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All Journal NUSANTARA: Jurnal Pengabdian Kepada Masyarakat Sewagati: Jurnal Pengabdian Masyarakat Indonesia Safari : Jurnal Pengabdian Masyarakat Indonesia Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain
Nurmaya Prahatmaja
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Arts Humanities Education Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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Peran Director of Photography dalam Film Dokumenter “Sehelai Kain Harapan” dengan Penerapan Teknik Sinematografi Fajar Rizky Dwi Putra; Teddy K. Wirakusumah; Nurmaya Prahatmaja
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 1 (2025): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i1.5312

Abstract

‘Sehelai Kain Harapan’ is a documentary film that discusses the training of batik making by people with disabilities at Pusyansos Griya Harapan Difabel and the formation of a business Batik Griya Difabel. The making of this documentary video does not escape the process of applying cinematographic techniques by a DoP. Therefore, the task of a Director of Photography so that the message to be conveyed can be conveyed properly is carried out the preparation of cinematographic techniques. The purpose of this writing is to find out the application of cinematographic techniques including framing, shot size, camera angle, and camera movement in the production of documentary videos. The stages of creation include pre-production, production, and post-production. Cinematography techniques in the production of this documentary video are carried out to support the delivery of messages and according to the needs of visual narratives in order to be able to build emotions, strengthen the character of subjects and convey messages effectively. The shooting carried out include; opening, interview with the head of the centre, batik making process, interview craftsmen, craftsmen's challenges, coordinator interview, hopes coordinator and closing. The conclusion of this writing is that the activities of applying framing techniques, shot size, camera angle and camera movement in documentary production have been done well.
Peran Produser dalam Pembuatan Video Feature “Merajut Asa Sepatu Lokal di Era Digital” Muhammad Faishal Arkan Pranata; Efi Fadilah; Nurmaya Prahatmaja
SEWAGATI: Jurnal Pengabdian Masyarakat Indonesia Vol. 4 No. 2 (2025): Juni : SEWAGATI: Jurnal Pengabdian Masyarakat Indonesia
Publisher : BADAN PENERBIT STIEPARI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56910/sewagati.v4i2.2463

Abstract

The role of a producer in video feature production is central. This report aims to examine the management of the production prosess by the producer, starting from the pre production, production, and post production stages to ensure that the branding massage is optimally delivered to the target audience. The producer is not only in charge of formulating the concept and coordinating the production team, but also has the main responsibility in harmonizing the creative and technical aspects to produce an interesting and relevant video. The digital distribution strategy through the TikTok social media platform is a breakthrough in branding MSMEs amidst increasingly fierce competition with outside industries. The effectiveness of producer’s role in video feature production depends not only on managerial skills, but also on understanding digital trends and consumer behaviour, so as to create content that has maximum appeal and impact in building the MSME brand.
Implementasi Teknik Pengambilan Gambar oleh Director of Photography pada Pembuatan Video Feature “Menyemai Harapan, Memanen Kebersamaan” Fatah ‘Izzani Salim; Trie Damayanti; Nurmaya Prahatmaja
SAFARI :Jurnal Pengabdian Masyarakat Indonesia Vol. 5 No. 3 (2025): Juli : SAFARI :Jurnal Pengabdian Masyarakat Indonesia
Publisher : BADAN PENERBIT STIEPARI PRESS

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56910/safari.v5i3.2783

Abstract

The final project report on the production of the feature video “Menyemai Harapan, Memanen Kebersamaan” is motivated by the urgency of food security amid the urbanization of Bandung City and the need to highlight about community-based sustainable local alternative agriculture systems. This final project report highlights the role of the Director of Photography (DoP) in presenting the Community Supported Agriculture (CSA) model at Seni Tani through an engaging and informative audiovisual video. The primary objective of this report is to explain the implementation of image taking techniques, including shot types, camera angles, camera movements, and framing, as executed by the Director of Photography (DoP) during the production process. The production stages include pre-production (idea development, concept, storyboard, and shot list), production (application of image taking techniques during the shooting of local alternative farming activities at Seni Tani), and post-production (editing process and voice-over recording). The final product is a feature video that emphasizes visual storytelling to reinforce the informative and persuasive message about community-based sustainable local alternative agriculture systems at Seni Tani. The conclusion of this report indicates that the mastery of filming techniques by the Director of Photography (DoP) plays a crucial role in conveying messages visually and emotionally to the audience, thereby making this video feature an effective communication medium in raising public awareness about community-based sustainable local alternative agriculture systems.
Penulisan Naskah Film Dokumenter “Thread by Thread: Mengurai Krisis Fast Fashion di Indonesia” melalui Pendekatan Narasi Ekspositoris Struktur 3 Babak Aura Diva Rizky; Muh. Fadli Rumpak; Nurmaya Prahatmaja; Rinda Aunillah Sirait
Nusantara: Jurnal Pengabdian kepada Masyarakat Vol. 5 No. 3 (2025): Agustus : NUSANTARA Jurnal Pengabdian Kepada Masyarakat
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/nusantara.v5i3.5437

Abstract

The documentary film “Thread by Thread: Mengurai Krisis Fast Fashion di Indonesia” is a 14-minute film that explores the environmental and social impacts of the fast fashion industry in Indonesia, along with the low public awareness of this issue. It highlights problems such as textile waste, labor exploitation, and the role of social media in reinforcing consumerist culture. “Thread by Thread” is designed as an educational tool to enhance public literacy and encourage more responsible and sustainable fashion consumption. During its creation, the writer served as the scriptwriter, responsible for crafting a factual and systematic narrative using an expository approach structured into three acts. Act I presents the factual context of fast fashion in Indonesia; Act II discusses its negative environmental impacts and the controversy over thrifting as an alternative solution, supported by data and interviews; and Act III offers sustainability-based solutions with an appeal for audiences to be critical and responsible in their fashion choices.
Penerapan Gaya Ekspositoris dan Observasional dalam Penyutradaraan Film Dokumenter Breaking Boundaries: Ruang yang Sama Muhammad Fauzan Yuzril; Nurmaya Prahatmaja; Jimi Narotama Mahameruaji
Nusantara: Jurnal Pengabdian kepada Masyarakat Vol. 5 No. 2 (2025): Mei: NUSANTARA Jurnal Pengabdian Kepada Masyarakat
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/nusantara.v5i2.5215

Abstract

The documentary film Breaking Boundaries: Ruang Yang Sama explores the experiences of athletes with disabilities in Bandung Regency as they confront prevailing social stigma. Rather than allowing their physical limitations to hinder them, these athletes turn such conditions into motivation to pursue achievements in sports. This documentary employs a directorial concept that combines expository and observational approaches. The expository method utilizes voice-over narration to present data-based information, while the observational style captures the athletes’ activities naturally, without direct intervention from the filmmaker. The filmmaking process follows three key stages: pre-production, production, and post-production. As the director, the author is responsible for guiding the visual narrative to support the intended message. The documentary applies a three-act narrative structure—introduction, conflict development, and resolution—which contributes to the coherence of the storyline. Through this combination, the film aims to portray the realities faced by disabled athletes and foster greater appreciation for their efforts and accomplishments in sports
Penerapan Teknik Cutout Rigging pada Pembuatan Karakter Animasi 2D "Luka Lama Lautan" Sebagai Media Edukasi SDGS 14: Life Below Water Ghazi Fadhlurrahman Siddiq; Nurmaya Prahatmaja; Andri Yanto
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1128

Abstract

The development of digital technology has encouraged the emergence of various educational media that are capable of delivering information in a more engaging and understandable way. Generation Alpha, as a generation that grows up in a digital environment, tends to be more responsive to visual and audiovisual media than to conventional methods of information delivery. Therefore, animation is considered an effective educational medium because it combines visual elements, motion, audio, and storytelling, allowing messages to be communicated more effectively to the audience. This final project is a 2D animation entitled "Luka Lama Lautan" (The Ocean's Old Wound), which addresses the issue of marine pollution caused by plastic waste as an educational medium related to environmental awareness. In the production process, the author acts as the animator and is responsible for designing and animating the characters using cutout rigging techniques. The techniques applied include layering, parenting, anchor point adjustment, deformation using the Puppet Tool, and keyframe animation in Adobe After Effects. The implementation of cutout rigging techniques aims to support production efficiency while producing more communicative character movements in delivering educational messages to the audience. The resulting animation is presented using a vector-based animation style with colorful and expressive visuals that are adapted to the preferences of Generation Alpha. In addition, the main character is designed with inspiration from digital culture trends that are familiar to the target audience, creating a stronger emotional connection with viewers. Through the combination of engaging visuals, communicative character movements, and a simple narrative approach, the animation is expected to function not only as entertainment but also as an effective educational medium that helps increase children's awareness of the importance of protecting the marine environment.
Produksi Game Edukasi Interaktif Berbasis Web “OCEAN BUDDY" sebagai Media Pendukung dalam Transmedia Animasi “Luka Lama Lautan” Iqbal Alfaturochim; Nurmaya Prahatmaja; Andri Yanto
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1129

Abstract

Educational media play an important role in delivering learning messages; however, they are still commonly presented in a one-way and less interactive manner, causing elementary school students to become passive recipients of information. One alternative to increase learning engagement is interactive educational games, which enable users to receive information, complete learning activities, and directly evaluate their understanding. This final project aims to describe the pre-production, production, and post-production processes of the web-based interactive educational game OCEAN BUDDY as a supporting medium for the transmedia animation Luka Lama Lautan. The creation process consisted of three stages. The pre-production stage included idea development, theme research, audience identification, content preparation, and the design of the game flow and assets. The production stage involved developing visual and audio assets, the user interface, and game mechanics using Construct 2. The post-production stage included testing with fourth- and fifth-grade elementary school students, evaluation, revision, and publication through the itch.io platform. The final product is an HTML5-based educational game featuring three sections Learn, Waste Sorting, and Quiz equipped with a scoring system and time limits. Careful planning, development, testing, and revision resulted in an interactive educational medium that strengthens the animation's core message while enhancing children's understanding of the dangers of plastic waste in a more active and enjoyable way.
Co-Authors Andri Yanto Aura Diva Rizky Efi Fadilah Fajar Rizky Dwi Putra Fatah ‘Izzani Salim Ghazi Fadhlurrahman Siddiq Iqbal Alfaturochim Jimi Narotama Mahameruaji Muh. Fadli Rumpak Muhammad Faishal Arkan Pranata Muhammad Fauzan Yuzril Rinda Aunillah Sirait Teddy K. Wirakusumah Trie Damayanti