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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi eDimensi Arsitektur Petra PADJADJARAN Jurnal Ilmu Hukum (Journal of Law) Jurnal Seni Nasional Cikini VCD (Journal of Visual Communication Design) Gestalt : Jurnal Desain Komunikasi Visual Judikatif: Jurnal Desain Komunikasi Kreatif Jurnal Pengabdian Seni calaccitra: jurnal film dan televisi Jurnal Desain Komunikasi Visual Nirmana Jurnal Global Ilmiah Jurnal Bahasa Rupa Pengabdian Seni Jurnal Bahasa Rupa Jurnal Desain
William Sanjaya
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Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Medicine & Pharmacology Social Sciences

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Relasi Kepercayaan Diri pada Karakter Utama dengan Komposisi Visual di Film “TAR” Sanjaya, William; Marian, Hannalayne
Jurnal Seni Nasional Cikini Vol. 9 No. 2 (2023): Jurnal Seni Nasional Cikini Vol. 9 No. 2
Publisher : Riset, inovasi dan PKM - Institut Kesenian Jakarta, DKI Jakarta.

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52969/jsnc.v9i2.231

Abstract

Film “Tár” merupakan film tentang Lydia Tár, seorang maestro wanita yang menerima banyak tuduhan ketika ia dipercaya sebagai konduktor pada salah satu orkestra terbesar di Jerman. Film “Tár” memiliki beberapa tampilan visual yang menerapkan berbagai komposisi untuk menunjukkan kepercayaan diri pada karakter utamanya. Berbeda dengan film pada umumnya, film “Tár” menerapkan komposisi yang menunjukkan kepercayaan diri karakter utama di bagian awal, tengah, dan akhir cerita. Penelitian ini bertujuan untuk menunjukkan relasi penerapan komposisi terhadap penggambaran kepercayaan diri pada karakter utama. Penelitian ini menggunakan metode kualitatif dengan pusposive sampling. Teori yang digunakan adalah teori komposisi visual yang dijelaskan oleh Gustavo Mercado. Dari penelitian yang telah dilakukan, dapat disimpulkan bahwa penerapan komposisi visual dalam film “TAR” terdapat pada bagian awal, tengah, dan akhir dari keseluruhan cerita. Komposisi tersebut menunjukkan kepercayaan diri karakter melalui penerapan rule of thirds dengan ruang kosong yang luas pada pandangan karakter Lydia. Kepercayaan diri karakter juga ditunjukkan dengan garis simetris pada keseimbangan visual. Selain itu, peletakan kamera di bawah pandangan karakter menunjukkan kekuasaan pada beberapa adegannya. Dengan adanya penerapan komposisi visual dalam film “TAR”, kepercayaan diri dapat ditunjukkan melalui rangkaian visual sehingga penonton dapat memahami sifat dari karakter Lydia.
PENGGAMBARAN KENANGAN DAN KESEDIHAN MELALUI KOMPOSISI SINEMATOGRAFI PADA VIDEO MUSIK PESAN TERAKHIR William Sanjaya
CALACCITRA: JURNAL FILM DAN TELEVISI Vol. 3 No. 2 (2023): Jurnal Calaccitra November 2023
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/cc.v3i2.2935

Abstract

Sinematografi merupakan salah satu aspek penting dalam pembuatan sebuah film. Sinematografi memiliki berbagai unsur, salah satunya adalah komposisi. Beberapa prinsip komposisi sinematografi yang seringkali diterapkan dalam produksi video musik adalah rule of thirds dan keseimbangan visual. Video musik “Pesan Terakhir” menceritakan tentang seorang wanita yang meninggalkan orang yang dicintainya. Video musik tersebut menarik untuk diangkat karena memiliki komposisi visual yang mendukung cerita dari awal, pertengahan dan akhir. Tujuan dari penelitian ini adalah menunjukkan peran komposisi visual dalam mendukung dramatisasi cerita dalam video musik “Pesan Terakhir”. Penelitian ini menggunakan metode kualitatif dengan pendekatan pusposive sampling. Hasil dari penelitian yang dilakukan menunjukkan bahwa komposisi visual berperan penting dalam menunjukkan situasi, emosi dan kondisi psikologi pada karakter. Situasi aman ditunjukkan pada awal cerita. Sedangkan situasi buruk dan ketegangan terjadi pada pertengahan dan akhir dari cerita. Dengan demikian, komposisi tidak hanya memberikan estetika visual semata, namun juga menunjukkan makna pada visual yang ditampilkan pada sebuah film, termasuk video musik.
Analisis Match Cut dalam Membangun Penceritaan dalam Film Everything Everywhere All at Once Sanjaya, William
Rekam Vol 20, No 1 (2024): April 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v20i1.9617

Abstract

Film “Everything Everywhere All At Once” (2022) merupakan film tentang seorang Ibu Rumah Tangga, Evelyn, yang dibawa ke semesta lain ketika ia dihadapkan dengan berbagai masalah pekerjaan dan keluarganya. Film “Everything Everywhere All At Once” (2022) merupakan film yang bertemakan keluarga, yang dikemas dengan kompleksitas perpidahan lokasi atau semesta. Film “Everything Everywhere All At Once” (2022) memiliki transisi match cut yang menarik untuk diangkat. Film “Everything Everywhere All At Once” (2022) juga berhasil mendapatkan 7 dari 11 nominasi penghargaan, salah satunya adalah Best Film Editing dari Academy Awards. Oleh karena itu, penelitian ini dilakukan untuk mengetahui penggunaan match cut dalam membangun tahap peneritaan dalam film “Everythung Everywhere All At Once” (2022). Metode yang digunakan adalah metode kualitatif dengan menggunakan teori match cut oleh Gael Chandler dan teori struktur 5 babak oleh John Yorke. Dari analisis yang telah dilakukan, disimpulkan bahwa match cut memiliki peran dalam membangun cerita. Match cut mengarahkan perhatian penonton sehingga penonton mampu memahami tindakan karakter utama yang berpindah – pindah semesta.
Analisis Visual Dalam Fotografi Sejarah Kemerdekaan Indonesia Karya Alex dan Frans Mendur Kaparang, Martinus Eko Prasetyo; Sanjaya, William
Jurnal Bahasa Rupa Vol. 7 No. 1 (2023): Bahasa Rupa Desember 2023
Publisher : Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v7i1.1357

Abstract

Photojournalism can depict events that hold meaning. In Indonesia, the inception of photojournalism was led by Alex Mendur and Frans Mendur. Alex and Frans Mendur were photojournalists who captured images of events during the periods of independence, the New Order era, and the Reform era. Besides documenting these events, they also photographed the atmosphere and ordinary people after the independence period. This research aims to understand the role of composition in the photographic works of Alex and Frans Mendur and the extent to which composition was applied. To prove and understand this, the research is necessary. The theory used in this study is the photography composition theory proposed by Budhi Santoso. The research method employed is qualitative descriptive, utilizing the theories of Budhi Santoso and Paul Hill as analytical tools. Based on the analysis conducted, it is concluded that the photographic works of Alex and Frans Mendur employ various compositions. These compositions are used to guide the viewer's focus on specific parts of the image. Furthermore, these compositions highlight subjects such as heroic figures and landscapes, creating an impact within the images. This research is expected to serve as a reference in the field of basic journalistic photography, emphasizing the importance of applying visual composition in capturing a narrative moment, making it easier for the audience to understand and interpret the visual message being conveyed, a practice that dates back to the period of Indonesian Independence.
MISE EN SCÈNE SINEMATOGRAFI DALAM FILM HOROR BERJUDUL PRIMBON BERTEMAKAN KEPERCAYAAN BUDAYA JAWA Prasetyo, Martinus Eko; Sanjaya, William
Jurnal Bahasa Rupa Vol. 8 No. 2 (2025): Jurnal Bahasa Rupa April 2025
Publisher : Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v8i2.1532

Abstract

Indonesian horror films initially often explore mysterious stories and ghosts from local mythology, creating a mysterious atmosphere enriched with cultural elements such as addressing themes of Javanese cultural beliefs in a film titled "Primbon". Unfortunately, there have not been many studies discussing horror films in terms of Mise en Scène in Indonesia. The film titled "Primbon" is a work of director Rudy Soedjarwo, who is a director and film producer in Indonesia. He is known for his work in the Indonesian film industry. Researchers wanted to determine how important the visual appearance through Mise en Scène is in horror films. This research was conducted descriptively qualitatively, data collected through literature searches on theories related to cinematography and composition in films, using the Kurt Lewin method approach. The research revealed that the Mise en Scène in a horror film like "Primbon" appears slightly different because the impression of the storyline intended to convey is tension, fear, and audience emotional sadness, and this is felt to be very important in building the visual mood. Horror films not only always scare by presenting horror alone, but sadness and pathos can become the climax of a unique and interesting horror film.
Komposisi Visual Dalam Membangun Dramatisasi Kekuasaan Pada Lirik Lagu Video Musik “Kamu Anggap Apa” Sanjaya, William
Jurnal Bahasa Rupa Vol. 7 No. 3 (2024): Jurnal Bahasa Rupa Agustus 2024
Publisher : Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v7i3.1587

Abstract

The music video “Kamu Anggap Apa” narrates the story of a woman who is disregarded by her lover. The visual composition employed in the video effectively constructs a dramatization of power throughout its scenes. This study aims to elucidate the role of visual composition in constructing a dramatization of power within the lyrics of the song, thereby ensuring the proper conveyance of its message. The research methodology employed is qualitative, with purposive sampling employed to select research objects, specifically screenshots, as explanatory materials for the study objects. The study involves a detailed description of the song lyrics and screenshots. Subsequently, a discussion ensues on the application of visual composition in constructing a dramatization of power, which is subsequently correlated with the realization of the song’s message. The research findings reveal diverse applications of visual composition that depict power and a secure environment. These portrayals symbolize the protagonist’s success and liberation in achieving their objectives. The utilization of visual composition facilitates the effective communication of the song’s message to the audience.
Pemanfaatan Split-Screen dan Motion Graphic Dalam Penyampaian Pesan Pada Video Musik “Drunk Text” Sanjaya, William
GESTALT : JURNAL DESAIN KOMUNIKASI VISUAL Vol. 7 No. 2 (2025): Jurnal Gestalt : Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual. Fakultas Arsitektur dan Desain Jalan Raya Rungkut Madya, Gn.Anyar, Surabaya, Jawa Timur 60294

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33005/gestalt.v7i2.511

Abstract

Split-screen merupakan salah satu teknik editing yang digunakan untuk menunjukkan perspektif lain dalam sebuah adegan, sedangkan motion graphic digunakan untuk menyampaikan informasi dengan kombinasi grafis dan pergerakkan. Penelitian ini membahas tentang pemanfaatan split-screen dan motion graphic dalam mendukung penyampaian pesan pada video musik "Drunk Text". Metode yang digunakan adalah kualitatif, sedangkan pendekatannya menggunakan pusposive sampling. Teori yang digunakan merupakan teori split-screen yang dikemukakan oleh Gael Chandler dan motion graphic yang dikemukakan oleh Austin Shaw. Penelitian dilakukan dengan melakukan penjabaran jenis dan fungsi penerapan split-screen dan motion graphic di video musik "Drunk Text". Dari penelitian yang dilakukan, disimpulkan bahwa terdapat dominasi penerapan split-screen yang digunakan untuk menunjukkan cerita tentang kedekatan dan perpisahan karakter. Motion graphic digunakan untuk menonjolkan perasaan yang dialami oleh karakter. Dengan demikian, split-screen dan motion graphic mampu membantu penyampaian pesan tentang perasaan seseorang terhadap orang yang disukai dalam video musik "Drunk Text".
Cinematographic Composition in Building the Dramatization of Sadness in "Akhir Tak Bahagia” Music Video Sanjaya, William; Thamrin, Hendi; Chaysalina, Inne; Sukarno, Ferry Agustian
Judikatif: Jurnal Desain Komunikasi Kreatif Vol. 7 No. 2 (2025): Vol. 7 (2025) No 2
Publisher : fakultas Desain Komunikasi Visual

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35134/judikatif.v7i2.272

Abstract

Video is a form of mass media that has characteristics like a film. Music videos are videos that have a short duration as an accompaniment to music or songs. "Akhir Tak Bahagia" is a music video that tells the story of someone who loves the wrong person in her life. " Akhir Tak Bahagia " applied visual compositions in building a dramatization of sadness so that the message of the song's lyrics can be conveyed to the audience. This research discusses the application of visual composition in creating a dramatization of sadness to support the message in the music video "Akhir Tak Bahagia". The research method used is qualitative, while the approach uses a purposive sampling approach. The theory used is the theory of visual composition proposed by Gustavo Mercado. The research was carried out by elaborating the song lyrics, visual composition, and meaning as an emphasis on the dramatization of sadness, which supports the message of the lyrics of the music video song "Akhir Tak Bahagia". From the research conducted, it was concluded that the application of visual composition was in the form of a rule of thirds with empty areas and visual balance that showed scenes of sweet memories from the main character. The scene shows sweet, painful memories. On the other hand, the composition takes the form of a rule of thirds with a narrow area and visual continuity applied to the scene when Misellia sings a song with sadness. By applying this visual composition, the dramatization of sadness is conveyed so that the message of the song lyrics can be conveyed.
VISUAL COMPOSITION IN BUILDING DRAMATIZATION OF SONG LYRICS IN THE MUSIC VIDEO “MELAWAN RESTU”: KOMPOSISI VISUAL DALAM MEMBANGUN DRAMATISASI LIRIK LAGU PADA VIDEO MUSIK “MELAWAN RESTU” Sanjaya, William
VCD: Journal of Visual Communication Design Vol. 8 No. 2 (2023): VCD: Journal of Visual Communication Design
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v8i2.4007

Abstract

Cinematography is about combining and capturing images to form a series of images that tell a story. In practice, cinematography has several compositions, such as the rule of thirds, visual composition, and camera angles. "Melawan Restu" is a music video that applies visual composition to highlight the theme of romance. Unlike other music videos, many visual compositions emphasize the meaning of each song’s lyrics. This study aims to show the visual composition that builds dramatization of the song lyrics in the music video "Melawan Restu". The method used is qualitative by using a purposive sampling technique. This study uses Gustavo Mercado's theory which discusses visual composition in cinematography. The results of this study indicate that visual composition not only provides aesthetics but also the meaning of each shot so that it can be understood by the audience. In the music video for "Melawan Restu", there is an application of the visual composition showing serenity which connotes the lyrics of the song. While several other visual compositions show sadness, powerless, and turmoil in the bad situations experienced by the female characters in the story.
Scene Continuity in Building The Message of The Song in “Jiwa Yang Bersedih” Music Video Sanjaya, William
VCD: Journal of Visual Communication Design Vol. 9 No. 2 (2024): VCD: Journal of Visual Communication Design
Publisher : Universitas Ciputra

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37715/vcd.v9i2.4295

Abstract

A music video is a short film used to accompany a song. "Jiwa Yang Bersedih" is a music video that tells the story of a woman's struggle with sadness and her vulnerability in seeking happiness. "Jiwa Yang Bersedih" music video has the application of continuity of content, movement, position, and time in each series of images. These continuities help show the message in the story through each scene shown. This research was conducted to discuss the application of continuity in each shot in building the message of the song in "Jiwa Yang Bersedih" music video. The research method used is qualitative. Meanwhile, the approach used is purposive sampling, namely by taking samples as a description of the research material. The theory used for discussion is continuity theory explained by Blain Brown. From the research that has been carried out, it is concluded that there is application of continuity of content, position, and time throughout the scene. Meanwhile, continuity of movement only applies to scenes 1, 4, 5, 10 and 11. On the other hand, discontinuity in content, position, and time occurs in several scenes. These discontinuities disrupt the storyline, causing an acceleration in the character's actions in a scene. Furthermore, a discontinuity that is not consistent between shots in each scene could mislead the viewers from the original storyline. Meanwhile, continuity shows the storyline about Ghea's struggle to find happiness through her shadow.
Co-Authors Bambang Budi Siswanto Chaysalina, Inne Eko Prasetyo, Martinus Gabriella, Joanna Hendi Thamrin Kaparang, Martinus Eko Prasetyo Marian, Hannalayne Prasetyo, Martinus Eko Sukarno, Ferry Agustian Thamrin, Hendi