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6 2. IDENTIFIKASI DATA DAN ANALISIS 2.1. Definisi Dan Teori 2. IDENTIFIKASI DATA DAN ANALISIS 2.1. Definisi dan Teori 2.1.1. Pasar Anak-anak Anak-anak sering disebut dream target karena anak-anak cenderung peka terhadap merek dan tidak sensitive terhadap harga. Peningkatan penghasilan masyarakat di kota-kota besar membuat keluarga-keluarga punya anak yang lebih sedikit, tetapi memiliki penghasilan yang lebih baik. Dengan demikian orang tua mengalokasikan penghasilan yang lebih besar untuk anak-anaknya. Menurut Mowen (1977), ada tiga jenis pasar pada anak-anak : 1. Pasar Utama Anak-anak adalah konsumen utama produk-produk tertentu seperti makanan, mainan, bacaan, pakaian, dan sebagainya. Di negara-negara maju pasarnya mencapai lebih dari US$ 8 Milliar. 2. Pasar Pengaruh Anak-anak mempengaruhi orang tuanya memutuskan produk-produk yang dibelanjakannya. Anak-anak menggugah hati orang-orang dewasa lewat iklan dan impian-impiannya. Mereka mempengaruhi pembelian rumah, kendaraan, dan barang-barang milik orang dewasa. Sebagai gambaran jumlah pengaruhnya mencapai US$ 130 Milliar di negara-negara maju. 3. Pasar Masa Depan Dipercayai pula bahwa siapa yang menguasai otak anak-anak, ia akan menguasai masa depannya. Anak-anak yang senang bermain kereta api akan menyukai kereta api hingga hari tuanya. Anak-anak yang bangga terhadap dunia militer kelak akan bersimpati atau bercita-cita menjadi militer, dan seterusnya. Anak-anak sendiri dapat dibagi menjadi beberapa kelompok : · Bayi (baby), berusia 0-24 bulan · Pra Sekolah (toddler), berusia 2-4 tahun · Anak-anak, berusia 4-9 tahun 6 Universitas Kristen Petra 7 2.1.2. Pengaruh Film Pada Anak Usia 1-4 Tahun Menurut “Teori social mengenai belajar” (Bandura dan Walters, 1963) maka suatu tingkah laku dapat dipelajari dengan “melihat” saja. Bandura mengadakan eksperimen sebagai berikut: pada sekelompok anak ditunjukan film. Dalam film itu ada orang dewasa (modelnya) berbuat sangat agresif terhadap sebuah boneka; sekelompok anak yang lain (kelompok control) tidak melihat film tersebut. Kedua kelompo tadi masing-masing dimasukkan ke dalam ruangan yang sama dan diberi boneka yang sama. Kemudian dilihat apakah sikap agresif model tadi ditirukan atau tidak. Hasilnya: kelompok anak yang melihat tingkah laku agresif dalam film tadi juga melakukan tingkah laku agresif seperti apa yang dilihatnya dalam film itu. Mereka jelas lebih agresif daripada kelompok kontrol. Perbedaan ini juga masih nampak sesudah berselang waktu 6 bulan, meskipun tidak terlalu jelas lagi. Dari data diatas dapat disimpulkan bahwa anak yang berusia 5 tahun ke bawah cenderung berlaku imitasi dengan meniru segala apa yang dilihatnya, baik yang positif maupun yang negatif. Usia dibawah 5 tahun merupakan usia penyerapan segala informasi yang mereka lihat dan dengar, dan umumnya mereka mempunyai pertanyaan “Itu apa?”. Berbeda dengan usia 6 tahun memori anak mulai menguat, dan segala sesuatu yang dipelajarinya pada masa-masa itu akan tertanam lama di benaknya. Usia-usia inilah yang menjadi dasar pembentukan seorang anak akan sangat bergatung pada usaha-usaha yang dilakukan pada usia pembentukan potensi anak. 2.1.3. Definisi dan Pengertian Animasi dan Film Animasi Kata animasi berasal dari kata bahasa Latin Anima, yang berasal secara harafiah berarti “jiwa” (soul) atau animare berarti “nafas kehidupan” (vital breath). Diterjemahkan ke dalam bahasa Inggris menjadi Animation dari kata animated/to animate yang berarti membawa hidup atau bergerak. Istilah animasi berasal dari semua penciptaan kehidupan atau meniupkan ke dalam objek yang tidak bernyawa (benda mati). Film animasi adalah film yang dihasilkan untuk menciptakan ilusi gambar bergerak dengan menampilkan gambar-gambar tunggal pada kamera film atau Universitas Kristen Petra 8 video. Dunai animasi mulai dikenal akrab sejak populernya media televise yang dapat menyajikan gambar bergerak hasil rekaman kegiatan dari makhluk hidup, manusia atau hewan. Televisi lebih disukai karena dapat membangkitkan antusiasme dan emosi penonton. 2.1.4. Jenis-jenis Animasi 2.1.4.1. Animasi Stop-Motion (Stop-motion Animation) Stop-motion animation sering pula disebut claymation karena dalam perkembangannya, jenis animasi ini sering menggunakan clay (tanah liat) sebagai objek yang digerakkan. Untuk mendapatkan hasil pergerakan yang baik seorang harus berulang kali menggerakn clay dan mengambil gambar satu-persatu, sehingga pergerakan objek terhenti atau terputus-putus sehingga terlihat kaku dan kurang enak dilihat. 2.1.4.2. Animasi Tradisional (Traditional Animation) Animasi tradisioanal adalah teknik animasi yang paling umum dikenal sampai saat ini. Dinamakan tradisional karena teknik animasi inilah yang digunakan pada saat animasi pertama kali dikembangkan. Animasi tradisional juga sering disebut cel animation karena teknik pengerjaannya dilakukan pada celluloid transparent yang sekilas mirip sekali dengan transparansi OHP yang sering kita gunakan. 2.1.4.3. Animasi Komputer (Computer Graphics Animation) Sesuai dengan namanya, abnimasi ini secara keseluruhan dikerjakan di komputer. Melalui camera movement, keseluruhan objek bias diperlihatkan secara 3 dimensi; sehingga banyak yang menyebut animasi ini sebagai animasi 3 dimensi (3D Animation). Universitas Kristen Petra 9 2.1.5. Hakekat dan Prinsip Animasi 1. Anticipation (Antisipasi) Antisipasi adalah gerakan pendahulu sebelum gerakan utama dan digunakan untuk mensimulasikan gerakan nyata. Sebelum sebuah figur meloncat, dia harus menekuk lutut dan mengayunkan lengan untuk keseimbangan. Kegunaan lain dari antisipasi adalah menyiapkan audiens menghadapi apa yang akan terjadi atau mengarahkan perhatian mereka menuju sesuatu yang akan terjadi. Apabila sebuah tali akan putus karena beban berat, aksinya akan seketika dan tanpa peringatan, namun realisme seperti ini mengakibatkan audiens kehilangan momen putusnya tali. Solusi tradisional pada scenario ini adalah dengan menggunakan kasus ekstrim antisipasi. Sebuah close up tali menunjukkan peregangan, beberapa benang putus, barulah tali benar-benar putus. Tentu saja dalam kehidupan nyata tali tidak putus dengan cara demikian. 2. Squash and Stretch ( Penggepengan dan Peregangan) Jenis material sebuah objek dapat ditegaskan melalui prinsip squash and stretch. Sebuah bola bowling dan sebuah bola karet memantul dengan cara berbeda. Bola bowling yang berat dan keras memantul sedikit sekali dan sama sekali tidak terdeformasi ketika menyentuh tanah seperti digambarkan pada gambar 2.1. Bola karet, disisi lain jauh lebih lembut dan ringan sehingga lebih terdeformasi daripada bola bowling dan memantul lebih tinggi seperti digambarkan pada gambar 2.2. Gambar 2.1. Bola bowling memantul pada tanah Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Universitas Kristen Petra 10 Gambar 2.2. Bola karet memantul pada tanah Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 3. Overlapping Action (Aksi yang Saling Bertumpuk) Konsep overlapping action ialah tidak segala hal terjadi bersamaan. Contoh overlapping action terjadi pada crash dummies (boneka percobaan) dalam mobil yang ditabrakkan ke tembok. Pada titik tumbuk, impact tidak mengenai semua obyek dalam mobil secara bersamaan. Yang sesungguhnya terjadi, beberapa frame pertama setelah tumbukan, bagian depan mobil remuk hingga ke ban depan, namun interior mobil dan boneka belum bergerak. Situasi berubah drastis beberapa frame ke depan saat boneka terhempas ke depan melawan sabuk pengamannya, kaca mobil pecah, dan seterusnya. Semua aksi ini akibat satu event yaitu tabrakan, namun setiap aksi diawali pada waktu yang berbeda (dan diakhiri pada waktu yang berbeda pula - lihat follow through). 4. Follow-Through (Gerakan Lanjutan) Follow-through adalah pendamping overlapping action dimana sebuah aksi hampir tidak pernah berhenti tiba-tiba. Melainkan inertia membawa obyek melewati titik perhentian, seringkali menyebabkan obyek berubah arah dan mundur ke titik perhentian yang diinginkan. 5. Staging (Penempatan bidang) Staging sesungguhnya lebih banyak mengenai komposisi daripada pergerakan. Gagasan dibalik staging adalah bahwa objek bergerak harus diposisikan sedemikian rupa hingga obyek tersebut dapat dideteksi dengan cepat dan mudah Universitas Kristen Petra 11 dimengerti. Digambarkan pada gambar 2.3 dan gambar 2.4, objek berbentuk siluet. Apabila aksi terjadi dalam siluet obyek lain, aksi tersebut sulit dideteksi, namun apabila sudutnya dirubah, dimana aksi tersebut tidak tertutup obyek lain, ia akan lebih menonjol. Bandingkan gambar 2.3 dan gambar 2.4. Adegan di gambar kedua lebih mudah untuk dipahami baik hasil render maupun tampak siluet. Satu- satunya perbedaan adalah aksi diposisikan di samping lengan robot. Gambar 2.3. Hasil render dan siluet tangan robot Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Gambar 2.4. Lengan robot yang terlihat lebih jelas Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 6. Exaggerated Motion (Gerakan Berlebihan) Seringkali sebuah gerakan atau efek harus dilebihkan untuk memastikan audiens menangkapnya. Dengan ketentuan bahwa exaggeration (pelebihan) tersebut tidak menganggu animasi atau membuatnya jadi tidak valid. Contoh dari pelebihan dapat dilihat pada drama, dimana ekspresi wajah lebih terlihat daripada Universitas Kristen Petra 12 kehidupan nyata. Pelebihan tidak menyimpang dari realitas, bahkan menambah menambah realitas dengan memastikan audiens menangkap apa yang terjadi. 7. Secondary Action (Aksi Sekunder ) Aksi sekunder merupakan sebuah kejadian sebagai hasil dari aksi lain. Bayangkan animasi tentang bola basket memantul dari ring basket. Ring basket
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