PELATIHAN AFTER EFECTS UNTUK MENINGKATKAN KREATIFITAS SISWA JURUSAN MULTIMEDIA SMK MUHAMMADIYAH 2 PEKANBARU

Abstrak: After Effects salah satu software efek digital visual, grafis gerak, dan aplikasi compositing yang dikembangkan oleh Adobe Systems dan digunakan dalam proses pasca produksi pembuatan film dan produksi televisi. After Effects dapat digunakan untuk memasukkan, melacak, rotoscoping, compositing dan animasi. Kegiatan pelatihan ini ditujukan pada siswa –siswi SMK Muhammadiyah 2 Pekanbaru jurusan Multimedia. Siswa diberikan materi dari konsep pengembangan multimedia, pengenalan after effects, pengenalan tool, project opening, animasi teks dan mini kompetisi multimedia. Dengan adanya pelatihan ini akan meningkatkan kreatifitas multimedia untuk menjadi bekal siswa dalam menghadapi magang dan Ujian Keahlian Kompetensi (UKK). Kata Kunci: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru Abstract: After Effects is a digital visual effects software, motion graphics, and compositing application developed by Adobe Systems and used in the post-production process of filmmaking and television production. After Effects can be used for inserting, tracing, rotoscoping, compositing and animation. This training activity is aimed at students of SMK Muhammadiyah 2 Pekanbaru majoring in Multimedia. Students are given material from the concept of multimedia development, introduction to after effects, introduction to tools, project opening, text animation and multimedia mini competition. With this training, it will increase multimedia creativity to equip students to face internships and the Competency Skills Exam (UKK). Keywords: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru

Motion Capture Based on Intelligent Sensor in Snow and Ice Sports

With the development of motion capture technology, it has become a reality to efficiently and quickly obtain realistic human motion information. Motion capture technology has been successfully applied in many fields such as sports competitions, animation games, and film and television production. This article is aimed at studying the application of motion capture technology based on smart sensors in ice and snow sports. Put forward the idea of applying smart sensor-based motion capture technology to ice and snow sports. This article introduces in detail smart sensors, motion capture technology, and related content of ice and snow sports and conducts specific experiments on the application of smart sensor-based motion capture technology in ice and snow sports. The experimental results show that motion capture based on smart sensor technology can help athletes improve their skills and tactics. At the same time, motion capture technology based on smart sensors is also loved by most coaches and athletes, and everyone’s satisfaction with this technology has reached more than 70%.

Use of Motion Design Elements in Modern Ukrainian Film and Television Production

The purpose of the research is to establish the role of motion design elements in Ukrainian cinema and television production, analyze the functions of motion-design objects, find out the prcularities of their use in various audiovisual works. The research methodology is based on a theoretical analysis of film and television production, generalization of the main compositional and technical techniques of visual content, determination of their interdependence and role in the process of creating an audiovisual product. Scientific novelty. The components of the motion design in the modern Ukrainian cinema and television production have been analyzed for the first time, a detailed analysis of the interdependence of the structural components of the motion design in various audiovisual works has been carried out, their influence on shaped solutions of film and television products has been shown. Conclusions. In the course of the article, we analyzed the elements of motion design in Ukrainian cinema and television. In the process of studying cinema, television products, the basic principles of creating animation graphics in the Ukrainian film, and telepost have been established. Composite and technical components of motion-design, which affect visual solutions of an audiovisual work have been processed in detail and systematized.

Lajityypit ylittävä laatu televisio-ohjelmissa

Artikkelin tavoitteena on kuvata televisioalan tekijöiden näkemyksiä laatukriteereistä sekä sitä, millaisia lajityypit ylittäviä laatukriteereitä löytyy audiovisuaalisella alalla. Aineisto on koottu Yhdysvalloissa ja Suomessa haastattelemalla alan ammattilaisia, jotka toimivat tuottajina, ohjaajina, kouluttajina tai johtavissa asemissa palkintojärjestöissä.Analyysi on toteutettu fenomenografisesti. Laatukeskustelun ja televisio-ohjelmien keskinäisen vertailun tuloksena nousi esiin kolme lajityypit ylittävää laatukriteeriryhmää. Nämä ryhmät ovat 1) ammattitaito, 2) vaikutus ja 3) suosio.Avainsanat: laatu, televisiotuotanto, televisiotutkimus, lajityyppi, fenomenografiaQuality in Television Across Genres: Views on Criteria of Quality Amongst Television ProfessionalsThe aim of this article is to explore criteria of quality in the views of professionals in the field of television and what kind of criteria of quality across genre can be found in the audiovisual field. Data has been compiled in the United States and Finland by interviewing professionals in the field of television, who act as producers, directors, educators or in leading positions in award organizations, such as Peabody- and Emmy Awards.The analysis has been carried out phenomenographically. As a result of the quality discussion and the mutual comparison of television programs, three groups of quality criteria exceeding the genres emerged. These groups are 1) professionalism, 2) impact, and 3) popularity.Keywords: quality, genre, television production, television research, phenomenography

How counter-fate relational practices mitigate resource acquisition challenges during project nascence

Research shows that embedded relations can facilitate the resource acquisition process in entrepreneurship. Yet, as relations are dynamic and subject to change, it remains unclear how entrepreneurs can acquire necessary resources when pre-existing ties may not yet or no longer be relevant, sufficient or accessible. Under these circumstances, acquiring necessary resources is a challenge and one that novice entrepreneurs in project-based enterprises face repeatedly as they seek to sustain their businesses. Evidence from 123 projects developed by six newly formed independent television production companies in the UK shows that new entrepreneurs can manoeuvre around constraints by engaging in one of four counter-fate relational practices: posturing (i.e. exaggerating interest from key ties), status sequencing (i.e. developing key relations in sequence based on status), geographic sequencing (i.e. attaining key ties in sequence based on location), and opportunistic manoeuvring (i.e. manipulating the opportunism of potential resource-holders). We contribute to entrepreneurship research by showing how resources can be acquired despite a lack of key embedded ties, and highlight enabling conditions; and to project studies by illustrating how projects progress past nascence to launch and acquire new clients or repeat commissions.

EXPRESS: The Ties that Bind us: Networks, Projects and Careers in British TV

The dominant view of careers is that they have been transformed by the emergence of ‘post-bureaucratic’ organizations. ‘Neo-bureaucratic’ structures have emerged, retaining centralized control over strategy and finance while outsourcing production, creating employment precarity. British television epitomises a sector that has experienced long-run deregulation. Producing television content is risky highly competitive. How do broadcasters minimise the risks of television production? Broadcasting neo-bureaucracies avoid relying on fragmented labour markets to hire technically self-disciplining crews. Control regimes are enacted through activating social networks by broadcast commissioners, green-lit to trusted creative teams who recruit key crew, through social networks which complement diffuse forms of normative control. Social networks and the self-discipline of crews are mutually constitutive, (re)producing patterns of labour market advantage/disadvantage. Younger freelancers prove vulnerable, exposed to precariousness inherent in freelance employment; to build a career they must access and sustain their social network membership. We locate individual decisions around career narratives in the context of specific social networks and industry structures. Careers are not boundaryless, individual constructs. We introduce the concept of ‘mosaic-career’, capturing the complexity of individual work histories, composed of fragmented employment in organisations/projects. How do neo-bureaucracies, then, intervene in labour markets? What are the consequences of those interventions?

Television as a Cultural and Communicative System: Evolution Directions and Modern Boundaries

Russian science has not yet developed a stable understanding of the essence and generic affiliation of television, which continues to have a powerful multidirectional impact on the cultural and social processes of our time. The proposed characteristic of television as an independent cultural and communicative system allows highlighting its functioning as a separate cultural phenomenon that cannot be reduced to other forms of communicative activity. At the same time, in line with the system-cultural approach, the article substantiates the interaction of the main system-forming factors within the television system: those are artistic-entertaining, economic, informational, political, and technological. Constant consideration of all these factors when examining any aspect of television communication should become the methodological basis for studying television as a system.A system-diachronic analysis of television, revealing the main directions of its nonlinear development through the mutual influence of the system-forming factors, allowed drawing the following conclusions.Modern television is increasingly acting not so much as a means, but as a method of communication. This leads to a reduction in the significance of the content of a television utterance and, conversely, to the absolutization of the format, which determines both the content itself and the ritualized processes of television communication.Significant changes in television communication occurred in the first decades of the 21st century under the influence of Internet technologies: the individualization of television viewing and the spread of “out-of-studio” forms of television production, the improvement of image quality and the democratization of video recording technologies leads to the fact that television ceases to perceive itself as a utilitarian means of broadcasting off-screen reality, and is increasingly positioned as an independent cultural source.Television in the 21st century has expanded its boundaries, having absorbed the vast sphere of Internet and video communications. The modern television system can be understood as a set of audiovisual messages intended for public display and perceived in non-specialized everyday living conditions.

The logic of formatting: A case study on transnational television production

The transnationalization of television production has been examined by studies on formats and multinational media companies, which have often highlighted the resilience of the local in the global. This article investigates transnationalization on the micro level of television production, drawing on participant observations in a Dutch production company that is partly owned by an American conglomerate. It explores the deep entanglement of the local with the global in different facets of production – including legal, organizational and market aspects – as manifested in daily practices and decision-making in television production. Our analysis reveals an industrial logic of formatting that is not only induced by transnational ownership structures and business models but also deeply ingrained in production routines and programme conventions. Through this logic, transnationalization shapes media professionals’ daily work, the selection of programme ideas and the process of content development.

Time for a change: women, work, and gender equality in TV production

This article uses Acker’s concept of inequality regimes to analyze qualitative research findings on work-life balance and gender equality for women in British television production. Female survey respondents, focus group participants, and interviewees spoke of their subjective experience of gendered work practices which disadvantage women as women. These findings build on existing research showing gender disadvantage in the industry, leading to loss of human capital and a narrowing of the range of creative experience. They also show that growing numbers of women are seeking alternative modes of production, at a time of increased awareness of inequality. Such alternatives suggest that change is possible, although it is strongly constrained by organizational logics and subject to continued resistance, in line with Acker’s framework of analysis. Visibility of inequalities is the key to supporting change.