Writing The Body

This journal will describe some forms of writing on the body and also the interpretation of the term of writing on the body. According to Certeau (1984, 134), writing is the concrete activity that consists in constructing, on its own, blank space-the page- a text that has power over the exteriority from which it has first been isolated. There are at least two interpretations when talking about writing on the human body. First, writing on the body can be understood as a real activity writing some texts on the surface of human’s bodies. The second, writing the body can also have a connotation meaning. It means that the body is marked or written of so many symbol and status that influenced by the socio cultural factors.

First of all, the body can be written of some text such through tattooing or piercing whether it is permanent or temporary thing. Some culture has this kind of habit of using the body as the media in writing some text. The text written can symbolize so many meaning. For example, in Yakuza organization in Japan, the tattoo in someone’s body can be the symbol of affiliation and the status of a particular person in the organization. Another example of using the body as the media for written text is in Dayak tribe culture in Borneo/Kalimantan, Indonesia. The tattoo in their body can be the symbol of the maturity and also the social status in the community.

Secondly, the connotation meaning of writing the body is that the body has been marked and labeled by the written law and the socio cultural factors in the society. In Islam, the human body is depicted as a clean white paper when s/he is born. The human body is written and coloured by the influence of the parent, the socio cultural, the experience and any kind of factors that has contact with the growing body. Soon after born the baby will labeled as male or female. Then race or ethnicity also will be marked to the baby. The next thing is religion and then when the baby is grown up s/he will have the social status in the society. When s/he is following the fashion or music trend in this globalise society, s/he will add some more text into their body such as a rock person, an R & B person, a Nike person, a Esprit person and so on. Even until the body is pass away, it still has some marks. For instance, the society will recognise the death body as a good or bad person when s/he was still alive. While the body ends the journey in the world, it will has so many text, symbol, mark and label all over the body.

The connotation meaning of writing the body sometimes is one of the biggest problems in the history of human being. People cannot release themselves from the text written in their body. People can be fallen into trouble only because they have some label in their body. The history prove this phenomenon that can be seen from what happens to Jewish in the past, the Palestinian, the Bosnian, the Moslem, the Aboriginal people and there are still a long list of what can be caused by the writing the body.

Interviewing Techniques in Documentary Production

There are five important points to be considered when talking about interviewing in documentary making process. There are: the preparation and understanding of situations, questioning strategy, the controller, the camera placement, and the ethic issue. This journal will describe these important points.

First of all, the preparation and the understanding of the situations is the important thing. The interviewer needs a basic skill of interviewing for documentary film. The preparation of everything is important, but it must not eliminate the spontaneous factor. The preparation means that the interviewer should have some expectation of what each subject participants will contribute. Another thing is during interview process the interviewer must know when s/he has to talk and when s/he should be quiet. The interviewer cannot talk when the subject is talking, because this situation will make the editing process more difficult. In order to give some response, the interviewer only can give some visual feedback such as nodding or smiling.

The second important factor is the questioning strategy. The interviewer has to arrange the clear and understandable question. It will help the subject answering the question easily. The interviewer also has to guide the subject to answer each questions in complete sentence instead of answering shortly such as ‘yes’ or ‘no’. To gain the depth information, the interviewer has to build the intimate situation with the subject gradually and try to make the subject comfortable with the interviewer.

Third, the controller in interviewing process should be the director, but in some situation the director can use other people such as the researcher or the other crews to make the subject more comfortable during the filming process. Using the researcher as the interviewer can be good way to continue the relationship with the subject because the researcher usually knows the subject before the director. So using the researcher as the interviewer will make the subject more relax and easy to talk about something deeply. On the other hand, using new person (the director) as the interviewer also has some advantages. One of the advantages is the arrival of a new person will build more spontaneous situation between the interviewer and the subject.

Fourth, the camera placement will also have some significant effects, especially between the audiences and the subject. If the camera is placed in front of the subject and make the subject looks talk to the audiences directly, it will give a face-to-face impression between the subject and the audiences. The audiences will feel be involved in the interview and the interview acts on the behalf of the audience.

Finally the last important point is the ethic issue. This is a big issue for the documentary makers. The need to tell the truth is bordered with the interest to keep the privacy of the subject participants. That’s why some documentary films make some controversy in the society after being released because the public cannot accept the documentary that perhaps has disturbed the norms or values applied in the society. Cunnamulla and The Crumb are some of those controversial documentaries.

In conclusion, the five important points should be considered in interviewing especially in documentary making process.

Kinetics and Sound

The importance of “kinetics” for a director
In directing a film, a director needs to know about kinetics, because the kinetics or the movement of the actor in the screen can be a good medium of communication to reinforce the meaning of the action. In realism film genre, the movement of the actors should be as realistic as the movement in real life. In another genre such as musical genre, the movement can be more melodramatic, bombastic and hyperbolic.

Giannetti (1996, 92) discusses that the frame in film can define the movement and also can create a three dimensional effect that is important to illustrate the situation or emotion in the film. Using some particular movement can bring the emotion of the audiences. For example: the movement toward the camera of a protagonist can make the audience feel close relation with the protagonist and vice versa. The other movements to create the mood of the film are upward and downward movements, right to left and left to right movement. The movement can be supported by the choosing of camera distance and angle. For example, a high and wide angle can create the loneliness effect to the action more than using an eye level and wide angle.

Sound
According to Mollison (1997, 338), equalisation the process of affecting the quality of sound coming through the mixer by selectively emphasising or diminishing the relative strength of difference parts of sound. The equalisation process uses the control of treble-affecting the high frequencies in the sound-, the mid-range –adjusting the mid frequencies of the sound- and the bass – arranging the low frequencies of the sound. For example, to keep the consistent quality of the sound in filming one person in different shots, the audio recordist needs to arrange the position of the treble, mid and bass knobs to the same position in every take.

Normalising the sound mixer means to put all of the input knob into zero positions, especially when the mixer had used by different person before. The reason of doing normalising is to hear the real sound produced in the filming without any influence from the electronic circuitry. Then from this step, the sound engineer can adjust the sound according the necessity.

Discussing about mic level and line level, Mollison (1997, 337) states that a mic level signal is the audio signal level which is available from many microphones. It is a low-level voltage signal (usually from 2-5 millivolts). A line level signal is a higher voltage signal (up near one volt or higher) sent from another piece of equipment such as a VCR, a tape recorder or a CD player. An error of positioning the mic/line selector can cause a distort sound. For instance, if the mic level signal is assigned as a line level source, the volume will be very low and vice versa.

Communications Journal: Techniques of the Body

After several years questioning what he could call for the modes of body action, finally Marcel Mauss define it as technique of the body. He thought that a technique has to have an instrument. That was the fundamental mistake of thinking of this term. Then, after refer to Plato’s opinion about technique (i.e. Technique of dance), he define an action of body, which is traditional and effective as “technique”.

The action of our body is influenced by physio-psycho-sociological factor. The first factor is Physiological aspect. Our body has some fantastic ability that might not be imagined in the past. For instance, when we see the old world record of sprint competition, there are differences of the athletes’ achievements from time to time. In the past, people would never imagine that the speed of people running for 100 meters length could be under 10 seconds. That is one example of how fantastic our body potency is. We try to push the limit of our body abilities.

Second, the techniques of body are influenced by Psychological factor. The soccer world cup 2002 can be a good example for this. In this tournament, we could see how the player did some action that is not really related with their body ability but it maybe can give them some extra ‘power’ for their performance. For example, some players have to touch and grab some grass from the field before entering the field.

The last factor is Sociological factor. This factor has such a big influence to our body techniques. The differences of culture make every body has their own habit. For example, the way Indonesian people wave their hand to call somebody is different with western people. Indonesian people are waving with their palm face the ground (downward), while western people put their palm upward toward the sky.

Those three factors are related each other.

Directing Films

There are two main points that discussed by Mamet in the chapter about directing a film. The first one is about directing the actors to do some the act and also the dialogue. The second point is about directing the camera. In addition, this journal will also discuss the approach in directing used by Mamet and another method commonly used by many directors for a comparison.

First of all, in directing the actors, Mamet uses a very simple approach. He just wants the actor do the act as the director’s command. The actor does not have to know the motivation, the feeling and the emotion. The actor jus simply follows the director’s order. That’s why the director does not have to try to bring the mood of the actor into the some particular situation and condition that support the act. On the other hand, there is another method that tries to bring the actor into the character situation and emotion. The director also has to push the actor to know the background, the reasons and the situation behind the story. For example: For the film set in 1980’s, the director will ask the actor to imagine his/her situation if the actor lives in that particular era.
In giving the instruction to the actor, Mamet uses the verb and emphasises to the adverb. For example: In walking scene, the director can instruct the actor to walk fairly slowly. The way the actor walking has to be instructed clearly. Mamet also prefers to use visual to tell the story instead of uses a narrative method. He thinks that the less the director narrates, the more audience is going to enjoy the picture and the acting.
Another method can be used by other directors is by using a verb word instead of using an adjective word. For instance: instead of saying, “Try to look sad”, the director can say, “Try to cry”. The second instruction is clearer than the first one.

Secondly, in directing the camera, Mamet uses his subconsciousness. When he is asked where the camera will be put in. Mamet does not like the idea of steady cam which tends to follows the actor wherever s/he goes. He depends to the shot list. For example: in scene that illustrate the actor entering the room though a closed door, the camera first can get the wide angle form the back of the actor, then the close up to the hand opening the door knob and the next shot will be the angle form another side of the door or inside the room s/he is going into. It will have more dynamic effect to the picture when putting together in the editing process.

In conclusion, the two main points in directing by Mamet are how to direct the actor and how to arrange the camera position. Directing the actor has to be simple and clear. In arranging the camera position, it is important to use the shot list that contain some different dynamic angles in one scene and also try to avoid the idea of steady cam. I agree with Mamet in directing the camera but in directing the actors I prefer to use the other method.

TIPS: Menyutradarai Program Berita dan Talk Show

News Bulletin adalah acara berita yang berisi story-story berita pendek hasil peliputan jurnalistik baik yang bersifat hard maupun soft news juga berita olahraga (sport) dan dibawakan oleh satu presenter atau lebih. Dari bentuknya story berita dibagi menjadi Package/PKG (materi jadi yang terdiri dari Video yang sudah disertai narasi hasil Dub di ruang editing ) dan Voice Over/VO (materi hanya berupa Video dan narasinya dibacakan oleh presenter yang bertugas di studio).

Talk show adalah acara bincang-bincang yang melibatkan Host (pembawa acara) dan satu atau lebih narasumber. Bisa dengan penonton di studio atau tidak tergantung sifat acaranya. Tema yang diangkat bervariasi bisa berupa politik, budaya, human interest, musik dll.

Stasiun televisi besar biasanya mempunyai studio siaran lebih dari satu. Tapi karena banyaknya program yang harus disiarkan dari suatu studio, bukan tidak mungkin satu studio dipakai bersama-sama oleh beberapa program yang waktunya saling berurutan (back to back). Hal ini mungkin dilakukan bila di dalam satu studio dibangun beberapa set backdrop/fix set untuk program-program yang berbeda tersebut dengan memanfaatkan sudut-sudut studio. Selain itu dengan adanya teknologi Virtual Set, beberapa program acara bisa memakai satu studio yang sama secara bergantian dengan hanya merubah background secara cepat melalui computer. Background asli studio semacam ini biasanya berwarna hijau (green screen) atau biru (blue screen)

Terdapat beberapa hal yang harus diperhatikan dalam menyutradarai program News Bulletin dan Talk Show.

News Bulletin

• 30 menit atau lebih sebelum acara, Program Director (PD) harus sudah berada di Video Control Room (VCR). Terlebih untuk program acara yang berurutan (back to back) dengan PD yang berbeda. Waktu nyata (real time) untuk persiapan diantara dua program back to back bisa kurang dari dua menit. Kehadiran PD yang lebih awal di VCR penting untuk mengantisipasi situasi tak terduga (misal: program sebelumnya over time) dan menentukan langkah-langkah yang perlu dilakukan untuk persiapan program selanjutnya. Presenter dan crew lain harus menjalani prosedur yang sama.


• Koordinasi dengan Produser mengenai program yang akan dijalankan. Bila ada LIVE dengan reporter/narasumber di luar studio atau Live By Phone, koordinasikan dengan Technical Operation crew (crew yang bertanggung jawab mengurus transmisi dengan Satelite News Gathering/SNG di luar studio) dan Audio Supervisor untuk menge-check visual dan audio yang tersedia dari lapangan dan menghubungkan Presenter di Studio dengan Reporter atau Narasumber di lapangan.


• Kenali karakter program melalui Rundown yang diaplikasikan di Showplay (missal: sistem ANN ataupun Dalet). Tiap program mempunyai perbedaan urutan Promo, OBB, Bumper, Opening, Teaser dan juga jenis Shot dan Framing untuk Opening/Teaser dan Reading. Selain itu perlu diketahui apakah Character Generated/CG (berisi keterangan peristiawa, lokasi dan tangal kejadian, nama narasumber) dan Over The Shoulder/OTS (Ilustrasi gambar dan judul berita yang muncul di sebelah pundak presenter ketika membacakan Lead In atau pengantar berita) dikeluarkan melalui ANN,Inscriber atau melalui program Trio.


• Ada baiknya Credit Title dipersiapkan sebelum acara. Credit Title dibuat menggunakan Inscriber atau program Trio.


• Check Virtual Set atau Fix Set (koordinasi dengan Virtual Artist)


• Check Audio dan Earpiece presenter (koordinasi dengan Audio Supervisor)


• Check Colour tiap kamera. Semua kamera harus menghasilkan warna yang sesuai satu sama lain (koordinasi dengan Technical Operation crew yang mengoperasikan Camera Control Unit/CCU).


• Atur komposisi dan framing melalui cameramen.


• Koordinasi dengan Master Control Room mengenai waktu mulainya program, commercial break dan end break.


• Jalankan program berdasarkan Rundown dengan selalu berkoordinasi dengan Produser dan Crew lain. Selalu persiapkan langkah antisipasi terhadap hal-hal tak terduga.
  

Masalah yang mungkin muncul:

• Bila tiba-tiba Showplay ngadat, gunakan Back Up paket berita di VTR.


• Bila semua alat di VCR berhenti berfungsi, instruksikan kepada Presenter untuk melakukan Teaser menuju Commercial Break (koordinasikan dengan MCR).


• Bila Teleprompter tidak berfungsi, presenter harus menggunakan Script kertas dan PD mengkoordinasikan urutan berita dengan Produser sehingga Paket Berita yang ditayangkan sesuai dengan Lead In yang dibaca Presenter.

Talk Show
Hal-hal yang disebutkan diatas berlaku juga untuk persiapan dan untuk menjalankan Program Talk Show dengan memperhatikan kekhususan dari program Talk Show.

• Antisipasi
  Who Speak What. Orang yang berbicara harus tertangkap kamera. Oleh karena itu PD harus selalu memperhatikan arah pembicaraan yang sedang berlangsung untuk menentukan jenis Shot yang akan dipakai. Misalkan, bila Presenter bertanya atau Narasumber mulai berbicara, gunakan One Shot (Close Up) dengan intercut Group Shot (Wide Shot). Bila dialog semakin panas dan dua Narasumber beradu mulut secara berhadap-hadapan, gunakan Two Shot dengan kombinasi One Shot untuk menangkap ekspresi Narasumber (berlaku juga untuk dialog panas antara Presenter dan Narasumber).


• Waktu
  Dalam program Talk Show, pengaturan durasi sangat perlu diperhatikan karena berbeda dengan News Bulletin, yang lebih bisa dipredikasi durasi Paket Berita nya, pembicaraan di Talk Show lebih spontan dan mengalir tergantung pertanyan dan situasi serta karakter Presenter dan Narasumber yang terlibat. Sehingga kadang sulit untuk dihentikan jalannya dialog. Produser dan Presenter harus selalu diingatkan pentingnya menjaga durasi.

Selain hal-hal diatas, secara umum akan lebih baik bila seorang PD mengenal Crew yang terlibat dalam produksi, mengenal alat-alat yang diperlukan/dipakai dan juga harus memahami alur dan karakteristik program yang dijalankan. Ciptakan suasana yang menyenangkan dalam persiapan dan pelaksanaan program dengan tidak meninggalkan disiplin dan ketegasan. Dorong Crew untuk konsentrasi dan berkoordinasi satu sama lain (eye contact is important, don’t be shy).

Untuk acara yang kompleksitasnya tinggi (ruang luas, partisipan banyak, rundown yang bervariasi dll) diperlukan peran seorang Floor Director/Floor Manager yang membantu PD untuk mengatur jalannya show dan mengorganisir crew dan seluruh partisipan yang terlibat di Studio Floor.

Alat-alat yang perlu diketahui dan dipergunakan dalam produksi beserta crew yang bertanggung jawab:

• Microphone (clip on) ---- Audio Assistant


• Earpiece ---- Audio Assistant


• Camera ---- Camera Person


• Teleprompter ---- Producer/Producer Assistant/Production Assistant


• Lighting ---- Lightingman/ Audio Assistant


• Camera Control Unit (CCU) + waveform dan vector scope ----Technical Operation Crew(TO)


• Virtual Art (untuk virtual background) ---- Virtual Artist


• Video Tape Recorder (VTR) ---- VTR Operator


• Monitor (up to 29 monitors)


• Switcher ---- Switcherman


• Digital Video Effect (DVE) ---- Switcherman


• Computer back up (yang tersambung ke server tempat penyimpanan materi-materi berita sehingga juga bisa memutar berita untuk penunjang showplay utama yang dioperasikan PD) ---- IT personnel


• Trio (for Over The Shoulder/OTS and Character Generated/CG) ---- Trio Artist


• Audio Mixer ---- Audio Supervisor


• Telephone line ---- Producer/Production Assistant


• Showplay + Button Box ---- Program Director


• Inscriber ---- Program Director/ Producer Assistant


• Clearcom (alat komunikasi antar bagian di studio) ---- All Crew
  

LANGKAH-LANGKAH MEMBUAT FILM DOKUMENTER

1. IDE.
Filmmaker mencari IDE yang menakjubkan.

2. Visualisasi
Filmmaker membayangkan idenya dalam bentuk visual.

3. Memikirkan pertanyaan-pertanyaan penting yang berkaitan dengan ide yang akan dikembangkan menjadi film dokumenter.

• Bagaimana cara mendapatkan akses ke ‘SUBYEK’ dan tempat yang akan di jadikan lokasi shooting?


• Hubungan macam apakah yang diinginkan dan mungkin dibangun dengan ‘SUBYEK” yang akan dilibatkan?


• Berapa durasi film dokumenter yang akan dibuat?


• Dananya dari mana?


• Pendekatan filmic yang akan di pakai?

4. RESEARCH

• Cari tahu segala informasi yang berkaitan dengan subyek


• Cari iformasi tentang pendanaan dan sponsor yang mungkin untuk dilibtkan
  

5. PROPOSAL/TREATMENT

• Deskripsi singkat tentang project yang akan dibuat. Contoh:
  Jaranan -The Dance from the Heart- adalah film dokumemter berdurasi 30 menit tentang transformasi peran. Mengikuti karakter-karakter menarik di sebuah desa kecil di Jawa Timur yang dalam keseharian mereka sebagai buruh bangunan atau buruh tani bertransformasi menjadi bintang pertunjukkan pada sebuah pentas


• Sinopsis, background, karater utama, event


• Style.


• Cara pengambilan gambar, sound, lighting, teknik interview, editing


• Akses special yang membuta dokumenter ini menarik dan beda dengan yang mungkin dibuat orang lain


• Biasanya melelui beberapa tahap revisi

6. GUNAKAN PROPOSAL/TREATMENT UNTUK MENCARI SUMBER PENDANAAN

7. SCRIPT
Sebagai acuan untuk membangun cerita

8. PRE-PRODUCTION
Membuat semua perencanaan dan pengaturan untuk shooting film dokumenter

• Ijin lokasi


• Kontrak


• Revisi Schedule dan Budget


• Menyamakan visi diantara kru yang terlibat


• Ijin untuk arsip orang lain


• Ijin untuk musik

9. SHOOTING
Eksekusi dari perencanaan yang telah dibuat

10. EDITING
Perhitungkan wkatu yang dibutuhkan. Terutama bila harus menyewa studio editing.
Menyusun Sequences, gunakan bagian yang terbaik, buang yang tidak perlu.

Tahapan:

• Logging


• Rough Cut


• Fine Cut


• Sound Editing

11. POSTPRODUCTION LAINNYA:

• Sound Mix


• Title


• Special FX yang mungkin digunakan


• Rekam ke MiniDV, Betacam, VCD atau DVD

12. Marketing dan Distribusi

(Disarikan dari pendapat Martha Ansara)

SEKILAS DOKUMENTER

DEFINISI: ‘representasi dari kehidupan dan dunia yang kita tempati’ (Nichols, 2001).
Dokumenter adalah kendaraan (vehicle). Pembuat doco sebagai ‘sopirnya’.

Dokumenter Vs Liputan Jurnalisik

HISTORY OF DOCO
Muncul sekitar tahun 1890 an. Sejalan dengan penemuan kamera film.
Tokoh: Lumiere Bros (kamera portable dan sistem proyektor).

POPULAR REVIVAL (1920-1950)
Tokoh:
Robert Flaherty - ethnographic feature (Nanook of The North)
John Grierson – dokumenter yang disponsori pemerintah atau pengusaha (propaganda perang, pendidikan, industrialisasi)

British Documentary Movement
Canada Documentary Movenment etc.

BIG QUESTIONS
1. Dokumenter tentang apa yang ingin saya buat? (ketertarikan dan pusat perhatian pembuat doco - ‘the subject’ atau topic).
2. Apa yang ingin saya sampaikan kepada audience tentang ‘the subject’? (argumen dan point of view – ‘the thesis’).
3. Bagaimana saya akan menyampaikannya? (content, structure and style – ‘the treatment’).

MISI DOKUMENTER (menurut Renov):
1. Record, reveal or preserve
• Film Dokumenter sebagai bentuk baru arsip sejarah
• Dokumen sejarah
2. Persuade or promote
• Pendapat filmmaker terhadap suatu isu
• Menjual produk, nilai, pergerakan social, identitas budaya (bisa disposori perusahan atau pemerintah)
3. Analyse or interrogate
• Menguak tabir dari suatu kebenaran
• Menarik perhatian pada proses analisa yang dilakukan filmmaker
4. Express
• Menggunakan seni film (cinematography/editing) untuk memproduksi makna (meaning) dan efek
• Documenter sebagai ‘pleasurable learning’ (entertain)

POWER OF DOCUMENTARY
 Transforming the subject
 Celebrating the “Ordinary”
 Filmmaker and the process
 Audience Motivation/Activation

MODE/PENDEKATAN DALAM MEMBUAT DUKUMENTER (menurut Nichols):----style----
- Expository Mode
- Observational Mode
- Interactive Mode
- Reflexive Mode

CINEMA VERITE
Ciri:
1. handheld, gambar agak goyang, up close and personal
2. 1 camera, tidak ada ‘reaction shot’
3. direct location sound
4. gaya editing yang menunjukkan kekinian, continuity
5. long take, lack of action
6. tidak ada narasi
7. tidak ada pengenalan terhadap subject/topik
8. sedikit pemakaian teks
9. pendekatan jurnalistik investigasi

PEMILIHAN TOPIK
Menarik, dekat dengan masalah di masyarakat, memungkinkan untuk didapatkan gambarnya.


EKSEKUSI/PRODUKSI
1. Research
2. Shooting


WAWANCARA
1. PREPARE
 Research orang yang akan diwawancarai dalam hubungannya dengan topik yang akan ditanyakan.
 Buat daftar pertannyaan
 Antisipasi reaksi dari orang yang akan diinterview akibat pertanyaan yang kita ajukan.
2. KNOW WHAT YOU WANT
Harus fokus dalam mengejar apa yang ingin kita dapat.
3. LISTEN TO THE ANSWER
4. DEAL WITH EVASION (‘NGELES’)
Point ini berhubungan dengan point kedua (know what we want). Bila orang yang diwawacarai ‘ngeles’ kita boleh mengulang pertanyaan sebanyak mungkin sampai kita mendapatkan jawaban yang kita inginkan atau sampai terlihat bahwa orang tersebut ‘ngeles’ atau tidak mau menjawab pertanyaan, sehingga penonton berita akan menangkap situasi tersebut.
Satu hal yang penting adalah kita harus tetap ‘Polite’ dalam mengajukan pertanyaan.
4. KEEP QUESTION SHORT
To the point
5. ASK ONE QUESTION AT A TIME
6. JANGAN GUNAKAN YES/NO QUESTION.
Jangan gunakan pertanyaan yang memungkinkan untuk dijawab YA atau TIDAK saja.

ETHIC ISSUE
Hak filmmaker Vs Hak subject participants
Buat perjanjian yang disetujui pihak-pihak yang terlibat.
Buat release form.

EDITING
Menurut Rosenthal: pada 90% kasus, cinema verite (dan lainnya?) ditemukan dan dibuat pada proses editing (pasca produksi)

• EDITING IS NOT MATHEMATIC. IT’S AN ART.
  Ibarat gambar yang kita punya itu rangkaian kereta api, tugas editor adalah membuat jalannya kereta itu se ‘smooth’ mungkin. Tidak ‘gojlak-gajluk’ sehingga yang naik kereta bisa menikmati perjalanannya.


• Cari OPENING dan CLOSING shot.
  Bisa establishing shot (tapi tidak harus). Yang penting gambar harus menarik perhatian orang untuk menonton keseluruhan berita (OPENING) dan meninggalkan kesan (CLOSING).


• WIDE SHOT to CLOSE SHOT
  Variasi komposisi shot diperlukan untuk menghindari JUMP CUT dan memberikan inforasi secara detail melalui gambar.


• GUNAKAN GAMBAR YANG MENUNJUKKAN PERGERAKAN (MOVEMENT)
  Contoh: Untuk gambar orang baca buku, ambil waktu orang tersebut membalikkan halaman buku.


• JANGAN MENYAMBUNGKAN PERGERAKAN DENGAN PERGERAKAN
  Contoh: PAN disambung PAN
  PAN disambung ZOOM
  ZOOM disambung ZOOM dll.


• DON’T CROSS THE LINE
  Perhatikan garis imajiner.


• Perhatikan SOUND (DUB dan NAT SOUND)
  Terutama untuk perpindahan shot kalau ada suara yang ‘nyelip’, sebisa mungkin dihaluskan.


• JANGAN TERLALU BANYAK CUT AWAY (INTERCUT)
  Lebih baik menyambung gambar dengan membuat ‘sequence’ yang teratur sehingga ‘continuity’ antar shot tetap terjaga. Bila tidak memungkinkan baru gunakan ‘intercut’.
  

SEQUENCES
Salah satu definisinya adalah sekurang-kurangnya 2 shot yang disambungkan dan saling mendukung.
Sequence dibuat dengan menyambungkan shot-shot dengan tetap memperhatikan kesinambungan (continuity) yang tercipta. Contoh: Presiden berpidato di podium. Bila pada shot pertama presiden memakai kaca mata, pada shot selanjutnya presiden harus tetap berkacamata. Bila tidak ‘continuity’ akan terganggu.

CAMERA WORK
General Rule: (kecuali pada Cinema Verite)

• USAHAKAN SELALU GUNAKAN TRIPOD (terutama untuk pengambilan gambar liputan berita)
  Kecuali dalam keadan darurat seperti rebutan gambar atau untuk alasan keselamatan.


• JANGAN terlalu sering PAN DAN ZOOM
  Gunakan STEADY SHOT dengan berbagai komposisi, framing dan angle.
  Boleh PAN dan ZOOM asalkan ada alasannya.


• UNTUK INTERVIEW SELALU PERHATIKAN:
  Looking Room: ruang kosong di depan pandangan mata orang yang diwawancarai.
  Head Room: ruang kosong di atas kepala orang yang diwawancarai.
  Posisi obyek jangan terlalu menyamping atau akan terlihat seperti gambar dua dimensi/wayang kulit.


• Hati-hati dengan CROSSING THE LINE.
  Bila mengambil gambar dari sebelah kiri untuk selanjutnya juga harus selalu dari sebelah kiri. Kalau akan berubah mengambil gambar dari kanan harus ada cut away/intercut untuk memudahkan dalam proses editing.


• Berpikirlah bahwa gambar yang di shoot adalah untuk kepentingan editing.


• AMBIL GAMBAR YANG DAPAT DISUSUN MENJADI SEQUENCE.
  Misalkan gambar 1. Wide Shot Orang jalan ke meja, kalau bisa gambar kedua adalah Medium Shot atau Close Up Orang itu sudah dekat meja, duduk dan akan menandatangani kertas di meja.


• AMBIL NATSOUND
  Kalau ada lagu yang mendukung berita ambil gambar dengan berbagai angle tanpa mematikan kamera sehingga lagu tersebut terekam secara lengkap. Contoh: upacara bendera, penyambutan tamu negara dan konser musik.
  

KESIMPULAN
YANG DIPERLUKAN DALAM MEMBUAT FILM DOKUMENTER

1. RENCANAKAN BUKTI VISUAL YANG AKAN DIREKAM


2. KENALI KETIKA GAMBAR YANG DIPERLUKAN MUNCUL DI DEPAN MATA


3. SELEKSI DAN SUSUN HASIL REKAMAN UNTUK MEMBUAT ARGUMEN VISUAL YANG BISA DINIKMATI DAN KALAU BISA DIPERCAYAI AUDIENCE.

Writing The Body

This journal will describe some forms of writing on the body and also the interpretation of the term of writing on the body. According to Certeau (1984, 134), writing is the concrete activity that consists in constructing, on its own, blank space-the page- a text that has power over the exteriority from which it has first been isolated. There are at least two interpretations when talking about writing on the human body. First, writing on the body can be understood as a real activity writing some texts on the surface of human’s bodies. The second, writing the body can also have a connotation meaning. It means that the body is marked or written of so many symbol and status that influenced by the socio cultural factors.

First of all, the body can be written of some text such through tattooing or piercing whether it is permanent or temporary thing. Some culture has this kind of habit of using the body as the media in writing some text. The text written can symbolize so many meaning. For example, in Yakuza organization in Japan, the tattoo in someone’s body can be the symbol of affiliation and the status of a particular person in the organization. Another example of using the body as the media for written text is in Dayak tribe culture in Borneo. The tattoo in their body can be the symbol of the maturity and also the social status in the community.

Secondly, the connotation meaning of writing the body is that the body has been marked and labelled by the written law and the socio cultural factors in the society. In the Holy Koran, the human body is depicted as a clean white paper when s/he is born. The human body is written and coloured by the influence of the parent, the socio cultural, the experience and any kind of factors that has contact with the growing body. Soon after born the baby will labelled as male or female. Then race or ethnicity also will be marked to the baby. The next thing is religion and then when the baby is grown up s/he will have the social status in the society. When s/he is following the fashion or music trend in this globalise society, s/he will add some more text into their body such as a rock person, a R & B person, a Nike person, a Esprit person and so on. Even until the body is pass away, it still has some marks. For instance, the society will recognise the death body as a good or bad person when s/he was still alive. While the body ends the journey in the world, it will has so many text, symbol, mark and label all over the body.

The connotation meaning of writing the body sometimes is one of the biggest problems in the history of human being. People cannot release themselves from the text written in their body. People can be fallen into trouble only because they have some label in their body. The history prove this phenomenon that can be seen from what happens to Jewish in the past, the Palestinian, the Bosnian, the Moslem, the Aboriginal people and there are still a long list of what can be caused by the writing the body.

Anang (2002)