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"Skripsi terapan ini bertujuan untuk menganalisis pengaruh kualitas produksi film terhadap attention span (rentang perhatian) penonton, dengan studi kasus pada videoboard film pendek “PT Yak, Op!” yang ditayangkan melalui komunitas Orang Film UI. Di era digital yang sarat distraksi, industri film menghadapi tantangan besar dalam mempertahankan perhatian audiens, khususnya Generasi Z. Kualitas produksi film; termasuk aspek sinematografi, tata suara, dan editing, diyakini memegang peranan penting dalam menarik serta mempertahankan perhatian penonton. Metode penelitian yang digunakan adalah kuantitatif inferensial, melibatkan penyebaran kuesioner kepada 40 responden dari Program Vokasi Universitas Indonesia. Data dianalisis menggunakan statistik deskriptif, analisis korelasi, dan uji hipotesis. Hasil penelitian ini diharapkan dapat memberikan kontribusi teoritis dalam kajian psikologi perhatian dan seni audiovisual, serta rekomendasi praktis bagi pembuat film untuk meningkatkan keterlibatan audiens melalui peningkatan kualitas produksi.

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This applied thesis aims to analyze the influence of film production quality on viewers’ attention span, using the short videoboard film PT Yak, Op!, screened by the Orang Film UI community, as a case study. In today’s distraction-heavy digital era, the film industry faces significant challenges in maintaining audience attention, particularly among Generation Z. The quality of film production; including cinematography, sound design, and editing, is believed to play a crucial role in capturing and sustaining viewers' attention. This study employs an inferential quantitative method, involving the distribution of questionnaires to 40 respondents from the Vocational Program of Universitas Indonesia. The data is analyzed using descriptive statistics, correlation analysis, and hypothesis testing. The findings of this research are expected to contribute theoretically to the study of attention psychology and audiovisual arts, as well as provide practical recommendations for filmmakers to enhance audience engagement through improved production quality."

"Pelaku seni berarti kita membiarkan diri kita untuk ikut masuk ke dalam seni itu sendiri. Makalah ilmiah akhir ini ditulis berdasarkan pengalaman penulis saat terlibat dalam pembuatan film. Sebuah proses pembuatan film membiarkan tiap elemennya bergabung, dengan adanya kontak dan konflik yang terjadi dalam sebuah proses pembuatan film, akan menghasilkan karya seni yang lebih inklusif dan kontekstual. Selain hasil karyanya, sebagai filmmaker yang telah mendapatkan pengalaman dan pengetahuan yang baru selama prosesnya, mereka juga akan ikut bertransformasi membersamai film tersebut. Selain itu, dalam membuat film kita juga membiarkan film tersebut untuk menampilkan makna dan berbicara melalui visualnya yang dibangun melalui elemen artistiknya. Representasi inikah yang nantinya akan menjadi instrumen komunikatif antara filmmaker dan audiens, sebuah bahasa visual. Secara prosesnya, penulis menulis makalah ini dengan metode auto-etnografi dan refleksi dari pengalaman pribadi penulis.

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Making art means we allow ourselves to immerse ourselves in the art itself. This final scientific paper was written based on the author's experience while involved in the filmmaking process. A film making process allows every element to become one, the contacts and conflicts that occur in a filmmaking process will produce a more inclusive and contextual work of art. Apart from their works, a filmmaker who has gained new experience and knowledge during the process, they will be also transformed along with the film. Apart from that, in making a film we also allow the film to give meaning and speak through its visuals which are built through its artistic elements. This representation will later become a communicative instrument between the filmmaker and the audience, a visual language. In the process, the author wrote this paper using auto-ethnographic methods and reflections from the author's personal experiences. "

"ABSTRAKFilm merupakan media representasi narasi yang dapat memberikan pengaruh bagi masyarakat secara luas. Dalam proses visualisasi narasi tersebut, desain produksi merupakan salah satu elemen yang paling penting dalam memunculkan kualitas atmosferik dari ruang sinematis di dalamnya. Kualitas atmosferik yang baik dalam film kemudian dapat tercermin di dalam dunia nyata yang kerap kali membuat kaburnya batas antara fantasi dan realitas yang disebut hiperealitas. Film La La Land digunakan sebagai studi kasus untuk menjelaskan pengaruh hiperealitas yang timbul dari desain produksi film terhadap branding sebuah kota Los Angeles . Mekanisme berupa addition, subtraction, dan alteration ini digunakan untuk menciptakan kualitas atmosferik yang dapat menghasilkan dampak hiperealitas. Hiperealitas yang ada kemudian dapat mendukung city branding. Studi kasus tersebut menggambarkan bahwa adanya dampak hiperealitas memungkinkan akselerasi terwujudnya city branding yang lebih holistik dengan peran etos masyarakat dan objek-objek yang berpengaruh pada identitas kota yang tertingkatkan baik dalam konteks lokal maupun dunia internasional.

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ABSTRACTFilm is a medium of narrative representation that can give influence to society widely. In the process of visualizing the narrative, production design is one of the most important elements to generate atmospheric quality from the cinematic space in it. Good atmospheric quality in films can then be reflected in the real world which often makes the blurring of the boundary between fantasy and reality, which called hyper reality. La La Land is used as a case study to explain the effect of hyper reality that arises from production design which in turn impacts the branding of a city Los Angeles . The mechanisms of addition, subtraction, and alteration are used to create specified atmospheric qualities that can produce hyper real impacts. The hyper reality can then supports the city branding itself. The case study illustrates that the impact of hyper reality allows the acceleration of a more holistic city branding with the role of community ethos and objects that can enhance city identity locally and internationally."

"Dalam produksi film, tokoh utama memegang peranan sentral sebagai penggerak narasi dan pencipta keterikatan emosional dengan penonton. Oleh karena itu, strategi personal branding menjadi krusial dalam membentuk karakter yang kuat dan berkesan. Penelitian ini menggunakan pendekatan kualitatif deskriptif dengan konsep komunikasi visual dan naratif. Teknik pengumpulan data meliputi wawancara mendalam, observasi partisipatif, dokumentasi, dan studi pustaka. Hasil penelitian menunjukkan bahwa karakter utama dibentuk melalui simbolisme visual dan narasi otentik yang mencerminkan realitas sosial. Strategi personal branding yang konsisten dan emosional terbukti efektif dalam memperkuat identitas karakter fiksi dalam film pendek.

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In film production, the main character plays a crucial role as the narrative driver and emotional anchor for the audience. Therefore, personal branding strategies are essential to create strong and memorable characters. This study employs a qualitative descriptive approach grounded in visual and narrative communication theories. Data collection techniques include in-depth interviews, participatory observation, documentation, and literature review. The findings reveal that the main character is constructed through visual symbolism and authentic storytelling that reflects social realities. A consistent and emotionally resonant personal branding strategy effectively strengthens the identity of fictional characters in short films."

"An essential instruction guide and textbook for aspiring movie and television storyboard artists. It will also serve as a valuable reference source and general orientation for everybody involved in the production process, including directors, producers, actors, and scriptwriters. Students will learn: How to develop sketching skills; How to interpret a film or a TV script in visual terms; How to understand the jargon and the conventions of the media; How to build scenes, plan shot sequences, and make use of special effects. The author demonstrates uses of the storyboard in preparing advertising segments, live action films, TV dramatizations, music videos, animated cartoons, and computer games. He also offers advice on marketing and promotion, building a portfolio, creating a web site, and working with agencies and production companies. Case studies show readers how to create different types of storyboard for a wide range of professional assignments"

"Penelitian ini berusaha menemukan posisi khalayak ketika memaknai pelaku pembunuhan dalam film The Act of Killing/Jagal dengan pendekatan reception analysis Stuart Hall yang memposisikan 3 (tiga) “posisi hipotesis” decoder: dominan, negotiated, dan oposisi. Jagal adalah film dokumenter yang mengisahkan kehidupan sehari-hari mantan pelaku pembunuhan massal pemberantas anggota Partai Komunis Indonesia pasca peristiwa Gerakan 30 September 1965 (G30S) dengan tokoh sentral Anwar Congo dan Adi. Sampling penelitian terbatas pada komunitas interpretatif dengan kriteria: lahir setelah tahun 1980, pernah menonton film Pengkhianatan G30S/PKI dan Jagal, pernah mengunjungi museum dan monumen bersejarah terkait G30S, dan memiliki konstruksi tentang PKI sebelum menonton film Jagal. Peneliti melakukan wawancara mendalam terhadap 6 (enam) informan dengan beragam latar belakang. Wawancara dilakukan untuk mengetahui pemaknaan komunitas interpretatif terhadap 8 (delapan) adegan yang dinilai relevan dengan penelitian. Peneliti juga menghimpun informasi mengenai encoding sutradara. Dengan reception analysis, peneliti menemukan bahwa keragaman latar belakang dan pengalaman menyebabkan khalayak juga meng-encode teks media dengan beragam. Posisi khalayak tidak konsisten di satu posisi tertentu pada tiap adegan. Ada kalanya cenderung berada di posisi dominan pada adegan tertentu namun cenderung berada di posisi negotiated atau oposisi pada adegan lain.

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This research tried to find audiences‟ position when they interpret murderer showed in The Act of Killing/Jagal film with reception analysis approach from Stuart Hall which had 3 (three) “hypothetical position” of decoder: dominan-hegemonic position, negotiated position, and oppositional position. Jagal is a documentary film that told us the daily life of a mass murderer who did massacre of Indonesian Communist Party (PKI) members after September 30th Movement (G30S) with Anwar Congo and Adi as the central role. The sampling were limited to interpretive community with general criteria: were born after 1980, watched Pengkhianatan G30S/PKI and Jagal film, and had construction about PKI before they watched Jagal.

Researcher did depth interview with 6 (six) informants that came from various backgrounds. The aim of the interview was to revealed the meaning of the interpretive community towards 8 (eight) scenes that relevant to the research. Researcher also gathered information about the encoding that the director‟s wanted to present in the film. With reception analysis, researcher found that diversity of backgrounds and experiences caused the audiences encoded media texts in various ways. Audiences positions are not stick to one position for all relevant scenes. There were times when they are dominant on particular scenes but negotiated or oppositional on another."