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All Journal MUDRA Jurnal Seni Budaya Lekesan: Interdisciplinary Journal of Asia Pacific Arts PRABANGKARA Segara Widya: Jurnal Penelitian Seni Journal of Music Science, Technology, and Industry (JOMSTI) calaccitra: jurnal film dan televisi Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Susanthi, Nyoman Lia
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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PENERAPAN TEORI CODES AND CONVENTION PADA DESAIN PRODUKSI VIDEO MUSIK GRUNGE MR.HIT Dedey Rusma Chriszaera Oka Subali; Nyoman Lia Susanthi; Desak Putu Yogi Antari Tirta Yasa
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

Music is a part of culture. But nowadays, some people who listen to music do not know the musicians by the music they hear. Starting in this condition, more effort was needed to introduce musicians. One of the efforts that can be done is through music videos, which is a media for promoting music and musicians. Based on this information, the author wants to promote a grunge music group that is not yet known to many people named Mr.Hit. Mr.Hit was chosen because this music group raised social issues that occurred in society into the song. Based on this phenomenon, writer is interested to create a production design of grunge music video of Mr.Hit. The theory used in this production design consists of codes and convention theory by Goodwin (1992) and logic of visual structure theory by Goodwin (1992). The method in this design is a qualitative method with interpretive analysis. The process of compiling the production design and production techniques as well as the music video theory of "Halusinasi", "Rock Your Way" and "Sang Pejuang" is followed by the design process of production design and production techniques. The result of this creation is the production design and music video production techniques for "Halusinasi", "Rock Your Way" and "Sang Pejuang" as the basis for making music videos which consist of symbols and techniques. In "Halusinasi" writer and the song writer agree on the meaning of the song about a schizophrenic person facing hallucinations and delusions. In the song "Rock Your Way" writer and the song writer agree on the meaning of the song about the spirit of living in any condition. In “Sang Pejuang” writer and the song writer agree on the meaning of the song about the people's struggle to voice their aspirations.
PENERAPAN TEKNIK EDITING FAST CUT UNTUK MEMPERKUAT STORYTELLING PADA FILM “SAMSARA” I Kadek Purnama; I Made Denny Chrisna Putra; Nyoman Lia Susanthi
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

Editing is the process of compiling, reviewing, selecting, then collecting audio and video material during the production process. The role of an editor is very important, where the final result of the editing process is one of the aspects that determine the quality of a film. An editor must also be able to strengthen storytelling in a film. One of the important elements contained in storytelling is the atmosphere of a scene. There are several techniques that can strengthen the atmosphere of a film scene, one of which is the fast cut editing technique, where this technique will be applied to a film entitled "Samsara". The method used to support the application of fast cut editing techniques is the library method and interviews by reading books related to fast cut editing techniques and their functions. Supporting aspects in implementing fast cut editing techniques include rhythmic and temporal aspects, through the application of fast cut editing techniques so that the atmosphere contained in the scenes in the film "Samsara" can be felt by the audience and the audience will be able to enjoy the scene.
MEMBANGUN KESAN REALITAS MELALUI DIMENSI EDITING DALAM FILM BERGAYA MOCKUMENTARY “SEPENGGAL KISAH BUNGA” Dani Sahrul Hadi; Nyoman Lia Susanthi; I Made Denny Chrisna 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

Mockumentary movie is a fiction movie that takes the form or look like a documentary. The form of the movie is able to simulate the style of a documentary movie to tell a form of narrative in particular. The use of the mockumentary style aims to refract between reality and non-reality in other words which want to present something that is not real but looks real. The movie “A Piece Of Flower” raised the issue of sexual violence. The concept of editing that will be applied is to give the impression of reality through the application of the technique of editing aspects rhythmic. Aspects of the rhythmic system is in control of the length of the short shot so that an editor will be able to control the rhythm of the editing in accordance with the needs of the movie. The process of the creation of the movie is based on the existence of the issue sexual violence that happened among the next of kin, departing from the issues that formed the object creation in the form of building the impression of reality through the mockumentary movie entitled “A Piece Of Flower”. The method of creation of works of the movie “A Piece Of Flower” of course, through the stages of pre-production, production and post-production. In post production there is the process of editing or editing image around. The editing process is a process of organize, review, select and combine the “footage” of the image and sound recording production. On the work of the movie “A Piece Of Flower” the application of the technique of editing aspects of rhythmic used to build the impression of reality through the emotional emphasis of the audience. In this emphasis, emotional audience built through the application of the duration or timing. timing is a part of the rhythmic function to determine the average duration used in each shot. The formation of emotional in editing is also influenced by two types of rhythm that is the rhythm of the internal and external. With the application of the technique of editing aspects of rhythmic expected to be able to convey the concept of editing that has been designed so that the messages in the movie can be delivered.
PENDEKATAN GAYA PENYUTRADARAAN ITALIAN NEOREALISME DALAM FILM PENDEK “KALA RAU: HARI INI MATAHARI PERGI BERSEMBUNYI” I Wayan Medy Mahasena; Nyoman Lia Susanthi; Made Rai Budaya Bumiarta
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

Every film has its own concept or characteristic, whether it's the characteristics of the director or writer scenario. The application of these directing characteristics can make an impression on the audience by remembering the uniqueness of a film and the uniqueness of the film. A characteristic can be channeled through a concept. This is what motivated the author to apply the concept of Italian neorealism in the making of the short film “Kala Rau: Hari Ini Matahari Pergi Bersembunyi”. As a form of directing style that is close and represents the vision and mission that the author wants to convey to the audience. The short film “Kala Rau: Hari Ini Matahari Pergi Bersembunyi”tells the story of Sri a child who has lost his father since he was young and has a curiosity about the cause of his father's departure. Sri accompanied by Ketut began his search for his father when a solar eclipse occurred. On the way, Sri finds many things that are blocking her father's absence. The method applied in the implementation of the directing style Italian neorealism which is emphasized in its application is the selection of roles, the structure of the story packaging, and the selection of shooting locations. The results of this creation show that the overall application of the directing style is Italian neorealism able to present an educative message from the short film “Kala Rau: Hari Ini Matahari Pergi Bersembunyi”.
MEMPERKUAT TANGGA DRAMATIK FILM “SENANG BERTEMU DENGANMU” MELALUI PENERAPAN EDITING ASPEK RITMIK I Gusti Ngurah Agung Jaya Pangestu Suastika; Nyoman Lia Susanthi; Gede Basuyoga Prabhawita
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 fictional film entitled “Senang Bertemu Denganmu” describe the inner conflict of a young man after getting to know someone without an encounter. The young man also got several answers to questions that he had not known throughout his life. The inner conflict is illustrated by the graphic of Hudson's story. There are 6 acts in the graphic so the editor must be able to adjust the rhythm in each scene to strengthen the dramatic ladder of the film. The formulation of the problem that arises is how to apply the rhythmic aspect of editing to strengthen the dramatic ladder of the film "Senang Bertemu Denganmu". The purpose of this creation is to find out the application of editing theory, especially the rhythmic aspect to strengthen the dramatic ladder in the film. Theoretically, this creation can provide benefits in the form of insight in applying rhythmic aspect editing to a film work. In this creation, a data collection method in the form of observation was carried out by reviewing several film and library research. The method of creation of course through the stages of pre-production, production and post-production. The theory of rhythmic aspect of editing is the main theory used. This theory allows the editor to set the length of the short duration of a shot. The editor uses the duration of the shot to emphasize a certain moment so that the information in a shot can be conveyed properly to the audience. This theory is supported by timing and pacing theory. The results of the application of rhythmic aspect editing are found in 9 scenes which are divided into each round of the film. The editing rhythm gives a deeper impact to the characters in the film. When the character feels lonely, it is described with a slow rhythm to emphasize the inner conflict that is being experienced. On the other hand, when the character is experiencing anxiety, the cutting and moving shots quickly is done to impress the character's emotional leap. With various shot durations, the rhythm of editing from the introduction to the end can help to strengthen the dramatic ladder in the film.
SISTEM PENGAMBILAN GAMBAR VIDEO STREAMING RAPAT PIMPINAN NASIONAL KAMAR DAGANG DAN INDUSTRI INDONESIA 2021 I Gusti Agung Malisky; Nyoman Lia Susanthi; Made Rai Budaya Bumiarta
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

Skripsi ini di buat merupakan hasil dari sebuah proses magang/kerja praktik mengenai Sistem Pengambilan Gambar Video Streaming Rapat Pimpinan Nasional Kamar Dagang dan Industri Indonesia 2021 yang diadakan pada tanggal 3-4 Desember 2021 dan di laksanakan di Bali Nusa Dua Convention Center. Program studi produksi film dan televisi merupakan program studi yang dipilih berkaitan dengan proses produksi dalam media audio visual. Boom Production merupakan perusahaan yang bergerak pada bidang jasa kreatif seperti produksi video, video animasi, serta penyewaan peralatan audio dan lighting. Boom Production memfokuskan company profile, video animasi, dan live streaming. Boom Production dipilih sebagai tempat Magang/Praktik Kerja. Sesuai dengan mayor yang sudah dipilih, Pelaksanaan kerja praktek kali ini memilih mayor sebagai juru kamera. Metode yang di gunakan dalam pengumpulan data untuk menyelesaikan laporan Magang/Praktik kerja, Metode Observasi salah satu cara untuk mengadakan penilaian dengan jalan pengamatan secara langsung dan sistematis. Metode wawancara digunakan untuk mendapatkan informasi, kegiatan Tanya dan jawab dengan seseorang. Studi Pustaka dilakukan agar dapat mempelajari beberbagai buku referensi serta hasil penelitian. Dengan metode di atas dapat lah hasil yaitu dalam proses ini video streaming ini dapat mengetahui dimana blocking kamera ketika dihadiri oleh Presiden dan Wakil Presiden maupun pemimpin lain nya, sehingga mengatur jarak aman kamera antara objek. Juru kamera bertanggung jawab untuk menyiapkan kamera dan kemudian mengoperasikan untuk menangkap gambar video seperti yang diminta oleh program director.
MANAJEMEN PRODUKSI PADA CV.BOOM PRO PADA PEMBUATAN IKLAN VIDEO PERTAMINA WORLD SUPER BIKE (WSBK) 2021 Viki Kurniawan; Nyoman Lia Susanthi; Ni Wayan Suratni
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

CV. Boom Pro adalah perusahaan yang bergerak di bidang audio visual yaitu pembuatan company profile, live streaming, pembuatan iklan dan dokumentasi acara. CV. Boom Pro telah melayani banyak klien yang rata-rata berasal dari perusahaan BUMN, Kementerian serta Corporate. Iklan video Pertamina World Super Bike (WSBK) merupakan produksi dari CV. Boom Pro dan didanai oleh PT Pertamina (Persero). Iklan video yang berkonsep Energizing You artinya Memberimu Energi, bercerita tentang seorang anak kecil bercita-cita menjadi pembalap nasional. Produksi iklan video digunakan untuk memperkenalkan sirkuit internasional Pertamina Mandalika yang berlokasi di Kuta- Mandalika, Lombok. Sirkuit ini digunakan untuk balapan motor bertaraf international yaitu World Super Bike (WSBK) yang sudah terlaksana bulan Oktober 2021 dan tahun 2022 akan dilaksanakan perhelatan MotoGP. Untuk itu tertarik mengkaji manajemen produksi dalam pembuatan iklan video Pertamina World Super Bike (WSBK) 2021. Dalam pembuatan tinjauan ini penulis menggunakan beberapa metode kualitatif dengan teknik pengumpulan data berupa studi kepustakaan, observasi dan studi lapangan (wawancara). Hasil dari tinjauan menunjukan bahwa, proses atau langkah-langkah manajemen produksi yang sesuai dan benar demi kelancaran dalam proses prosduksi iklan video ini. Terdapat empat unsur tahapan manajemen produksi yaitu perencanan, pengorganisasian, pengarahan dan pengawasan. Perencanaan melingkupi menentukan ide cerita, pemilihan pemain, pembentukan jadwal. Pengorganisasian mencangkup hal menentukan atau bekerja sama dengan sumber daya yang ada karena dalam proses produksi membutuhkan kerja sama yang baik. Pengarahan adalah cara mengkoordinasikan kru sesuai dengan jobdesk/departemen yang telah ditentukan, serta mengetahui alih pengetahuan, keterampilan dan teknologi. Terakhir adalah pengawasan dalam setiap tahapan produksi.
Directing Of Documentary Bilingual “Lukisan Barong Gunarsa” In Exspository Style Nyoman Lia Susanthi; Ni Kadek Dwiyani; I Kadek Puriartha
Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i3.522

Abstract

Latha Mahosadhi Museum of ISI Denpasar is a memorial place for displaying art objects. But the function of the museum as a center of art information cannot be realized because the information provided is only verbal information and not specific. So that information media is created in museum, namely bilingual documentary film. One of the interesting a film to be researched is “Lukisan Barong Gunarsa” by Nyoman Lia Susanthi as a director. The aim of this study is to determine the process of creating a documentary film that shows the side of Gunarsa as famous person and secret element that have never been published before. Based on it, documentary bilingual can be applied to other 127 objects collection. The method used qualitative. The data were obtained through observation, interview, and literature study. The result of this study was the director observed in three roles, such as: a leader, an artist and a technical advisor. The pre-production, the director created in the form of production concept, technical concept and story line. The concept of film was expository style with television documentary format using narrator as a single speaker. The director as a leader directed the cameraperson in taking pictures. In editing, director was involved directly in the process of arranging the images. The resulting visual beauty cannot be separated from the director’s firmness that directed the taking of beauty shot. The director as a technical advisor was able to take over the role of cinematography, sound and editing.Museum Lata Mahosadhi ISI Denpasar adalah tempat pemajangan benda seni baik dari Bali maupun luar Bali. Namun fungsi museum sebagai pusat informasi seni belum bisa terwujud karena informasinya hanya berupa verbal dalam Bahasa Indonesia dan tidak spesifik. Untuk itu dilakukan penelitian terkait media informasi efektif untuk museum yaitu bilingual dokumenter menggunakan 2 bahasa (Indonesia-Inggris). Salah satu bilingual dokumenter yang menarik untuk dikaji adalah film berjudul “Lukisan Barong Gunarsa” karya Nyoman Lia Susanthi sebagai sutradara. Alasan memilih konten ini karena terdapat elemen rahasia yang belum dipublikasikan yaitu makna dan deskripsi lukisan. Dalam proses pembuatan film maestro berpulang, sehingga film ini benilai informasi tinggi. Tujuan dari penelitian adalah mengetahui penyutradaraan film dokumenter yang menunjukkan sisi intim orang terkenal yaitu Gunarsa. Dengan mengetahui penyutradaraan film ini, maka dapat juga diterapkan penciptaan bilingual dokumenter pada 127 benda koleksi museum. Metode yang digunakan untuk mengetahui manajemen produksi film adalah kualitatif. Data diperoleh melalui observasi, wawancara, dan studi pustaka. Hasil penelitian ini adalah sutradara dalam melahirkan film diamati dalam tiga peran yaitu sebagai pemimpin, seniman dan penasehat teknis. Saat pra produksi sutradara berperan besar melahirkan konsep penciptaan berupa konsep karya, teknis serta story line. Konsep karya menggunakan gaya exspository, format dokumenter televisi dengan narator sebagai penutur tunggal. Peran sutradara sebagai pemimpin yaitu mengarahkan kameramen dalam mengambil gambar sesuai tuntutan cerita. Tahapan editing sutradara terlibat dalam proses penyusunan gambar. Keindahan visual yang dihasilkan juga peran sutradara yang turut mengarahkan pengambilan beauty shot. Sutradara sebagai penasehat teknis mampu mengambil alih peran teknis dalam sinematografi, tata suara dan editing.
PENYUTRADARAAN LIVE STREAMING CV. BOOM PRO PADA RAPIMNAS KADIN 2021 Pratama Sadani Mulia Silitonga; I Ketut Buda; Nyoman Lia Susanthi
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

Rapat Pimpinan Nasional Kamar Dagang Dan Industri Indonesia 2021(RAPIMNAS KADIN 2021) yang diadakan pada tanggal 3 – 4 Desember2021 di Bali Nusa Dua Convention Center merupakan rapat tahunan yangdiikuti oleh pimpinan jajaran organisasi dalam rangka koordinasi,sinkronisasi dan upaya-upaya sinergistik dalam perencanaan danpelaksanaan program-program antar-jajaran yang dilaksanakan setiaptahun. Adapun latar belakang dari kajian ini, penulis mengamati bahwa dimasa pandemi COVID - 19 live streaming menjadi sarana yang palingefektif dalam pelaksanaan sebuah rapat yang diadakan secara hybriddimana penggabungan daring dan luring menjadi satu. Dalam prosesnyapenulis berkesempatan menjadi program director (PD). Program directormemiliki peran sebagai seorang pemimpin yang memberikan komandokepada rekan kerjanya dalam sebuah produksi. Program director harusmemiliki pengetahuan dalam hal teknis dan sinematik seperti tata kamera,tata audio, pencahayaan, editing, panggung bahkan baju yang dipakaipemeran yang akan ada dalam frame agar hasil tontonan yang diberikandapat dinikmati khalayak. Untuk mengetahui bagaimana penyutradaraanlive streaming Rapat Pimpinan Nasional Kamar Dagang Dan IndustriIndonesia 2021 (RAPIMNAS KADIN 2021) penulis menggunakan beberapametode pengumpulan data. Teknik pengumpulan data yang digunakanpenulis berupa studi kepustakaan, studi lapangan dengan cara metodeobservasi partisipan dan sistematik, metode wawancara, dan metodedokumentasi. Informan utama dalam proses wawancara adalah BapakBambang Wiyono selaku Direktur dari CV. BOOM PRO. Hasil dari tinjauanini menunjukkan bahwa dalam proses penyutradaraan live streaming padaRapat Pimpinan Nasional Kamar Dagang Dan Industri Indonesia 2021(RAPIMNAS KADIN 2021), program director akan turut andil dalam prosespraproduksi, produksi, dan pascaproduksi. Dalam proses praproduksiprogram director akan melakukan recce kemudian mengorganisir rekankerja untuk melakukan blocking kamera dan routing sesuai dengan floorplan yang sudah ditetapkan. Pada proses produksi tugas program directorpada live streaming RAPIMNAS KADIN 2021 adalah memberikan komandoyang jelas kepada rekan kerja khususnya kepada juru kamera danmengambil keputusan dengan memikirkan resiko yang ada. Prosespascaproduksi merupakan proses pemeriksaan ulang terhadap alat – alatproduksi yang digunakan sebelum dikembalikan dan dilakukannyapenyuntingan gambar yang akan menjadi highlight video untuk arsip clientyaitu KADIN Indoneisa dan menjadi arsip bagi perusahaan CV. BOOM PRO.
VirtueAll: Television Talkshow Program Based on Virtual Live Streaming Nyoman Lia Susanthi; Ketut Hery Budiyana; Igor de Almaida Amanajas; I Wayan Suardana
Mudra Jurnal Seni Budaya Vol 38 No 1 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i1.2223

Abstract

The Covid-19 pandemic has changed the order of life in various sectors, including education. In 2020 online learning was applied to the Advanced Tv Production class, Film and TV Production Study Program, Faculty of Fine Arts and Design, ISI Denpasar. Changes in the behavior of classroom practice in producing tv programs have shifted virtually. Even though students in groups created a weekly talk show program called “VirtueAll” they held it face-to-face. The purpose of this study is to recognize how the production process of the ViertueAll program based on virtual live streaming. In this study, the author used a qualitative descriptive research design. Descriptive research is a study to collect information about the transformation of the form of television production into virtual. The results showed that: The virtual live streaming production process used two stages, namely pre-production, preparation of the production design for the VirtueAll tv program, and agenda setting. The production stage is to change the production design into audiovisual. In the production of virtual live streaming using several platforms, including Google Meet, Zoom and OBS (Open Broadcaster Software). Google Meet facilities as a virtual master control room (MCR) and zoom as a virtual studio. The positive impact of this research is beneficial for the community to provide knowledge to become content creators with minimalist and adaptive tools to the current pandemic conditions. The negative impact is less appreciative to interact as a team work in production team and highly dependent on the readiness of technology including high specification computers and a good internet network.
Co-Authors Agung Bima Susetyo Basuki Agustinus Sani Aryanto Anak Agung Ngurah Narendra Prema P Arba Wirawan, I Komang Budiyana, Ketut Hery Dani Sahrul Hadi Darmayuda, I Komang Dedey Rusma Chriszaera Oka Subali Desak Putu Yogi Antari Tirta Yasa Dianitasari, Renata Gangga Lawranta Gede Basuyoga Prabhawita Hery Budiyana, Ketut I B. Hari Kayana Putra I Gusti Agung Malisky I Gusti Ngurah Agung Jaya Pangestu Suastika I Kadek Purnama I Ketut Buda I Made Denny Chrisna Putra I NYOMAN PAYUYASA . I Wayan Adnyana I Wayan Medy Mahasena Ida Bagus Harikayana Putra Igor de Almaida Amanajas Kadek Dwiyani Ketut Hery Budiyana Ketut Sumerjana, Ketut Made Rai Budaya Bumiarta Ni Ketut Suryatini, Ni Ketut Ni Wayan Ardini, Ni Wayan Ni Wayan Suratni Prasetyo, Guntur Eko Pratama Sadani Mulia Silitonga Puriartha, I Kadek Putra, IB Hari Kayana Raditya Pandet, Putu Renata Dianitasari Satyani, Ida Ayu Wayan Arya Suratni, Ni Wayan Suratni, Ni Wy. Viki Kurniawan Wahyu Indira