responses, candidates demonstrated a comprehensive understanding of the implications to both customer satisfaction and patron safety due to patron late entry. They often referred to noise, visibility, trip hazards, and performer disturbance.
   
   In weaker responses, candidates provided information that was too general and repetitive. They tended to give a brief description of a safety issue with limited reference to customer satisfaction and its implications for the customers.

Question 19

1. In better responses, candidates clearly identified reasons why written communication is used by the production team during pre-production. They often referred to communication techniques, designation of tasks, rosters, time sheets, schematics etc. In these responses, candidates clearly identified the pre-production phase of production.
   
   In weaker responses, candidates briefly referred to written communication, but rarely referred to the pre-production stage. They often talked about communication in general.
   
   
2. In better responses, candidates provided a variety of factors that affected the selection of communication equipment, including budget, type of location, access or language. These candidates had a clear understanding of what the word ‘factor’ implied and specifically linked it to pre-production.
   
   In weaker responses, candidates often referred to communication techniques rather than the factors that affect the selection of communication equipment. They made little or no reference to the pre-production stage.

Question 20

1. In better responses, candidates discussed a variety of information that a rigging team would learn from a lighting plan. They often discussed lantern positions, types of lanterns, accessories and patching. These candidates demonstrated that they have a good understanding of the procedures undertaken with the use of a lighting plan.
   
   In weaker responses, candidates often incorrectly identified information used from a lighting plan.
   
   
2. In better responses, candidates clearly identified the three different lantern types and their uses in a performance setting. They presented a clear and concise response that discussed an individual use for each lantern.
   
   In weaker responses, candidates gave general statements about lighting scenarios with little indication of the correct lantern to use. They often combined the uses of the lanterns rather than provide a specific use for each lantern.

Section III and IV

General comments

Candidates need to ensure that they read and address all aspects of the question in their response. Any scenario or production role that is given for the extended response question or scaffold question is included to provide a context for the response. It is important that candidates take time to familiarise themselves with the scenario and to consider all the information provided.

When a specific area of production is identified and an individual role is used in a question, candidates should give careful consideration to that area and the role when responding. They can link in other areas of production or roles, but they should ensure they do not get side tracked.

Candidates need to be aware that detail is required in both the holistic and structured extended response. Candidates need to draw on their experiences from the course overall rather than try to pigeonhole questions to specific topic areas. Concepts from all core areas can be used in responses, as appropriate. A wide range of examples from work placement, class simulations and media files should be used in responses.

Question 21

In better responses, candidates showed a sophisticated understanding of all three components and how they related to each other. These candidates often specifically named components of a vision system and provided examples of how they could be used to fulfil the brief within both an indoor and outdoor context. Reference was often made to international formats and cultural differences.

In mid-range responses, candidates knew about equipment required for vision systems in the context, but lacked detail in its application. They often provided general information regarding safety and technical considerations, but this was not always related specifically to vision. They provided good descriptions of staging a rock concert but reference to vision systems was minimal or only implied through the discussion of lighting, staging or audio.

In weaker responses, candidates often misinterpreted the question and answered in relation to lighting or audio. They often did not understand what a vision system was and how it could be used in the context. The responses were often in list format and provided limited detail.

Question 22

1. In better responses, candidates clearly drew a stage-installation diagram. These candidates included a stage plan and a mixing desk and clearly indicated the link between these two.
   
   In mid-range responses, candidates were concise in their drawing of either a stage plan or a mixing desk but rarely combined the two. At times, they confused stage geography, particularly stage left and stage right.
   
   In weaker responses, candidates showed little knowledge of the requirements of an audio-installation diagram. They generally put some pieces of equipment on a stage, but demonstrated little understanding of the stage placement.
   
   
2. In better responses, candidates clearly defined both internal and external customers and provided correct examples of each. The candidates used industry terminology appropriate to audio and elaborated on the role of the audio designer and how they would interact with each set of customers. These candidates clearly understood and applied the context of a rock concert to their response.
   
   In mid-range responses, candidates did not clearly differentiate between external and internal customers. These candidates demonstrated some misunderstanding of the audio designer’s role in this context. They often provided their response in list form and had less command of industry terminology.
   
   In weaker responses, candidates tended to discuss the role of the audio designer without referring to either internal or external customers. These candidates often confused the audio designer with the audio engineer. The discussion, if any, of a customer was limited to the audience.