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All Journal Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain
Efi Fadillah
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Arts Education

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Penerapan Metode Struktur Tiga Babak dalam Penulisan Naskah pada Video Feature “Porter: Ketidakpastian yang Dikerjakan” Tanti Nur Apriani; Kokom Komariah; Efi Fadillah
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 2 (2026): April: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i2.1090

Abstract

This final project was an audiovisual feature video that explored the issue of uncertainty among informal sector workers, particularly porters at train stations. The work was motivated by the limited representation of porters, despite their important role in supporting transportation services. This report aimed to explain the application of the three-act structure in scriptwriting, consisting of Act I (Set Up), Act II (Confrontation), and Act III (Resolution). The production process included pre-production, production, and post-production stages, with scriptwriting as the main focus in constructing a structured narrative. In Act I, the work introduced the station environment and the porter profession to build audience understanding. Act II developed the conflict through the portrayal of job uncertainty, income instability, and the daily life of the main subject. Act III presented a reflective conclusion through multiple perspectives and symbolic visuals. The result showed that the three-act structure effectively created a systematic narrative flow and strengthened message delivery. In conclusion, the human-interest approach combined with observational visuals effectively conveyed social realities and fostered audience empathy toward informal workers.
Implementasi Teknik Pengambilan Gambar oleh Director of Photography pada Produksi Video Feature Human Interest "Porter: Ketidakpastian yang Dikerjakan" Evelyne Alifia Sekarputri; Kokom Komariah; Efi Fadillah
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 2 (2026): April: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i2.1091

Abstract

The role of the Director of Photography (DoP) is fundamental in translating narrative concepts into visual language within audio-visual productions. This study examines the implementation of cinematographic techniques applied by the DoP in producing the human interest video feature "Porter: Ketidakpastian yang Dikerjakan" (Porter: Uncertainty at Work). The feature documents the daily lives of porters at Bandung Station, shedding light on the occupational uncertainty they face as informal sector workers. The research employs a qualitative descriptive method with a production-based approach, analyzing four key cinematographic elements: type of shot (long shot, medium shot, close up), camera angle (eye level, high angle, low angle), camera movement (panning, tilting, tracking shot, static shot), and framing (rule of thirds, balanced composition). Findings indicate that each technique was applied with deliberate intention to reinforce the narrative, emotional depth, and thematic meaning of the work. Long shots established the station environment as a dynamic, unpredictable workspace; medium shots captured the psychological nuance of waiting and uncertainty; close ups revealed intimate emotional detail; and varied camera angles constructed the power dynamics between porters and their environment. Camera movements supported visual continuity and audience engagement, while framing principles ensured compositional coherence throughout. The study contributes practical insights into the role of cinematography in non-fiction storytelling, particularly in conveying the lived realities of marginalized workers.
Co-Authors Evelyne Alifia Sekarputri Kokom Komariah Tanti Nur Apriani