TECHNICAL IMMERSION ON LEARNING
BASIC LIGHTING IN VIRTUAL REALITY
FILM CAHAYA CINTA PERLAHAN MENYILAUKAN
Frans Sahala Moshes Rinto sahala@umn.
Program Studi Film.
Fakultas Seni dan Desain.
Universitas Multimedia Nusantara
ARTIKEL
Diterima: 5 September 2023
Direvisi: 13 Oktober 2023
Disetujui: 20 November 2023
ABSTRACT
The film Cahaya Cinta Perlahan Menyilaukan was developed as an alternative way of learning vocational skills, especially in a film production environment.
The purpose of this research was to find how the technical immersion which includes visual cues, audio cues, orientation cues, and disorientation cues associated with the competencies in SKKNI No.
154/2020 for national competence of film lighting operator, including key functions, main functions, and basic functions in the delivery of lighting learning materials through virtual reality media which is also a contemporary media that is currently widely used.
Immersion in practice itself is an attempt to involve the audience so that they can go in depth and be able to absorb.
This film has two episodes and three different interactive levels in order to learn the basics of film lighting.
The research uses qualitative characteristics which are applied through analysis of the technical immersion.
The material of interactivity, visual and audio show that technical immersion provides direction in learning and attracts the attention of the audience without reduce the substance of the learning content based on competencies in SKKNI No.
154/2020.
Keywords: Virtual Reality.
Interactive Film.
Immersiveness.
Basic Lighting.
Skkni
ABSTRAK
Film Cahaya Cinta Perlahan Menyilaukan dikembangkan sebagai salah satu cara alternatif pembelajaran keterampilan kejuruan, khususnya dilingkup produksi film.
Tujuan dari penelitian ini adalah untuk mengetahui bagaimana teknik perendaman yang meliputi isyarat visual, isyarat audio, isyarat orientasi, dan isyarat disorientasi dikaitkan dengan LayaR: Jurnal Ilmiah Seni Media Rekam.
Vol.
10 No.
2 Desember 2023 kompetensi dalam SKKNI No.
154/2020 untuk kompetensi nasional operator lighting film, meliputi fungsi pokok, utama fungsi, dan fungsi dasar dalam penyampaian materi pembelajaran pencahayaan melalui media virtual reality yang juga merupakan media kekinian yang saat ini banyak digunakan.
Immersion dalam praktek sendiri merupakan upaya untuk melibatkan penonton agar dapat mendalami dan mampu menyerap.
Film ini memiliki dua episode dan tiga level interaktif berbeda untuk mempelajari dasar-dasar pencahayaan film.
Penelitian ini menggunakan karakteristik kualitatif yang diterapkan melalui analisis teknis imersif.
Materi interaktivitas, visual dan audio menunjukkan bahwa teknis imersif memberikan arahan dalam pembelajaran dan menarik perhatian penonton tanpa mengurangi substansi isi pembelajaran berdasarkan kompetensi pada SKKNI No.
154/2020.
Kata kunci: Realitas Maya.
Film Interaktif.
Imersif.
Tata Cahaya Dasar.
Skkni
INTRODUCTION
the first virtual reality based interactive Virtual Reality (VR) is now a film produced by the Film and Animation common thing that is transitioning from a Department of Multimedia Nusantara luxury laboratory instrument that only University.
This film was developed as an available to technical elite people, to a alternative way of learning vocational mainstream content consumption pattern.
skills, especially in a film production en- VR is not a currently designed technology This film has two episodes and and only has the potential to change the three different interactive levels in order to extensive world of fiction but also change learn the basics of film lighting based on the real life of people today.
SKKNI No.
154/2020 for national compete- VR is a new reality and one of its nce of film lighting operator.
important developments today is the The Film Development Center, remediation process that is redefining the Ministry of Education and Culture of the digital world.
This remediation process has Republic of Indonesia pays special atten- become an integral part of media progress, tion to building national character through which now revolves around constant fuss- the film industry.
SKKNI No.
154/2020 was ing over reproduction, and things that issued as a work competency standard for ultimately replace the media themselves.
film workers, especially in the field of film (Bolter & Grusin, 2000.
The aim is to increase quality and The film Cahaya Cinta Perlahan competitive professionalism which in- Menyilaukan was recorded using a 360- cludes the positions of Key Gaffer.
Gaffer, degree camera as a tool to help creates the Electrical Technician.
Generator Operator, immersion, as a VR experience in addition and Assistant Lights Man.
to the interactivity contained in it.
This is Frans Ae Technical Immersion on Learning.
Immersive material is still in its audience, whom is able to see in all early stages.
VR in the mainstream aspect directions because the immersive film has is starting to move forward with com- a 360-degree characteristics.
The audience pletely new developments.
VR is capable needs clues to be able to follow the story and has been defined in a variety of world and the objectives of the film.
This Dialectical experts believe that deictic cues are used to emphasize the panoramic painting is an early way of presence of the audience character within creating the illusion that the viewer is in a the story world.
By involving the audience place where they are not at that time while in the virtual environment and the narra- simultaneously filling the entire field with tive of other characters, it creates its own vision (Bucher, 2.
Immersion is the spatio-temporal objective level, how VR systems and Edenhofer, & Wimmer, 2.
(Elmezeny, applications enter in a way that is exten- Some of the tools that are generally sive, matching, surrounding, vivid, inter- used to navigate the audience throughout active, while providing plot information in the film, the first is visual cues.
Visual cues projecting stimuli up to the sensory part, include movement of objects or characters, the receptors of the audience (Jerald, 2.
body movements, object alignment, char- Immersion is a technological ob- acter gaze, lighting, extreme contrast, jective that has the quality of involving the semantic opposites, picture in picture, text, audience in the experience.
However, im- graphics, special effects, and camera move- mersion is only part of the VR experience.
The next are audio cues which in- requiring human involvement to under- clude character conversations, screams, stand and interpret the stimuli presented.
picture in picture, sound effects and music.
Immersion can indeed lead the mind but Then there are Orientation cues which can immersion cannot control the mind .
motivate the audience to follow certain Technical immersion is how the movements, see the source of movement or audience interacts with the film.
The sound, explore the virtual surroundings, or audience have the ability to see in all to be alert.
And Disorientation cues which directions through the cues.
The initial can leave the audience in darkness or use analysis of general cues is used to find unnatural camera positions and montages.
aspects of 360 film that are very immersive.
When multiple cues are combined, they while specific cues are used to observe how can highlight details within the panoramic immersive is realized in 360-degree film view, or distract the audience from a (Elmezeny.
Edenhofer, & Wimmer, 2.
secondary storyline in another field of view The technical aspects of immersion that can be changed by movement of the in film, both beneficial and disruptive head or device (Elmezeny.
Edenhofer, & elements were coded to build atmosphere Wimmer, 2.
in the storyline, this can create a narratively Elaboration immersive experience.
In this case, the SKKNI No.
154/2020 and immersiveness in LayaR: Jurnal Ilmiah Seni Media Rekam.
Vol.
10 No.
2 Desember 2023 VR makes This research seeks to answer often portray and describe the way subjects the following questions, how VR-based interact with their surroundings related to technical immersion can be an alternative the research theme.
That way, all move- way of learning vocational skills for the ment activities, behavior, attitudes, verbal field of lighting in films and how technical and non-verbal expressions become the immersion through the medium of VR focus of research (Idrus, 2.
Qualitative provide knowledge based on competencies research data is obtained from what the in SKKNI No.
154/2020 for film compe- researcher observes, hears, feels and tency participants, especially in the field of This information is related to the lighting in films.
focus of the research (Idrus, 2.
The case study research method
METHODOLOGY
produces data which is then analyzed.
The virtual worlds are now a major with the procedures for obtaining quali- theme in new media culture.
The concept is tative research data, case study data is closely related to other existing concepts, obtained from interviews, observations especially simulation and immersion.
and archives.
The author tries to be the same time, other even older concepts thorough in various ways to study as related to the study of images, represen- closely as possible an individual, a group, tation, illusion, mimesis, picture, copy, and or an event.
The researcher aims to provide fiction were drawn into the scope of the a complete and in-depth description of the virtual world (Lister.
Dovey.
Giddings, subject under study (Kriyantono, 2.
Kelly, & Grant, 2.
Data The research method of learning systematic and standard procedures for basic lighting in the VR film Cahaya Cinta obtaining the required data.
There is Perlahan Menyilaukan will be using the always a relationship between data collec- technical immersion which includes visual tion techniques and the formulation of cues, audio cues, orientation cues, and research problems, and data collection disorientation cues associated with the techniques are used to obtain data using implementation of SKKNI No.
154/2020,
certain observation channels.
Determining including key functions, main functions, the data collection method depends on the and basic functions.
Technical immersion research problem raised so that the is manifest in 360-degree films through researcher can determine the appropriate these cues in the context of directing the data collection technique to be used in the viewer's attention as well as cues to research (Nasir, 2.
acknowledge the audience as part of the The data collection techniques used virtual environment.
by researchers include primary data.
This research uses a qualitative namely data directly obtained from the research type with a case study research first source, then accompanying data is Qualitative research activities secondary data which is useful for adding Frans Ae Technical Immersion on Learning.
data so that it is in line with the researcher's paradigm, the consequences of the writer expectations (Samsu, 2.
The main data must use epistemological, ontological and was obtained from the film Cahaya Cinta axiological assumptions that are in line Perlahan Menyilaukan and secondary data with the constructivist paradigm.
Onto- used to complete and expedite the research logical refers to the nature of what is stu- process was obtained through existing died, about existence, epistemological refers to how to obtain true knowledge The characteristic of the research is .
ow you kno.
, while axiological refers to descriptive, namely an in-depth depiction the value of use .
hat fo.
of the situation or process being studied.
Qualitative methodology as a research
RESULT AND DISCUSSION
procedure produces descriptive data in the A challenge if we create 360-degree form of written or spoken words from the people or symptoms observed.
The quali- camera that captures the content will only tative-interpretive approach is directed at be from a limited number of views.
Ac- the symptom background in a holistic and tually, this content can work quite well natural way so that the qualitative me- with VR, especially when the viewer starts thodology does not isolate symptoms into sitting in a fixed position and then only However, examine the object makes head movements from left to right according to its natural setting.
Therefore, or from right to left.
However, if the viewer it is also commonly called naturalistic tilts their head to look down or rolls their research (Vardiansyah, 2.
head to twist their head while still looking The A paradigm is a basic belief system straight ahead, then the perception of or way of looking at the world that guides presenting stereoscopic cues no longer the writer not only in choosing methods applies and the viewer will experience a but also fundamental methods that are different result.
ontological and epistemological (Denzin & The aspect of technical immersion Lincoln, 2.
The paradigm used in this that is the initial analysis is visual cues, research is the constructivist paradigm, which is something that is the dominant namely the view that social reality is not a modality for perceiving travel, especially natural reality, but is formed from the in terms of navigation.
Navigation is deter- results of construction.
Therefore, the con- mining and maintaining a direction or centration of analysis in the constructivist trajectory towards something you are paradigm is to discover how the event or aiming for.
Navigation tasks can be reality is constructed, in what way the divided into exploration tasks and search construction is formed.
tasks (Jerald, 2.
The cue is for the Constructivist paradigm is often audience to make interactive choices about referred to as the meaning production and what to watch.
exchange paradigm.
In the constructivist LayaR: Jurnal Ilmiah Seni Media Rekam.
Vol.
10 No.
2 Desember 2023 effective, but even just pointing or making eye contact with the camera without a verbal reference, itAos already creating a real Figure 1: Menu options and movie titles (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
This is an early scene in the film before any other cues appear.
It would stand to reason that the audience will have Figure 2: Character talking to the camera the opportunity to become familiar with (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
the virtual environment, and that the The next visual cues are design to audience's attention will be captured and explore as a deepening of the previous ideally retained.
The visual cue of the characterAos learning that the user has gone through.
presence in the story while also engaging The in-depth study was carried out with the camera and how they interact through several interactive questions for with the audience provides another im- the audience whose answers were chosen mersive context.
Visual cues also include from one of the three correct questions movement of objects, characters, behavior, regarding the practices of the safety and location of objects, character's gaze, light- installing lighting equipment and so on.
Each scene will display its own ing, clear contrast, text, images, special visual cue according to the plot.
The visual effects, and camera movements.
The audience's recognition of the cues also associated with the implemen- character can be shown through the tation of SKKNI No.
154/2020, including appearance, gestures and words the actor key functions, main functions, and basic directs towards the camera.
The cue is for the audience following the character's There is a strong expectation that the audience will become more immersed in the content, and enjoy it more as the audience begins to identify with the characters in the scene.
The technique of making the character directly refer to the direction of the camera, highlighting the Figure 3: Interactive questions about safety audience as another character, makes it (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
Frans Ae Technical Immersion on Learning.
This is a competency unit related to equipment that will be used through the knowledge and skills as well as work performance criteria, namely the lighting attitudes required in the concept of lighting for cinematography direction.
The key procedures and lighting support devices function is carrying out lighting prepa- are ensured to function properly.
ration and the main function is planning the implementation of the lighting concept based on the direction of the cinematography director, while the basic function of the competency element is implementing occupational safety and health in the workplace and applying professional ethics, manners and responsibility profession.
Figure 5: Text visual effects of the list (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
Visual effects appear according to the atmosphere in the scene.
Visual cues in the form of text are in the retrieval of lighting equipment objects.
This competency unit applies to preparing a lighting work plan according to the visual concept Figure 4: Interactive questions about installments needs of the cinematography director in (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
determining the number and type of lightThis competency unit is used as a ing devices to be used.
reference to ensure the availability and The key function in this case is to function of lighting equipment.
In order to carry out lighting preparation and the get the perfect lighting device.
The related main function is to plan the implemen- key function is carrying out preparation of tation of the lighting concept based on the the lighting system and the main function direction of the cinematography director, is developing the concept of the lighting while the basic function is to apply the system, while the basic function of the lighting concept based on the floor plan.
competency element is ensuring the light- Through performance criteria, namely ing equipment that will be used and lighting techniques and characteristics, are checking the mechanism of the lighting identified according to procedures and the LayaR: Jurnal Ilmiah Seni Media Rekam.
Vol.
10 No.
2 Desember 2023 number and type of lighting devices are This competency unit is a reference classified according to procedures.
for skills, knowledge and work attitudes in installing lighting equipment accurately.
The key function in this case is to manage the implementation of lighting support facilities and the main function is to while the basic function is to check and ensure the placement of light points with performance criteria, namely the lighting Figure 6: Text visual effects of equipments (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
devices are placed based on the visual The key function in this case is to In terms of audio cues, which can concept of the cinematography director.
manage the implementation of lighting also be called spatial audio, it is something support facilities and the main function is that can be used to direct the audience's to prepare lighting support facilities, while Even though the difference in audio the basic function of the competency may sound small, spatial audio has the element is selecting lighting equipment to ability to amplify other interactive ele- be used with performance criteria, namely ments so that it can direct the audience's lighting equipment is identified according Some sound elements that can be to procedures.
This competency unit acts as used include conversations between char- a checking tool in listing the lighting acters, screams, sound effects and back- devices that will be used.
ground music.
Immersiveness can also be felt in the space between the characters in each scene.
This space can give the audience a sense of involvement and like they are in it to participate because the alignment of the audience's view.
Figure 8: The character dialogue (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
The characters can be seen having a conversation in the scene.
The sound of conversation between characters will only be limited to the viewer's choice of view Figure 7: Space between the characters when they can hear the sound loud and (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
Frans Ae Technical Immersion on Learning.
clear through the front view or the part that illustrations and sound effects are able to is most dominant in their view.
Especially maintain the audienceAos focus.
The learn- as if the characters are talking to the ing process becomes more enjoyable be- cause this film has entertainment elements through musical illustrations and sound The learning process becomes less monotonous and rigid.
In the aspect of orientation cues, it is something that is present both visual and audio which makes it possible to invite the audience to follow movements in a certain direction to look towards the source of the Figure 9: The crew is arranging the set movement or sound source so that the (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
immersion is able to explore the world of the story virtually or become alert to The next Audio Cue analysis is the certain causes.
scene where the crew prepares the area for Sounds out of sight in the front dominant area can only be seen clearly if the audience turns their head around the area so they can see where the sound is coming from, what sound it is and who it is from.
Figure 11: Interactive options (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
The choices of which part of the lighting technique to study first is one form of how the user is oriented.
These choices are designed in the form of written boxes.
Figure 10: Musical illustration and Sound Effects Audiences can choose among the eleven (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
options which one they like to watch and learn first.
Other audio cues come from music- The technical immersion is able to al illustrations and sound effects that provide depth because it not only displays appear as part of the location information the material but also tests the user as a while adding to the dramatic value of the measure of their understanding to the The sounds produced by musical competencies in SKKNI No.
154/2020 for LayaR: Jurnal Ilmiah Seni Media Rekam.
Vol.
10 No.
2 Desember 2023 film competency participants.
The interactive tests and visual texts also made the learning process more interesting and Users can personally understand and have the freedom to choose which material they might want to study first.
This virtual reality interactive film enables them to have this freedom unlike the Figure 13: Moving display general learning process which is often (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
one-way.
Another thing that might cause disorientation is the position of the audience which seems to be at a height while the objects in front of them are very large so they seem too tall and unnatural.
The integrity of this film also has several things that need attention, namely the position of the audience which seems to be at a height and the shape of the object is Figure 12: Format and viewing directions unnatural because it is too big so it can (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
create a bias towards users who may be Orientation cues can also be text or seeing the lighting equipment for the first images shown to the audience to indicate the format of the film and other directions.
This directly tells the audience that the format being watched is 360-degree Virtual Reality films.
In the aspect of disorientation cues, which are cues that can make the audience lose focus and become confused when watching this film.
This can happen with image movement because the user's head is Figure 14: Object looks unnatural always moving lightly so that the image (Source: Cahaya Cinta Perlahan Menyilaukan, 2.
composition becomes unbalanced because The technical immersion which in- information that is too fast like this will cludes visual cues, audio cues, orientation only make the audience confused.
Frans Ae Technical Immersion on Learning.
Denzin.
, & Lincoln.
The cues, and disorientation cues which are manifested in 360-degree VR films shows SAGE Handbook that the instructions directed as an im- Research.
SAGE Publications.
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Natalia.
Cahaya Cinta Perlahan focus of the user who is watching because Menyilaukan.
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, & Wimmer.
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Immersive storytelling in 360-Degree videos: an analysis of interplay between narrative and CONCLUSION Virtual Performing images in the medium Worlds Journal Research, 11.
of VR and 360-degree films with the aim of https://doi.
org/10.
4101/jvwr.
learning vocational skills based on SKKNI No.
154/2020 for national competence of https://filmfreeway.
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