Saturday, November 15, 2014
LAYOUT TO ANIMATION WORK FLOW
LAYOUT TO ANIMATION WORK FLOW
For TV Animation Production
PLAN YOUR SHOT
Before you start on your layout process, determine what is the purpose of your shot?
• It is an upshot, down-shot or neutral?
• Is it a profile, 3 quarter, or straight on?
• Is it a left or right screen bias?
• Is the lead-space on the left or right, or is there no lead-space?
• Is it a wide, medium, or close up shot?
• Is it over the shoulder or foot? Is there clear foreground, mid-ground and background
elements?
• Are the camera moves fast or slow? Are times with the audio or a pose change?
Are the camera moves rostrum or move live action?
• Is it acting (emotional), exposition*, action, or utility?
• Do a top down drawing and get it cleared by a lead or supervisor if your sequence is
complicated.
* Exposition: a shot or scene that provides the background information needed to understand the characters and the
action. Must have a clear landmark as indicator.
WORK BIG TO SMALL
• Posing/Layout - reproduce the leica as a three dimensional asset.
One pose per panel in the board. Don't use stepped curve for keys when the camera is
tracking (moving). You need to indicate timing with the number of in-betweens you predict
the animation will need. 5 frames is a good average for most transitions between keyframes
(not including breakdowns).
• Apply the formula first!
If you run out of time you have a shot that at least does what it needs to. It won't be brilliant
but it will be serviceable.
CAMERA
• Try to keep the horizon at about 1/3 of the way up from the bottom of screen or lower.
• Keep horizons as consistent as possible from shot to shot.
• Keep backgrounds easy to read.
• Focal lengths can be 100 - 500 for close up and 20 - 40 for wide angles.
• If the shot is dramatic... try force perspective (for example: focal length as max as 14mm).
• Almost always compose the tighter fielding first! Even if it it a truck or zoom in, key it first...
then you can go wide by pulling the camera straight back.
POSING
• Go for broad, interesting action, strong poses, and try to make as few poses as possible.
• Find poses that are different from one another (high contrast - opposite line of action).
• Move every controller (slightly) for each pose. This helps keep things alive.
• First, key the hips, upper and pelvis controllers.
• Keep the poses as minimal and simple as possible. Don't rely on too many poses and avoid
too many arm gestures.
• A pose test should include all the necessary poses for a scene. No more poses should be
needed for animation. (You need to know the difference between 'poses' and 'keyframes'.)
THE FORMULA
Create Moving Holds between poses:
• First, copy each pose 2 frames from the next key.
• Turn the curve tangents (in curve editor) to Plateau.
• Turn the holds into moving holds by changing the second key a little, continuing the
character's movement in the direction he was heading.
┌─ 2 fr ─┐
|‹------ moving hold ------›| |‹------ moving hold ------›|
Pose 1 P1 copy Pose 2 P2 copy
Add Anticipation:
• Create antics by setting a new key 4 frames back from the 2nd of each pair of keys.
• Turn the 2nd of each pair of keys into an anticipation.
┌──── 4 fr ────┬─ 2 fr ─┐
|‹------ moving hold ------›| | |‹------ moving hold ------›|
Pose 1 P1 copy Antic Pose 2 P2 copy
Add Breakdowns:
• Create breakdowns by setting a key 2 frames after the first key of the next pose.
• Go 2 frames back and turn the first key into a breakdown between the antic and the next
pose.
┌──── 4 fr ────┬─ 2 fr ─┬─ 2 fr ─┐
|‹------ moving hold ------›| | : |‹------ moving hold ------›|
Pose 1 P1 copy Antic BD Pose 2 P2 copy
Pose copies should be changed in the trajectory of the last transition to create a moving hold.
FOR APPROVALS
• Always keep it clean.
• Never let stuff drift.
• If things explode, fix it right away.
• Don't do rough lipsync... only final.
For TV Animation Production
PLAN YOUR SHOT
Before you start on your layout process, determine what is the purpose of your shot?
• It is an upshot, down-shot or neutral?
• Is it a profile, 3 quarter, or straight on?
• Is it a left or right screen bias?
• Is the lead-space on the left or right, or is there no lead-space?
• Is it a wide, medium, or close up shot?
• Is it over the shoulder or foot? Is there clear foreground, mid-ground and background
elements?
• Are the camera moves fast or slow? Are times with the audio or a pose change?
Are the camera moves rostrum or move live action?
• Is it acting (emotional), exposition*, action, or utility?
• Do a top down drawing and get it cleared by a lead or supervisor if your sequence is
complicated.
* Exposition: a shot or scene that provides the background information needed to understand the characters and the
action. Must have a clear landmark as indicator.
WORK BIG TO SMALL
• Posing/Layout - reproduce the leica as a three dimensional asset.
One pose per panel in the board. Don't use stepped curve for keys when the camera is
tracking (moving). You need to indicate timing with the number of in-betweens you predict
the animation will need. 5 frames is a good average for most transitions between keyframes
(not including breakdowns).
• Apply the formula first!
If you run out of time you have a shot that at least does what it needs to. It won't be brilliant
but it will be serviceable.
CAMERA
• Try to keep the horizon at about 1/3 of the way up from the bottom of screen or lower.
• Keep horizons as consistent as possible from shot to shot.
• Keep backgrounds easy to read.
• Focal lengths can be 100 - 500 for close up and 20 - 40 for wide angles.
• If the shot is dramatic... try force perspective (for example: focal length as max as 14mm).
• Almost always compose the tighter fielding first! Even if it it a truck or zoom in, key it first...
then you can go wide by pulling the camera straight back.
POSING
• Go for broad, interesting action, strong poses, and try to make as few poses as possible.
• Find poses that are different from one another (high contrast - opposite line of action).
• Move every controller (slightly) for each pose. This helps keep things alive.
• First, key the hips, upper and pelvis controllers.
• Keep the poses as minimal and simple as possible. Don't rely on too many poses and avoid
too many arm gestures.
• A pose test should include all the necessary poses for a scene. No more poses should be
needed for animation. (You need to know the difference between 'poses' and 'keyframes'.)
THE FORMULA
Create Moving Holds between poses:
• First, copy each pose 2 frames from the next key.
• Turn the curve tangents (in curve editor) to Plateau.
• Turn the holds into moving holds by changing the second key a little, continuing the
character's movement in the direction he was heading.
┌─ 2 fr ─┐
|‹------ moving hold ------›| |‹------ moving hold ------›|
Pose 1 P1 copy Pose 2 P2 copy
Add Anticipation:
• Create antics by setting a new key 4 frames back from the 2nd of each pair of keys.
• Turn the 2nd of each pair of keys into an anticipation.
┌──── 4 fr ────┬─ 2 fr ─┐
|‹------ moving hold ------›| | |‹------ moving hold ------›|
Pose 1 P1 copy Antic Pose 2 P2 copy
Add Breakdowns:
• Create breakdowns by setting a key 2 frames after the first key of the next pose.
• Go 2 frames back and turn the first key into a breakdown between the antic and the next
pose.
┌──── 4 fr ────┬─ 2 fr ─┬─ 2 fr ─┐
|‹------ moving hold ------›| | : |‹------ moving hold ------›|
Pose 1 P1 copy Antic BD Pose 2 P2 copy
Pose copies should be changed in the trajectory of the last transition to create a moving hold.
FOR APPROVALS
• Always keep it clean.
• Never let stuff drift.
• If things explode, fix it right away.
• Don't do rough lipsync... only final.
ANIMATION GUIDELINES
ANIMATION GUIDELINES
For Film and TV Character Animation
PERFORMANCE
As animators, your job is MORE than simply making things move. You are an integral part of
the process of storytelling. When you animate the character, you must become the character,
and you must make the character perform to tell the story. Unlike a live-action actor, you must
determine your performance on a frame-by-frame basis. Here are some things you should
keep in mind as you approach each scene you animate:
I. BEFORE YOU ANIMATE...
... there are three things you should ask yourself.
KNOW THE STORY!
Knowing the story will allow you to better play your part in helping the Director to tell it.
It will also let you know how your scene(s) fit in to the bigger picture.
KNOW THE CHARACTERS!
Knowing the character is crucial to being able to animate them. Just because YOU can
make a character move or express themselves in a variety of ways, that doesn't mean
the character would do it. A big, mean bully isn't going to have the same kind of actions
as a toddler. You could animate them the same... but it would look and feel wrong. The
same is true on a more subtle level of how the characters will express emotions,
gesture, and even how they walk.
KNOW THE ENVIRONMENT!
This might seem simple, but sometimes animators forget that the environment can
often dictate the limits of how things should move. Characters in space will move
differently from characters on earth. Make sure you know what rules of physics can
apply to the way your characters move. Simple Newtonian Laws are a big help, unless
you characters live on "Planet Helium Balloon".
*** If you don't feel you know the above elements, you MUST GET TO KNOW them!
II. READY TO ANIMATE?
When you get your scene and you are preparing to animate, there are two new questions to
ask yourself:
• First, you need to determine what is the purpose of the scene?
• What must I do to achieve this purpose?
Every scene has a purpose. the purpose is determined by what the DIRECTOR is trying to
reveal to the audience about the story you are telling.
THE PURPOSE OF A SCENE?
The purpose will drive the story forward by revealing something about the characters, the
action or the location. Basically, scene purpose can be defined as one or a combination of
EMOTIVE/FEELING, ACTION or LOCATION.
1. EMOTIVE/FEELING
One of the most difficult scene / shot purposes to determine is the first one...
EMOTIVE/FEELING.
When you get your scene you need to ask, "Does the scene show an emotional change in the
character and/or story?" This might be very broad (Happy to Angry), or very, very subtle
(Regretful to Guilty). This change might be as subtle as an eyebrow move... a head tilt... or a
small smile. It might be as big as a huge animated 'TAKE' where the character goes from being
neutral to extremely shocked, or scared, or surprised.
You may have a scene in the story where the character is startled by something, then relieved,
there will be 2 EMOTIONAL changes on the character's expression. First from (1) Neutral to
Surprised and from (2) Surprised to Relieved. If the character must be shown as remembering
something... the eyes can convey this thought process. Eyes looking up, and off into the
distance is an indication of the character remembering something long ago. Eyes looking down
can indicate the character is thinking of something recent. Even though the 'emotion' is not
clear, the FEELING is that the character is thinking and remembering.
If your scene involves a CLOSE-UP, there will almost certainly be an emotional changes.
Try to think of some easy, and some difficult examples of this kind of scene. As a general rule,
any more then THREE changes in EMOTION/FEELING in a shot will be too many. As in most
cases, keeping it simple usually most effective. ONE or TWO emotional changes works best. A
character remembers something he did recently, and the memory makes him smile. These are
TWO distinct shifts. In this case, adding a third expression would only be superfluous, and
would likely confuse the audience.
2. ACTION
ACTION scenes are much easier to determine than Emotive/Feeling ones, though often more
difficult to properly execute.
In any story the characters move from place to place as they interact with the environment
and other characters. Vehicles and objects react to these interactions. Action take the
characters and the story from location to location. They can be dynamic, and fun to watch, or
they can be small and simple as the story dictates.
The action might be extremely obvious and simple (A character sits at a table. A character
waves at a friend. A character walks or runs across the screen), subtle (A character notices
another character and quickly glances at him/her), or big and complex (A group of
characters have a kungfu fight atop a burning school bus while frightened passengers leap to
safety).
Often an ACTION will come with an EMOTION (for example: a sad walk, or a frightened run).
What you need to do is determine the SIMPLEST POSSIBLE MOVEMENT to serve the purpose,
and if you can... add complexity as you go. This will result in a more believable action, and will
be easier to finesse to make it look good. In the case of complex moves (dancing or fighting)
you should ALWAYS get AS MUCH REFERENCE AS POSSIBLE! Even if your particular style of
animation is simplistic, the reference will help make it better.
3. LOCATION
LOCATION scenes are the easiest to determine, and frequently the easiest to animate.
Location can play as big a part in any story as the characters. And as the story progresses the
location frequently changes. These shots can help with mood, passage of time, building
tension, or as a prelude to a joke. A shot of a sidewalk and simple banana peel followed by a
shot of a happy-go-lucky character walking along, oblivious to his surroundings gives us an
idea of what is going to happen next. The shot of the banana peel might not involve any
animation at all, but if it does, then you must be careful that the animation doesn't upstage
the focus of the scene.
As another example: You get a shot that shows a summer morning in a meadow. There are
several elements given to you in the scene that can be animated: a tree, a pair of butterflies
and clouds. If it is supposed to be a tranquil scene that sets the mood as being a calm, lazy
summer morning... all the animation needs to do is add a minute detail. The tree shouldn't be
waving around as if being blown by a hurricane. The butterflies shouldn't be blocking the
camera and doing formation-flying aerobatics, and the clouds shouldn't be vibrating. These
points seems obvious, but as animators we often want to impress others with our skill.
However, in this case, the animation described may impress your friends, but will certainly
annoy the director.
As in the other types of scenes, what is most impressive to a DIRECTOR is when the animator
has an understanding of what the shot is supposed to do, and how it can help the story. If you
understand these purposes, you will go a long way to getting that respect.
QUALITY CONTROL AND TIME MANAGEMENT
Once you have finished animating your shot your work is not over. Just because the character
moves around, and does so within the assigned number of frames, it doesn't mean your work
is over.
Even if you spend a week working on your shot... once you settle back in your chair feeling
good about yourself for having pulled off what is no doubt a work of pure genius... look at your
scene again and ask yourself the following FOUR QUESTIONS:
1. Does it work?
This is generally a very simple question to answer. If you know the Story, Characters,
and Environment and have clearly identified the Purpose of the shot, and satisfied the
needs to meet that purpose, then the answer to this question is YES! You can move on
to question 2.
2. Do I like it?
Hopefully you will be satisfied by your own work. However, if there is something there
that bothers you, or something that is obviously standing out then you should move to
the next question.
3. What will it take for me to fix it?
If you can fix whatever detail is bothering you easily and without help from anyone,
then just go ahead and DO IT! Don't waste anyone's time by asking if you can fix it. If it
doesn't look good to you, then it almost certain it won't look good to your supervisor, or
director. If you need help to fix it, then bring it up to your supervisor. Don't be afraid to
make a mistake or ask for help when you need it. It will only teach you what you need
to know and make you better at what you do.
4. Do I have time?
If you do decide to fix something that's bothering you... be sure you are not blowing
your deadline by doing so. If you have answered YES to question 1, and need to submit
the work for approval in 30 minutes... DON'T start changing it. Move on to your next
assignment until you get a revision. You may be surprised to learn that what you've
done is already up to snuff.
It is important to realize that you should NOT OVERWORK a scene. Sometimes in an attempt
to impress, you might continue to make what you believe are improvements to the scene, and
inadvertently compromise the animation style, or put too much focus on an element of that
shot which then distracts from the 'PURPOSE'. Once again, what is most important is
understanding what the shot is supposed to convey to tell the story.
For Film and TV Character Animation
PERFORMANCE
As animators, your job is MORE than simply making things move. You are an integral part of
the process of storytelling. When you animate the character, you must become the character,
and you must make the character perform to tell the story. Unlike a live-action actor, you must
determine your performance on a frame-by-frame basis. Here are some things you should
keep in mind as you approach each scene you animate:
I. BEFORE YOU ANIMATE...
... there are three things you should ask yourself.
KNOW THE STORY!
Knowing the story will allow you to better play your part in helping the Director to tell it.
It will also let you know how your scene(s) fit in to the bigger picture.
KNOW THE CHARACTERS!
Knowing the character is crucial to being able to animate them. Just because YOU can
make a character move or express themselves in a variety of ways, that doesn't mean
the character would do it. A big, mean bully isn't going to have the same kind of actions
as a toddler. You could animate them the same... but it would look and feel wrong. The
same is true on a more subtle level of how the characters will express emotions,
gesture, and even how they walk.
KNOW THE ENVIRONMENT!
This might seem simple, but sometimes animators forget that the environment can
often dictate the limits of how things should move. Characters in space will move
differently from characters on earth. Make sure you know what rules of physics can
apply to the way your characters move. Simple Newtonian Laws are a big help, unless
you characters live on "Planet Helium Balloon".
*** If you don't feel you know the above elements, you MUST GET TO KNOW them!
II. READY TO ANIMATE?
When you get your scene and you are preparing to animate, there are two new questions to
ask yourself:
• First, you need to determine what is the purpose of the scene?
• What must I do to achieve this purpose?
Every scene has a purpose. the purpose is determined by what the DIRECTOR is trying to
reveal to the audience about the story you are telling.
THE PURPOSE OF A SCENE?
The purpose will drive the story forward by revealing something about the characters, the
action or the location. Basically, scene purpose can be defined as one or a combination of
EMOTIVE/FEELING, ACTION or LOCATION.
1. EMOTIVE/FEELING
One of the most difficult scene / shot purposes to determine is the first one...
EMOTIVE/FEELING.
When you get your scene you need to ask, "Does the scene show an emotional change in the
character and/or story?" This might be very broad (Happy to Angry), or very, very subtle
(Regretful to Guilty). This change might be as subtle as an eyebrow move... a head tilt... or a
small smile. It might be as big as a huge animated 'TAKE' where the character goes from being
neutral to extremely shocked, or scared, or surprised.
You may have a scene in the story where the character is startled by something, then relieved,
there will be 2 EMOTIONAL changes on the character's expression. First from (1) Neutral to
Surprised and from (2) Surprised to Relieved. If the character must be shown as remembering
something... the eyes can convey this thought process. Eyes looking up, and off into the
distance is an indication of the character remembering something long ago. Eyes looking down
can indicate the character is thinking of something recent. Even though the 'emotion' is not
clear, the FEELING is that the character is thinking and remembering.
If your scene involves a CLOSE-UP, there will almost certainly be an emotional changes.
Try to think of some easy, and some difficult examples of this kind of scene. As a general rule,
any more then THREE changes in EMOTION/FEELING in a shot will be too many. As in most
cases, keeping it simple usually most effective. ONE or TWO emotional changes works best. A
character remembers something he did recently, and the memory makes him smile. These are
TWO distinct shifts. In this case, adding a third expression would only be superfluous, and
would likely confuse the audience.
2. ACTION
ACTION scenes are much easier to determine than Emotive/Feeling ones, though often more
difficult to properly execute.
In any story the characters move from place to place as they interact with the environment
and other characters. Vehicles and objects react to these interactions. Action take the
characters and the story from location to location. They can be dynamic, and fun to watch, or
they can be small and simple as the story dictates.
The action might be extremely obvious and simple (A character sits at a table. A character
waves at a friend. A character walks or runs across the screen), subtle (A character notices
another character and quickly glances at him/her), or big and complex (A group of
characters have a kungfu fight atop a burning school bus while frightened passengers leap to
safety).
Often an ACTION will come with an EMOTION (for example: a sad walk, or a frightened run).
What you need to do is determine the SIMPLEST POSSIBLE MOVEMENT to serve the purpose,
and if you can... add complexity as you go. This will result in a more believable action, and will
be easier to finesse to make it look good. In the case of complex moves (dancing or fighting)
you should ALWAYS get AS MUCH REFERENCE AS POSSIBLE! Even if your particular style of
animation is simplistic, the reference will help make it better.
3. LOCATION
LOCATION scenes are the easiest to determine, and frequently the easiest to animate.
Location can play as big a part in any story as the characters. And as the story progresses the
location frequently changes. These shots can help with mood, passage of time, building
tension, or as a prelude to a joke. A shot of a sidewalk and simple banana peel followed by a
shot of a happy-go-lucky character walking along, oblivious to his surroundings gives us an
idea of what is going to happen next. The shot of the banana peel might not involve any
animation at all, but if it does, then you must be careful that the animation doesn't upstage
the focus of the scene.
As another example: You get a shot that shows a summer morning in a meadow. There are
several elements given to you in the scene that can be animated: a tree, a pair of butterflies
and clouds. If it is supposed to be a tranquil scene that sets the mood as being a calm, lazy
summer morning... all the animation needs to do is add a minute detail. The tree shouldn't be
waving around as if being blown by a hurricane. The butterflies shouldn't be blocking the
camera and doing formation-flying aerobatics, and the clouds shouldn't be vibrating. These
points seems obvious, but as animators we often want to impress others with our skill.
However, in this case, the animation described may impress your friends, but will certainly
annoy the director.
As in the other types of scenes, what is most impressive to a DIRECTOR is when the animator
has an understanding of what the shot is supposed to do, and how it can help the story. If you
understand these purposes, you will go a long way to getting that respect.
QUALITY CONTROL AND TIME MANAGEMENT
Once you have finished animating your shot your work is not over. Just because the character
moves around, and does so within the assigned number of frames, it doesn't mean your work
is over.
Even if you spend a week working on your shot... once you settle back in your chair feeling
good about yourself for having pulled off what is no doubt a work of pure genius... look at your
scene again and ask yourself the following FOUR QUESTIONS:
1. Does it work?
This is generally a very simple question to answer. If you know the Story, Characters,
and Environment and have clearly identified the Purpose of the shot, and satisfied the
needs to meet that purpose, then the answer to this question is YES! You can move on
to question 2.
2. Do I like it?
Hopefully you will be satisfied by your own work. However, if there is something there
that bothers you, or something that is obviously standing out then you should move to
the next question.
3. What will it take for me to fix it?
If you can fix whatever detail is bothering you easily and without help from anyone,
then just go ahead and DO IT! Don't waste anyone's time by asking if you can fix it. If it
doesn't look good to you, then it almost certain it won't look good to your supervisor, or
director. If you need help to fix it, then bring it up to your supervisor. Don't be afraid to
make a mistake or ask for help when you need it. It will only teach you what you need
to know and make you better at what you do.
4. Do I have time?
If you do decide to fix something that's bothering you... be sure you are not blowing
your deadline by doing so. If you have answered YES to question 1, and need to submit
the work for approval in 30 minutes... DON'T start changing it. Move on to your next
assignment until you get a revision. You may be surprised to learn that what you've
done is already up to snuff.
It is important to realize that you should NOT OVERWORK a scene. Sometimes in an attempt
to impress, you might continue to make what you believe are improvements to the scene, and
inadvertently compromise the animation style, or put too much focus on an element of that
shot which then distracts from the 'PURPOSE'. Once again, what is most important is
understanding what the shot is supposed to convey to tell the story.
Friday, November 14, 2014
MERANCANG PROSES PRODUKSI
Arti Dan Fungsi Merancang Proses Pembuatan Produk
Merancang proses produksi boleh dikatakan adalah aktifitas merumuskan seluruh proses kegiatan yang akan dilakukan untuk mewujudkan rancangan produk. Rumusan tersebut perlu agak rinci agar tidak terjadi kesimpang siuran dalam melakukan penafsiran kerja.
Aktifitas produksi dapat dibagi sebagai berikut:
a. Rekrutmen Karyawan dan Pemain
b. Persiapan Fisik dan Administrasi
c. Melakukan perekam gambar dan suara (shooting)
d. Editing
e. Mixing dan Ilusrasi Musik
A. Rekrutmen Karyawan dan Pemain:
Proses ini sebetulnya ditempatkan setelah penyusunan rancangan proses produksi. Tapi bab ini ditempatkan diawal proses pembuatan produksi adalah untuk memberikan perhatian utama pada pemikiran sumber daya manusia yang menjalankan proses produksi tersebut.
Rekrutmen karyawan dan pemain di maksudkan untuk mencari “The Right Man In The Right Place” sesuai job diskribsinya.
1. Rekrutmen karyawan / pemain adalah:
a. Menyusun draf kebutuhan karyawan dengan profesi tertentu.
b. Menyusun daftar pemain sesuai kebutuhan produksi dan sekaligus daftar figuran/ekstra
c. Menyusun daftar kebutuhan sesuai info yang dimiliki.
d. Melakukan wawancara sesuai pekerjaan yang akan dilakukan.
e. Melakukan ikatan hukum sesuai dengan kesepakatan.
2. Spesifikasi profesi karyawan secara garis besar terdiri dari:
a. Manajer Produksi
b. Sutradara
c. Juru Kamera
d. Penata Artistik
e. Editor
f. Juru Suara
g. Manajer Unit
h. Asisten sutradara
i. Asisten Juru Kamera
j. Asisten Penata Artistik
k. Asisten Editor
l. Asisten Manajer Unit
m. Asisten Juru Suara
n. Propertyman
o. Special Effect
p. Penata Rias
q. Penata Musik
r. Stil Photo
3. Spesifikasi Profesi Pemain Secara Garis Besar terdiri dari:
a. Pemain utama pria/wanita b. Pemain pembantu utama pria/wanita c. Pemain pembantu Pria/wanita d. Figuran extra pria/wanita e. Pemain pengganti stuntman/stuntgirl
Pemain atau artis dapat dicarai di:
1. Organisasi profesi: Parfi, Parsi, GAN
2. Sekolah/sanggar teater
3. Agen Pemain
4. Memasang Iklan di gedung pertunjukan, teater, majalah, tabloid film/tv
5. Mengadakan lomba artis
Persiapan Audisi:
- Memberikan informasi secara ringkas diskripsi kerakter tokoh
- Carilah partisipan secara aktif untuk ikut audisi
- Lakukan interview dahulu via telepohone sebelum menentukan jadwal audisi
- Jelaskan untuk audisi perlu waktu dan keseriusan
- Beritahu pada pemain untuk datang dengan dua monolog kontras yang sudah dihayati
- Minta pemain untuk membawa foto terakhirnya ukuran 3 R setengah badan dan full shot
B. Persiapan Fisik Dan Administrasi
Proses Persiapan Phisik dan Administrasi adalah aktifitas serta kegiatan untuk menyiapkan materi visual sesuai dengan rancangan yang telah dietapkan serta administrasi yang diperlukan guna mendukung seluruh kegiatan produksi.
1. Menyiapakan pemain sesuai dengan tuntutan rancangan produk, dalam bentuk melakukan analisa/observasi peran, latihan mengucapkan dialog maupun memainkan peran.
2. Menyiapkan material tata visual sesuai dengan rancangan produk seperti lokasi/set, kostum, properti dan bahan spesial effek lain yang diperlukan.
3. Menyiapkan raw material, bahan baku untuk perekaman gambar dan suara.
4. Menyiapkan fasilitas/peralatan teknik, seperti kamera, sound dan fasilitas khusus sesuai tuntutan rancangan produksi
5. Mempersiapkan fasilitas, transportasi, akomodasi dan service lainnya.
6. Mengurus segala perijinan yang diperlukan
7. Menyiapkan administrasi yang diperlukan guna mendukung kelancaran produksi, seperti call sheet, lembaran tugas, formulir laporan shoting, laporan keuangan harian.
Semua proses persiapan tersebuat akan diperinci lagi menurut bidang tugas maupun profesi yang bertanggungjawab terhadap bidang tadi.
q. Penata Musik
r. Stil Photo
3. Spesifikasi Profesi Pemain Secara Garis Besar terdiri dari:
a. Pemain utama pria/wanita b. Pemain pembantu utama pria/wanita c. Pemain pembantu Pria/wanita d. Figuran extra pria/wanita e. Pemain pengganti stuntman/stuntgirl
Pemain atau artis dapat dicarai di:
1. Organisasi profesi: Parfi, Parsi, GAN
2. Sekolah/sanggar teater
3. Agen Pemain
4. Memasang Iklan di gedung pertunjukan, teater, majalah, tabloid film/tv
5. Mengadakan lomba artis
Persiapan Audisi:
- Memberikan informasi secara ringkas diskripsi kerakter tokoh
- Carilah partisipan secara aktif untuk ikut audisi
- Lakukan interview dahulu via telepohone sebelum menentukan jadwal audisi
- Jelaskan untuk audisi perlu waktu dan keseriusan
- Beritahu pada pemain untuk datang dengan dua monolog kontras yang sudah dihayati
- Minta pemain untuk membawa foto terakhirnya ukuran 3 R setengah badan dan full shot
B. Persiapan Fisik Dan Administrasi
Proses Persiapan Phisik dan Administrasi adalah aktifitas serta kegiatan untuk menyiapkan materi visual sesuai dengan rancangan yang telah dietapkan serta administrasi yang diperlukan guna mendukung seluruh kegiatan produksi.
1. Menyiapakan pemain sesuai dengan tuntutan rancangan produk, dalam bentuk melakukan analisa/observasi peran, latihan mengucapkan dialog maupun memainkan peran.
2. Menyiapkan material tata visual sesuai dengan rancangan produk seperti lokasi/set, kostum, properti dan bahan spesial effek lain yang diperlukan.
3. Menyiapkan raw material, bahan baku untuk perekaman gambar dan suara.
4. Menyiapkan fasilitas/peralatan teknik, seperti kamera, sound dan fasilitas khusus sesuai tuntutan rancangan produksi
5. Mempersiapkan fasilitas, transportasi, akomodasi dan service lainnya.
6. Mengurus segala perijinan yang diperlukan
7. Menyiapkan administrasi yang diperlukan guna mendukung kelancaran produksi, seperti call sheet, lembaran tugas, formulir laporan shoting, laporan keuangan harian.
Semua proses persiapan tersebuat akan diperinci lagi menurut bidang tugas maupun profesi yang bertanggungjawab terhadap bidang tadi.
C. Melaksanakan Perekaman Gambar/Shooting
Perekaman akan dilakukan setelah semua persiapan selesai dilakukan. Perekaman gambar/shoting merupakan tahap dari aktifitas produksi yang merupakan perwujudan rancangan produk menjadi film/sinetron atau yang terekam dalam negative film/kaset. Juga perekaman suara direct recording agar didapat suara yang lebih orisinil. Beberapa aktifitas yang dilaksanakan dalam perekaman gambar atau shooting adalah:
1. Pemanggilan bekerja. Yaitu aktifitas memanggil dan memberitahukan kepada yang akan bertugas dalam waktu shooting. Dalam formulir pemanggilan terdapat keterangan mengenai nomer scene, lokasi dimana, jam berapa harus siap, jam berapa shooting dilaksanakan dan catatan penting lainnya.
2. Menyampaikan lembaran tugas yang akan dilakukan masing-masing staf produksi/shooting. Dalam lembaran itu terdapat keterangan tugas yang harus dilakukan/diperhatikan/diawasi oleh personil yang menerima tugas tersebut. Jadi tiap personil tahu apa yang harus dilakukan sesuai tugas diskripsi yang telah diberikan. Di Indonesia, model call sheet jarang dilakukan, sehingga tiap personil hanya menunggu perintah dari atasan masing-masing.
3. Melaksanakan perekaman gambar sesuai dengan rencana yang telah ditetapkan dan tugasnya masing masing.
4. Menyusun dan menyampaikan laporan shooting sesuai jalur tugas yang telah ditetapkan. Laporan ini untuk bahan evaluasi.
D. EDITING
Merupakan aktifitas dengan pemrosesan hasil shooting pada paska produksi. Istilah lain kalau dalam film adalah cutting. Pada intinya editing adalah merangkai hasil shooting menjadi rangkaian gambar dan suara yang bercerita dan berkesinambungan sehingg didapat film yang sesuai dengan tuntutan naskah.
Dalam film proses ini adalah rough cut/edited atau susuan kasar dan akhirnya fine cut/final edited atau susunan halus (sempurna). Seorang editor dan sound cutter juga menyiapakan jalur/track untuk suara agar memudahkan saat mixing atau dubbing nanti.
E. Perekaman Suara Dan Musik, MIXING
Proses ini dilakukan setelah editing selesai. Dalam proses ini dilakukan perekaman suara atau dialog. Perekaman dialog dilakukan bila apa yang dialakuakan pada saat shooting tidak dapat digunakan atau memang tidak dilaukan direct sound recording.
Proses perekaman suara dan musik terdiri dari:
1. Perekaman dialog atau disebut after recording.
2. Perekaman suara khusus atau sound effect yang dibutuhkan untuk menghidupkan suasana.
3. Perekaman musik atau membuat musik ilustrasi yang dibutuhkan untuk pengucapan emosi atau suasana dari film/sinetron tersebut.
4. Proses mixing adalah proses suara-suara tersebut di masukkan/dimix ke dalam gambar sehingga menjadi kesatuan audio visual yang tidak terpisahkan.
Proses perencanaan dan penjadwalan dari produksi Film/Sinetron menetukan keberhasilan dan efisiensi proses ini.
DISAIN PRODUKSI TV/FILM
Fillm adalah sarana/alat untuk menyampaikan pesan (message) kepada penontonnya. Pesan bisa muncul dari keseluruhan film atau dari bagiannya (scene).
Merancang Produk Film berarti merumuskan pesan-pesan agar dapat digunakan sebagai dasar pikiran dalam menjelmakan bentuk-bentuk fisik atau elemen audio visual lainnya.
FUNGSI:
Adalah untuk menetapkan rumusan pesan-pesan, baik dalam bentuk imej maupun visual yang akan disampaikan pada penonton sebagai sasaran/tujuan yang akan dihasilkan/diproduksi.
Proses/aktifitas Merancang Produk Film:
1. Analisa Skenario
2. Breakdown Skenario
3. Survey/Hunting
4. Merumuskan Hasil Hunting
5. Merumuskan Director Shot/Shooting Script
6. Merumuskan Floor Plan dan Blocking Kamera
7. Pembuatan Story Board
1. Analisa Skenario
Skenario Film adalah blue print atau rangkaian penuturan sinematik dari sebuah cerita. Dari sebuah skenario dimulailah aktifitas sebuah produksi film.
Melakukan Analisa Skenario Film adalah upaya untuk mengungkapkan/pembedahan pembahasan terhadap:
1. Cerita dan isi cerita
2. Tokoh cerita
3. Struktur penuturan dramatik (Pembukaan, Tengah, Akhir)
4. Konstruksi dramatik (Konflik, Suspense, Surprise, Keinginn Tahu, Kesalah-pahaman)
5. Tangga Dramatik
6. Penyajian informasi
7. Kekuatan khusus
Fungsi Analisa Skenario, pertama adalah untuk merumuskan pesan yang akan disampaikan dalam film tersebut, yang sekaligus juga berarti merumuskan tujuan film tersebut. Analisa atas skenario juga merupakan pembahasan guna menguji apakah pesan-pesan tersebut telah tersampaikan berdasarkan materi setiap scene.
Analisa Skenario berfungsi untuk menguji apakah pesan-pesan telah terangkum dalam skenario. Analisa juga digunakan untuk merumuskan rancangan tata visual dan karakter-karakter pendukung cerita.
2. Arti Dan Fungsi Breakdown Skenario
Dalam arti harafiah, breakdown berarti penghancuran. Dalam pengertian dunia pembuatan film, breakdown berarti upaya pemilahan, pengelompokan, dan menyusun rincian bagian-bagian dari sebuah skenario.
Brekdown skenario berfungsi sebagai upaya untuk membuat rincian-rincian dari bagian-bagian skenario baik secara menyeluruh maupun menurut bagian kerja yang memerlukan.
Yang diBREAKDOWN adalah:
1. Nomor Scene
2. Lokasi/set
3. Interior/exterior atau didalam/diluar
4. Night/day atau Malam/Siang
5. Tokoh atau Pemain
6. Tata Visual; Kostum, properti
7. Keterangan mengenai Kejadian atau catatan khusus
Breakdown terdiri dari: Master Breakdown yang memuat ketujuh butir diatas secara menyeluruh.
3. Survey/Hunting
Fungsi dari survey / hunting adalah untuk mengetahui atau mencari informasi yang diperlukan tentang tempat, suasana, keadaan, tata visual.
1. Survey/hunting lokasi, yang dikumpulkan/dirumuskan yaitu: kepemilikan lokasi, keamanan, transportasi, lingkungan, akomodasi dan informasi lain sesuai target planning.
2. Survey Kostum berkaitan dengan model kostum, kesesuain dengan budaya lokal yang diambil dalam film atau sinetron. – sewa, pinjam, beli?
3. Survey Properties, meliputi kelengkapan properties, — sewa, pinjam, beli?
4. Survey peralatan (Genset, lighting, kamera, editing, mobil, materi/logistik)
Langkah-langkah dalam survey:
1. Menetapkan sasaran atau tujuan survey; informasi apa yang ingin didapatkan.
2. Menyusun aktifitas apa yang akan dilakukan, misalnya mencari informasi dari orang lain yang pernah survey atau yang memiliki pengalaman tentang suatu tempat dan alat (informasi sekunder) selain datang sendiri.
3. Menetapkan personil, tugas dan tanggungjawab secara tertulis dan jelas.
4. Merumuskan/menyusun jadwal kerja hunting.
5. Menyusun budget untuk survey
6. Melaksanakan survey sesuai rencana
7. Kontroling
4. Arti Dan Fungsi Merumuskan Hasil Hunting
Merumuskan hasil hunting berarti menyusun laporan atau merekam informasi, menjadi data-data atas pengamatan atau peninjauan dan pencarian sesuai dengan rencana yang telah ditetapkan. Dan laporan tersebut digunakan oleh berbagai pihak. Informasi yang didapatkan digunakan untuk menyusun rencana desain set, rancangan kostum, rancangan properties dan spesial efek oleh bagian tata visual.
Sebagai bahan penyusunan rancangan teknis bagi bagian kamera dan suara. Dalam survey atau hunting, informasi yang harus didapatkan adalah segala sesuatu yang berhubungan dengan keperluan produksi, baik mengenai lokasi/set, propertis, dan keperluan tata visual lainnya.
Merumuskan hasil hunting merupakan aktifitas kreatif bagi tenaga kreator tata visual, observasi lingkungan bagi bagian teknis (kamera dan suara). Hasil survey merupakan keperluan untuk menyusun director shot/shooting script.
5. Arti dan Fungsi Merumuskan/Meyusun Director Shot
Merumuskan Director Shot/Shooting Script/Skenario Sutradara adalah proses kreatif seorang sutradara dalam menyusun konsep penyajian dari sebuah skenario menjadi bentuk shot, adegan yang akan dilakukan, maupun aktifits-aktifitas yang akan direkam/dishoot. Dalam menyusun director shot, seorang sutradara menggunakan hasil rumusan analisa skenario, desain rancangan tata visual yang telah disiapkan oleh penata visual/artistik.
Director shot berfungsi sebagai patokan/konsep penyajian secara teknis yang menjadi pegangan kerja dari sektor produksi dalam melakukan rekaman gambar maupun aktifitas selanjutnya
6. Arti Fungsi Merumuskan Teknik Perwujudan Shot
Merumuskan teknik perwujudan shot adalah kelanjutan dari director shot yang diterapkan diatas keatas kertas berupa denah set dalam bentuk sket sket posisi kamera dan posisi pemain dalam sebuat lokasi/setting.
Hal ini termasuk berbagai gerak kamera dan artis sesuai konsep yang telah ditetapkan sutradara dalam director shotnya.
Hal diatas berfungsi sebagai pedoman teknis bagi setiap unsur pelaksana yang terlibat dalam produksi dan perekaman gambar. Hal ini akan menjadi konsep dari para crew di tiap unsur/bagian kerja masing-masing sesuai tanggungjawabnya.
7. Arti Fungsi Story Board
Story Board adalah sket gambar yang berisikan shot-shot yang berasal dari director shot.
Story Board dapat berupa gambar shot demi shot bisa pula gambar sket dari sebuah scene.
Secara visual inilah yang dijadikan pegangan dan rancangan dalam pengambilan gambar. Bila Story Board sudah disepakati semua unsur maka akan dijadikan acuan dan standart atas tujuan dari produksi yang ingin dicapai.
Dalam Film Iklan (Komersiil) Story Board merupakan acuan yang sangat mengikat.
Perbaikan, improvisasi dan pengurangan atau perubahan yang ingin dilakukan dapat terjadi dengan leluasa dibandingkan dengan melakukan shooting ualang atau re-take. Biaya Story Board jauh lebih murah daripada melakukan perbaikan setelah shooting.
Bahasa gambar/bahasa televisi akan nyata pada Story Board ini, dan lebih jelas dibandingkan bahasa verbal yang kita katakan. Dengan Story Board, konsep nyata dari visual imej lebih konkret dan dapt menyertakan semua unsur yang ada untuk terlibat secara aktif dan kreatif.
MANAJEMEN PRODUKSI
Manajemen Produksi adalah semua aktifitas/proses untuk mewujudkan suatu produk sesuai dengan tujuan yang ditetapkan. Proses manajemen ini berlaku POAC (Planning, Organizing, Actuating, Controlling) — Perencanaan, Pengorganisasian, Pelaksanaan dan Pengawasan
Merancang produk —menetapkan produk sesuai keinginan/rencana yg ditetapkan.
Merancang Proses Pembuatan/Produksi (Routing) —semua aktifitas yg diperlukan untuk menghasilkan produk yg telah ditetapkan seperti waktu dan biaya.
Merencanakan Material, menentukan/menetapkan bahan baku yang diperlukan untuk menghasilkan produk yang telah ditetapkan
Menjadwalkan Proses Pembuatan Produksi, menetapkan dan mengatur waktu yang
diperlukan bagi proses produksi
Membagi Pekerjaan dalam pembuatan produksi —sesuai bidang, kemampuan masing-masing
Menyerahkan Pekerjaan/Dispatching —menyerahkan pekerjaan yang telah ditetapkan kepada yg memiliki kemampuan/bidangnya
Melacak Kemajuan —setiap waktu mesti diketahui kemajuan atau jalannya produksi
apakah sesuai rencana yg telah ditetapkan.
Merevisi rencana apabila ada kekeliruan atau tidak dapat diwujudkan dan segera diperbaiki
Manajemen Produksi TV/Film
Berbeda dengan manajemen produksi pada umumnya, sebab tv/film adalah hasil
perpaduan antara seni dan teknologi. Hasil produksi tidak dilihat dari fisiknya saja,
yaitu kaset atau cd atau seluloid tapi dari isi/kandungan yang ditangkap penontonnya.
Manajemen Produksi TV/Film, mengurusi hal phisik juga berhubungan dengan usaha penciptaan/kreatifitas, artistik, teknologi dan manusia.
Langkah - Langkah Manajemen Produksi FILM
1. Merancang Produksi TV/Film: aktifitas merumuskan pesan, bentuk, karakter, cara/teknik perwujudannya
2. Merancang Proses Pembuatan:
aktifitas merumuskan segala kegiatan dalam rangka mewujudkan rancangan produk film
3. Menjadwalkan Proses Pembuatan Produk Film:
menyusun waktu yang akan digunakan untuk melaksanakan proses pembuatan film/sinetron
4. Menyusun Pembiayaan/Budget:
menyususn biaya yang diperlukan untuk pembuatan produk yang telah ditetapkan
5. Melaksanakan Pembuatan Produk:
melaksanakan persiapan, melaksanakan shooting, editing, mixing, ilustrasi musik dan effect
6. Melacak Kemajuan:
membuat laporan shooting, editing sampai pembuatan effect
7. Merevisi rencana:
melakukan shooting ulang, memperbaiki anggaran biaya, memperbaiki editing dan sebagainya
Semua yang disebutkan dalam butir 1-4 dapat disebut proses perencanaan yang disebut rancangan/disain.
Orang yang bertanggung jawab dalam proses tersebut disebut juga Perancang Produksi/Production Designer.
Mengenai istilah ini terdapat perbedaan penggunaanya. Di Amerika, Production Designer, bisa berarti Perancang Tata Visual atau Art Director sebuah film dan dapat disebut juga Perancang Produksi Film.
Ada juga yang menyebutkan proses 1,2,3,4 adalah pre production
shooting disebut production sedangkan prossesing, editing dan mixing adalah post production
Dapat kita simpulkan bahwa pengertian production adalah shoting, karena mereka bertolak dari pengertian dan pemikiran bahwa aktifitas semua komponen “untuk menjadikan” adalah shooting. Ini barangkali yang menyebabkan para produsen produksi tv dan film yang selalu dipikirkan dan dibicarakan adalah kapan kita shooting, sehingga yang lain menjadi nomer dua.
Sunday, November 9, 2014
Permasalahan yang timbul pada program tv stripping
Apa itu striping ?
Pastinya bukan jenis tarian itu ya he he striping itu adalah salah satu jenis bentuk penayangan program TV secara countinous setiap Hari. Ada yang full 7 Hari seminggu dan ada juga yang hanya senin sampai jum'at saja.
Adapun standard durasi penayangannya adalah 45 menit terdiri Dari 4 segment. Setiap segment di selingi oleh iklan komersial, jumlah iklan tergantung dari bagus atau tidaknya konten terse but. Untuk orang awam mungkin tidak terpikirkan bagaimana rumit Dan melelahkan membuat suatu produksi striping terse but. Banyak crew, artis dan bagian paska Produksi mengalami yang namanya 'gak tidur' demi mengejar deadline pengiriman materi Ke stasiun TV.
Untuk unit produksi dilokasi shooting biasanya dibuat beberapa tim produksi. Biasanya dibuat sekitar 3 - 4 tim. Dalam 1 tim tersebut lengkap dengan Sutradara, kameramen Dan lain.lainnya.
Masalah yang sering timbul diproduksi striping adalah telatnya pengiriman materi penayangan ke stasiun Tv.
Mengapa bisa telat ?
Berawal dari telatnya skenario yang dikirim kelokasi untuk Di breakdown dan diproduksi. Telatnya belum tentu salahnya penulis skenario yang terlambat kirim. Setiap penulis untuk sinetron striping biasanya mempunyai tim yang dibagi atas beberapa segmen. Keterlambatan kadang berawal lamanya menunggu approval atau revisi dari sang produser.
Apalagi kalau produser mempunyai sense of writing yang tinggi.
Kebayang deh gimana dirombaknya skenario yang sudah ditulis dengan semangat juang para penulis.
Hal lain yang membuat terlambat adalah problema di post production, ini baru seru.. He he he..
Mungkin tidal banyak yang tau bahwa pengiriman materi shooting ke post editing memakai jasa pengawalan dari aparat.
Ini untuk memungkinkan tidak adanya halangan apapun selama jalannya pengiriman materi shoting menuju post editing.
Disetiap post production memiliki tim koordinator editing yang cukup sigap mengawal pipeline editing. Pastinya tidak lupa juga para pasukan editing yang siap berkorban demi deadline tayangan.
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