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SUTRADARA FSRD ISI SOLO PENYUTRADARAAN. Pean ++ Orang yang memberi pengarahan dan bertanggung jawab atas masalah artistik dan teknis dalam pementasan.

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Presentasi berjudul: "SUTRADARA FSRD ISI SOLO PENYUTRADARAAN. Pean ++ Orang yang memberi pengarahan dan bertanggung jawab atas masalah artistik dan teknis dalam pementasan."— Transcript presentasi:

1 SUTRADARA FSRD ISI SOLO PENYUTRADARAAN

2 Pean ++ Orang yang memberi pengarahan dan bertanggung jawab atas masalah artistik dan teknis dalam pementasan drama, pembuatan film, dsb. Proses, cara, perihal menyutradarai pertunjukan drama, atau dalam bidang / produksi film, dll. Kamus Besar Bahasa Indonesia DEPDIKBUD – Balai Pustaka

3 DIRECTOR STAGE SCREEN TV FILM

4 DIRECTOR STAGE TV FILM WRITER’S MEDIUM PRODUCER’S MEDIUM DIRECTOR’S MEDIUM

5 SUTRADARA / DIRECTOR ( Film / Televisi ) “... the director’s most basic task is to convert the script into a movie... The director’s primary responbility is to interpret the script...” LYNNE S. GROSS & LARRY W.WARD – Electronic Moviemaking “ Seseorang yang bertugas memberikan pengarahan kepada talent (pemain atau pengisi acara) dan teknis operasional. Secara langsung bertanggungjawab memindahkan secara efektif yang tertulis di dalam naskah ke dalam bentuk pesan-pesan AUDIO VISUAL.” HERBERT ZETTL – Television Production Handbook

6 “ Sutradara menurut saya ( Garin Nugroho ) adalah : GARIN NUGROHO – Membaca Film Garin  33% mendengarkan,  33% memperhatikan,  33% merasakan,  1% memerintah : “Action Cut!”

7 Your job as A DIRECTOR in any medium is to prepare the actor to do his or her best work. You need to know the script better than anyone. You also have to have enough directing and communication skills to work with a wide variety of people. Your job is to help them do their best work. Directing for Stage and Screen - Marian F. Monta and Jack R. Stanley

8 Intinya, para Sutradara bilang..: Buat jadi sutradara sekolah penting banget! Kalau tidak belajar di sekolah film, tetap harus sekolah, supaya belajar sistematika berpikir, setelah lulus pun, kudu belajar terus. Sutradara harus punya kemampuan leadership, komunikasi, visi, sikap, dan pemahaman soal hidup. Sutradara adalah pencerita (storyteller) lewat medium film. Jadi apa yang mau disampaikan via film jauh lebih penting daripada ribet perkara teknis! Paham teknis tapi tidak paham “isi” dan cuma bisa bikin gambar bagus tanpa emosi, percuma! Sutradara harus tahu mau ngomong apa lewat filmnya, baru dia bisa bikin film! Ody C. Harahap, Joko Anwar, Riri Riza, Dhimas Djayadiningrat– Bikin Film, Kata 40 Pekerja Film

9 PRODUCERWRITERDIRECTOR

10 TO READ THE SCRIPT and develop a strong mental image of how the movie will look, sound, and feel. TO READ THE SCRIPT and develop a strong mental image of how the movie will look, sound, and feel. TO COMMUNICATE HER /HIS VISION to the cast and crew during preproduction, production, and postproduction,helping direct the cast and crew’s artistic and technical skills. TO COMMUNICATE HER /HIS VISION to the cast and crew during preproduction, production, and postproduction,helping direct the cast and crew’s artistic and technical skills. Jason J. Tomaric – The Power Filmmaking Kit

11 Executive Producer Production Manager Assistants Director Production Assistants Wardrobe Composer Dialog Editor ADR Engineer Foley Artist Make Up Sound Designer Production Sound Mixer Boom Operator Script Supervisor Writer Director Casting Director Property Master Gaffer Camera Operator 1st Assistant Camera 2nd Assistant Camera Electriciant Best Boy Set Dressing Still Photography Key Grip Best Boy Grip Grips Dolly Crane Grips Production Designer Crew Structure Producer Hair Stylist Editor Set Construction Director of Photography

12 PRODUCER Preproduction PRODUCER Preproduction SCRIPT BREAKDOWN SCHEDULE CASTCREWBUDGETLOCATION ART CONTRACTS AND RELEASES CONTRACTS AND DEAL MEMOS PRODUCTION MEETINGS CONTRACTS AND PERMITS SET DESIGN SET CONSTRUCTION INSURANCE TRANSPORT STAGES MEAL PLAN SHOOT DATE EQUIPMENT PACKAGE

13 DIRECTOR Preproduction DIRECTOR Preproduction SCRIPT REWRITES BREAKDOWN LOCATION SCOUT ART DIRECTOR DIRECTOR OF PHOTOGRAPHY SET DESIGN CAST COSTUMES PROPS SET CONSTRUCTION SHOOTING SCRIPT FLOOR PLANS STORYBOARDS SHOT LIST FINALIZE LOCATION DEPARTMENT HEAD WALK THROUGH SHOOT DATE SHOOT DATE REHEARSAL READ THROUGHS

14 STEP S Pre Production Production Post Production OF TV & FILM PRODUCTION

15 Analysing the Script Breakdown Script Shooting Script Storyboard Shot List Floor plan Casting Hiring the Crew Scouting Locations

16 Genre Structure Position of Characters The Arc The Givens  Analysing The Script

17 Genre

18 Analysing The Script Who is the main character ? What does he/she want? Is it clear what the character’s goal is? What are the stakes? Is the main character’s goal achievable (and believable) within minutes? Is your main character actively pursuing his goal in every scene? What is the conflict? Can we ultimately believe that the character can achieve the goal at the end of the film?

19  Breakdown Script Catatan formulir produksi yang berisi uraian mengenai segala hal yang dibutuhkan dalam sebuah scene. BreakdownBudgetScript

20  Shooting Script The approval final version of the script with scene numbers, camera setups, and other instructions by the director. versi lain dari sebuah naskah film yang digunakan dalam proses produksi atau waktu shooting berlangsung. Dalam sebuah shooting script sudah ada “campur tangan” dari sutradara. Biasanya sutradara memberikan catatan mengenai : Type of Shots Angle Camera Movement versi lain dari sebuah naskah film yang digunakan dalam proses produksi atau waktu shooting berlangsung. Dalam sebuah shooting script sudah ada “campur tangan” dari sutradara. Biasanya sutradara memberikan catatan mengenai : Type of Shots Angle Camera Movement

21  Storyboard Semidetailed drawings of what each shot will look like; similar to a multipanel cartoon. Visualisasi rekaan yang berbentuk sketsa gambar seperti komik atau perkiraan hasil gambar yang nantinya akan dijadikan pedoman pengambilan gambar oleh camera operator. (Bikin Sendiri Film Kamu)

22  Shot List Rencana urutan pemecahan adegan secara rinci yang berguna untuk mengetahui proporsi adegan disesuaikan dengan durasi pengambilan gambar dan struktur tangga dramatik cerita.

23  Casting Proses memilih pemeran sesuai dengan kebutuhan cerita dan komersil. Casting by ability Antitype casting/ casting against type Casting to emotional temperament Therapeutic casting Casting to type

24 “.. In fact, casting is one of the director’s most crucial decisions. Casting errors inevitably hurt the final product. Behind-the-scenes people who cannot handle their jobs can be replaced in the middle of a production, albeit with some disruption, but people in front of the camera are essentially irreplaceable. Some directors feel that casting is 90 percent of directing ” Gross, Lynne S. – Electronic Moviemaking “ In any dramatic or comedy show, the actors are of paramount importance. Although you are using television technology to convey the performance to a viewing audience, the play comes from the actors. The director must do whatever is necesary to make the actors feel comfortable, so that they can deliver the best possible performance.” Alan Wurtzel – Television Production

25  Scouting Location/ Hunting Lokasi Mencari lokasi yang sesuai dengan tuntutan skenario. Location on script diterjemahkan langsung oleh sutradara dg pertimbangan sutradara dan penulis skenario.

26  Reading duduk bersama dan membaca naskah untuk mengetahui durasi dialog dalam sebuah adegan sehingga durasi adegan dapat diperkirakan

27 The director’s duties during preproduction include: Studying the script Determine story plot points, theme, and story arc. Plan the visual and storytelling style of the movie. Build the shot list and storyboard. Rehearsing with actors Discuss the theme of the movie with the actors. Help actors build their character’s backstory, motivations, and personality. Rehearse blocking and pacing. Working with the crew Scout locations and determine blocking. Work with the director of photography to determine the visual look and feel of the lighting and shooting style. Work with the production designer on set dressing, wardrobe, and props. Help develop the shooting schedule. Coordinate with department heads.

28 Camera... Rolling..!!! and... ACTION!!!

29

30  Editing  Mixing


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