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All Journal Texture : Art and Culture Journal CandraRupa: Journal of Art, Design, and Media
I Putu Suhada Agung
Institut Seni Indonesia Surakarta
Arts Humanities Education Social Sciences

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Color Grading sebagai Pembangun Mood pada Setting Waktu dalam Web Series Rewrite Shabira Almaas Yanaayuri; I Putu Suhada Agung
Texture:Art and Culture Journal Vol 5, No 1 (2022)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1728.973 KB) | DOI: 10.33153/texture.v5i1.4316

Abstract

Color  grading  can  be  used  to  support  the  film’s  narrative  by  creating  an  atmosphere  or  mood  that complements the storyline. This study aims to analyze and describe color grading as a mood builder that is applied to time settings in Web Series Rewrite. The results of this study found that color grading in several scenes at each time setting in Web Series Rewrite is used to build the mood or atmosphere in the story. The colors that are widely used include blue and brown with a mixture of other colors, namely: red, gray and black. Light blue is used to build the atmosphere of a scene that seems cold and melancholy, brown is used to build the atmosphere of a scene that seems warm, and dark brown and reddish brown tend to build a dark atmosphere and angry conflict. The use of gray color gives a gloomy and sad impression.
STRATEGI KREATIF PRODUSER PROGRAM JEJAK ANAK NEGERI EPISODE NAPAK PERTIWI DALAM MENGEMAS KONTEN BUDAYA I Putu Suhada Agung
Texture: Visual Art and Culture Journal Vol. 6 No. 2 (2023)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/texture.v6i2.4950

Abstract

This study discusses the creative strategies implemented by producers in packaging cultural content in the Napak Pertiwi episode of Jejak Anak Negeri program in TRANS7. This research method uses a qualitative descriptive approach with data collection techniques through interviews with producers and assistant producers as well as making observations through broadcast copies on the youtube channel and the official social media of Jejak Anak Negeri. The producer’s creative strategy is analyzed using 13 creative strategy elements based on the book by Naratama.
Pergerakan Kamera sebagai Penguat Unsur Dramatik pada Film Pengabdi Setan 2: Communion Berlian Syabantoro; I Putu Suhada Agung
CandraRupa : Journal of Art, Design, and Media Vol. 4 No. 2 (2025): Vol.4 No.2, October 2025
Publisher : Universitas Dinamika

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37802/candrarupa.v4i2.812

Abstract

The film Pengabdi Setan 2: Communion has an important aspect in terms of cinematography, more precisely in camera movement, because if cinematographic elements are combined into one in a series of scenes, they can strengthen the visuals, apart from that, the messages and impressions contained in the film can be conveyed to the audience. This research aims to determine the presence of dramatic elements in camera movement. The research method uses descriptive qualitative with observation and literature study data collection techniques The research was conducted by observing scenes in the film that include many camera movements and dramatic elements that emerge from the camera movements. Based on the observation results, 217 camera movements were found, data reduction was carried out to select scenes that contained dramatic elements from camera movements, which contained 18 scenes in the form of dramatic elements of horror, tension (suspense) and surprise. Data analysis was carried out by observing scenes that had undergone a data reduction process that was adjusted to the theoretical basis of camera movements and dramatic elements.. The results of the research show that camera movements in films are able to strengthen dramatic elements with different feelings. The camera movement that is often used in this film is handheld in 11 scenes which can increase the dramatic element with the majority of it being tense (suspense). The movement of a handheld camera moving in a shaky and unstable manner can create a more natural image, so that it can give the impression of tension (suspense) for the audience and strengthen the dramatization of scenes in the film.
Co-Authors Berlian Syabantoro Shabira Almaas Yanaayuri