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Rekonstruksi 3D Landmark Memvisualisasikan Perkampungan Peradaban Kuno Situs Liyangan Temuan Balai Arkeologi Yogyakarta Agnes Karina Pritha Atmani; Mohammad Arifian Rohman
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 17, No 2 (2021): Oktober 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v17i2.6033

Selama pandemi COVID-19, keterbatasan akses publik menjadi pemicu peningkatan pelayanan edukasi sejarah dan budaya, khususnya bagi lembaga perpustakaan dan museum di Indonesia. Inovasi virtualisasi akses publik dengan menghadirkan akses terbuka bagi dokumen digital atau rekaman sejarah yang disajikan melalui jaringan internet. Tujuan penelitian menghadirkan kembali kondisi situs seperti pada masa kejayaannya dengan menggunakan metode visualisasi 3D. Rekonstruksi 3D dilakukan semi manual dengan memanfaatkan data temuan arkeologis di lapangan dan catatan sejarah atau temuan terkait dimensi dan kondisi tekstur artefak. Proses rekonstruksi 3D dibantu peneliti arkeologi Balai Arkeologi DIY, sehingga obyektivitas dan validitas data terjaga secara keilmuan di bidang Arkeologi. Adapun situs yang menjadi obyek penciptaan seni digital adalah Situs Liyangan, Temanggung, Jawa Tengah.Proses penciptaan rekonstruksi 3D landmark Situs Liyangan dilakukan dengan pengumpulan data arkeologis di Balai Arkeologi DIY dan di Situs Liyangan, Temanggung, Jawa Tengah. Proses penciptaan diawali dengan permodelan aset, tekstur, dan perancangan tata letak. Produksi rekonstruksi 3D menggunakan perangkat lunak 3Ds Max dan mesin game Unreal sebagai penyaji antarmuka akses bagi pengguna berikut interaksinya. Hasil tersebut kemudian menjadi bahan evaluasi pengujian dan publikasi karya. Berdasarkan capaian tersebut, maka hasil akhir yang didapat adalah purwarupa rekonstruksi 3D landmark Situs Liyangan.

Evaluasi Sintesis Ekspresi Wajah Realistik pada Sistem Animasi Wajah 3D dengan Teknologi Motion Capture Samuel Gandang Gunanto; Arif Sulistiyono; Agnes Karina Pritha Atmani; Troy Troy
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 14, No 2 (2018): Oktober 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v14i2.1747

The human face has a unique shape and size, as well as a 3D character face model. The facial animation of 3D virtual characters is mostly done manually by moving the rigging in each frame. The more characters used, the more production costs that must be incurred. The absence of a cheap facial motion transfers system is also one of the reasons why not many studios are using motion capture technology in Indonesia.This research will evaluate the implementation of a facial expression synthetically using motion capture technology built from radial basis function (RBF) as a method of marker transfer as a reference for rigging movement in point cluster system. Testing is done by approaching facial expressions according to FACS theory and questionnaire of synthesis results.The experimental results show that according to FACS theory the requirement of expression formation has been fulfilled by referring to changes in facial features, but the implementation is not always able to describe perfectly the desired condition, namely the average percentage of faces easily recognizable by 35.53%. Therefore, the influence of animators in the control of micro expression improvements or the addition of exaggeration principle elements in the manufacture of facial animation is very important to produce facial expressions that are easily recognized by the audience.

Penciptaan Film Animasi 2D Diadaptasi Dari Puisi “Engkau” Muhamad Hadi Hibatullah; Tanto Harthoko; Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 3, No 1 (2017): April 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v3i1.1718

Abstract Literary works adapted to the film are familiar to the general public. In response to the problem, the animated film "Engkau" is made with the intention to make it easier for a poet to deliver the message of his poems in audiovisual form to the reader in an interesting and unique way through the animated film which is one of the popular media as a medium of delivery. The animated film " Engkau " is a film adapted from a poem entitled "Engkau" in a collection of poems "Aku Ingin Mencumbu Waktu" with 2D animation techniques.The poem entitled " Engkau " from the collection of poems "Aku Ingin Mencumbu Waktu " tells a feeling of someone who admires and loves someone deeply, no matter how long it can prevent and keep him from loving. The poem " Engkau " in each verse will later be adapted into a 2D animated film, making this animation different from the others. Keywords: poetry, adaptation of literary works, poetry animation, poem "engkau"Abstrak Karya sastra yang diadaptasi ke film sudah tidak asing lagi bagi masyarakat umumnya. Menyikapi masalah tersebut, film animasi “Engkau” dibuat dengan maksud untuk mempermudah seorang penyair menyampaikan pesan dari puisinya dalam bentuk audiovisual kepada pembaca secara menarik dan unik melalui film animasi yang merupakan salah satu media yang populer sebagai media penyampaian. Film animasi “Engkau” merupakan film yang diadaptasi dari puisi yang berjudul sama “Engkau” dalam kumpulan puisi “Aku Ingin Mencumbu Waktu” dengan teknik animasi 2D.Puisi yang berjudul “Engkau” dari kumpulan puisi “Aku Ingin Mencumbu Waktu” menceritakan sebuah perasaan seseorang yang mengagumi dan mencintai seseorang secara mendalam, tidak memperdulikan waktu dapat mencegah dan menghambatnya untuk tetap mencintai. Puisi “Engkau” dalam setiap baitnya nanti akan adaptasi menjadi sebuah film animasi 2D, menjadikan animasi ini berbeda dengan yang lain. Kata kunci: puisi, adaptasi karya sastra, animasi puisi, puisi “engkau”

“Seeing Things” Film Animasi 2D Dengan Teknik Frame By Frame I Dewa Made Yoga Wisara Putra; Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 4, No 2 (2018): Oktober 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v4i2.2709

The inspiration for this animation is derived from the cowardly nature that is commonly felt by young children who are still brought up to adulthood. From this story the nostalgic effect can be obtained when remembering the silly events that happened first because of fear of being irrational when I was a child, and sometimes being carried into adulthood. Because everyone has experienced it, the message you want to convey can be quickly accepted by all ages.The process of doing animation is divided into three stages, namely preproduction, production, and postproduction. During Preproduction the initial designs such as Storyboard, Character Design, and Layout were made as animated bluepritnt. This part is very important because it will determine the final outcome of the animation, determine how each scene will be seen and also the movement of the camera is one example of the importance of this stage. To determine the duration, animatic is also made in preproduction, which also functions to see whether the animation path per scene can be understood or not. Continued with Production where most of the processing time is taken. This stage is where the animation, background, and coloring processes are carried out. Animation is made by the frame by frame technique that is making an image (frame) then making identical images again and so on to create the illusion of movement. Frame by frame was chosen to get the visuals sought and the familiarity of this technique. Making a background is based on a storyboard from PreProduction, and coloring is chosen by contrasting cold colors. Keywords: Frame, Visual, Frame, Production

Perancangan Permainan Simulasi (Game Simulation) Untuk Menilai Tingkat Kematangan Strategi Teknologi Informasi terhadap Strategi Bisnis Dengan Metode IT Balanced Scorecard dan Maturity Model COBIT 4.1 Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 3, No 2 (2017): Oktober 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v3i2.1856

Keselarasan strategi Teknologi Informasi terhadap strategi bisnis sangat dibutuhkan untuk mencapai tujuan bisnis. Pencapaian keselarasan strategi, sebagai suatu proses yang berkelanjutan, membutuhkan dukungan dari Top Management dan fungsi-fungsi lain dalam perusahaan. Penilaian kematangan tingkat keselarasan strategi TI terhadap strategi bisnis akan digunakan sebagai alat ukur untuk menilai tingkat keselarasan strategi TI terhadap strategi bisnis. Nilai tersebut akan digunakan sebagai langkah awal untuk tindakan perbaikan berkelanjutan.Penggunaan permainan simulasi merupakan gabungan dari dua metode experiential learning, yaitu simulasi (simulation) yang dapat melakukan peniruan dari suatu perilaku atau proses dan permainan (game) yang merupakan aktifitas yang kompetitif. Melaui Experiential Learning pengguna permainan dapat melakukan pembelajaran secara aktif dan memperoleh pengetahuan, pemahaman, dan pandangan baru mengenai suatu hal.Penilaian kematangan tingkat keselarasan strategi TI terhadap strategi bisnis akan mengacu pada konsep Strategic Alignment Model yang diperkenalkan oleh Henderson dan Venkatraman dan IT-Balanced Scorecard yang dikembangkan Grembergen dan Bruggen. Keduanya memberikan panduan mengenai model-model yang dapat diimplementasikan di perusahaan. Sedangkan penilaian kematangannya berdasarkan kriteria Maturity Model COBIT 4.1 (Control Objective on Information and related Technology) Kata kunci: Permainan Simulasi, Experiential Learning, Teknologi Informasi, Strategi TI, Strategi Bisnis, Strategic Alignment Model-Henderson & Venkatraman, IT-Balances Scorecard – Grembergen & Bruggen, dan COBIT 4.1 Maturity Model. AbstractThe alignment of Information Technology strategy with business strategy is important to achieve business objectives. Strategy alignment, as an ongoing process, requires support from Top Management as well as from other functions in the company. The assessment of maturity level on the alignment of Information Technology with business strategy becomes the measuring tool to assess the alignment of Information Technology strategy with business strategy. The score, then, will be used as starting point in accomplishing continuous repair action.The use of game simulation is a combination of two experiential learning methods, namely simulation that can perform the imitation of a behavior or process and game which is a competitive activity. Through Experiential Learning game users can actively learn and gain new knowledge, insights, and insights about things.The assessment of maturity level of the aligment of Information Technology with business strategy which applied Strategic Alignment Model concept introduced by Henderson and Venkatraman and IT-Balanced Scorecard by Grembergen and Bruggen. Both have given guidelines about several models that can be implemented at company. Moreover, in order to assess the maturity level, this research uses Maturity Model COBIT 4.1 (Control Objective on Information and related Technology.Keywords: Information Technology, Game Simulation, Experiential Learning, Information Technology strategy, Business strategy, Strategic Alignment Model-Henderson & Venkatraman, IT-Balanced Scorecard-Grembergen & Bruggen, and COBIT 4.1 Maturity Model.

“ROCKET TO ROCKET”: SEBUAH KISAH TENTANG CITA-CITA DAN HARAPAN Yholanda Kunthi Anggriva; Mahendradewa Suminto; Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 5, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v5i2.3045

Rockets are spacecraft, missiles, or flying vehicles that get a boost through rocket reactions to fluid materials. In this film the rocket represents dreams and hopes. The process of launching a rocket is the process of reaching someone's dream. The process of launching missiles into space is not easy, but that doesn't mean it can't. This film, invites the audience to be sure of hope and dare to fight for it. The creation of this animated film is presented in the form of 2D animation without using any narration or dialogue. As a support for the atmosphere, music is created that can build an atmosphere. Not forget the 12 principles of animation applied in this animated film to strengthen and improve the artistic impression as a support of visualization. The twodimensional animation technique is intentionally used because the visual form of 2D animation has a light but easy to remember impression.

PENGEMBANGAN GAME 3D “EVERPLANE” DENGAN LEAP MOTION Galang Ihsan Isnanto; Samuel Gandang Gunanto; Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 5, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v5i2.2991

Motion Leap (Hand Motion tracking) is a term for recording hand movements used as digital models and is an additional device that can be connected to a computer and can then be used to replace both mouse and keyboard functions. In the 3D game "Everplane", Leap Motion is used as a game controller and is the main component of the game. The Everplane game is an endless game / endless runner type game. Endless runner is a game where the player's character continues to move forward through the endless world of games. The Everplane game has the concept of exploring space. The process of making 3D games "Everplane" through various data research is needed to meet the needs of game production through three stages, namely Preproduction (Game Design, Character Design and Layout Design), Production (Modeling, Texturing, Design graphic user interface, Music, Leap Setup Motion, Assembly Animating, Programming, and Problem Solfing) and Postproduction (Deploying, Mastering and Merchandise).Keywords: Leap Motion, Everplane game, manufacturing process

TEKNIK MONOLOG INTERNAL DALAM FILM ANIMASI 2D “BAD HAIR DAY” Dionisius Miki Pratama; Harthoko Tanto; Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 5, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v5i2.3126

The animated film Bad Hair Day tells the story of a girl who became a victim of bullying because she has a different physical form than her other friends. Bullying is an act of violence, oppression, or intimidation. In this film, Jane who has long, messy hair like a bush becomes a bully victim by her friends, so she feels depressed and sad. The turning point in this film is shown in a moment where the character Jane rediscovers something that has long been lost from her life: friendship. The intangible interconnected friendship that motivates him in the face of abuse carried out by his friends. The storytelling technique chosen is an internal monologue technique. Internal monologue is the technique of delivering stories whose source of sound comes from the thoughts or feelings of the character Jane in the film. Internal monologue technique will help the audience to better understand the feelings experienced by the main character in this film.

Memperkuat Karakter Tokoh Melalui Dialog Untuk Menciptakan Relational Conflict Dalam Penulisan Skenario Film Fiksi We Talked About “Married” Achmad Rifqon Bachrun Najah; Dyah Arum Retnowati; Agnes Karina Pritha Atmani
Sense: Journal of Film and Television Studies Vol 4, No 2 (2021)
Publisher : Institut Seni Indonesia Yogyakarta

ABSTRAK Penciptaan skenario We Talked About “Married” merupakan skenario film fiksi berdurasi 60 menit dengan format program cerita lepas sekali tayang. Tema Pernikahan dan cinta merupakan hal yang sengaja diangkat dan dijadikan topik utama dalam cerita. Menceritakan dua karakter yang merupakan sepasang kekasih yang memiliki masalah ketika keduaya membicarakan tentang pernikahan. Dialog karakter menjadi aspek utama dalam membangun cerita dan tensi dramatik sehingga nantinya akan menciptakan relational conflict. Berbagai macam karakteristik karakter akan terrepresentasikan melalui dialog seperti misalnya karakteristik sosial budayanya, karakteristik intelektualnya, karakteristik piskisnya, status profesinya, status sosialnya, latar budayanya, logika berpikirnya, dan kepribadiannya. Interaksi kedua karakter mengakibatkan munculnya konflik, konflik muncul ketika kedua karakter memperdebatkan pandangan mereka terkait pernikahan. Keduannya memiliki pandangan yang berbeda. Kedua karakter berdialog dan saling mempertahankan pandangannya masing-masing, hal itu membuat hubungan keduannya berada di ambang perpisahan. Kata Kunci: Karakter, Dialog, Relational Conflict

ANALISIS PRODUCTS PLACEMENT SEBAGAI PENDUKUNG UNSUR NARATIF FILM “TRANSPORTER 3” Hanifah Istiqomah; Siti Maemunah; Agnes Karina Pritha Atmani
Sense: Journal of Film and Television Studies Vol 2, No 2 (2019)
Publisher : Institut Seni Indonesia Yogyakarta

ABSTRAKFilm “Transporter 3” menarik untuk diteliti karena terdapat satu merek produk muncul secara menonjol dari awal sampai akhir cerita sebagai properti. Kemunculan merek produk-produk dalam film mempunyai fungsi sebagai pendukung unsur naratif dari cerita, meskipun tidak semua. Penelitian ini bertujuan untuk mengetahui kehadiran dan peran products placement dalam film dan juga menjabarkannya sebagai pendukung unsur naratif film. Metode penelitian menggunakan kualitatif dengan pendekatan deskriptif dengan fokus terhadap adegan yang menampilkan products placement. Pembahasan dalam penelitian ini adalah fungsi products placement sebagai pendukung unsur naratif film “Transporter 3”. Teknik pengambilan data dilakukan dengan cara dokumentasi dan observasi secara langsung pada karya film. Data penelitian diolah dan dianalisis menggunakan teori-teori tentang products placement oleh Cristel Antonia Russel, Rosemary Avery dan Rosellina Ferraro, serta tentang naratif film oleh Himawan Pratista dan David Broadwell. Bedasarkan hasil analisis kesimpulannya adalah products placement dalam film “Transporter3” muncul melalui 36 scene. Kemunculan products placement lebih banyak menggunakan dimensi visual dari pada dimensi auditory. Akibat adanya products placement dalam film “Transporter 3” sebagian besar dapat mendukung kehadiran unsur naratif seperti plot, tokoh, konflik dan latar. Kehadiran products placement dalam “Transporter 3” paling mendukung unsur konflik, kemudian tokoh dan plot serta paling akhir adalah latar.Kata Kunci: Naratif, Product Placement, Produk

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