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Dengue Hemorrhagic Fever (DHF) remains a major public health problem in Indonesia, particularly in densely populated areas. Control efforts require accurate data and spatial analysis to understand disease distribution patterns. Geographic Information System (GIS) is an effective tool for visualizing case distribution and supporting surveillance and planning of control programs at the primary healthcare level. This study aims to describe the spatial distribution of Dengue cases based on medical record data and produce a geographic distribution map to support Dengue control efforts at the Puskesmas level. This study used a quantitative descriptive design with secondary data from medical records at Karangsari Health Center. The sample consisted of 255 DHF patients in 2025, selected using a total sampling technique. Data were processed through editing, geocoding patient addresses, and spatial analysis using QGIS software.The results showed 255 Dengue  cases in 2025 with fluctuating monthly trends, peaking in April and lowest in December. Case distribution was uneven and tended to cluster. High-risk areas accounted for 15.7%–21.2%, moderate-risk areas 9.8%–15.7%, and low-risk areas 7.1%–9.8%. Megu Cilik Village had the highest proportion of cases, while other villages were categorized as moderate and low risk. This pattern indicates that Dengue incidence is influenced by environmental conditions, vector density, host factors, rainfall, and Aedes aegypti presence. GIS provides clearer spatial visualization, helping identify high-risk areas and supporting targeted public health interventions.

West Sumatra is one of the Indonesian regions with high exposure to natural hazards, making fast, accurate, and accessible disaster information essential. This study aims to analyze the role of the Instagram account of the West Sumatra Regional Disaster Management Agency (BPBD) in disseminating disaster information, examining both institutional management practices and public interpretation of the messages. The study used a descriptive qualitative approach. Data were collected through semi-structured interviews with ten external informants and six internal BPBD informants, supported by observation and documentation of Instagram-based disaster communication. The data were analyzed through reduction, data display, and conclusion drawing. The findings show that Instagram functions as a channel for early warning, emergency updates, disaster education, documentation, and public interaction. Internal informants described content production through field documentation, editing, 5W+1H-based narration, verification, and coordination with related agencies. Public informants perceived BPBD information as clear, credible, and useful for daily preparedness, although they expected faster updates, simpler visuals, and more interactive content. The study implies that disaster communication through Instagram needs to strengthen verification procedures, real-time updates, human resources, and two-way engagement.

This study examines the application of Walter Murch's Rule of Six as a post-production decision-making framework for the Instagram Reels content on the Tenchi Tirtayasa account. This project addresses the challenge of bridging the gap between the image of a premium restaurant and the necessity to convey a warmer, more accessible brand experience through short-form videos. A descriptive project-based methodology was employed, involving the observation of the production process, documentation of the editing workflow, analysis of Episode 3 of the Reels series, and review of Instagram Reels Insights as the data. The analysis reveals that the six priorities of editing—Emotion, Story, Rhythm, eye-trace, Two-dimensional screen space, and Three-dimensional action space—assisted the editor in selecting shots, organizing visual sequences, managing pacing, and maintaining spatial continuity in the vertical 9:16 format. Episode 3 garnered 9,132 Views, 229 Likes, 10 Comments, 9 Shares, and a 93.4% non-follower reach rate. These findings suggest that a Rule of Six-based workflow can enhance soft-selling Storytelling, reinforce visual consistency, and improve the communicative value of restaurant reel content.

This study examines the application of continuity editing in the film Kucumbu Tubuh Indahku and its role in building the film's narrative structure. The primary objective of this study is to analyze the editing techniques used and identify the editor's contribution to shaping the visual storytelling. The method used is descriptive qualitative, with primary data collected through interviews with the film editor and observations of the film itself. The results of the study indicate that continuity editing functions to maintain narrative continuity and the emotional flow that develops throughout the story. The editing techniques used in this film include cut-in, match on action, and eyeline match, all of which work to create smooth transitions between different scenes. The cutting points in the film become key elements in regulating the rhythm, visual emphasis, and dramatic intensity within the storyline. Each decision regarding the cutting point made by the editor can produce different emotional effects, which directly influence the pacing and dynamics of the story. This study emphasizes that careful editing decisions are crucial in strengthening the visual and dramatic aspects of the film and help build a strong narrative experience for the audience.

The Director of Photography (DOP) is responsible for the visual aspects of documentary video production, covering the pre-production, production, and post-production stages. The DOP plays a crucial role in translating concepts and messages into visual form through the arrangement of composition, lighting, camera angles, and camera movement to produce visuals that are both aesthetically appealing and meaningful. The purpose of this final project report is to explain the role of the DOP in the production process of a documentary video that focuses on the rehabilitation of the Javan slow loris. The method used is a descriptive approach to systematically and comprehensively identify the object of study. In the pre-production stage, the DOP designs the visual concept, prepares the shot list, creates the storyboard, and coordinates with the director. During the production stage, the DOP is responsible for capturing footage by applying cinematographic techniques. In the post-production stage, the DOP conducts visual evaluation and provides input during the editing process. In conclusion, the Director of Photography has effectively fulfilled their role in producing visual quality that supports message delivery in the documentary Bisakah Aku Kembali? about Javan slow loris rehabilitation.

This study is grounded in the observation that the implementation of an efficient, simple, and low-cost judicial process in civil cases remains ineffective, particularly in relation to mediation as a dispute resolution mechanism. Although mediation has been incorporated into judicial proceedings with the aim of expediting case resolution, simplifying procedural stages, and reducing litigation costs for the parties, these objectives have not been fully realized in practice. This research seeks to examine the extent to which mediation in civil litigation effectively contributes to the realization of an efficient, straightforward, and affordable justice system. In addition, it aims to identify the factors that influence both the success and failure of the mediation process. The study employs a normative legal research method, utilizing statutory and conceptual approaches. The research is conducted through a literature review of primary and secondary legal materials. The findings indicate that the implementation of mediation in civil courts has not yet reached an optimal level. This is reflected in the relatively low success rate of dispute resolution through mediation, as well as the tendency for mediation to be treated merely as a procedural formality. Several contributing factors include the lack of good faith from the parties, limited time allocated for mediation, and the suboptimal role of mediators.

The Bulusari Film Village Community possesses considerable potential as a community-based creative space, yet it continues to face limitations in technical film production skills and community management. This community engagement program aims to strengthen the community’s creative capacity and professionalism through training in scriptwriting, cinematography, production, and film editing, as well as reinforcing organizational management using the Participatory Community Appraisal (PCA) approach. The activities were implemented through five major stages, namely needs identification, formulation of alternative solutions, technical training, short film production mentoring, and strengthening of the community’s management system. The results demonstrate significant improvements in members’ technical competencies across all stages of film production, from pre-production to post-production. The community successfully produced a script and one short film with enhanced visual and narrative quality compared to their earlier works. In addition, the establishment of a new organizational structure, operational SOPs, and a simple administrative system effectively improved community governance. The program also broadened the community’s collaborative network with local government, educational institutions, and other creative groups. These findings indicate that PCA-based empowerment supports increased creativity, autonomy, and competitiveness among local creative communities in alignment with the SDGs, particularly SDG 4 (Quality Education), SDG 8 (Decent Work and Economic Growth), and SDG 11 (Sustainable Communities).