{"id":469,"date":"2021-03-29T15:01:04","date_gmt":"2021-03-29T15:01:04","guid":{"rendered":"https:\/\/caglark-23f4.temp-dns.com\/who-you-are\/2019\/02\/03\/post-production\/"},"modified":"2026-03-13T12:23:24","modified_gmt":"2026-03-13T12:23:24","slug":"post-production","status":"publish","type":"post","link":"https:\/\/caglark.com\/who-you-are\/post-production\/","title":{"rendered":"Post-Production \/ Pasca Produksi"},"content":{"rendered":"<p>[su_tabs style=&#8221;default&#8221; active=&#8221;1&#8243; vertical=&#8221;no&#8221; class=&#8221;&#8221;]<br>\n  [su_tab title=&#8221;en&#8221; disabled=&#8221;no&#8221; anchor=&#8221;&#8221; url=&#8221;&#8221; target=&#8221;blank&#8221; class=&#8221;&#8221;]<\/p>\n\n\n<p>24 January.&nbsp; Post\nproduction begins. The brief was fairly complex from the start, as Caglar wanted\neverything synched before starting to select content. The raw material included\nfootage from three cameras (we were joined for the shoot by Zeyno from London),\naudio files from boom and clip mics, and all the .SRT files (captions) that\nKatrin had transcribed and translated.<\/p>\n\n\n\n<p>The first couple days were spent organising all this, with\nNuril and Akum editing and Caglar and Zeyno contributing.&nbsp; Everyone seemed to be working on a different\nediting platform or programme version, adding further complications!<\/p>\n\n\n\n<p>Once the synching was completed, Caglar directed Nuril, Akum\nand Zeyno each to work on different apects of the editing, creating content for\nvarious monitors, projections and AR markers.<\/p>\n\n\n\n<p>At the same time, Caglar began to make decisions about the\nlayout of the gallery and the Augmented Reality setup.<\/p>\n\n\n\n<p>PSBK has been going through an upgrade of their IT systems,\nin the process of which they acquired lots of new kit. Caglar fell in love with\nsome of the monitors that were no longer being used and decided to hangthemon\nthe first wall as you enter the gallery. The first monitor would show a Bisindo\nintroduction to the exhibition and context for the project. The other three\nwould show silent clips of the three characters.<\/p>\n\n\n\n<p>For a long time, Caglar has wanted to include silences in\nhis work, and this time he was happy to be able to achieve that. During the\nfilming days, he kept saying to the actors: if your characters don\u2019t have\nanything tosay to each other, it\u2019s okay not to say anything. Ultimately, the\nexhibition footage includes manyquiet and silent moments.<\/p>\n\n\n\n<p>Another early decision was to use the scenefrom Impro day 2,\nwhere the three characters come in from the rain, along with a reverse shot of\nthat scene that was filmed on day 3. These segments would be displayed on two\n55-inch screens placed at 90 degrees to each other, in a corner of the gallery\narea separated by a partition.<\/p>\n\n\n\n<p>For the large wall projection at the centre of the gallery\nspace, Caglar asked Nuril and Zeyno to edit their own short version of the narrativefrom\nall the footage. Who did they think these characters were and what were their\nstories? <\/p>\n\n\n\n<p>Right from week 1, Caglar worked with our Jogja Producer,\nIteq, and the PSBK team, exploring how the AR markers would function, which\nimages to use as \u201cmarkers\u201d, what to print on,and where they should go. <\/p>\n\n\n\n<p>Caglar\u2019s motivation for using AR was to provide optional,\ninteractive layers for the audience. People could visit the gallery, and view\ncontent on monitors, screens and projections in the space. If they wished, they\ncould move into the outdoor areas to viewthe photos scattered around the garden\narea. &nbsp;These photos, as well as the\nphotos in the gallery space, would serve as AR markers to trigger additional optional\ncontent \u2013 more stories and information about the characters &#8211;&nbsp; using our mobile phone application.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/caglark.com\/who-you-are\/wp-content\/uploads\/sites\/3\/2021\/03\/20190204_165018-1024x576-1.jpg\" alt=\"Dua wanita berpelukan di depan sebuah perekam audio \/Two women hug in front of an audio recorder.\" class=\"wp-image-1819\"\/><figcaption>Deksripsi audio oleh Ruri dan Isti. Foto oleh Michael Achtman\/Audio describers Riri and Isti. Photo by Michael Achtman<\/figcaption><\/figure>\n\n\n\n<p>At the same time,Michael was working with Isti, Ruri and\nJeannie to create an audio guide to orient blind and partially sighted people to\nthe PSBK site, guide them into the gallery, offer introduction and context for\nthe exhibition, and describe the videos and photos.&nbsp; This process involved writing, translating\nand recording the description, then editing it onto tracks posted online as\nwell as available on mp3 players on site. <\/p>\n\n\n\n<p>Zeyno filmed Fikri and Hafid from Deaf Arts Community\nsigning the introduction to the exhibition in Bisindo. <\/p>\n\n\n<p><!--EndFragment--><\/p>\n<p><\/p>\n<p>[\/su_tab]<br>\n[su_tab title=&#8221;id&#8221; disabled=&#8221;no&#8221; anchor=&#8221;&#8221; url=&#8221;&#8221; target=&#8221;blank&#8221; class=&#8221;&#8221;]<\/p>\n\n\n<p>24 Januari. Pasca produksi dimulai. Arahan dari Caglar cukup\nrumit sejak awal, karena Caglar ingin semua bahan disinkronisasikan sebelum\nmulai memilih konten. Bahan yang masih mentah tersebut berupa hasil rekaman\ndari tiga kamera (kami juga menggabungkan hasil rekaman oleh Zeyno dari\nLondon), file audio dari mikrofon boom dan mikrofon klip, dan semua file .SRT\n(transkrip) yang telah ditranskripsikan dan diterjemahkan oleh Katrin.<\/p>\n\n\n\n<p>Beberapa hari pertama dihabiskan untuk mengorganisir seluruh\nbahan. Nuril dan Akum menyunting video dengan dibantu oleh Caglar dan Zeyno. Semua\norang tampaknya bekerja pada jenis atau versi program penyuntingan yang berbeda,\nakibatnya semakin rumit!<\/p>\n\n\n\n<p>Setelah sinkronisasi selesai, Caglar mengarahkan Nuril, Akum\ndan Zeyno untuk masing-masing bekerja pada aspek penyuntingan yang berbeda, baik\nmembuat konten untuk berbagai monitor, proyeksi maupun penanda AR.<\/p>\n\n\n\n<p>Pada saat yang sama, Caglar mulai mengatur tata letak galeri\ndan susunan Augmented Reality.<\/p>\n\n\n\n<p>PSBK sedang mengadakan peningkatan sistem teknologi\ninformasi, sehingga mereka sedang dalam proses di mana mereka memperoleh banyak\nperalatan baru. Caglar jatuh hati dengan beberapa monitor yang tidak lagi\ndigunakan dan memutuskan untuk menggantung monitor-monitor tersebut pada dinding\npertama saat Anda memasuki galeri. Monitor pertama akan menunjukkan pengantar\nke pameran dan konteks proyek tersebut dalam Bisindo. Tiga monitor lainnya akan\nmenunjukkan rekaman bisu dari tiga karakter.<\/p>\n\n\n\n<p>Sejak dulu, Caglar selalu ingin memasukkan kebisuan dalam\npekerjaannya, dan kali ini dia senang bisa mewujudkan itu itu. Selama hari-hari\npembuatan film, ia terus berkata kepada para aktor: jika karakter Anda tidak\nmemiliki sesuatu untuk dikatakan, tidak apa-apa untuk tidak mengatakan apa-apa.\nPada akhirnya, rekaman untuk pameran mencakup banyak momen yang tenang dan\nhening.<\/p>\n\n\n\n<p>Keputusan awal lainnya adalah menggunakan adegan dari\nimprovisasi hari kedua, di mana ketiga karakter berlindung dari hujan, lalu disandingkan\ndengan tampilan terbalik dari adegan tersebut yang direkam pada hari ke-3. Bagian\nini akan ditampilkan pada dua layar 55 inci yang ditempatkan membentuk 90\nderajat dan teretak di sudut area galeri yang dipisahkan oleh sekat.<\/p>\n\n\n\n<p>Untuk proyeksi pada dinding besar di tengah ruang galeri,\nCaglar meminta Nuril dan Zeyno untuk mengedit versi pendek narasi mereka\nsendiri dari semua rekaman yang telah diambil. Menurut mereka siapa tokoh-tokoh\nini dan apa kisah mereka?<\/p>\n\n\n\n<p>Sejak minggu pertama, Caglar bekerja dengan Produser Jogja\nyakni Iteq, dan dengan tim PSBK, dalam mengeksplorasi bagaimana penanda AR akan\nberfungsi, gambar mana yang akan digunakan sebagai &#8220;penanda&#8221;, apa\nyang akan dicetak, dan di mana penanda tersebut harus dipasang.<\/p>\n\n\n\n<p>Motivasi Caglar untuk menggunakan AR adalah untuk memberikan\nlapisan yang opsional dan interaktif bagi para penonton. Orang-orang dapat\nmengunjungi galeri, melihat konten di monitor, layar, dan proyeksi di ruang tersebut.\nJika mereka mau, mereka bisa pindah ke area luar untuk melihat foto-foto yang\ntersebar di sekitar area taman. Foto-foto ini, serta foto-foto di ruang galeri,\nakan berfungsi sebagai penanda AR untuk memunculkan konten opsional tambahan \u2013 lebih\nbanyak cerita dan informasi tentang karakter \u2013 dengan menggunakan aplikasi\nponsel kami.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/caglark.com\/who-you-are\/wp-content\/uploads\/sites\/3\/2021\/03\/20190204_165018-1024x576-1.jpg\" alt=\"Dua wanita berpelukan di depan sebuah perekam audio \/Two women hug in front of an audio recorder.\" class=\"wp-image-1819\"\/><figcaption>Deksripsi audio oleh Ruri dan Isti. Foto oleh Michael Achtman\/Audio describers Riri and Isti. Photo by Michael Achtman<\/figcaption><\/figure>\n\n\n\n<p>Pada saat yang sama, Michael bekerja dengan Isti, Ruri, dan Jeannie untuk membuat panduan audio untuk mengarahkan penyandang &nbsp;tunanetra ke wilayah PSBK, membimbing mereka ke dalam galeri, memberikan pengenalan dan konteks untuk pameran, serta menggambarkan isi video dan foto. Proses ini melibatkan penulisan, penerjemahan dan perekaman deskripsi tersebut, lalu disunting ke trek yang nantinya diunggah dan tersedia di pemutar mp3 pada situs.<\/p>\n\n\n\n<p>Zeyno merekam Fikri dan Hafid dari Deaf Arts Community yang memberikan\npengantar pameran dalam Bisindo.<\/p>\n\n\n<p>[\/su_tab]<br>\n[\/su_tabs]<\/p>","protected":false},"excerpt":{"rendered":"<p>24 January.  Post production begins. The brief was fairly complex from the start, as Caglar wanted everything synched before starting to select content.<br \/>\n24 Januari. Pasca produksi dimulai. Arahan dari Caglar cukup rumit sejak awal, karena Caglar ingin semua bahan disinkronisasikan sebelum mulai memilih konten.<\/p>\n","protected":false},"author":6,"featured_media":470,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[199],"tags":[],"class_list":["post-469","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-jogja-2019"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Post-Production \/ Pasca Produksi - what makes you who you are<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/caglark.com\/who-you-are\/post-production\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Post-Production \/ Pasca Produksi - what makes you who you are\" \/>\n<meta property=\"og:description\" content=\"24 January. Post production begins. The brief was fairly complex from the start, as Caglar wanted everything synched before starting to select content. 24 Januari. Pasca produksi dimulai. 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