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All Journal Gorga : Jurnal Seni Rupa Jurnal Pendidikan Bahasa Inggris Lekesan: Interdisciplinary Journal of Asia Pacific Arts PRABANGKARA Segara Widya: Jurnal Penelitian Seni Jurnal Penjaminan Mutu Sirok Bastra calaccitra: jurnal film dan televisi Jurnal Penjaminan Mutu Stilistika Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara EDUKASI Global Art Creativity Conference
I NYOMAN PAYUYASA .
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Journal : calaccitra: jurnal film dan televisi

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PENERAPAN KONSEP NARATIF MELALUI VISUAL PADA FILM FIKSI “CAKHRA KALA” I Komang Frederich Blessy; I Komang Arba Wirawan; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 1 No. 1 (2021): Jurnal Calaccitra Juni 2021
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

A narrative storytelling through audio visual that tells about the conflict of a new married couple. Narrative film with the concept of timeloop has uniqueness That means a looping scene that makes the main character could change each action. The concept of timeloop is still rarely used in the Indonesian Film Industry. Therefore, making the concept of timeloop can make a development for the film industry in Indonesia. The concept is packaged by combining a little culture about the elements of locality in the conflicts that occur in the patriarchal system in Bali. The patriarchal system places men as holders of power in the family. Some family life in Bali, which is the backbone is a woman. So narrative and visual will be applied in this writing. The creation of the fiction film " Cakhra Kala " was carried out to find out the process of translating a fictional story into an audio visual work. A concept created using the planning stage and the applied stage method. In the film " Cakhra Kala ", not only audio can deliver narrative stories, but a narrative is explained through images that have meaning. Images that have this meaning will lead the audience to enjoy the story. This narrative theory has reference from David Bordwell’s book named “Narration in the Fiction Film”.The result of this creation is a fictional film " Cakhra Kala " created with a gradual process. It starts with making story ideas, story lines, characterizations, the production process, and the post-production stage. The creation of the fiction film " Cakhra Kala " and narrative visual concept are expected to help the development of the Indonesian film industry in creating a unique story that can be raised and combined in line with the habits of the Indonesian people, especially in Bali.
TEKNIK RITMIS DAN SPASIAL UNTUK MEMBANGUN EMOSI KARAKTER PEMERAN PADA FILM “GENISMARA” I Putu Andika Arya Pratama; I Ketut Buda; I Nyoman Payuyasa
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

The phenomenon of pregnancy out of wedlock spreads because the association among teenagers today can be said to be concerning because of the proliferation of promiscuity which has an impact on the behavior of free sex. This results in the emotions of the perpetrator or in this case the couple outside of marriage being unbalanced, due to their young age. This can be dangerous if emotions are able to express or display behavior in accordance with what feelings he is experiencing. The editing concept that will be applied is to build the emotions of the cast's characters by applying rhythmic and spatial aspects of editing techniques in the film entitled “Genismara”. The process of creating this film through various methods, the first is a data search method by observing film works with the application of rhythmic and spatial techniques, the second is documentation of books, journals, theses. This is done to find out the sound or understanding of rhythmic and spatial techniques, after which it is continued with the method of creation, namely pre-production, production and post-production. This method is carried out to apply or implement rhythmic and spatial techniques. The results of the application of rhythmic and spatial techniques are, the two techniques have different ways of applying, the rhythmic aspect is the aspect that is able to control the length of the duration of a shot in other words emphasizing a moment, while spatial is manipulating the dimensions of the shot, when the two techniques are combined and matched. the scene scene 5, scene 7 scene 8 scene 14, scene 15, scene 16, scene 17, scene 20, scene 21, scene 22, scene 23 will generate or embody an emotion that build emotional character actor like tranquility, doubts and Fright.
PENERAPAN STRUKTUR DAN HARMON STORY CIRCLE PADA PENULISAN SKENARIO FILM “GETIR” Pande Ayur Sawitar Kumari; I Komang Arba Wirawan; I Nyoman Payuyasa
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

The film “Getir” tells the story of a Balinese woman who is in an inharmonious marriage due to an extramarital affair. In the process of writing the screenplay, this film applies the story structure of Dan Harmon Story Circle. Dan Harmon Story Circle is an alternative story structure with a characteristic that divides the story into eight stages experienced by the main character. The application of this story structure aims to highlight the changes that occur in the main character. This can be seen from the comparison of conditions at the beginning of the story starting to the end of the story. The scenario preparation process uses a method consisting of the preparation stage and the cultivation stage. The preparation stage starts from determining the idea, theme, story target to the plot. The stages of cultivation are carried out by compiling the premise, synopsis, character profile, writing treatment, to the scenario. In the process of writing the screenplay, the writer uses several theories to develop the scenario. The theories that the author uses are Elizabeth Lutter's Scriptwriting theory, Narrative, Dan Harmon Story Circle structure, and Stage of Grief. “Getir“ film scenario consists of 22 scenes, genre drama with a story duration of 20 minutes, taking the setting of the story in several places such as houses and traditional markets.
PENERAPAN KOMPOSISI DAN SUBJECT STAJING DALAM FILM “SURUH AYU” I Wayan Sauca Widyantara Putra; I Made Denny Chrisna Putra; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 1 (2022): Jurnal Calaccitra Maret 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Abstract

Film sangat digemari oleh banyak kalangan anak muda pada masa ini. Film saat ini merupakan media yang digunakan sebagai hiburan di masyarakat, dalam perkembangannya kini dunia perfilman telah menghasilkan beberapa sineas atau pembuat film yang cukup banyak di dunia. Film juga memiliki beberapa tahap produksi untuk menghasilkan film yang memuaskan. Tahap produksi yaitu dari penciptaan ide, praproduksi, produksi, dan pascaproduksi. Dari tahapan produksi barulah film akan di distribusikan ke kalangan masyarakat. Dengan menciptakan ide baru dari sebuah film dengan langsung melaksanakan kegiatan produksi hingga hasil dari ide film menjadi sebuah film layar lebar. Adapun pengumpulan data yang harus digunakan dalam pembuatan film. Pengumpulan data mencari tahu tentang kebenaran yang ada dengan apa yang digunakan nantinya pada saat pembuatan film, disini ada dua contoh seperti pengumpulan data melalui wawancara dan melakukan observasi. Dengan melakukan pengumpulan data, maka film yang produksi semakin akurat. Penggunaan komposisi dan subject stajing mempengaruhi keseimbangan karakter yang muncul di dalam gambar. Komposisi melakukan penempatan sebuah objek maupun karakter yang sesuai dengan cerita, dengan memperlihatkan maupun menggunakan rules of third menyampaikan sesuatu yang terlihat di dalam gambar akan menjadi sangat special dan bermakna dalam setiap shot. Komposisi juga menyangkut dengan pergerakan kamera yang membuat kesan lebih dramatis dilihat oleh penonton dan menambahkan ukuran shot akan jauh lebih memunculkan kesan emosional karakter. Oleh karena itu film yang diproduksi penulis menggunakan penerapan komposisi dan subject stajing dalam film “Suruh Ayu”
PENERAPAN KOMPOSISI SIMETRIS DAN ASIMETRIS PADA DOKUMENTASI ACARA MISS TEEN INTERNASIONAL INDONESIA 2021 Gusti Ngurah Agung Aditya Putra; I Ketut Buda; I Nyoman Payuyasa
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

Dalam sinematografi, komposisi adalah seni pembingkaian gambar.Pencahayaan, tata warna dan ruang sangat penting dalam komposisisebuah gambar dan dapat meninggalkan kesan mendalam terhadapkhalayak. Pada dokumentasi acara Miss Teen Internasional – Indonesia2021, penulis menerapkan komposisi simetris dan asimetris dalampengambilan gambar untuk membuat kesan keseimbangan sertakebebasan berekspresi. Komposisi simetris adalah suatu objek ataumodel yang ditempatkan pada posisi seimbang antara kiri dan kanan,serta memiliki keseimbangan bentuk dan ukuran objek yang sama.Sedangkan komposisi asimetris adalah penempatan objek gambar yangtidak seimbang antara posisi kanan dan kiri serta ukuran dan bentuk objekjuga berbeda. Meski demikian pada komposisi asimetris ini tetapmemperhatikan proporsi, kesatuan dan keseimbangan diantara bendayang menjadi objek gambar. Pada tahapan proses pelaksanaandokumentasi acara Miss Teen Internasional – Indonesia 2021, pertama -tama yaitu membentuk team (crew) seperti director, cameraman,switcher, vmix operator, runner, serta menyiapkan seluruh peralatan yangakan digunakan pada saat dokumentasi acara tersebut. Kemudian setelahcrew terbentuk, dilanjutkan dengan melakukan rehearsal H-1 sebelumacara tersebut diselenggarakan. Pada tahapan berikutnya yaitudimulainya acara Miss Teen Internasional tersebut seluruh crew yangterlibat wajib menjalankan tugas – tugasnya sesuai arahan yang telahdisepakati diawal. Setelah seluruh rangkaian acara tersebut selesai,kemudian masuk pada tahap editing, menyusun dan menggambungkanseluruh file gambar yang telah direkam sebelumnya untuk kemudiandijadikan sebuah video utuh. Penerapan komposisi Simetris dan Asimetrisuntuk membuat kesan keseimbangan dan kebebasan berekspresi padadokumentasi Miss Teen Internasional - Indonesia 2021, disimpulkan untukdapat memvisualisasikan suatu keadaan formal dan informal.
MEMBANGUN NUANSA DRAMATIS MELALUI RHYTHMIC EDITING DALAM FILM “BUKAN KUPU-KUPU MALAM” Rizky Achmad Fadil; I Nyoman Payuyasa; I Made Denny Chrisna 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

Film ”Bukan Kupu-Kupu Malam” merupakan film yang menceritakanseorang perempuan yang bekerja di sebuah karaoke dan stigma pekerjakaraoke yang buruk membuat perempuan tersebut mengalami tindakpelecehan seksual dan pemerkosaan. Penulis menerapkan aspek editingritmis pada film “Bukan Kupu-Kupu Malam” agar menimbulkan nuansadramatis kepada penonton. Proses penciptaan film ini melalui berbagaimetode, yang pertama adalah metode pencarian data dengan observasifilm karya dengan penerapan teknik ritmis yang kedua adalah bersumberdari jurnal, skripsi. Praproduksi, produksi dan pascaproduksi dilakukanuntuk menerapkan atau mengimplementasikan teknik ritmis. Dalampelaksanaannya penulis sudah melakukan banyak tahap untuk penerapanaspek editing ritmis, dari proses riset observasi dan wawancara mengenaiaspek ritmis editing dalam pasca produksi, melakukan cut scene yangmemakan waktu lama, memperhatikan dimensi shot agar menyesuaikanpada editing ritmis yang diterapkan pada film “Bukan Kupu-Kupu Malam”.Hasil dari penerapan teknik ritmis dan spasial adalah, kedua tekniktersebut memiliki cara penerapan yang berbeda – beda, aspek ritmisadalah aspek yang mampu mengontrol panjang durasi sebuah shotdengan kata lain menekankan suatu momen, sedangkan spasial adalahmemanipulasi dimensi shot, ketika dua teknik tersebut dipadupadankanpada scene 13 dan scene 20 akan menghasilkan atau mewujudkan suatuemosi yaitu membangun emosi karakter pemeran seperti ketenangan,keraguan dan ketakutan.
PENERAPAN SETTING PROPERTI DENGAN KONSEP REALIS PADA FILM FIKSI “KAMBING HITAM” Ni Kadek Sruja Pegiyanti; I Dewa Made Darmawan; I Nyoman Payuyasa
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

Kasus pencemaran nama baik, atau tuduhan sebagai topik penciptaandikemas ke dalam film fiksi “Kambing Hitam”, karena belakangan inimarak terjadi kasus pencemaran nama baik, tuduhan, ujaran kebencian.70 Jurnal CalaccitraMelalui film fiksi ini penulis mencoba merepresentasikan tata artistiktentang tekanan seseorang yang mengalami konflik tersebut. Penerapansetting properti film fiksi “Kambing Hitam” bertujuan untuk dapatmenjelaskan konsep ruang dan waktu, status sosial, mood adegan, motifdan simbol serta pendukung adegan. Dalam proses pembuatan film,tahap pencarian data melalui riset dengan metode observasi, yaknimengamati langsung ke lapangan, studi kepustakaan didapat dari skripsidan buku, wawancara dengan penata artistik film. Penggunaan propertididukung dengan teori semiotika yang memfokuskan pada simbol, indexdan ikon, teori semiotika dari Charles Sander Peirce dan Ferdinand DeSaussure sebagai teori utama dan teori mise-en-scene untukmemperkuatnya, kedua teori tersebut merupakan satu kesatuan yangsaling melengkapi untuk membangun cita rasa artistik atau keindahan.Rancangan tata artistik dimulai dari mengkonsep properti sepertipemilihan gubuk, hutan, rumah kosong, sarana ritual sesembahan yangditerapkan pada film Kambing Hitam. Properti yang digunakan pada film"Kambing Hitam" dimaksudkan untuk pembentukan kesan tegang,misteri dan seram . Luaran dari karya ini berupa film fiksi yang bergenrehoror, action berdurasi 20 menit yang memiliki pesan untukmenyelesaikan masalah tidak harus mengorbankan kebahagian dengankeluarga hanya karena keegoisan diri sendiri.
PENERAPAN EDITING CUT TO CUT DALAM FILM PERSETERUAN I Kadek Galang Chandra Deva; I Dewa Made Darmawan; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/cc.v3i1.2256

Abstract

Feud, is a short film in the action drama genre that tells the story of an older brother who tries to save his younger sibling from criminals who are after their parents' land certificate. The author has a duty as an editor or image arranger. In its application, the writer tries to use standard cutting techniques (cut to cut) in presenting storytelling in the film Feud. Cut to cut itself is a simple cutting technique and is most used by other editors. By using the cut to cut technique, the mood development in the film becomes more interesting and gives a meaningful feel to the story. In writing, the author uses several theories from various sources such as Rosenberg which explains the cut theory, Thomson and Bowen which explains the responsibilities of an editor. And J.M Peters who explained about editing theory. In the application of the cut to cut editing technique, the author first conducts a preview of each shot which will later be included in the editing application, and when all the shots are deemed perfect, the author as the editor then arranges each of these shots so that they become an arrangement of images that tell a story.
PENERAPAN SETTING PROPERTI DENGAN KONSEP REALIS PADA FILM FIKSI “KAMBING HITAM” I Ketut Agus Cahaya Sentana; I Dewa Made Darmawan; I Nyoman Payuyasa
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/cc.v3i1.2257

Abstract

Directing is one of the important aspects of film production which is responsible for making creative and technical decisions from start to finish. In the context of comedy films, directing plays an important role in creating the right atmosphere and setting the right timing to produce laughter from the audience. A good director in a comedy film must also be able to manage chemistry between players and direct actors to maintain the comicality of the script that has been written. The director is also responsible for choosing the right location and set according to the concept and theme to be conveyed in the film. In the production process of this short film with the Comedy Not My Fault genre, the method of stages and procedures that have been implemented, namely SOP (Standard Operational Procedure) which includes the stages of pre-production, production, to post-production, is applied. With SOP, it makes it easier for the production team to carry out 3 aspects of production properly and correctly. In this production, the writer becomes the director who plays a very important role in the three aspects of production so that the writer and the assistant director do in-depth research at the pre-production stage to get ideas that suit production needs. To produce a successful comedy film, directors must be able to balance comedy elements and solid stories, and pay attention to what the audience wants and the right market. Thus, good directing can help create comedy films that are entertaining and captivating for the audience. In this production, the writer applies 27 scenes in this comedy short film in order to get maximum results.
PENERAPAN AUDIO DESCRIPTION PADA KARYA DOKUMENTER PENDEK SEJAUH MATA MEMANDANG Sukron Madani Dwi Prasetyo; I Nyoman Payuyasa; I Nyoman Suardina
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 1 (2023): Jurnal Calaccitra Maret 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/cc.v3i1.2260

Abstract

The production of the short documentary film “Sejauh Mata Memandang” was created to be able to motivate people with disabilities, especially the blind and deaf people to be able to provide space and access so they can enjoy films in general. This production will also be equipped with an audio description as a feature that helps people with disabilities to enjoy the film along with the message contained in it. The production of this work is based on the results of research and the issue of disability discrimination in Bali. The blind are equal and have the right to live side by side with the general public. Blinds have the right to love one another without discrimination. The research was carried out using an observational approach to blind persons with disabilities. The method used is in the form of quantitative and qualitative with blended learning to be able to create optional issues that can be used for the creation of documentary short films. The results of the research conducted show that the blind do not have access to the convenience of watching movies. People with disabilities need help from other parties or use audio descriptions in enjoying film. This work endeavored to have a broad impact on blind and deaf friends and to be able to raise awareness for every filmmaker to start taking into account the audio description feature facility in every film work creates.
Co-Authors Arba Wirawan, I Komang Armandio, Michelly Dante Budiyana, Ketut Hery Darmini Darmini Deny Chrisna Putra, I Made Desak Putu Yogi Antari Tirta Yasa Diputra, Komang Purna Gangga Lawranta Gede Basuyoga Prabhawita Gusti Ngurah Agung Aditya Putra I B. Hari Kayana Putra I B. Hari Kayana Putra I Dewa Made Darmawan I Gede Adi Surya I Kadek Galang Chandra Deva I Ketut Agus Cahaya Sentana I Ketut Buda I Ketut Buda I Ketut Buda I Komang Frederich Blessy I Made Denny Chrisna P I Made Denny Chrisna Putra I Made Deny Chrisna Putra I Nyoman, suardina I Putu Andika Arya Pratama I Wayan Diana Putra . I Wayan Sauca Widyantara Putra IB. Hari Kayana Putra Ida Bagus Hari Kayana Putra Ida Bagus Harikayana Putra Ida Bagus Putrayasa Kadek Dwiyani Kadek Hengki Primayana . Kadek Yooka Desy Damayu Kadek, Angga Dwiranata Ketut Hery Budiyana Lawranta, Gangga Made Rai Budaya Bumiarta Maemunah Ni Kadek Sruja Pegiyanti Nyoman Lia Susanthi Nyoman Lia Susanthi Pande Ayur Sawitar Kumari Pandet, Putu Raditya Prof. Dr. I Made Sutama,M.Pd . Puriartha, I Kadek Puriartha, Kadek Putra, IB Hari Kayana Putra, Ida Bagus Hari Kayana Putri, A.A Puspa Dewi Trisna Putu Kenta Menggala Ruspa Rizky Achmad Fadil Suciartini, Ni Nyoman Ayu Sugiarta, I Kadek Sukartika, I Wayan Pradnya Sukron Madani Dwi Prasetyo Sukron Madani Dwi Prasetyo Susanthi, Nyoman Lia Two Yonci, Kevin Wardana, Ali Widhi Asih, Made Widi Putra, Ida Bagus Gede Yasa, Desak Putu Yogi Antari Tirta