Articles
<![CDATA[Eksplorasi Simbol Konvensional dan Universal dalam Penciptaan Video Art Kampanye Anti Perang dan Kekerasan “WARKAHOLIC” dengan Teknik Animasi 3D ]]>
<![CDATA[Arif Sulistiyono]]>
<![CDATA[ Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 8 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/rekam.v0i0.384
<![CDATA[At The End of 2010 to 2011 there has been a political crisis in MiddleEastern countries and parts of North Africa. The movement called "JasmineRevolution" caused by poor socioeconomic situation in the region, while itspresidents has been living rich in power for decades. It was raised the anger of the people and cause lot of protest to raising down the Presidents. Most of the presidents refused to resign and against the protester violently. The thousands of people have been killed and injured due to the demonstrations and civil war during the conflict. The Indonesian people must be wary to prevent leadership crisis's revolution. They need to be aware that the war and violence conflict caused suffering continously and harmfull for both of them."Warkaholic" is a manifestation of the artist's social responsibility to deliver the message through their artworks. It formed into the video arts and the topic of its art works are stop war and violence campaign. This video arts does not emphasize the personal subjectivity aspects as a fine art works. It will be more objective and easily understood for the public in general and can be seen by peoples through any audiovisual media.The methods of art works's realization are narrative style approach andapplying universal symbol, iconic, connotative to the visual and sound elements of the object. Visual storytelling content can be understood by peoples as a representation of the impact of war and violence. The Supers or text is to be the key of the public's message to stop war and violence. The computer 3D animation technique is used to create realistic visualization and to make something impossible in live action technique can be relatively possible.]]>
<![CDATA[Penciptaan Film Seri Animasi “Sahabat Pancasila” sebagai Media Pendidikan Moral Pancasila di Kanal Youtube ]]>
<![CDATA[Arif Sulistiyono]]>;
<![CDATA[Mohammad Arifian Rohman]]>
<![CDATA[ Rekam : Jurnal Fotografi, Televisi, Animasi Vol 17, No 2 (2021): Oktober 2021 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/rekam.v17i2.5197
<![CDATA[Pancasila sebagai landasan ideologi diharapkan menjadi watak yang mencirikan pribadi bangsa Indonesia. Toleransi antar umat beragama sebagai bagian nilai-nilai moral Pancasila idealnya tumbuh dalam kesadaran batin setiap manusia. Sikap toleran dapat ditanam dan dipelihara sejak usia dini sebagai bagian pendidikan karakter. Edukasi dalam bentuk film dianggap lebih efektif di tengah tumbuh kembang budaya layar saat ini. Film animasi “Sahabat Pancasila” dibuat sebagai salah satu usaha menanamkan nilai-nilai moral Pancasila kepada anak melalui contoh kongkrit menghormati ibadah pemeluk agama lain. Penggambaran sikap toleransi melalui adegan dan dialog dalam bentuk film animasi diharapkan lebih menarik perhatian, mudah diingat dan dapat ditiru oleh penonton anak-anak. Akan tetapi bentuk edukasi nilai-nilai moral Pancasila melalui film tidak cukup hanya dengan satu judul film, melainkan harus ada judul-judul lain yang sesuai dengan butir-butir Pancasila lainnya dan ditayangkan secara berkelanjutan supaya mudah diingat anak-anak. Film animasi ini dibuat dengan metode five-stage production dalam bentuk dua-dimensi digital dan ditayangkan melalui kanal YouTube agar mudah dijangkau penontonnya.]]>
<![CDATA[Evaluasi Sintesis Ekspresi Wajah Realistik pada Sistem Animasi Wajah 3D dengan Teknologi Motion Capture ]]>
<![CDATA[Samuel Gandang Gunanto]]>;
<![CDATA[Arif Sulistiyono]]>;
<![CDATA[Agnes Karina Pritha Atmani]]>;
<![CDATA[Troy Troy]]>
<![CDATA[ Rekam : Jurnal Fotografi, Televisi, Animasi Vol 14, No 2 (2018): Oktober 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/rekam.v14i2.1747
<![CDATA[The human face has a unique shape and size, as well as a 3D character face model. The facial animation of 3D virtual characters is mostly done manually by moving the rigging in each frame. The more characters used, the more production costs that must be incurred. The absence of a cheap facial motion transfers system is also one of the reasons why not many studios are using motion capture technology in Indonesia.This research will evaluate the implementation of a facial expression synthetically using motion capture technology built from radial basis function (RBF) as a method of marker transfer as a reference for rigging movement in point cluster system. Testing is done by approaching facial expressions according to FACS theory and questionnaire of synthesis results.The experimental results show that according to FACS theory the requirement of expression formation has been fulfilled by referring to changes in facial features, but the implementation is not always able to describe perfectly the desired condition, namely the average percentage of faces easily recognizable by 35.53%. Therefore, the influence of animators in the control of micro expression improvements or the addition of exaggeration principle elements in the manufacture of facial animation is very important to produce facial expressions that are easily recognized by the audience.]]>
<![CDATA[Menengok Kembali Eksistensi Visual Effect Film Indonesia ]]>
<![CDATA[Arif Sulistiyono]]>
<![CDATA[ Rekam : Jurnal Fotografi, Televisi, Animasi Vol 10, No 1 (2014): April 2014 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/rekam.v10i1.3246
<![CDATA[AbstrakVisual effect film dunia saat ini sudah mencapai tingkat pencapaian tertinggi yang mampumembuat semua yang tidak mungkin menjadi mungkin, baik yang berdasarkan kenyataan,realita, sampai dengan yang bersifat imajinatif. Visual effect (VFX) atau efek visual hampirselalu hadir dalam film-film bergenre action yang mampu membuat penonton benar-benaryakin bahwa adegan tersebut adalah nyata, tak terkecuali untuk film-film buatan Indonesia.Namun, selama tiga dekade eksistensi efek visual di Indonesia, realita perkembangannya jauhtertinggal dibanding kualitas efek visual film Holywood baik dari sisi estetika maupun teknik.Masih banyak film Indonesia yang tidak meyakinkan dari sisi efek visualnya sehingga tidakcukup membuat penonton percaya bahwa adegan yang dihadirkan seolah-olah nyata atau tidakmempunyai efek realitas. Bahkan beberapa efek visual film/sinetron yang ditayangkan di salahsatu televisi swasta seringkali menjadi bahan cemoohan karena nampak jelas kepalsuannya.Sumber daya bidang animasi dan visual effect di Indonesia sesungguhnya sangat memenuhisyarat dan mampu membuat efek visual setara dengan produksi Holywood, namun padakenyataannya selalu ditemukan faktor klasik yang menghambatnya antara lain faktorkesempatan dan pembiayaan. Looking Back the Existence of Indonesia Film’s Visual Effects. The film’s visual effects arenow reaching the highest level of achievement that is able to make all the impossible becomespossible, whether based on fact, reality, to the imaginative nature. Visual effects (VFX) orvisual effect almost always presents in the action films genre that are able to make the audiencereally believe that these scenes are real, not least for films made in Indonesia. However, duringthe three decades of the existence of the visual effects in Indonesia, the reality of developmentis far behind the quality of visual effects of Hollywood movies both in terms of aesthetics andengineering. There are still many Indonesian films which are not convincing in terms of visualeffects that do not quite make the audience believe that the scene is presented as if it is realor not have the effect of reality. Even some of the visual effects of the film / soap opera thataired on a private television is often played as the subject of ridicule for obvious falsehood.Resources field of animation and visual effects in Indonesia actually highly qualified and ableto create visual effects on par with Hollywood production, but in fact, the classical factor thathinders among other factors and financing opportunities are always found.]]>
<![CDATA[“Raton” Edukasi Keragaman Budaya Indonesia Melalui Media Permainan Papan ]]>
<![CDATA[Bimo Firstiawan Akbar]]>;
<![CDATA[Samuel Gandang Gunanto]]>;
<![CDATA[Arif Sulistiyono]]>
<![CDATA[ Journal of Animation and Games Studies Vol 5, No 1 (2019): April 2019 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jags.v5i1.2802
<![CDATA[Lack of playground around the neighborhood and many of the children adolescent who play gadget more than playing an traditional games. “RATON” boardgame is a development of modified traditional games.There are processes that must be passed in the creation of boardgames such a concept, game rules, crafting, test play and packaging. The way to use it is almost the same as traditional Bentengan game, which is to seize the enemy fort by occupying it. It is complex in terms of regulations, but this games can be played by many people without leaving element made before this game exist.Keywords: boardgame, games, raton, traditional]]>
<![CDATA[Penciptaan Film Animasi “Afeksi” Dengan Teknik Digital 2 Dimensi Melalui Pendekatan Surealis ]]>
<![CDATA[Nur Afif]]>;
<![CDATA[Arif Sulistiyono]]>;
<![CDATA[Pandan Pareanom Purwacandra]]>
<![CDATA[ Journal of Animation and Games Studies Vol 3, No 1 (2017): April 2017 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jags.v3i1.1716
<![CDATA[Affection is the Indonesian language of a scientific dictionary which means affection. The affection that is raised in this animated film is the affection between mother and a son who grew up. Conflict and emotion between the two are present when the child goes to maturity, emotional instability as a teenager in the face of various philosophies and the reality of life. This is what makes the distance and time separator, until regret, loneliness and longing that leads back to the mother.The creation of the animated film is presented in the form of 2D animation with hardlight lighting techniques without the use of narration and dialogue. As a supporter built music in such a way that can strengthen the suasasa in every groove.Visualization of the film deliberately carry the concept of contemporary theatrical dance where in terms of content and motion is still insert elements of culture. Not to mention the surreal approach is also applied in this work. The addition of water element as a form of emphasis on expression and emotion as well as to add an artistic impression as a visual support.Keywords: affection, 2D animation, surealis, teatrichalAbstrak Afeksi merupakan bahasa Indonesia dari kamus ilmiah yang berarti kasih sayang. Kasih sayang yang diangkat dalam film animasi ini adalah kasih sayang antara ibu dan seorang putra yang dibesarkannya. Konflik dan emosional diantara keduanya hadir kala si anak menuju kedewasaan, ketidakstabilan emosi saat remaja dalam menghadapi berbagai filosofi dan realitas kehidupan. Hal inilah yang menjadikan pemisah jarak dan waktu, hingga sesal, sepi dan rindu yang menuntunnya kembali kepada sang ibu.Penciptaan film animasi ini disajikan dalam bentuk animasi 2D dengan teknik pencahayaan hardlight tanpa menggunakan narasi dan dialog. Sebagai penunjangnya dibangunlah musik sedemikian rupa sehingga dapat memperkuat suasasa dalam setiap alurnya.Visualisasi film sengaja mengusung konsep tarian teatrikal kontemporer dimana dari segi konten maupun gerak masih menyisipkan unsur budaya. Tidak lupa pendekatan surealis juga diterapkan dalam karya ini. Penambahan elemen air sebagai wujud penekanan ekspresi dan emosional sekaligus untuk menambahkan kesan artistik sebagai penunjang visualisasi. Kata kunci: afeksi, animasi 2D, surealis, teatrikal]]>
<![CDATA[“Insomniac Story” Penciptaan Game Berbasis Cerita ]]>
<![CDATA[Emanuel Trisnajati]]>;
<![CDATA[Arif Sulistiyono]]>
<![CDATA[ Journal of Animation and Games Studies Vol 4, No 2 (2018): Oktober 2018 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jags.v4i2.2710
<![CDATA[Story-based game "Insomniac Story" is a horror-themed game with the story-based point-and-click adventure genre. This game tells of a girl named Amanda who got a bad experience when she was left at home alone by her parents for several days. Amanda's bad experience was the presence of someone who lurked Amanda at her home.This game raises elements in psychology as a basic concept in the story. The main part of psychology raised in this game is the area related to mental illness that causes disruption of perception of reality. The story in the game doesn't tell clearly whether the mysterious person who terrorized Amanda is real or just hallucinates, and these two possibilities can be accepted as reasonable explanations. Game is one form of delivery media that exists. This "Insomniac Story" game was made with the intention of conveying stories in interesting forms. This game has a playtime of around 10-15 minutes. Horror themes are needed to share supporting aspects in order to show the storyline. Keywords: Game, Story Based, 2D Point-and-Click, Adventure, Horror]]>
<![CDATA[Penciptaan Karya Film Animasi 2D “Miliv” Dengan Teknik Hybrid ]]>
<![CDATA[Rafinur Nidiansyah]]>;
<![CDATA[Arif Sulistiyono]]>;
<![CDATA[Pandan Pareanom Purwacandra]]>
<![CDATA[ Journal of Animation and Games Studies Vol 5, No 1 (2019): April 2019 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jags.v5i1.2800
<![CDATA[When human realize that they are not as they appear, it causes personal conflicts in humans, there are two sources that come from inside and outside. With animated films that have become increasingly popular with various groups, the creation of the animated film “MILIV” as one of media delivery in the form of visual and media delivery messages contained in the film.With the concept of hybrid, it combines stopmotion animation techniques, rotoscope, and digital animation, creating an experimental genre animation work with its unique visual style.The animated film “MILIV” tells of a bird who is too late to realize his true identity and is trapped in comfort zone. Contemplation became the main goal in this animated film “MILIV”Keywords: Film, MILIV, Hybrid, Rotoscope, Stopmotion, Experimental, Animation]]>
<![CDATA[Eksplorasi Simbol Konvensional dan Universal pada Penciptaan Video Art Naratif Kampanye Anti Perang dan Kekerasan “WARKAHOLIC” Dengan Teknik Animasi 3D ]]>
<![CDATA[Arif Sulistiyono]]>
<![CDATA[ Journal of Animation and Games Studies Vol 1, No 1 (2015): April 2015 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jags.v1i1.897
<![CDATA[ At The End of 2010 to 2011 there has been a political crisis in Middle Eastern countries and parts of North Africa. The movement called "Jasmine Revolution" caused by poor socioeconomic situation in the region, while its presidents has been living rich in power for decades. It was raised the anger of the people and cause lot of protest to raising down the Presidents. Most of the presidents refused to resign and against the protester violently. The thousands of people have been killed and injured due to the demonstrations and civil war during the conflict. The Indonesian people must be wary to prevent leadership crisis’s revolution. They need to be aware that the war and violence conflict caused suffering continously and harmfull for both of them.“Warkaholic” is a manifestation of the artist’s social responsibility to deliver the message through their artworks. It formed into the video arts and the topic of its art works are stop war and violence campaign. This video arts does not emphasize the personal subjectivity aspects as a fine art works. It will be more objective and easily understood for the public in general and can be seen by peoples through any audiovisual media.The methods of art works’s realization are narrative style approach and applying universal symbol, iconic, connotative to the visual and sound elements of the object. Visual storytelling content can be understood by peoples as a representation of the impact of war and violence. The Supers or text is to be the key of the public’s message to stop war and violence. The computer 3D animation technique is used to create realistic visualization and to make something impossible in live action technique can be relatively possible. Keywords : Stop War and Violence Campaign, Narrative, Symbol, 3D AnimationAbstrakPada Akhir 2010-2011 telah terjadi krisis politik di negara-negara Timur Tengah dan bagian dari Afrika Utara. Gerakan yang disebut "Jasmine Revolution" yang disebabkan oleh situasi sosial ekonomi yang buruk di wilayah tersebut, sementara presiden yang telah tinggal kaya berkuasa selama puluhan tahun. Hal itu dikemukakan kemarahan rakyat dan menyebabkan banyak protes untuk meningkatkan menuruni Presiden. Sebagian besar presiden menolak untuk mengundurkan diri dan melawan pengunjuk rasa keras. Ribuan orang telah tewas dan terluka akibat demonstrasi dan perang sipil selama konflik. Orang-orang Indonesia harus waspada untuk mencegah revolusi kepemimpinan krisis ini. Mereka perlu menyadari bahwa konflik perang dan kekerasan menyebabkan penderitaan terus menerus dan merugikan bagi mereka berdua."Warkaholic" adalah manifestasi dari tanggung jawab sosial artis untuk menyampaikan pesan melalui karya seni mereka. Ini dibentuk menjadi seni video dan topik karya seni yang berhenti perang dan kampanye kekerasan. Video seni ini tidak menekankan aspek subjektivitas pribadi sebagai seni bekerja. Ini akan lebih obyektif dan mudah dipahami bagi masyarakat pada umumnya dan dapat dilihat oleh masyarakat melalui media audiovisual.Metode realisasi karya seni dengan pendekatan gaya naratif dan menerapkan simbol universal, ikon, konotatif pada elemen-elemen visual dan suara dari objek. Konten cerita visual dapat dipahami oleh masyarakat sebagai representasi dari dampak perang dan kekerasan. The Supers atau teks adalah menjadi kunci dari pesan publik untuk menghentikan perang dan kekerasan. Teknik animasi 3D komputer digunakan untuk membuat visualisasi realistis dan membuat sesuatu yang mustahil dalam teknik live action dapat relatif mungkin. Kata kunci: Stop War and Violence Campaign, Narrative, Symbol, 3D Animation ]]>
<![CDATA[Punakawan Sebagai Inspirasi Penciptaan Film Pendek Animasi Bertema Pendidikan Karakter ]]>
<![CDATA[Arif Sulistiyono]]>
<![CDATA[ Journal of Animation and Games Studies Vol 2, No 2 (2016): Oktober 2016 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jags.v2i2.1420
<![CDATA[Educational animation is an animated product produced specifically for the purpose of learning. Its popularity in helping students understand and remember information presented increased since the advent of computer graphics technology. The lack of an increase in the production of animated short films in Indonesia resulted in at least encountered the works of domestically-made animation education. Stimulation of creation of animated works based on the local culture should be a concern for creators to produce Indonesian animated film. This has encouraged the idea of research and the creation of the works to add alternative work spectacle for children to be more varied. The work produced will be expected to become one of the benchmarks for the creators of short animated films in Indonesia. The short animated film themed character education and have the characterization and design characteristics based on local wisdom is still a little bit. Production work is still dominated by elements that showed the humorous aspects of violence as like a common thing to do. It is extremely dangerous due to the development of the child's personality or character will indirectly entertained spectacle dominated by the less educated. Therefore bring back figures Punakawan as "teacher" character education in the form of short animated films for the sake of growth is necessary to be realized next generation character education in Indonesia.Keywords: educational animation, punakawan, moral educationAbstrakAnimasi edukasi adalah sebuah produk animasi yang diproduksi khusus untuk tujuan pembelajaran. Popularitasnya dalam membantu peserta didik memahami dan mengingat informasi yang disajikan meningkat sejak munculnya teknologi komputer grafis. Kurangnya peningkatan produksi karya film pendek animasi di Indonesia mengakibatkan sedikitnya dijumpai karya-karya animasi edukasi buatan anak negeri. Rangsangan penciptaan karya animasi berbasis pada budaya lokal sepatutnya menjadi perhatian bagi para kreator dalam menghasilkan film animasi Indonesia. Hal inilah yang mendorong ide penelitian dan penciptaan karya guna menambahkan karya alternatif tontonan bagi anak-anak supaya lebih bervariatif. Karya yang dihasilkan nantinya diharapkan mampu menjadi salah satu tolok ukur bagi pencipta-pencipta film pendek animasi di Indonesia.Film pendek animasi yang bertemakan pendidikan karakter dan memiliki ciri penokohan dan desain berbasis kearifan lokal masih sangat sedikit. Produksi karya masih didominasi oleh unsur-unsur humoris yang mempertontonkan aspek kekerasan sebagai layaknya hal yang umum dilakukan. Hal ini sangat berbahaya dikarenakan perkembangan kepribadian atau karakter sang anak secara tidak langsung akan didominasi oleh tontonan hiburan yang kurang mendidik. Oleh karena itu memunculkan kembali tokoh-tokoh Punakawan selaku “guru” pendidikan karakter dalam wujud karya film pendek animasi sangatlah perlu direalisasikan demi pertumbuhan pendidikan karakter generasi penerus bangsa Indonesia dikemudian hari. Kata kunci: Animasi edukasi, punakawan, pendidikan karakter ]]>
