scholarly journals VISUAL STORYTELLING DARI SINOPSIS SAMPAI STORYBOARD DALAM MATA KULIAH INTRODUCTION TO MOVING IMAGE PRODUCTION (IMIP)

2019 ◽  
Vol 11 (1) ◽  
Author(s):  
Ina Listyani Riyanto ◽  
Baskoro Adi Wuryanto ◽  
Perdana Kartawiyudha
Keyword(s):  
Moving Image ◽  
Visual Storytelling ◽  
Shot Type ◽  
Image Production ◽  
Film Text

Filmmaker dituntut untuk bisa mengubah cerita dari bentuk tulisan menjadi gambar bergerak. Kemampuan visual storytelling ini menuntut filmmaker untuk bisa mentransfer imajinasi cerita (sinopsis-teks) menjadi skenario (visual yang tertulis), serta mentransfer skenario menjadi storyboard (gambar-visual). Untuk itu, filmmaker seyogyanya memahami penulisan scenario dan kaidah-kaidahnya sehingga bisa menuangkan cerita dengan baik. Selain itu, filmmaker juga harus memahami bahasa visual yang ditawarkan oleh sinematografi seperti fungsi shot type, komposisi dan rule of third. Filmmaker seringkali mengalami kendala dalam memvisualkan cerita dari sinopsis sampai storyboard (text to visual). Oleh sebab itu, penelitian ini dibuat untuk mengetahui masalah dalam proses ini. Penelitian ini terdiri dari dua tahap. Tahap 1: (i) Mencari teori awal: studi pustaka dan identifikasi masalah (ii) penentuan elemen dan standar analisis, (iii) mengumpulkan data dengan mengidentifikasi masalah yang terjadi dalam proses transfer. Tahap 2: (i) menganalisis sinopsis, skenario dan storyboard. (ii) mengkonfirmasi hasil analisis melalui wawancara dengan penulis skenario, sutradara dan sinematografer. (ii) merangkum temuan dan analisis serta menuliskannya dalam jurnal. Kata kunci: produksi film, text to visual, sinopsis, skenario, storyboard

scholarly journals Cinematography and filmmaking research

2019 ◽  
pp. 188-196
Author(s):  
Alexander Nevill
Keyword(s):  
Practical Knowledge ◽  
Scholarly Activity ◽  
Research Centre ◽  
Practice Research ◽  
Moving Image ◽  
Doctoral Research ◽  
Layered Approach ◽  
Image Production ◽  
Digital Cultures

This paper offers an overview of a recent practice-led doctoral enquiry which examined lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. This research was completed in the Digital Cultures Research Centre at UWE Bristol and funded by the AHRC 3d3 Centre for Doctoral Training. The paper specifically reflects on three strands of enquiry which existed in dialogue with one another, showing how the mutual interaction and reinforcement between scholarly activity, collaborative film production and independent creative experimentation were fundamental to the approach and direction of the research. Amongst a wider contribution, this doctoral research can be seen as methodologically innovative, providing a more detailed first-hand investigation into lighting processes than is currently available by using autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. The paper discusses this novel use of autoethnography within practice-research and also explains how the resulting evidence was incorporated in the thesis through a layered approach to writing.

Creative Space in Contemporary Swedish Moving Image Production

2012 ◽  
Vol 16 (4) ◽  
pp. 55-72
Author(s):  
Per Erik Erikssona ◽  
Thorbjörn Swenberga
Keyword(s):  
Moving Image ◽  
Creative Space ◽  
Image Production

scholarly journals Moving beyond the ‘shot-type list’ towards the ‘Meaning Model’: Placing meaning at the centre of film education

2020 ◽  
Vol 3 (2) ◽  
pp. 218-230
Author(s):  
Marc Barrett
Keyword(s):  
Primary Schools ◽  
Pedagogical Change ◽  
Pedagogical Tool ◽  
Moving Image ◽  
Film Education ◽  
Shot Type ◽  
Practice Of Teaching

In 1990 Kress and Van Leeuwen’s Reading Images began a conversation based upon the practice of teaching image-orientated texts in Australian classrooms. Since then, however, little of this important conversation has been translated into meaningful pedagogical change for the teaching of kineikonic (moving image) texts in Australia. From state-run primary schools to national postgraduate film education institutions, the primary tool used to initiate students into the potential to create meaning through film – the shot-type list – has remained relatively unchanged. This article proposes an updated pedagogical tool – identified as the ‘Meaning Model’ – which draws from contemporary discourses around how films make meaning in seeking to bring understandings of the kineikonic mode into the classroom, in a practical and accessible way.

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