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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi Ultimart: Jurnal Komunikasi Visual Abdimas Universal Jurnal Titik Imaji
Petrus Damiami Sitepu
Universitas Multimedia Nusantara
Arts Humanities Civil Engineering, Building, Construction & Architecture Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Produksi Video Edukasi Antigratifikasi: Sebuah Kolaborasi Pengabdian Kepada Masyarakat Antara Universitas dengan Lembaga Negara Petrus Damiami Sitepu; Sita Dewi; Wida Kurnianda Djamil; Ari Dina Krestiawan; Ignatius Krismawan
Abdimas Universal Vol. 6 No. 1 (2024): April
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat Universitas Balikpapan (LPPM UNIBA)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36277/abdimasuniversal.v6i1.443

Abstract

Universitas Multimedia Nusantara’s Film and Digital Journalism programs and Corruption Eradication Commission (KPK) collaborated to produce five documentary movies on anti-corruption as part of a community service program. The production of the documentary movies was funded by the KPK, which aims to use the documentary in their anti-corruption campaigns. We chose the documentary format to emphasize data and facts. The documentaries feature civil servants in different cities across Indonesia, who have received awards or acknowledgment for their anti-corruption commitment and efforts in their respective organizations. They are Rifqi Abdilah (Probolinggo, East Java), Budi Ali Hidayat (Cimahi, West Java), Achmad Nasution (Boyolali, Central Java), Badrul (Sumenep, East Java) and Musdalipa (Pangkajene Islands, South Sulawesi). This documentary uses a strong film approach, with elements of narrative and film style in audio and visual elements. The production of this documentary film uses the stages of documentary film production, namely research, pre-production, production, post-production, exhibition, and film distribution. The KPK will screen the documentary movies in their anti-corruption campaign events across the country.
Narrrative Form : Cause and Effect Dalam Menjelaskan Karakter Bu Darmi dalam Film Pendek Bu Darmi Parawangsa, I Gusti Made Darma; Sitepu, Petrus Damiami
Titik Imaji Vol 7, No 2 (2024): JURNAL TITIK IMAJI
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/.v7i2.5202

Abstract

This study examines the concept of Narrative Form: Cause and Effect in describing the premise and character changes of Bu Darmi, as well as the arrangement of Narrative Film in Bu Darmi's short film. Additionally, the correlation between Narrative Form and Mise en Scene is explored. The study was conducted using a qualitative method with a descriptive approach, through in-depth observations of the theories applied to Bu Darmi's short film work. This text analyzes the use of Narrative Form in structuring a narrative, specifically in the Mise en Scene element, to demonstrate the Cause and Effect relationship that impacts character development and the influence of pressure on the main character.  The research focuses on the Narrative Form elements, particularly the use of Cause and Effect to Effectively convey the character's transformation in Bu Darmi's short film. This writing aims to provide a deeper understanding of the theory of Narrative Form and Mise en Scene: Staging. The research specifically focuses on the Mise en Scene element, which is crucial in film. Narrative Form shapes the characters in a movie. The writing presents a comprehensive analysis of Bu Darmi's short film screenplay, with a focus on the protagonist's character development.
Genre Drama sebagai Favorit di Netflix Periode Januari – Juni 2021 Sitepu, Petrus Damiami; Sudarsono, Kus
Rekam Vol 19, No 2 (2023): Oktober 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v19i2.9201

Abstract

Netflix is a film exhibition platform in digital format. Netflix is one of the favourite platforms for film enthusiasts, especially among the respondents in this study. Netflix is included in the Non-Theatrical Exhibition Film category with its popular term Over-The-Top. Netflix is categorized explicitly as SVOD (Subscription Video On Demand). In this study, we do not only look at the categorization of films based on the primary genre but also look at the secondary film genres. According to respondents, the secondary genre of films is one aspect of selecting films on the Netflix platform.This study used a quantitative approach with a cluster random sampling method. The sample used in this research was students of the Film Study Program, Faculty of Art and Design, Multimedia Nusantara University. The results of this study show that in the period January - July 2021, the film Ali & Ratu Ratu Queens is an Indonesian film that many Netflix users watch. In addition, the film Sweet & Sour is the most-watched international film by respondents. Respondents in this study stated that there is a need for film categorization. Still, film categorization is not only based on the primary genre but there needs to be a secondary genre as well. Films in the drama genre are the favourite of the respondents in this study, both primary and secondary drama genres.
Strategi Produksi Low-Budget: Peran Produser dalam Menjaga Production Value Film Pendek Perahu (2024) Ishmaturrahman, Fikri; Sitepu, Petrus Damiami
Titik Imaji Vol 8, No 2 (2025): JURNAL TITIK IMAJI
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/.v8i2.8580

Abstract

This study discusses the strategic role of the producer in maintaining Production Value in the short film Perahu (2024), which was produced on a limited budget production, particularly within the context of independent film production by amateurs and students. In the filmmaking process, a producer plays a critical role in designing strategies that balance time (fast), cost (cheap), and quality (good) to achieve optimal results. This research employs a descriptive qualitative method using a case study approach to explore in depth the production practices applied, with a primary focus on the pre-production stage, especially the casting and location scouting processes. Open casting was conducted through social media as a cost-effective strategy to attract potential actors at minimal expense. Meanwhile, location scouting was carried out in a structured manner, taking into account technical feasibility, visual aesthetics, and budget flexibility. The results indicate that the success in maintaining Production Value is not solely determined by the amount of funding but also by careful time management, optimal use of available resources, and the producer’s ability to adapt and negotiate effectively. These findings demonstrate that low-budget short films can still achieve broadcast-quality results when supported by well-measured production strategies initiated in the pre-production phase. This study not only contributes to the development of academic literature in the field of film production management but also serves as a practical reference for emerging filmmakers or students seeking to produce high-quality visual works despite limited resources.
Pengelolaan Anggaran Produksi Film Hybrid: Implementasi Production Triangle Pada Film Maya Can’t Have Nice Things Ariel, Stefanie; Sitepu, Petrus Damiami
Titik Imaji Vol 9, No 1 (2026): JURNAL TITIK IMAJI
Publisher : Universitas Bunda Mulia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30813/.v9i1.9627

Abstract

The film Maya Can’t Have Nice Things utilizes the hybrid method in the production process, combining live-action and animation elements to create production cost efficiency. In budget management, the producer plays a crucial role by implementing the production triangle concept, prioritizing cheap and good in strategic decision-making. The producer collaborates with other departments to optimize resources, such as using one location for multiple sets, borrowing props, and integrating animation to reduce physical set costs. Additionally, the producer plays a creative role to ensure the director's vision is achieved in the film. The use of CGI technology allows for the replacement of expensive visual elements, providing artistic flexibility without sacrificing visual quality. Although there are unforeseen costs, the budget management remains aligned with the initial production budget, even allowing for the allocation of surplus funds to other departments that support the film's creativity. Thus, the implementation of the hybrid method, along with adaptive and efficient production budget planning, demonstrates that the producer can maintain a balance between low cost and high quality, which is key to the success of independent film production.
The Director as Ethical Mediator: Institutional Documentary Practice in Rumah Kejujuran Wida Kurnianda Djamil; Petrus Damiami Sitepu
ULTIMART Jurnal Komunikasi Visual Vol 19 No 1 (2026): Ultimart: Jurnal Komunikasi Visual
Publisher : Universitas Multimedia Nusantara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31937/ultimart.v19i1.4633

Abstract

This research explores how the ethics can be preserved in institutional documentary practice by the conception of the director as an ethical intermediary. The research uses a qualitative, practice-based approach and focuses on a collaborative project between UMN and KPK called Rumah Kejujuran on the basis of a documentary. It is the process of creative work that will be the principal object of investigation and the primary source of data. As a practitioner-researcher, the director will have to reflect on ethical considerations during the entire production process. There are all phases of documentary film making that are used to gather data: development until post-production. Such data include audiovisual information, anecdotal commentaries and subjective access to the subject, and institutional records of production limitations. Reflective interpretative analysis of the data is done using thematic interpretation including the tension of ethics, creative negotiation, humanistic representation and institutional constraint. The results demonstrate that the ethical issues are mainly brought about by structural circumstances to define what is possible to be represented, but not through direct interventions. Imaginative bargaining in documentary mode, narrative format, and visual characteristics helps in maintaining morality. The analysis shows that by depicting the subjects as social actors in daily situations, humanistic representation does not allow the decrease of the subjects to the status of institutional symbols. The study redefines institutional documentary practice as a reflective and ethical negotiation space by framing the filmmaking process as an ethical space.
Co-Authors Ari Dina Krestiawan Ariel, Stefanie Ignatius Krismawan Ishmaturrahman, Fikri Parawangsa, I Gusti Made Darma Sita Dewi Sudarsono, Kus Wida Kurnianda Djamil Wida Kurnianda Djamil