Odisha CHSE +2 Vocational Audio Video Technique study plan

Calculate wavelength at 100 Hz, 1 kHz and 10 kHz for sound travelling at 343 m/s, and explain how wavelength versus room dimension produces standing waves colouring a small studio.

Convert between sound pressure level, dB SPL and dBFS, then set a gain structure that keeps speech peaks near -12 dBFS while the noise floor stays below -60 dBFS.

Compare dynamic, condenser and lavalier microphones on polar pattern, sensitivity, self-noise, maximum SPL and phantom power need, and justify one choice each for voice-over, sit-down interview and ambience.

Patch a two-microphone chain (mic to XLR cable to mixer preamp to recorder), apply high-pass filtering and pan, and log the settings that keep the two channels phase-compatible.

State the sampling-rate and bit-depth trade-offs at 44.1 kHz/16-bit versus 48 kHz/24-bit and select the correct setting for a video shoot.

Trace a colour image from sensor RGB through YUV conversion and 4:2:0 or 4:2:2 chroma subsampling to delivery, and compute the relative colour bandwidth in each case.

Distinguish PAL 625/50, NTSC 525/60, 1080i50 and 1080p25 by resolution, frame rate and scanning method, and name one compatibility or artefact problem for each.

Execute a three-point edit, a J-cut and an L-cut on supplied footage, then justify each cut point against picture and sound continuity.

Export one sequence in two codecs and containers and compare file size, bitrate and visible artefacts at matched viewing size.

Build a three-point lighting set-up with key, fill and back light, measure the key-to-fill ratio, then relight to a second ratio and record the meter readings for both.

Shoot a ten-shot sequence that applies the rule of thirds, correct headroom and look space, consistent eyeline and the 180-degree rule without crossing the axis.

Set white balance for tungsten, daylight and mixed sources, capturing a before-and-after still for each to show the correction.

Prepare a two-camera field set-up covering audio feed, tally or communication, cable runs and a written risk checklist for a location shoot.

Write a two-page two-column audio/video shooting script for a three-to-five-minute programme, breaking each scene into shot size, camera movement and sound.

Convert the script into a numbered shot list, a one-day shooting schedule and an equipment list with quantities and backup items.

Complete a location recce note recording power, ambient noise, light direction and access constraints, and state how each finding changes the plan.

Draft answers to viva questions on acoustics and microphone choice, speaking each answer aloud in under two minutes.

Apply primary and secondary colour correction to the week 2 sequence, matching shots for exposure, white balance and skin tone.

Mix the audio to a target broadcast loudness figure, riding dialogue levels and correcting one clipped or noisy passage with a documented repair.

Add a title card and lower third with correct safe-area placement and readable contrast on both light and dark backgrounds.

Explain how streaming delivery, adaptive bitrate, OTT platforms and content delivery networks differ from terrestrial broadcast, and place 4K UHD and HDR in that chain.

Shoot the final project on location using two cameras and an external audio recorder, slating each take and logging every clip as it is shot.

Ingest and organise the footage into a named folder structure, then apply a backup rule that keeps three copies on two media with one off-site.

Run a playback check of picture and sound on the day and record any reshoot needed before leaving the location.

Record a five-minute spoken commentary explaining two production decisions made during the shoot, as viva practice.

Assemble the final cut from the logged footage, tightening pace so the programme runs within the planned three-to-five minutes.

Review the cut against the marking rubric for picture, sound, titling and continuity, and list every correction before re-exporting.

Compile a viva portfolio index linking each project artefact to the domain it demonstrates, from acoustics through post-production.

Rehearse a ten-minute mock viva in which you defend one equipment choice and one editing decision with technical reasons.

Recall the highest-yield formulas and facts from acoustics and audio equipment, writing wavelength, decibel and inverse-square calculations from memory without notes.

Re-explain, in writing and in under 150 words each, polar patterns, phantom power, balanced versus unbalanced connection and gain staging.

Sit one full-length timed mock paper covering all nine domains and score it against an answer key, listing every lost mark by domain.

Re-study only the two weakest domains the mock exposes and retest those sections the following day to confirm the gap has closed.