Haryana BSEH Senior Secondary NSQF Media and Entertainment cheat sheet

Value chain order: development → pre-production → production → post-production → distribution and marketing → exhibition or platform delivery.

Industry segments: film, television and OTT, print, radio, music, animation and VFX, gaming and esports, advertising, live events, out-of-home and digital.

Above-the-line = producer, director, writer, principal cast and their rights; below-the-line = crew, equipment, locations, transport, catering and post-production.

100% FDI is permitted under the automatic route in film production, exhibition, animation, VFX and post-production in India.

Distributor and exhibitor shares of box-office collections are settled on agreed terms, and P&A (prints and advertising) is recovered before net collections are split.

Revenue streams: theatrical, satellite and TV rights, streaming licence, music rights, merchandising, syndication and advertising-funded FCT slots.

The Sector Skill Council is MESC (Media and Entertainment Skills Council); its qualifications map to NSQF levels and national occupational standards.

Most media work is project-based: engagement runs from call sheet to wrap and is paid as a day rate or a fixed project fee under contract.

Five-step risk assessment: identify hazards, decide who may be harmed and how, evaluate risks and set controls, record findings, review and update.

Hierarchy of control, most to least effective: eliminate, substitute, engineering control, administrative control, personal protective equipment.

Electrical and live-gear fires need CO2 or dry powder extinguishers; water and foam conduct electricity and must never be used on them.

Ladder rule 4:1 - one metre out at the base for every four metres of height - with three points of contact maintained throughout.

Noise action level is an eight-hour average of 85 dB(A); a 3 dB rise doubles sound energy and halves the permitted exposure time.

Tungsten and HMI heads run well above 100 °C; allow cool-down before re-lamping, wear gloves, and never look directly into a fresnel or open arc.

Cable management: tape or mat every run across walkways, never daisy-chain extension boards, and keep exits, extinguishers and distribution boards clear.

Report every incident and near miss the same day, logging time, persons involved, cause, control failure and first aid given.

Shannon–Weaver chain: sender → encoder → channel → decoder → receiver, with noise distorting the message and feedback verifying it.

Radio discipline: press push-to-talk, wait about one second, say 'Control, this is [name]', state the request, then release to listen.

A production brief must confirm six items in writing: objective, audience, deliverable, deadline, budget and approval authority.

Set vocabulary: 'standby' = be ready; 'rolling'/'speed' = recording; 'cut' = stop; 'back to one' = reset positions; 'striking' = taking down gear; 'wrap' = day complete.

Email convention: specific subject line (Project – Subject – Date), one topic per message, named action owner and deadline, reply within one working day.

Active listening cues: paraphrase what was said, ask one clarifying question, and repeat instructions back before leaving the briefing.

Escalation path on set: 3rd AD or trainee → 2nd AD → 1st AD → line producer; safety concerns go directly to the 1st AD or safety officer.

The call sheet is the authoritative record of call time, location, contacts and safety notes for the shooting day.

Call time is not wrap time: crew must be rigged, briefed and ready at call time, and late arrival is logged against the individual.

Eisenhower matrix: urgent and important = do now; important but not urgent = schedule; urgent but not important = delegate; neither = drop.

Feedback with SBI: state the Situation, the observed Behaviour, and its Impact - one incident at a time, no labels about the person.

POSH Act 2013: Internal Committee in workplaces with ten or more workers; written complaint within three months (extendable by three), confidentiality mandatory.

On-set dress: dark non-reflective clothing, closed-toe shoes, no dangling jewellery or loose sleeves near motors, track and moving equipment.

Confidentiality: a signed NDA covers scripts, footage and release dates, and no social post goes out from set without written producer clearance.

Conflict de-escalation: separate the person from the problem, use 'I' statements, and restate the other party's interest before proposing a fix.

Frame sizes and pixel counts: 1920×1080 (HD, 16:9), 3840×2160 (UHD, four times HD), 4096×2160 (DCI 4K), 1080×1920 (vertical 9:16).

Storage maths: bitrate ÷ 8 = bytes per second, so a 50 Mbps clip is about 6.25 MB/s and one minute is roughly 375 MB.

3-2-1 rule: three copies of the data, on two different media, with one copy off-site or offline; RAID is redundancy, not a backup.

Naming convention: Project_Scene_Take_Version_Date, with no spaces or special characters, and one version history per deliverable.

Codec versus container: H.264, ProRes and DNxHD are codecs; MP4, MOV and MXF are containers that wrap video, audio and metadata.

Offload procedure: copy with checksum verification, never cut-and-paste, and reformat the camera card only after two confirmed copies.

Unit conversion: 1 byte = 8 bits, Mbps ÷ 8 = MB/s, and 1 Gbps is roughly 125 MB/s.

Account security: 12-character-plus passphrase, unique per service, two-factor authentication on email and cloud storage, no shared logins.

Exposure triangle: aperture sets light and depth of field, shutter sets light and motion blur, ISO or gain sets sensitivity and noise.

Full-stop f-numbers: 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 - each step halves the light; a 180° shutter at 25 fps equals 1/50 s.

Slow-motion maths: shoot at 100–120 fps for a 25 fps timeline to get 4–5× slow motion, keeping shutter at twice the shooting frame rate.

White balance: 3200 K for tungsten, 5600 K for daylight, manual balance on a grey card; setting a higher Kelvin value makes warm light render bluer.

Focus routine: zoom fully in, focus on the subject's eye, zoom back out, and confirm with peaking or magnified assist.

Moves and their support: pan and tilt on the head, dolly and truck on track, pedestal on the column, crane or jib for arcs, gimbal or Steadicam for travelling shots.

Exposure tools that beat an uncalibrated LCD: histogram, waveform monitor and zebras at 70–80% for skin and 95–100% for clipping.

Media discipline: format cards in-camera, never pull a card while the write light is on, and clean optics with a blower and lint-free tissue only.

Rule of thirds: place key subjects on the intersection points, keep headroom modest, and leave lead room in the direction of gaze or movement.

Shot-size ladder: EWS → WS → MS → MCU → CU → ECU; angles: high, eye-level, low, plus Dutch tilt for unease.

The 180-degree rule keeps screen direction consistent across coverage; the 30-degree rule requires each new angle to differ by at least 30°.

Three-point lighting: key at roughly 45° horizontal and 30–45° vertical, fill opposite the key at a 2:1 to 8:1 ratio, backlight for subject separation.

Inverse square law: doubling lamp-to-subject distance quarters the light, a two-stop drop; halving the distance quadruples intensity.

Hard light comes from a small apparent source and gives sharp shadows; soft light comes from a large or diffused source and wraps around the face.

Gel rules: CTB moves 3200 K tungsten toward daylight, CTO moves 5600 K daylight toward tungsten; gel practicals or correct them in camera.

Safe area: keep titles inside 80% of frame and action inside 90%, so overscan and alternate aspect ratios do not crop content.

Signal chain: source → microphone → preamp → analog-to-digital converter → recorder or media; monitoring is a parallel branch, not part of the chain.

Microphone types: dynamic (rugged, high SPL), condenser (sensitive, needs 48 V phantom power), ribbon (fragile, figure-8, avoid phantom power).

Polar patterns: omni picks up all directions, cardioid rejects the rear, hypercardioid and shotgun narrow the pickup for dialogue.

Recording standard for video: 48 kHz sample rate, 24-bit depth, dialogue averaging around −18 dBFS with peaks never above −6 dBFS.

Digital clipping cannot be repaired: set gain so peaks sit near −12 dBFS and record a safety track about 10 dB lower where supported.

3:1 rule: separate multiple microphones by at least three times the source-to-mic distance to avoid comb filtering and phase cancellation.

Boom position: just above frame, angled down toward the chest, shock-mounted, hands silent, cable looped with slack.

Record 30–60 seconds of room tone at every location, and slate or clap each take so sync can be recovered in post.

Human hearing spans roughly 20 Hz–20 kHz; the sample rate must exceed twice the highest frequency (Nyquist), hence 48 kHz for video work.

Track layout: dialogue, ADR, Foley, hard effects, ambience and music, kept as separate stems for remixing and M&E delivery.

Loudness targets: −23 LUFS integrated for EBU R128 broadcast and about −14 LUFS for streaming, with true peak at or below −1 dBTP.

J-cut means the next scene's audio enters before its picture; L-cut means the previous scene's audio runs on over new picture; both soften transitions.

Dialogue EQ starting points: high-pass at 80–100 Hz, cut mud at 200–400 Hz, gentle presence lift at 2–5 kHz, de-ess at 5–8 kHz.

Compressor controls: threshold sets where processing begins, ratio sets how much, attack and release set timing, make-up gain restores level.

Diegetic sound exists in the story world (dialogue, footsteps); non-diegetic sound such as score and narration sits outside it and steers emotion.

Every audio edit needs a short crossfade or fade to zero to prevent clicks, with one to two seconds of handles beyond each cut point.

Pipeline order: ingest → backup → proxies → assembly → rough cut → fine cut → picture lock → sound, colour, VFX and graphics → master → QC → delivery.

Edit types: ripple changes overall duration, roll moves a cut point, slip changes source in and out without moving the clip, slide moves a clip over its neighbours.

Timecode format is HH:MM:SS:FF; drop-frame timecode compensates for 29.97 fps and is marked with semicolons or a DF flag.

Intermediate codecs (ProRes 422, DNxHD/HR) for editing and grading; delivery codecs (H.264/H.265) for web; long-GOP originals get proxies.

Colour pipeline: apply the camera's log-to-Rec.709 LUT for viewing, grade with lift/gamma/gain primaries, then mask or key for secondaries.

Trust scopes over eyes: keep luma inside 0–100 IRE, check skin tones on the vectorscope, and stay inside legal broadcast chroma limits.

Deliverable set: high-bitrate master, compressed web version, broadcast spec file, subtitle file (SRT or burned-in), and 16:9, 1:1 and 9:16 crops.

QC checklist: black or flash frames, sync drift, audio peaks and loudness, missing captions, correct slate, filename and duration.

Raster images (JPEG, PNG, PSD) are pixel grids that degrade when scaled up; vector art (SVG, AI, EPS) is path-based and resolution-independent.

Colour modes: RGB is additive and used for screens, CMYK is subtractive and used for print; 8-bit gives 256 levels per channel, about 16.7 million colours.

File choice: PNG for transparency, JPEG for photographic stills, SVG for scalable logos, PSD for layered working files, EXR for VFX composites.

Hierarchy tools in order of impact: size, weight, colour contrast, position, then white space.

Typography terms: leading is line spacing, kerning is space between letter pairs, tracking is uniform spacing across text, x-height is lowercase body height.

Animation timing: 24 or 25 fps standards; keyframes define poses and easing (ease-in/ease-out) defines acceleration between them.

Twelve principles include squash and stretch, anticipation, staging, follow-through, slow in/slow out and appeal - they apply to motion graphics, not only characters.

Broadcast graphics safe area is 80% of frame width and height; alpha-channel exports must be correctly premultiplied to avoid dark or light fringing.

Core paperwork: script, storyboard, shot list, shooting schedule, call sheet, budget, risk assessment, release forms, location agreement and daily progress report.

Scene headings read INT./EXT. LOCATION – DAY/NIGHT, and one correctly formatted script page is approximately one minute of screen time.

Copyright in India: author's lifetime plus 60 years for literary, dramatic, musical and artistic works; 60 years from publication for films and sound recordings.

Music clearance needs both a sync licence (composition/publisher) and a master licence (recording/label); public performance requires a separate licence.

Consent documents: talent release for appearance and voice, location release for the property, guardian consent plus child-labour compliance for minors.

Budget structure: above-the-line, below-the-line, post-production, a 5–10% contingency, and insurance for equipment, public liability and errors and omissions.

Permit-dependent activity: drone flights under DGCA rules, filming in public or protected areas, and animal use under AWBI norms.

Ethical red lines: no fabrication, no plagiarism, no filming without informed consent, protection of vulnerable subjects, and prompt visible correction of errors.

CV rules: reverse-chronological, one to two pages, role-specific keywords, quantified results, and a portfolio or showreel link in the header.

Showreel: 60–90 seconds, strongest work first, your exact contribution labelled on each clip, refreshed for every target role.

STAR answers: Situation, Task, Action, Result - deliverable in about 90 seconds with a measurable result wherever one exists.

Interview basics: research the studio's recent releases, prepare three questions, carry a printed CV, and send a thank-you note within 24 hours.

India registration for a new media venture: Udyam (MSME) registration, GST once turnover crosses ₹40 lakh for goods or ₹20 lakh for services, a current account, and Startup India recognition if eligible.

Freelance paperwork: quotation before the job, contract with scope and delivery date, GST-compliant invoice, and milestone billing with 30–50% advance.

Project cycle for coursework: brief → research → treatment → shot list and schedule → shoot with logs → edit → peer review → delivery with asset register.

Rate setting: day rate = annual target ÷ billable days (typically around 200), with equipment, travel, edit time and taxes quoted as separate lines.