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Virtual Reality Video as An Exhibition Design Idea in Response to The Covid Pandemic Ranangsari, Kosalalita Anggiyumna; Marianto, Martinus Dwi; Dayani, Elin Siska
Journal of Urban Society's Arts Vol 11, No 2 (2024): October 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v11i2.11663

Although the Covid-19 pandemic is still occurring in Indonesia in 2021, it does not become an obstacle for the artist to continue to innovate both creating and exhibiting their work. One of the innovations in organizing art activities is to switch the format from physical exhibitions to virtual exhibitions during the pandemic. The creation of the 360 video-based virtual exhibition “Estetika Sanggit” using 3D animation as a response to the pandemic is based on the concept of User-Centered Design. This research uses a descriptive-qualitative method with a phenomenological approach. The use of this methodology is to discuss the designer’s subjective experience in integrating multiplatform technology (3D animation, 360° video, and Virtual Reality) in designing a virtual exhibition that is “friendly” to visitors. The results of this research show that the designer succeeded in creating a 360° video virtual exhibition that greatly facilitates users in accessing and enjoying the virtual exhibition as if enjoying a physical exhibition. This is evident in the presentation of the virtual exhibition and is obtained from the positive impressions of visitors to this virtual video. These positive impressions demonstrate IDE Studio’s success in designing products that meet user needs. Meskipun pandemi Covid-19 masih terjadi di Indonesia pada tahun 2021, tidak menjadi penghambat bagi seniman untuk terus berinovasi baik berkarya maupun memamerkan hasil karyanya. Salah satu inovasi dalam menyelenggarakan kegiatan kesenian adalah beralih formatnya pameran fisik ke pameran virtual di masa pandemi. Penciptaan pameran virtual “Estetika Sanggit” berbasis video 360 dengan menggunakan animasi 3D sebagai respon menghadapi pandemi didasarkan pada konsep User-Centered Design. Penelitian ini menggunakan metode deskriptif-kualitatif dengan pendekatan fenomenologi. Penggunaan metodologi ini untuk membahas pengalaman subjektif desainer dalam mengintegrasikan teknologi multiplatform (3D animation, 360° video, dan Virtual Reality) pada perancangan pameran virtual yang “ramah” terhadap pengunjung. Hasil dari penelitian ini menunjukkan bahwa desainer berhasil menciptakan pameran virtual video 360 yang sangat memudahkan pengguna dalam mengakses serta menikmati pameran virtual tersebut layaknya menikmati pameran fisik. Hal ini tampak pada sajian pameran virtualnya dan didapatkan dari kesan positif para pengunjung video virtual ini. Kesan positif tersebut menunjukkan keberhasilan IDE Studio dalam merancang produk yang sesuai dengan kebutuhan pengguna.

PRODUCTION OF DOCUMENTARY FILM DRIVING AWARENESS Ranangsari, Kosalalita Anggiyumna; Fuquan, Qiu
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.3166

The film "Driving Awareness" tells about the importance of driving according to the rules for mutual safety. This film uses a linear storyline and character flashback plot. The purpose of this paper is to describe the concept and visualization of the documentary film "Driving Awareness". The stages in designing the creation of the documentary film "Driving Awareness" start from the idea, preproduction, production, then post-production. In the idea stage, the idea of a film story is determined together with the team and then converted into a script for the film to be made into a storyboard to illustrate every scene in the film as well as a detailed storyline. The pre-production stage determines the position of each person in filmmaking, selecting players, determining locations, and scheduling filming activities. Production activities are carried out according to a predetermined schedule by recording images of each scene. The whole shot was edited to make a whole film work and add backsound, transition effects, and coloring.

CREATIVE STRATEGY OF PROGRAM DIRECTOR AT 4 CITIES WAYANG BEBER VICOLMING SHOW Ranangsari, Kosalalita Anggiyumna; Fenda, Intan Yulia Febbyu
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3420

The Covid-19 pandemic was responded to by the wayang beber art group quickly and creatively. They held shows wayang beber in 4 cities by utilizing video conferencing & live streaming (Vicolming). The new technology used for the performances of 4 remote puppeteers (dalang) was a challenge for the program director. This research is intended to explore the strategy of the program director in producing the 4 cities wayang beber Vicolming show. This study used qualitative descriptive research. The data collection used the interview and documentation methods, while the data analysis used the Interactive Analysis model. The result of this study is that the program director applies a strict strategy at the pre-production, production and post-production stages in this wayang beber Vicolming show. Creative strategies in pre-production include determining the topic of Covid-19; and the Video Conference & Live Streaming technology used, the preparation of video, audio and internet equipment for each art group in 4 cities; determination of the ideal schedule and duration, and live streaming rehearsals. The strategy at the production stage included: 1) The strategy of arranging a dalang's performance from one puppeteer to another is related to the quality of the image and sound as well as the internet connection, so that the rundown changed a lot; 2) Taking pictures is done limitedly, because the equipment between the puppeteers is different; The post-production stage strategy focused on preparing live streaming videos uploaded to the Youtube channel.

PRODUCTION OF DOCUMENTARY FILM DRIVING AWARENESS Ranangsari, Kosalalita Anggiyumna; Fuquan, Qiu
Capture : Jurnal Seni Media Rekam Vol. 11 No. 2 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v11i2.3166

The film "Driving Awareness" tells about the importance of driving according to the rules for mutual safety. This film uses a linear storyline and character flashback plot. The purpose of this paper is to describe the concept and visualization of the documentary film "Driving Awareness". The stages in designing the creation of the documentary film "Driving Awareness" start from the idea, preproduction, production, then post-production. In the idea stage, the idea of a film story is determined together with the team and then converted into a script for the film to be made into a storyboard to illustrate every scene in the film as well as a detailed storyline. The pre-production stage determines the position of each person in filmmaking, selecting players, determining locations, and scheduling filming activities. Production activities are carried out according to a predetermined schedule by recording images of each scene. The whole shot was edited to make a whole film work and add backsound, transition effects, and coloring.

CREATIVE STRATEGY OF PROGRAM DIRECTOR AT 4 CITIES WAYANG BEBER VICOLMING SHOW Ranangsari, Kosalalita Anggiyumna; Fenda, Intan Yulia Febbyu
Capture : Jurnal Seni Media Rekam Vol. 12 No. 1 (2020)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v12i1.3420

The Covid-19 pandemic was responded to by the wayang beber art group quickly and creatively. They held shows wayang beber in 4 cities by utilizing video conferencing & live streaming (Vicolming). The new technology used for the performances of 4 remote puppeteers (dalang) was a challenge for the program director. This research is intended to explore the strategy of the program director in producing the 4 cities wayang beber Vicolming show. This study used qualitative descriptive research. The data collection used the interview and documentation methods, while the data analysis used the Interactive Analysis model. The result of this study is that the program director applies a strict strategy at the pre-production, production and post-production stages in this wayang beber Vicolming show. Creative strategies in pre-production include determining the topic of Covid-19; and the Video Conference & Live Streaming technology used, the preparation of video, audio and internet equipment for each art group in 4 cities; determination of the ideal schedule and duration, and live streaming rehearsals. The strategy at the production stage included: 1) The strategy of arranging a dalang's performance from one puppeteer to another is related to the quality of the image and sound as well as the internet connection, so that the rundown changed a lot; 2) Taking pictures is done limitedly, because the equipment between the puppeteers is different; The post-production stage strategy focused on preparing live streaming videos uploaded to the Youtube channel.

Restorasi Film Lewat Djam Malam sebagai Bentuk Pemulihan dan Pelestarian Film Klasik pada Era Digital Dayani, Elin Siska; Ranangsari, Kosalalita Anggiyumna; Saptoto, Anang; Rahmadiani, Arivia; Dharma, Surya Chintya
Rekam Vol 20, No 1 (2024): April 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Film klasik berbentuk seluloid yang disimpan begitu saja akan mengalami kerusakan seiring berjalannya waktu. Sebagai bagian dari warisan sinema Indonesia jaman dahulu, para pegiat film menaruh perhatiannya pada kondisi film lama yang usang, salah satunya adalah film lama berjudul Lewat Djam Malam, dengan berinisiasi melakukan restorasi dan digitalisasi pada film ini. Penelitian ini bertujuan untuk menggali pemahaman mengenai proses restorasi film Lewat Djam Malam karya Usmar Ismail yang meliputi tahapan pra-restorasi, restorasi, dan pasca restorasi. Riset ini menggunakan metode kualitatif dengan pendekatan studi kasus. Hasil penelitian menunjukkan bahwa kegiatan restorasi yang dilakukan pada film Lewat Djam Malam mampu melestarikan film klasik yang bernilai sejarah kebudayaan Indonesia masa lampau, sehingga film klasik dapat dengan mudah diakses dan dinikmati kembali oleh generasi muda.

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