HSC Entertainment Industry (VET) cheat sheet

Duty of care: PCBUs must ensure health and safety so far as reasonably practicable; workers must take reasonable care for themselves and others and follow instructions.

Hierarchy of control, highest to lowest: eliminate the hazard, substitute, isolate, engineering controls, administrative controls, then PPE as the last line of defence.

Risk assessment formula: risk = likelihood x consequence; a hazard with high likelihood and severe consequence requires controls before work proceeds.

Notifiable incidents (death, serious injury or illness, dangerous incident) must be reported to the regulator immediately by phone, with written notice within 48 hours.

Consultation is required with workers on WHS matters; a health and safety representative can request a workplace inspection and issue a provisional improvement notice.

Hazard reporting chain: stop work if unsafe, make the area safe, report to supervisor or WHS officer, record in the hazard or incident register.

Manual handling risk factors: force, posture, repetition, duration and vibration; team lifting and mechanical aids reduce load on the spine.

Emergency response sequence: raise the alarm, assist evacuation, proceed to the assembly area, account for personnel, do not re-enter until cleared.

Hazardous substances require a safety data sheet, correct labelling, ventilation and PPE; electrical work near water needs RCD protection.

Production hierarchy: producer (finance and overall delivery), director (creative), stage manager (on-stage coordination), production manager (logistics and crew).

Pre-production, production and post-production phases; bump-in (load-in), show run and bump-out (load-out) are the live event stages.

A call sheet lists crew call times, location, contacts, schedule and safety notes; a running order or cue sheet lists the sequence of show events.

Technical rider: a document from a touring party specifying equipment, power, rigging and crew the venue must supply.

Industry roles: lighting designer, sound designer, vision director, head flyman, wardrobe supervisor, front-of-house manager.

A show is cued with standby (warning) then GO; cues are numbered and logged on the prompt copy held by the stage manager.

A production schedule works backwards from opening night; technical rehearsal and dress rehearsal precede the first public performance.

Union and award conditions (e.g. minimum breaks, overtime, meal penalties) affect crew scheduling and must be checked before finalising calls.

Resume format: reverse-chronological work history, relevant credits, skills and certifications (e.g. working at heights, first aid, white card).

Portfolio evidence for creative roles: showreel, cue sheets, lighting plots, sound designs or production photos with a credit list.

Job application documents: cover letter tailored to the role, resume, and referee contacts who can confirm technical competence.

Effective radio communication: identify yourself, state location and need, keep messages short, acknowledge with 'copy' or 'roger'.

Conflict resolution steps: address privately, use 'I' statements, focus on the issue not the person, escalate to supervisor if unresolved.

Workplace communication channels: production meetings, noticeboards, email, radio and the call sheet; confirm critical instructions in writing.

Professional conduct: punctuality, appropriate PPE, confidentiality of production information, respect for cultural and accessibility needs.

Networking and career progression: volunteering on community productions, accredited training, and mentorship build industry credits.

Rigging load limits: never exceed the working load limit of any sling, shackle, truss or motor; the safe working load is the maximum permitted load.

Load calculation: total suspended load divided by number of pickup points gives load per point; add dynamic amplification for moving loads.

Colour coding of rated hardware (e.g. shackles, slings) indicates working load limit and inspection status; damaged gear is tagged out and removed.

Working at heights requires a licensed or competent person, fall arrest or restraint, exclusion zone below and a rescue plan.

Fly system operations: counterweight balance, lock off before leaving, warn 'heads up' or 'flying in' before moving scenery over people.

Truss types: box truss and ladder truss; loading must be applied at nodes, not mid-span, and loads distributed symmetrically.

Ground support and flown systems require a structural engineer's sign-off where the venue structure is used for suspension.

Inspection regime: pre-use visual checks, periodic documented inspections and post-incident inspection of all rigging equipment.

Suspension safety: secondary safety bonds on all overhead equipment; never stand under a suspended load during movement.

Lighting plot symbols: profile/ellipsoidal, fresnel, PAR can, moving head, LED wash; each has a defined beam and focus behaviour.

Beam angle and throw distance determine the pool diameter: wider beam angle over a longer throw produces a larger, dimmer pool.

Colour temperature measured in kelvin: tungsten around 3200 K, daylight around 5600 K; mixing requires correction gels.

DMX512 control: 512 channels per universe; address each fixture so its channel range does not overlap another's.

Patch and focus: patch fixtures to console channels, then focus beam, set shutters or gobos, and record cues.

Safety: secure all fixtures with a safety bond, allow lamps to cool before handling, and never look into a beam or laser.

Power: calculate load in watts divided by voltage to get amps; balance across phases and never exceed circuit rating.

Cue structure: standby, GO, fade time; blackout and full-up states are cues like any other and are recorded in the cue stack.

Haze and smoke machines affect beam visibility; check venue detectors and isolate alarms before use.

Signal chain order: source (mic/DI) to preamp, mixer, processing, amplifier, loudspeaker; keep gain structure consistent to avoid clipping.

Gain staging: set input gain so peaks sit below clipping (headroom), then use fader for level; avoid boosting at multiple stages.

Microphone types: dynamic for loud sources and durability, condenser for detail and studio work, lavalier for speech, DI for instruments.

Phantom power (+48 V) is required for condenser mics and active DIs; never apply it to ribbon mics or unbalanced gear.

Feedback control: reduce gain, reposition mic and speaker, notch the offending frequency with EQ; keep mics behind the main speakers.

Balanced connections (XLR, TRS) reject interference over long runs; unbalanced (TS, RCA) suits short runs only.

Cable discipline: coils over-under to prevent kinks, label and test cables, keep audio and power cables separated to reduce hum.

Hearing conservation: sustained exposure above 85 dB(A) risks damage; limit exposure time and use hearing protection at high levels.

Line check sequence: confirm each input at the console, then check monitors, then front of house, before doors open.

Video signal chain: camera to switcher to scaler or media server to projector or LED processor to display.

Resolution and aspect ratio: 16:9 is standard for HD (1920x1080) and UHD (3840x2160); mismatched ratios cause letterboxing or cropping.

Frame rate and refresh: match camera, switcher and display refresh rates to avoid tearing; 25 fps aligns with 50 Hz mains.

Connections: SDI for long professional runs, HDMI for short consumer runs, DisplayPort and fibre for extended distance.

LED wall setup: calculate pixel pitch and viewing distance; map processor outputs to cabinet layout and check for dead pixels.

Projection: throw ratio = throw distance divided by screen width; keystone correction and lens shift keep the image square.

Content safety: check for strobe and flash content against photosensitivity guidelines; provide captions or audio description where required.

Cueing vision: standby and take cues on the switcher; confirm sources and lower-thirds before going live to screen.

Cable and connector care: cap fibre ends, avoid tight bends, and test signal path end-to-end before the show.

Working drawings and scale: 1:25 or 1:50 plans show set layout; 1:1 full-size marking is used for construction templates.

Materials: plywood, MDF, timber framing, steel and aluminium; each has different load, fire and finishing properties.

Flats are braced with stays or jack braces; every tall flat needs a counterweight or fixing to prevent tipping.

Fire retardant treatment is required for scenic elements and drapes; keep certification records for the venue.

Set construction safety: use correct PPE (eye, ear, respiratory), guard saw blades, and isolate power before maintenance.

Weight and handling: build in sections that can be carried by the crew, label heavy pieces, and plan a lifting route.

Finishing: primer then topcoat; texture products must be compatible with the base material to avoid peeling.

Strike and storage: label and stack flats and props systematically so they can be reassembled for the next venue.

Structural elements that support people (stairs, platforms, rails) require engineering check and rated fixings.

Costume plot lists each character, scene, garment and quick-change; a dressing list tracks items per performer.

Continuity: photograph and note each look so scenes shot or performed out of order remain consistent.

Quick-change logistics: presets, dressers, magnets or press studs, and a change area close to the stage entrance.

Laundry and care: read care labels, separate colours, test cleaning on a hidden area, and log damage for repair.

Props table and prop list: every prop has a home and a handler; consumables (food, breakables) are budgeted per show.

Weapon props: stored securely, checked before each use, and handled only by trained performers under a props supervisor.

Allergy and safety: check cosmetics and adhesives for sensitivities; keep first-aid and spill kits in the wardrobe area.

Wardrobe department budget covers hire, purchase, making, alterations, cleaning and replacement of consumables.

Front-of-house roles: FOH manager, ushers, box office, bar and merchandise staff; all report to the venue or event manager.

Ticketing: check ticket validity, scan and reconcile counts; accessible seating and companion tickets are allocated per policy.

House opens at a set time before the performance; latecomers are held and admitted at a suitable cue.

Emergency procedures: ushers direct evacuation, check toilets and foyer areas, and report to the assembly point.

Customer service escalation: acknowledge the issue, listen, offer a remedy within policy, and refer unresolved complaints to the FOH manager.

Accessibility: step-free routes, hearing loops, accessible toilets and clear signage must be checked before doors open.

Responsible service of alcohol: check ID, refuse service to intoxicated patrons, and follow venue and legal requirements.

Incident reporting: record accidents, ejections and lost property in the FOH log for the duty manager.

Venue capacity is the maximum number of people permitted by the occupancy certificate; never exceed it.

Site plan shows entrances, exits, first aid, assembly areas, power and crew zones; brief all staff on it before doors.

Bump-in and bump-out schedules sequence deliveries, rigging, focus and rehearsal; each has a sign-off before the next stage.

Power distribution: calculate total demand, balance across phases, use RCD protection and label all circuits.

Licences and permits: public liability, occupancy, noise, liquor and pyrotechnics permits must be current before the event.

Weather contingency for outdoor events: monitor forecasts, set wind limits for structures, and have a suspension and evacuation trigger.

Crowd management: monitor density at barriers and exits, keep egress routes clear, and brief security on the emergency plan.

Post-event: debrief, reconcile costs, return hires, and record incidents and maintenance issues for the venue log.

Call times and turnaround: crew arrive before the call, sign in, and observe minimum rest breaks between shifts.

Show flow: doors, support act, interval, main act, encore, egress; each segment has its own cue list and staffing.

Communication protocol: radio channels are assigned by department; the stage manager's channel is the show channel.

Cue calling: stage manager calls standby and GO; operators execute and confirm; cues are timed to the running order.

Contingency planning: identify critical single points of failure (power, comms, lead vocal mic) and prepare backups.

Documentation: prompt copy, cue sheets, risk assessments, sign-in sheets and incident logs form the show record.

Teamwork on tour: local crew and touring crew have distinct roles; brief local crew on venue-specific hazards and systems.

Professional standards: arrive fit for work, no alcohol or drugs on duty, and follow fatigue management rules.