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PENERAPAN ACOUSMATIC UNTUK MEMBANGUN DIMENSI RUANG PADA TATA SUARA FILM “SEPENGGAL KISAH BUNGA” Gede Bayu Permana; I Kadek Puriartha; I.B. Hari Kayana Putra
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 2 (2021): Jurnal Calaccitra Agustus 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

Sound design/system is a way for managing and taking advantage of a sound source, it corresponds to the need for a particular purpose, like movies. “Sepenggal Kisah Bunga” is a short fiction movie which falls into a genre of drama. The author who is the sound designer for this film uses the application of acousmatic for developing dimension of space. The purpose of the use of acousmatic is for building the dimension of space to bring the audience closer to the setting of the film, with the result that this work seems real. The author believes in the concept, that it can relay the message well and experiences that the film is real. The implementation of acousmatic is to build the dimensions of space, using a variety of sound dialogue and sound effects, also with sound accuracy which matches the main sound elements of the story setting. Acousmatic means sound that is heard without looking at its origin. During production, the author recorded the analog process and the acousmatic sound effects themselves. However, most of the sound recording process for acousmatic is done during post-production. After all the sounds are gathered it enters the timeline mixing, the author does the editing process with effects to match the main sound elements of the story settings. The author also believes by using audio output 5.1 channel system, which strengthens the usage of acousmatic in building dimensional space. Therefore the author uses the audio output in this film. The author ensures that the use of sound effects and dialogue is not visible in the mise en scene with the sound accuracy that it sounds precise to the setting of the story, hence it shall build the dimension of space. In this movie, you could hear the sound of birds chirping, the dog’s bark, and other pet’s sound. As well as the sound of the surrounding environment that the author created, like the sound of neighbors chatting, and people doing their activities. These sounds are the implementation of acousmatic to build the dimensions of space. With that, the author believes that it can bring the film setting closer to the audiences and make the movie “Sepenggal Kisah Bunga” feel real.
PENERAPAN KONSEP REALISME PENATAAN SETTING DAN PROPERTI PADA FILM SURUH AYU Robby Anwar; I Made Suparta; I B Hari Kayana Putra
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 1 (2022): Jurnal Calaccitra Maret 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Film Suruh Ayu menceritakan tentang Ayu, perempuan berumur 19 tahun yang mengalami kebimbangan mengenai apakah dia harus menyampaikan bahwa dirinya sedang hamil disaat acara lamaran atau setelah acara lamaran. Keadaan diperparah dengan tuntutan dari teman – temannya yang harus segera menikah karena ada alasan tersendiri serta perjodohan dari bapak dan ibu Ayu. Tulisan ini akan membahas mengenai bagaimana penerapan konsep realisme penataan setting dan properti pada film Suruh Ayu. Metode yang digunakan yaitu Metode Observasi, kegiatan keseharian manusia dengan menggunakan pancaindra sebagai alat bantu utamanya. Metode Wawancara, merupakan salah satu penelitian yang merupakan proses untuk memperoleh informasi dengan cara tanya jawab antara peneliti dengan subjek yang diteliti. Selama satu semester berproses magang di Luar Kotak Audiovisual, penulis mendapatkan wawasan mengenai alih pengetahuan, keterampilan, dan teknologi. Adanya program Merdeka Belajar Kampus Merdeka, penulis banyak mendapatkan pengalaman dan wawasan langsung dari mitra magang. Penulis mendapatkan bimbingan penuh dari mitra magang, yang dimana penulis sebagai Penata Artistik membuat suatu karya film yang berjudul “Suruh Ayu”. Penulis dibimbing penus oleh mitra magang bagaimana seorang Penata Artistik mampu merealisasikan filmnya dengan penataan setting dan property. Sehingga selama pra produksi, produksi, hingga pasca produksi dapat berjalan dengan lancar. Penulis mendapatkan bimbingan penuh dari mitra magang, sebagai Penata Artistik membuat suatu karya film yang berjudul “Suruh Ayu”. Penulis dibimbing penuh oleh mitra magang bagaimana seorang Penata Artistik mampu merealisasikan filmnya dengan penataan setting dan property. Sehingga selama pra produksi, produksi, hingga pasca produksi dapat berjalan dengan lancar.
PENERAPAN DIMENSI EDITING RITMIS DENGAN KONSEP REALISME DALAM “FILM SURUH AYU” Wayan Ken Giarda; Desak Putu Yogi Antari Tirta Yasa; IB Hari Kayana Putra
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 2 (2022): Jurnal Calaccitra September 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

“Suruh Ayu” adalah film yang mengungsung jenis film realisme dengangendre drama keluarga. Untuk mewujudkan film “Suruh Ayu” penulismelaksanakan magang/praktik kerja di salah satu rumah produksi LuarKotak Audiovisual yang berlokasi di Denpasar, Bali. Denganmagang/praktik kerja, penulis dapat menambah pengetahuan sertameningkatkan keahlian dalam pembuatan film pendek “Suruh Ayu”.Penulisan ini akan membahas mengenai bagaimana penerapandimensi editing ritmis dengan konsep realisme dalam film “SuruhAyu”. Penulis mengunakan metode pembentukan sebuah irama dalam79 Jurnal Calaccitrafilm sehingga membentuk dimensi ritmis, untuk mencapai metodetersebut penulis mengunakan teknik dasar editing cut to cut. Penulismengunakan beberapa teknik editing seperti, straight cut, Timing,jump cut, dan L cut, sehingga menghasilkan sebuah irama yangmembentuk dimensi ritmis, penulis juga tentunya melakukanbimbingan dengan pemimbing di tempat magang, sehinggapelaksanaan pada saat editing sesuai dengan konsep penulis dalammembangun dimensi ritmis. Penerapan dimensi ritmis dalam film“Suruh Ayu” diharapkan mampu membangun irama dengan nuansadramatis melalui penekanan emosional penonton. Dalammewujudkan hal itu ada beberapa aspek pendukung lainnya yaitubentuk editing berupa Cut in/out, rotate, scale, positioning, danpenggunaan teknik editing dasar.
MANAJEMEN PRODUKSI PADA PEMBUATAN OMNIBUS MUSIC VIDEO BIN IDRIS DI EPI PRODUCTION Anak Agung Ngurah Narendra Prema P; Nyoman Lia Susanthi; Ida Bagus Hari Kayana Putra
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

The music video is a type of audio-visual work that is created in the form of a collection of videos that can represent the lyrics of a song. It Made to tell the audience how the song is visualized and can be enjoyed by the eyes of the audience. The producer is a very important role and must be present in an audio-visual production. The producer's job is to manage the production so that it can be well prepared, runs smoothly, and finishes on time starting from the pre-production to the post-production stage to carry out the promotion and distribution of works. The production of an omnibus music video work at EPI Production is a final project work produced with a musician named Bin Idris. Bin Idris is the name chosen by Haikal Azizi to carry out his solo project as an independent musician since 2016. The production management was applied to the creation of Bin Idris' omnibus music video at EPI Production. This activity was implemented to implement the concepts, stages, and authenticity of this omnibus music video production management. Besides that, it can compile seven draft management concepts for Bin Idris' music video production. Using the themes of mind, body-soul, and spirit in its planning, it produces three music video works with an omnibus concept that correlates with one music video and another. The application of production management in this omnibus work is applied based on the shooting location. As for the several locations used, you can shoot twice for different music videos. This is done in an effort to increase efficiency and prevent production costs from being incurred again. Through the omnibus concept which is usually produced with the concept of short or feature films, the writer and the entire production team apply this work to the music video concept so that it is hoped that it can create a new authenticity in the work that has been produced.
Co-Authors Anak Agung Ngurah Narendra Prema P Desak Putu Yogi Antari Tirta Yasa Gede Bayu Permana I Made Suparta Puriartha, I Kadek Robby Anwar Susanthi, Nyoman Lia Wayan Ken Giarda