cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
yosa fiandra
Contact Email
pichaq@telkomuniversity.ac.id
Phone
-
Journal Mail Official
jurnalrekam@gmail.com
Editorial Address
Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta Jalan Parangtritis Km 6,5 Sewon, Bantul, Yogyakarta Tlp. (62) 0274 384107, HP (62) 089649387947 Email: jurnalrekam@gmail.com
Location
Kab. bantul,
Daerah istimewa yogyakarta
INDONESIA
Rekam : Jurnal, Fotografi, Televisi Animasi
Published by Institut Seni Indonesia Yogyakarta
ISSN : 18583997     EISSN : 27453901     DOI : 10.24821
Core Subject : Humanities, Education, Art,
Arts Humanities Education Languange, Linguistic, Communication & Media
Rekam: Jurnal Fotografi, Televisi, Animasi is a scientific journal published by the Asosiasi Dosen Seni Media Rekam Indonesia in collaboration with the Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta. This journal contains articles on research results, conceptual ideas (results of thought), creation, and the results of community service in the fields of photography, television, and animation.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 198 Documents
 5   6   7   8   9 
Penciptaan Video Seni Melalui Representasi Kekerasan dalam Program Komedi Televisi “Opera van Java” Vani Dias Adiprabowo
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 10, No 2 (2014): Oktober 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v10i2.3250

Abstract

AbstrakVideo seni merupakan sistem komunikasi yang bisa menjadi medium perlawanan kulturalterhadap industri pertelevisian yang sangat dominan. Video seni cenderung bebas dan mampumenjadi sebuah kultur media baru atau new media art, tidak terikat elemen filmis terutamaalur dan kronologi, terkadang juga terdapat karya yang absurd. Berbeda dengan tayangantelevisi yang cenderung lebih mengedepankan aspek komersial semata. Dalam hal tersebut,tulisan ini menyoroti representasi kekerasan yang ada pada program tayangan komedi “Operavan Java” dengan menggunakan teori representasi khususnya pendekatan konstruksionis dariStuart Hall agar lebih mendapatkan kajian yang mendalam. Kekerasan yang muncul dalamtayangan tidak hanya sekadar dimaknai sebagai hal yang negatif semata, namun akan menjadihal yang menarik ketika dibawa ke sebuah penciptaan video seni. Video Art Creation Through the Representation of Violence on Television Comedy Program“Opera van Java”. Video art is the communication system that will be able to become themedium of cultural resistance against the domination of television industry. Video Art tends tobe free and able to be a culture of new media or new media art, not tied to the filmic elementmainly the plot and chronology, sometimes there are also containing the works that considered“absurd”. In contrast to TV footage that tends to be more emphasized on the commercialaspects alone. In doing so, this paper highlights the representation of violence that existson the program of Opera Van Java Comedy. Using the constructionist approach to theory ofrepresentation, especially from Stuart Hall to get an in depth study. Violence appears in theimpressions are not meant merely as purely negative thing, but it will be an interesting thingwhen it is brought to a creation of a video art.
Foto-Foto Karya Kassian Céphas dalam Dialektika Sosial Kusrini .
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 9
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.542

Abstract

Kassian Céphas is recognized as photographer Kraton Yogyakarta that has the equal rights of Europeans in the nineteenth century. Photographs of his work in addition to documentation of Yogyakarta and the Dutch empire, also sold as souvenirs for the Europeans. Although at that time the profession as a photographer is still scarce, but Céphas work professionally. Photographs by Céphas has recorded social and cultural development as part of the social dialectic. Attributes clothing, custom intergovernmental exchange visits, as well as efforts to obtain equal footing Céphas Europeans, showed a socio-cultural dialogue. Céphas works is a form of social description that has been cultured people of Yogyakarta, about art and knowledge though not necessarily a formal education. Through his photographs, Céphas confirms the existence ofYogyakarta as part of a nation.Keywords: Céphas, photographs, social dialectic, culture, nation.
Penciptaan Fotografi Surealisme Human and Time Marventyo Amala
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 12, No 2 (2016): Oktober 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v12i2.1430

Abstract

AbstrakWaktu adalah sebuah konsep yang sepenuhnya tergantung pada persepsi manusia. Waktuadalah sebuah konsep yang tergantung pada kejadian-kejadian yang dapat diperbandingkandengan apa yang dialami. Seseorang, bahkan setiap manusia tidak bisa terlepas dari entitaswaktu ini. Sekuat apa pun ingin melepaskan diri, manusia tidak akan pernah lepas dari“sang” waktu, bahkan saat mati pun masih dilingkupi oleh waktu. Berlandaskan pada konseptentang waktu, maka terbesit sebuah ide mengenai penciptaan fotografi dengan tema waktuyang bergaya surealis. Karakteristik karya fotografi ini lebih menekankan pemotretan subjekmanusia dibalut dengan kain putih sebagai representasi waktu. Unsur pencahayaan menjadihal yang sangat diperhatikan agar ekpresi dari subjek dapat terekam dengan baik. Sementaraitu, sifat momen, pilihan arah cahaya, dan eksplorasi dengan menggunakan teknik multipleexposure, menjadi bagian yang juga ditekankan pada karya ini. AbstractThe Creation of Surrealism Photography: Human and Time. Time is a concept that isentirely dependent on human perception. Time is a concept that depends on events that canbe compared with what happened. Someone, even every man cannot be separated from theentity of time. No matter how someone wants to get away, he would never be separated from“his” time, even death is still surrounded by time. Based on the concept of time, then an ideaabout the creation of photography with the theme of time and surrealist styles popped up. Thecharacteristis of this photography project emphasizes on shooting human subjects wrappedin a white cloth as a representation of time. Lighting element is very highly considered toshow the expressions of the subject that it could be recorded properly. In the meanwhile, themoment, the choice of light direction, and exploration using multiple exposure technique, areessential parts of this work.
Evaluasi Sintesis Ekspresi Wajah Realistik pada Sistem Animasi Wajah 3D dengan Teknologi Motion Capture Samuel Gandang Gunanto; Arif Sulistiyono; Agnes Karina Pritha Atmani; Troy Troy
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 14, No 2 (2018): Oktober 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v14i2.1747

Abstract

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.
Representasi Islami dalam animasi “Nussa” sebagai media pembelajaran untuk anak Fathin Hanifah Langga; Hafiz Aziz Ahmad; Alvanov Zpalanzani Mansoor
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 16, No 2 (2020): Oktober 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v16i2.3612

Abstract

Pendidikan Islami merupakan tuntunan dalam kehidupan umat muslim. Media film/video/animasi di YouTube dianggap sebuah media yang efektif dalam menyampaikan pendidikan Islam. Animasi Nussa merupakan serial animasi dengan konten edutainment Islami untuk orang tua dan anak-anak. Penelitian ini bertujuan untuk membahas representasi visual keislaman dalam animasi Nussa. Penelitian ini menggunakan metode deskriptif dengan teknik analisis visual. Representasi Islami pada animasi Nussa ini tidak hanya dapat dilihat dari segi cerita saja atau visual saja, namun juga dapat dilihat dari berbagai kombinasi seluruh konsep elemen atau atribut yang terkait didalamnya. Hal ini dapat dilihat dari pemilihan warna, adegan, penampilan tokoh (kostum), dialog dan pemilihan nama tokoh. Berbagai penggunaan elemen dan atribut tersebut didominasi oleh lambang keislaman. Islamic representation in “Nussa” animation as learning media for childrenAbstractIslamic education is a guide in the lives of Muslims. Films/videos/animations media on YouTube is considered an effective media in conveying Islamic education. Nussa animation is an animated series with Islamic edutainment content for parents and children. This study aims to discuss Islamic visual representation in Nussa animation. The research method used is discourse analysis based on Gillian Rose‟s visual analysis. The Islamic representation in Nussa animation can not only be seen in term of the story or visual but also can be seen from various combinations of all concepts of elements or related attributes in it. This can be seen from the selection of colours, scenes, the appearance of characters (costumes), dialogue and character name selection. Various uses of these elements and attributes are dominated by Islamic symbols.
Menuju Pengembangan Industri Kreatif di Indonesia Nur Iswantara
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 7
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.381

Abstract

Discourse of creative industries was echoed. The government alsodeveloped the concept of creative industries development. Alvin Toffler,the father futuristic was said ideas and creative ideas into the fourthwave that could affect the world economy. Indonesia also inspired thedevelopment of creative industries of the world, adopted the triple helixmodel to drive the creative industries to creative economy towardsIndonesia. There are 14 industry groups developed creative Indonesia.In this position the creative industries need to get a response fromintellectuals and the public.
Kode Etik Jurnalisme di Indonesia dan Inggris Raya Astrid Puspita Sari
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 12, No 1 (2016): April 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v12i1.1382

Abstract

AbstrakEtika bukan hanya soal kode etik atau aturan yang harus diikuti. Hal ini lebih terkait dengan prinsip-prinsip tentang yang benar dan yang salah dari perilaku manusia yang berlaku obyektif dan tidak memihak. Praktek jurnalisme sebagai suatu profesi menimbulkan permasalahan etika. Tulisan ini bermaksud membandingkan kode etik praktek jurnalistik yang dilakukan wartawan Inggris Raya dan Indonesia serta membahas beberapa contoh malpraktek etika kerja jurnalistik. Walaupun di kedua negara tersebut menjunjung kebebasan pers dan kebebasan informasi. Di Inggris sendiri media lebih dibatasi oleh hukum dan kode etik tertentu secara spesifik. Sedangkan di Indonesia, media tetap dibatasi oleh hukum tapi tidak secara spesifik meskipun kode etik jurnalistik juga digunakan sebagai salah satu aturan yang ada. Tulisan ini menyajikan perbedaan dalam hal etika jurnalistik yang digunakan oleh wartawan dari kedua negara tersebut. AbstractJournalism Code of Ethics in Indonesia and United Kingdom. Ethics is not just a matter of codes of conducts or rules to be followed. It is more related to principles concerning the rights and wrongs of human conduct applied objectively and impartially. The practice of journalism as a profession raises many ethical issues. This essay compares the journalist’s practice code of ethics between United Kingdom and Indonesia and also discusses some examples of malpractices ethics of journalistic work. In Britain, the media are more restricted by specific law and codes of conducts. Whereas, in Indonesia, the media are restricted by law but not in specific areas even though also using the journalistic codes of conducts as one of the rules. However, both countries they have the idea of free press and freedom of information. This essay presents those differences in terms of ethics that is being used by the journalist from both countries.
Analisis Peran Unmanned Aerial Vehicle Jenis Multicopter dalam Meningkatkan Kualitas Dunia Fotografi Udara di Lokasi Jalur Selatan Menuju Calon Bandara Baru di Kulonprogo Indreswari Suroso
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 14, No 1 (2018): April 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v14i1.2134

Abstract

Dunia fotografi berkaitan dengan pesawat tanpa awak disebut drone. Drone dipasang kamera sehingga pesawat tersebut dikendalikan pilot dari daratan. Hasil fotografi dilihat pilot setelah pesawat drone tersebut mendarat. Drone adalah pesawat yang terbang dengan sistem robotik dikendalikan oleh pilot di tanah.  Drone memiliki berbagai fungsi yaitu sebagai alat pendeteksi, alat pemetaan di udara, alat pemetaan banjir, tanah longsor, lahan pertanian bahkan dapat mendeteksi material logam didalam bumi. Drone dapat berfungsi alat pendeteksi pulau terpencil, salat foto udara bila terjadi sengketa sawah, untuk pemetaan bidang pertanian dan pemetaan bidang pertambangan. Berdasarkan jenisnya, terdapat dua jenis drone, yaitu multicopter dan fixed wing. Multicopter adalah jenis drone yang memanfaatkan putaran baling-baling untuk terbang, sedangkan fixed wing memiliki bentuk seperti pesawat terbang biasa yang dilengkapi sistem sayap. Langkah yang digunakan dalam penelitian ini adalah persiapan pembuatan drone, perencanaan ketinggian terbang, pengujian drone di ground, pengaturan kalibrasi kamera, pengambilan foto udara, melihat hasil foto udara, kemudian menganalisis hasil foto udara. Drone dalam penelitian ini memiliki empat propeller, yang digunakan untuk pemetaan jalur selatan menuju pintu masuk New International Yogyakarta Airports melalui Desa Plumbon, Kecamatan Temon, Kabupaten Kulonprogo. AbstractRole Analysis of Unmanned Aerial Vehicle Type MultiCopter in Improving the Quality of Aerial Photography Field in the Southern Path towards the Prospective New Airport in Kulonprogo. The world of photography is very closely related to the unattended aircraft called drones. Drones are mounted with camera so that the plane is pilot-controlled from the mainland. Photography results are seen by the pilot after the drone aircraft is landed. Drone have various function namely as a detector, mapping equipment in the air, floods mapping tools, landslides,  agricultural lands, can ever detect metal material in the earth. Drone can fuction as remotr island detection device,  aerial photographs in the event of a rice field dispute, for mapping agriculture and minning fields. Based on its type, there are two types of drones, namely multicopter and fixed wing. Multicopter is the type of drone that utilizes the spin of the propeller, while the fixed wing has an airplane-like shape with a wing system. The steps used in this study were as follows: drone making preparation, fly height planning, ground drone testing, camera calibration settings, air photo capture, airresults viewing, and aerial photographs results analyzing. Drone used in this study has four propellers used for mapping south path entrance of New Yogyakarta International Airport through Plumbon Village,Temon sub-district, Kulonprogo regency.
Sinematografi Wayang: Persoalan Transmedia Seni Pertunjukan Tradisional dalam Program Tayangan Televisi Arif Eko Suprihono
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 15, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v15i2.3355

Abstract

ABSTRAKMerujuk pada proses penelitian delapan tahun terakhir, dan melihat hasil kerja Penelitian Hibah Bersaing, Penelitian Produk Terapan, terungkap kompleksitas pengelolaan kegiatan seni pertunjukan tradisional di masyarakat. Berkait erat dengan budaya industri televisi, terbentang peluang sekaligus ancaman serius bagi eksistensi seni tradisi. Hasil  kerja penelitian dalam rencana makro, disarankan urgensi tindakan konstruktif dan sistematis kepada para pekerja seni untuk mengantisipasi benturan kepentingan industri pertelevisian Indonesia dengan pengelolaan seni pertunjukan tradisional. Persoalan cinematography seni  tradisional  membahas proses dialektika kreatif mengarah pada pemikiran, tindakan, dan produk budaya dengan menyadari kerangka perubahan dan penyesuaian kultural. Diyakini, bahwa kesenian tradisi memiliki nilai luhur, kearifan lokal, identitas karakter masyarakat, menunjuk pada kebhinnekaan dan keunggulan, kekhasan suku bangsa Indonesia, berbeda dibandingkan dengan bangsa-bangsa lain di dunia. Referring to the research process of the last eight years, and looking at the work of the Competitive Grant Research, Applied Product Research, revealed the complexity of managing traditional performing arts activities in the community. Closely related to the culture of the television industry, opportunities and serious threats lie for the existence of traditional arts. The results of research work, suggest the urgency of constructive and systematic action to the arts workers to anticipate the conflicting interests of the Indonesian television with the management of traditional performing arts. The issue of traditional art cinematography refers to the process of creative dialectics leading to thoughts, actions, and cultural products by being aware of cultural change and adjustment frameworks. It is believed, that traditional arts have noble values, local wisdom, the identity of the character of the community, pointing to diversity and excellence, the uniqueness of Indonesian from other nations in the world.
Ansel Adams Easton 'Kajian Karya, Kesenimanan, dan Aspek Sosialnya' Irwandi .
Rekam: Jurnal Fotografi, Televisi, Animasi Rekam 7
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v0i0.372

Abstract

The fame of an artist is sometimes recognized as a reflection of himself and his work features alone. The artist often regarded as a highly central role in efforts to achieve its reputation.The public do not realize that behind the popularity of an artist, there are a number of socio-cultural factors that also affect it. Ansel Adams is an example of how the position of an artist in the constellation of socio-cultural America. Besides having a beautiful work, technical ability and concept of good works, he is also able to put himself in a social map of his era. Discussion of Ansel Adams will be conducted by considering the workside, the capacity and roles deemed external helped push his popularity. In this perspective will be seen how the importance of social factors in maintaining the existence of an artist.

Page 7 of 20 | Total Record : 198

 5   6   7   8   9 

Filter by Year

2014 2025


Reset
Filter By Issues
All Issue Vol 21, No 2 (2025): Oktober 2025 Vol 21, No 1 (2025): April 2025 Vol 20, No 2 (2024): Oktober 2024 Vol 20, No 1 (2024): April 2024 Vol 19, No 2 (2023): Oktober 2023 Vol 19, No 1 (2023): April 2023 Vol 18, No 2 (2022): Oktober 2022 Vol 18, No 1 (2022): April 2022 Vol 17, No 2 (2021): Oktober 2021 Vol 17, No 1 (2021): April 2021 Vol 16, No 2 (2020): Oktober 2020 Vol 16, No 1 (2020): April 2020 Vol 15, No 2 (2019): Oktober 2019 Vol 15, No 1 (2019): April 2019 Vol 14, No 2 (2018): Oktober 2018 Vol 14, No 1 (2018): April 2018 Vol 13, No 2 (2017): Oktober 2017 Vol 13, No 1 (2017): April 2017 Vol 12, No 2 (2016): Oktober 2016 Vol 12, No 1 (2016): April 2016 Vol 11, No 2 (2015): Oktober 2015 Vol 11, No 1 (2015): April 2015 Vol 10, No 2 (2014): Oktober 2014 Vol 10, No 1 (2014): April 2014 Rekam 9 Rekam 8 Rekam 7 Rekam 6 More Issue