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This paper explains the implementation of the creation of a screenplay for a feature video entitled "Mother for the Earth" with a focus on the application of parallel structure in four scenes: teaser, conflict, climax, and catharsis. Each scene serves to build narrative tension, strengthen the central theme, and generate a deeper understanding of the importance of environmental awareness. The parallel structure is applied to show a strong contrast between two mothers with different lifestyle backgrounds—one mother who adopts an environmentally friendly lifestyle and the other mother who is less concerned with life's desires. In the teaser scene, the scenario presents two main characters living in different worlds, arousing the audience's curiosity about the differences in the two mothers' views and attitudes towards the world around them. In the conflict scene, both face challenges and dilemmas related to their chosen lifestyles. The climax scene shows the culmination of their conflict, while the catharsis scene provides a resolution, where one of the mothers finally realizes the importance of small changes in daily habits that can have a big impact on the environment. This work aims to educate the audience, especially families and housewives, about the importance of raising environmental awareness from an early age in children. Through the use of parallel structure, the message about simple behaviors that have a significant impact on the environment becomes more powerful and compelling, inspiring the audience to take positive action in their daily lives for a better planet. The use of parallel structure in this scenario also serves to demonstrate how the two mothers, despite coming from different backgrounds, can share the same goal of preserving the earth.

This final project aims to examine how cinematographic techniques are applied by the Director of Photography (DoP) to enhance the delivery of visual messages in the feature video "Ibu untuk Bumi", which highlights the role of mothers in shaping sustainable lifestyle habits within the family. This research employs a qualitative approach using a production study method. The author was directly involved as the DoP, designing the visual concept from pre-production to post-production. The analyzed elements include composition arrangement, camera angle selection, shot type, camera movement, and lighting. Shots such as medium shots and close-ups were used to build emotional closeness between the subject and the audience. The lighting system combined key light, fill light, and back light to create a natural atmosphere that supports the narrative. The results show that consciously designed cinematographic techniques can reinforce the message of a feature video, especially when the visual narrative focuses on everyday life relatable to the audience. This work demonstrates that the DoP plays a vital role in delivering social messages and shaping a reflective and empathetic viewing experience.

The problem of waste dumping on Bali coast must be regarded as an ecological crisis which proves to be unseen under many perspectives. The article is about the making of a documentary film Apocalyptic Tides as an advocacy and educational tool bringing up this issue by means of the expository documentary style with highlights of poetry and performance elements in play. The method of field observation, semi-structured interviews with activist and scholars and visual documentation are also used in the research, followed by analysis and compiling of information with the help of non-linear editing tools by using Adobe Premiere Pro software. The film is set on a thematic narrative that shows the process of the waste as it goes upstream to downstream and how it affects the ecology and thoughts on the ecological consciousness. Techniques of non-linear editing were applied to organize the footage according to emotional echo and the schemes of meaning instead of the chronological order, thus creating an intellectually stimulating and reflective storyline. Apocalyptic Tides proves the power of documentary film to bridge the gap between art, science, and advocacy in case of creating the ecology-minded population.

The documentary film “Pedal Waktu Jalanan Bandung” was a final project that explored a vintage bicycle community known as Paguyuban Sapedah Baheula Bandoeng (PSBB). The creation of this work is driven by a concern over the gradual disappearance of onthel bicycles amidst the wave of modernization in the city of Bandung. This project aimed to document the scriptwriting process of a documentary film by applying an expository narrative approach, in which the writer served as the scriptwriter. The film was developed through three main stages: pre- production, production, and post-production. During the pre-production phase, the writer conducted in-depth research and field observations, and developed a script framework, synopsis, treatment, and interview questions. The production phase involved filming, conducting interviews, and recording voice-over narration. Post- production included visual and audio editing as well as finalizing the distribution through the YouTube platform. The final result was a documentary that not only delivered historical information but also raised emotional awareness about the importance of preserving traditional values. In conclusion, the application of an expository narrative successfully strengthened the storytelling structure and provided a deeper understanding of the vintage bicycle community in Bandung.