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All Journal MUDRA Jurnal Seni Budaya PRABANGKARA Segara Widya: Jurnal Penelitian Seni calaccitra: jurnal film dan televisi Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Puriartha, I Kadek
Institut Seni Indonesia Denpasar
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Journal : calaccitra: jurnal film dan televisi

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PENERAPAN PERGERAKAN KAMERA DINAMIS PADA FILM “SAMSARA” UNTUK MENCIPTAKAN KESAN MENEGANGKAN Helvin Topannesa; I Kadek Puriartha; I Made Denny Chrisna Putra
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

Samsara film is an action drama genre film with the story preaching an emotional and tense feeling as an experience for each audience, the writer is responsible for determining the cinematographic concept that will be used in samsara films in supporting the needs of narrative elements in the film. Based on this the authors as cinematographers chose to apply dynamic camera movement techniques, to provide elements of dramatic, realism and audience participation. In embodying the concept the writer uses qualitative description methods such as observation of the reference film, interviews with Ical Tanjung as a national cinematographer, opinion surveys about dynamic camera movements to the public and supported by cinematographic theories from Joseph V.Mascelli and Himawan Pratista who explain Framming : composition, angle, continuity, lighting, color and aspect ratio and camera movement. In realizing cinematographic techniques in Samsara films, in addition to using cinematographic elements such as angles, three point lighting, aspect ratio and type of shot, the writer also uses handheld techniques because basically dynamic cameras have a flexible nature and move freely to follow the movement of the story so that each battle scene, Dramatic and tense moments in his preformance can be easily enshrined to build mood and support the narrative element needs of Samsara films.
PENERAPAN MUSIK DIATONIS MINOR UNTUK MEWUJUDKAN SUASANA SUNYI DAN SENDU PADA FILM “SENANG BERTEMU DENGANMU” I Made Suhartana; I Kadek Puriartha; 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

“Senang Bertemu Denganmu” is a fictional film that tells the story of Mega, a young man who found out a mysterious diary in his mother's inherited house. Gradually. In films, sound can liven up the atmosphere to create the feeling of sadness, joy, anger and fear. In general, the sound in films consists of two types, namely diegetic sound and non-diegetic sound which includes dialogue, sound effects and music. One of the types of musical scale that can cause a quiet and sad atmosphere is a minor diatonic. The minor diatonic is music that uses seven basic notes, namely la, si, do, re, mi, fa, sol, and la. Music with minor diatonic scales can create a quiet and sad atmosphere, based on the theory of diegetic sound which is all the elements of sound in the film, including dialogue, sound effects and ambiance. Diegetic sound helps to create the quiet and sad atmosphere that occurs in the film “Senang Bertemu Denganmu”. The results of the diegetic sound theory can provide a more detailed sound through the foley technique so that after all the elements of the diegetic sound are combined with the accompaniment of minor diatonic music combined with the strains of a piano, the quiet and sad atmosphere in the film “Senang Bertemu Denganmu” can be realized. Therefore, it can convey an impression and message to the audience.
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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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.
PENULISAN NASKAH SKENARIO FILM PENDEK “BUKAN KUPU – KUPU MALAM” DI MAHATMA PICTURES I Putu Sathyana Rayana; Ni Kadek Dwiyani; I Kadek Puriartha
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 1 (2022): Jurnal Calaccitra Maret 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Penulis memilih mayor penulis naskah dan melaksanakan kegiatan magang di Mahatma Pictures dengan luaran karya film pendek berjudul “Bukan Kupu – Kupu Malam”. Film ini bercerita tentang seorang wanita yang dianggap tidak baik hanya karena pekerjaannya, ia berusaha mendapatkan keadilannya sendiri setelah mengalami pelecehan seksual. Penulis menggunakan metode observasi, dokumentasi dan wawancara dalam proses pengumpulan data untuk pengembangan ide cerita film. Pada tahap observasi dan dokumentasi, penulis melaksanakan pengamatan di tempat yang dapat dijadikan sebagai refrensi setting lokasi film dan keadaan masyarakat mengenai isu pelecehan dan kekerasan seksual pada perempuan di dunia maya. Penulis juga melaksanakan sebuah wawancara dengan salah satu korban pelecehan seksual di kota Denpasar. Selama proses magang dan produksi film pendek “Bukan Kupu – Kupu Malam”, penulis mendapatkan kesempatan dalam mengasah kemampuan menulis naskah skenario film. Dari riset dan pengembangan ide cerita yang menggunakan Triangle System (sistem kerjasama dengan produser dan sutradara), penulis pun mendapatkan pengalaman yang baik dalam menyelesaikan beberapa masalah terkait penulisan naskah dan proses produksi film seutuhnya. Secara keseluruhan, proses magang berjalan dengan baik dan kondusif.
TEKNIK TATA KAMERA PADA EVENT BADAN PENGAWAS OBAT DAN MAKANAN (BPOM) DI CV. PHENOMINCA RADHARANI AA Anom Satria Wibawa; I Kadek Puriartha; I Gusti Ngurah Wirawan
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 2 No. 2 (2022): Jurnal Calaccitra September 2022
Publisher : CALACCITRA: JURNAL FILM DAN TELEVISI

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Institut Seni Indonesia Denpasar telah melaksanakan program MBKMmagang atau kerja praktik yang dilaksanakan di tengah masa PandemiCOVID-19, dengan adanya program MBKM magang ini membantumahasiswa untuk lebih mengenal bagaimana dunia industri dan jugamembantu mahasiswa untuk dapat menemukan lapangan pekerjaan21 Jurnal Calaccitradengan lebih mudah. Perkembangan teknologi dan zaman yang semakinmaju dan juga didukung dengan pandemi COVID-19 sehingga membuatsebagaian besar kegiatan masyarakat berbelok arah dari luring menjadidaring, sehingga inilah yang membuat penulis memilih CV. PhenomincaRadharani menjadi tempat pelaksanaan program MBKM magang ini.Dikarenakan kemajuan teknologi yang dimiliki oleh CV. PhenomincaRadharani yang semakin maju dibidang digital dalam masa COVID-19 ini.Salah satu studi kasus yang didalami oleh penulis yakni program acarayang diselenggarakan oleh Badan Pengawas Obat dan Makanan mengenaiPeningkatan Peran dan Kompetensi Pemimpin Perubahan, DialogKepemimpinan, dan Penutupan Pelatihan Leadership untuk Pimpinan UPTtahun 2021. Pada program acara tersebut digunakan Teknik tata kameraNatural Framing yang dimana meletakkan objek pada bagian tengah frameyang dimana memiliki tujuan agar penonton lebih fokus terhadap objek.Perbedaan yang signifikan terdapat dari yang telah di pelajari di perguruantinggi yakni dimana pada perguruan tinggi menerapkan Teknik rule of thirdnamun pada CV. Phenominca Radharani lebih menempatkan objek padabagian tengah frame sehingga memberikan kebebasan untuk video jockeyuntuk melakukan pemrosesan terhadap gambar yang telah di hasilkan.
PENERAPAN TEKNIK LIVE ON TAPE DALAM PRODUKSI EVENT VIRTUAL “MAGSTAR” PADA LIVE STREAMING YOUTUBE CHANNEL MAGTV I Putu Agus Endra Widiantara; I Kadek Puriartha; 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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Pandemi COVID-19 memberikan dampak pada berbagai aspek kehidupan,sehingga menuntut manusia untuk terus berkembang dan berinovasi46Jurnal Calaccitrakhususnya pada media digital. Pemanfaatan media digital membuatbanyak masyarakat, kelompok, maupun perusahaan tetap bisa melakukanpekerjaan dan aktivitasnya. Salah satunya CV Phenominca Radharani yangbertahan berkat ide para staff-staffnya yang kreatif. Perusahaan inibertahan dengan mengandalkan teknologi media yang sangat dibutuhkandi masa pandemi ini yaitu sebuah Studio Virtual yang memiliki banyakkegunaan dibidangnya. MAGTV merupakan salah satu program yangmemanfaatkan Studio Virtual sebagai media digital pendukung padasituasi pandemi COVID-19. Setelah berjalan selama satu tahun MAGTVmerancang suatu acara yaitu kompetisi vokal dengan menghadirkan parajuri-juri yang sudah berpengalaman di ajang nasional. Pada acarakompetisi vokal “MAGSTAR” ini, MAGTV menggunakan program vMixsebagai pengganti switcher kamera. vMix merupakan software videomixer dan video switcher yang memanfaatkan kemajuan perangkat keraskomputer untuk menyediakan mixing video live HD serta berfungsisebagai live streaming software yang memungkinkan proses publikasiproduksi dapat dilakukan secara langsung ke internet. Sehingga padapelaksanaan MAGSTAR akan diimplementasikan teknik live on tapeberdasarkan ilmu yang penulis dapatkan ketika pembelajaran kognitif diperguruan tinggi. Maka dari itu tujuan penulisan tugas akhir ini adalahuntuk mendeskripsikan penerapan teknik live on tape dalam produksievent virtual “MAGSTAR” pada live streaming YouTube channel MAGTV.Pada deskripsi penerapan teknik live on tape juga dijelaskan proses alihpengetahuan, keterampilan, serta teknologi yang penlis dapatkan dalamprosesnya. Yang mana dari analisis yang telah penulis lakukan, vMixmemiliki kelebihan dalam fitur pengolahan data yang dapat bekerja cepatdan tampilan vMix yang simple memudahkan penguasaan nya sehinggakru dapat meminimalisir masalah yang dihadapi di lapangan. Keberhasilanpenerapan live on tape tersebut dapat dilihat melalui kanal YouTubechannel MAGTV berjudul MAGTSTAR.
PENERAPAN PERGERAKAN KAMERA DINAMIS PADA FILM PENDEK BUKAN SALAHKU DI CV LUAR KOTAK AUDIO VISUAL I Putu Kevin Andika Prananda; I Kadek Puriartha; Made Rai Budaya Bumiarta
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.v3i1.2253

Abstract

The film is a medium that uses moving images and sound to tell a story or convey a message to the audience. Films can be made in various genres, such as drama, comedy, action, horror, and so on, and can be watched in theaters or on platforms that provide streaming services. In addition, films can also be made in various formats, such as feature films or short films. Dynamic camera movement allows the camera to move during shooting to provide a more dynamic and interesting visual effect. This technique can be used for various purposes, such as following the action that is happening, providing a different perspective, or creating a certain atmosphere. Dynamic camera movements can help enhance the visual impression of a film and help create an atmosphere that fits the story being shown. However, too much camera movement or out-of-context can cause confusion or distraction for the viewer, which needs to be considered carefully in filmmaking. It is hoped that the dynamic camera movements applied in the film "Bukan Salahku" will be well received by the audience, both from the medium and also the media presented. So that the work that is presented becomes a good work, so that it can be exhibited to a wide audience later. Students are expected to be able to further develop in the future in thinking creatively and seeing interesting aspects and having artistic aesthetics to make into works in the future. And also self-development for these students in the future.
PEMANFAATAN INSTRUMEN GAMELAN BALI PADA SCORING FILM PERSETERUAN I Gede Diki Arinata; I Kadek Puriartha; Made Denny Chrisna
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.v3i1.2254

Abstract

Musical scoring in action films can be one of the media in strengthening narratives in action films. In addition, scoring music in action scenes can influence the mood and emotions that the director wants to manifest in each scene. The musical score is an important factor in shaping the emotion of each scene. Therefore, it is important for a sound engineer to design musical scoring in every action scene. In this report, the author as a sound engineer discusses how to use Balinese gamelan instruments in scoring music and the process of designing scoring music in action scenes in film with tittle Perseteruan or Enmity. Starting from the script breakdown part, tone design, instrument selection, sound effect selection until mixing and mastering process. The author also describes the use of Balinese gamelan instruments in the Perseteruan film. Balinese musical instruments have their own charm for the audience. The use of Balinese gamelan in the film score for the Perseteruan to support the background story in Bali. Exotic pentatonic tones make this Balinese gamelan instrument beuatifully elegant when it's played. The tones in Balinese gamelan are very identical to the atmosphere in Bali. Perseteruan film is an action film that depicts the enmity between two friends. Wayan and Bayu used to be best friends. But now that has changed after Wayan left prison and Bayu became one of the land mafia groups who wanted to sell Wayan's land. Wayan didn't agree because he wanted to build his own business on that land. In the end, Bayu tried any ways to get the land. From there, Wayan and Bayu's feud began.
ANALISIS PERAN SUTRADARA DALAM PROSES PRODUKSI FILM DOKUMENTER “GENI” DI PT. NUSA DEWATA KREATIF STUDIO Astawa, Pande Kadek Angga Juli; Puriartha, I Kadek; Yasa, Desak Putu Yogi Antari Tirta
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 4 No. 1 (2024): Junal Calaccitra Maret 2024
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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Film dokumenter adalah suatu bentuk karya audio visual yang menggambarkan dan mendokumentasikan realitas. Istilah "dokumenter" pertama kali diperkenalkan dalam ulasan film Moana (1926) karya Robert Flaherty, yang ditulis oleh seorang kritik bernama The Moviegoer alias John Grierson, di New York Sun pada 8 Februari 1926. Di Prancis, istilah "dokumenter" digunakan untuk merujuk pada segala jenis film non-fiksi, termasuk film perjalanan dan film edukatif. Dalam produksi film, peran seorang sutradara sangat sentral. Secara umum, sutradara bertanggung jawab atas pengarahan artistik dan teknis, memberikan instruksi kepada kru produksi, memberikan petunjuk kepada para pemain, mengelola aspek kreatif dari segi naratif dan sinematik, serta menentukan visi keseluruhan film. Film dokumenter yang diproduksi di PT. Nusa Dewata Kreatif Studio fokus pada eksplorasi Ritual Jamasan Api. Secara umum, istilah "Jamasan" atau "siraman" berasal dari bahasa Jawa yang merujuk pada tindakan membersihkan atau memandikan. Salah satu bentuk jamasan adalah dengan menggunakan api, yang dikenal sebagai "TAPA GENI". Film dokumenter ini berfokus pada Ni Putu Ira Karisma Santi, seorang wanita muda dari Bali, yang menjalani Ritual Jamasan Api untuk mengatasi penyakit yang dideritanya. Ritual jamasan api ini memiliki aturan khusus, di mana hanya boleh dilakukan pada malam hari, Prosesi ritual yang dilakukan pada malam hari ini tidak dilakukan secara sembarangan, melainkan memiliki makna dan tujuan yang mendalam. Film dokumenter ini menggunakan konsep dokumenter realisme yaitu suatu genre film dokumenter yang menekankan keaslian atau kejadian nyata. Tujuan utamanya adalah untuk menggambarkan keadaan sebagaimana adanya tanpa banyak campur tangan atau manipulasi dari pembuat film. Film dokumenter ini diharapkan dapat memberikan wawasan kepada penonton mengenai ritual ini, yang mungkin belum banyak diketahui oleh banyak orang. Karya film dokumenter ini merupakan bagian dari tugas akhir penulis, dan dapat diverifikasi keasliannya melalui surat pernyataan resmi.
PENCIPTAAN FILM DOKUMENTER “KEMBANG JENAR” DENGAN GAYA EKSPOSITORI Widnyana, I Kadek Wira; Puriartha, I Kadek; Yasa, Desak Putu Yogi Antari Tirta
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 5 No. 1 (2025): Jurnal Calaccitra Agustus 2025
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

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ndependent Project Activities are part of the Merdeka Belajar Kampus Merdeka (MBKM) program, designed to provide students with opportunities to create innovative works either independently or in interdisciplinary groups. This program aims to complement the formal curriculum with topics not covered in regular courses. Independent Projects facilitate collaboration between students and external partners to produce creative works with a wide-reaching impact. As part of this program, the author will produce a documentary film titled Kembang Jenar, which highlights the traditional Baris Kembar dance. The documentary, created in an expository style, focuses on presenting facts, events, people, and places associated with Baris Kembar dance. The film narrates the story of the pengadeg sesuunan Baris Kembar, individuals chosen from childhood to shoulder the responsibility of preserving this tradition.
Co-Authors AA Anom Satria Wibawa Astawa, Pande Kadek Angga Juli Dewa Ayu Leliana Sari Dwiyani, Ni Kadek Gede Basuyoga Prabhawita Gede Bayu Permana Helvin Topannesa I Gede Diki Arinata I Made Denny Chrisna Putra I Made Suhartana I NYOMAN PAYUYASA . I Putu Agus Endra Widiantara I Putu Kevin Andika Prananda I Putu Sathyana Rayana Ida Bagus Harikayana Putra Kristi, Ni Kadek Ayu Widia Leliana Sari, Dewa Ayu Putu Made Denny Chrisna Made Rai Budaya Bumiarta Noorwatha, I Kadek Dwi Pandet, I Putu Raditya Putri, A.A Puspa Dewi Trisna Susanthi, Nyoman Lia Widnyana, I Kadek Wira Wirawan, I Gusti Ngurah Yasa, Desak Putu Yogi Antari Tirta