Graphics - directing in demo: palette of visual media in Demomaking.

Режиссура в демо
Alone Coder 

          The uncommon man wants to leave
       a world  different  from  what  he
       found; a  better, enriched  by his
       personal  creation. For this he is
       willing  to  sacrifice much or all
       of  the  happiness that the common
       man enjoys.
          Незаурядный человек хочет оста─
       вить мир иным,нежели тот,в который
       он явился, лучшим, обогащённым его
       собственным творчеством. Для этого
       он готов пожертвовать большей час─
       тью радостей или даже всеми радос─
       тями,которыми наслаждается человек
 mediocre.

               Attributed to Denes Gabor
                            (Dennis Gabor)

   Demomaking is a special kind of art.
   In any art there is a certain pa─
liters of visual media. The main ones─
some tools in demo-making - audiovisual─
line series (picture, sound and their installation) and
technical solution in context is possible─
ties of the equipment (namely code). These are things
mandatory, without which the demo is like a product
does not exist. After all, code without a picture is a thing
in itself, and a picture without a code is a video
(to avoid competition with the real
cinema, the authors of "dem" on such an idea─
Logies resort to deception - they release a video─
a series similar to effects so that the viewer does─
It’s small that there is a code, and I assessed it by Katya─
goriyam demo).
   To these fixed assets are added
such, let's say, "literary" things as
theme, plot, allusions, etc. Maybe add─
meta-information, cultural context.
Even the subtleties of usability, such as collaboration─
accessibility and interactivity may
be an addition to the palette.
   Active use of everything
range of products can significantly decorate
work or, conversely, ruin it.  All
means interact. And each of them
inexhaustible.

   A narrow view of the demo limits co─
putting this whole picture in one design─
nom. Although, of course, the speech here shouldgo about
full-fledged directing. Moreover, the image─
creative means common to demo and cinema (and
Let me remind you that this is everything except the point about the code and,
maybe usability), allow orientation─
rely on a well-developed theory
cinema. In any case, you can’t
just ignore it!

       What is good design?

   Its essence is in two principles - beauty and
functionality. Design is not something
perversions that the author or in his party
seem original, but what corresponds─
suits the feeling of beauty. It's still
comes from nature and is more or less common to
everyone, if it is not distorted by some special
education. Therefore, let's leave aside ri─
toilets, the original meaning of which is lost,
or better yet, let’s remember the classic (between about─
chim, commercial) painting and cash register
but...
   Nowadays there is a fashion to just do hack work─
design and just call it “design─
nom" (and beauty - "lack of design").
They don’t care about color matching (sometimes at all)
more on color), on composition, on the rules of mont─
tazh, show absolutely repulsive
images, smear dirt on the screen, etc.
Evaluations of work quality become entangled in poly─
tic game where their own people vote for their own
and agree with theirs.
   The politicization of assessment resembles the situation
with abstract art in the 60s (by the way,
intellectual protest during closing
exhibitions in Manege took place against the backdrop of
that peoplefed on rumors and did not see theirs─
through their eyes, WHAT was exhibited there for the state─
gift money; now it's "creativity"
those authors are not a secret at all, but no
no longer of interest).
   Of course, history has known several waves
such an attitude towards art in bohemian
circles, when doing "standard" meant
not to be heard at all:

 "All modernist art, regardless
on the political position of one or another of his
adherents, there is a protest against truth, goodness
and beauty, turned into official common ones
places that are no longer believed."
 (Lifshits M. Liberalism and democracy)

   But history has always condemned such attempts─
ki rise above the viewer, all this is anti─
art based on negations, form without content─
nia, the “you’re just not mature enough” rhetoric. Them
more, elitism in that form of art which─
The swarm itself is elitist - nonsense.
   And if, on the contrary, you force the eyes─
To love a calf is already a joke:
"Let's make elitism a universal property!"
(Stanislav Jerzy Lec). By the way, he said 
what "the swamp sometimes producesimpression
depths".
 But simply - laziness is hiding here, not─
ability and unwillingness to work seriously.

   It doesn't matter who's the loudest these days
screams. Real art must be made
for eternity or at least for a long time
term.

                  * * *

   A demo is usually not a story, but a clip, and
rests not on the plot, but on the general idea and
stylistic unity. Usually correlating
with demo format (mega demo/collection, techni─
technical trackmo, story demo, invitation,
gift, proof of concept, compofiller, etc.),
the general mood can be cheerful, sad─
noisy, pretentious, even mocking - and under─
supported by appropriate music. Change
mood (remember the mood scenario,
used by Mstislav Pashchenko, and color─
a good script in big cinema these days─
me) is done by changing the picture, music and ri─
tma, without generally falling out of the main scheme.
Skillfully using mood and tempo,
you can keep the viewer at the screen for a long time without
forgetting the importance of the beginning and the end.
   Basic principles of tempo in the demo
(the mysterious word “flow” that was used─
inappropriate and out of place):
 -do not allow static (including
when the effect is in the window, and most of the eq─ 
the wound is static); 
 -notdelay the effect, but also show it
opportunities; 
 -balance of duration and amount of mate─
rial.Monotony makes the viewer unperceptible─ 
impulsive (the same applies to music). 
   Yerzmyey's simple method can also help
"Change colors periodically."
   To all this is added "sync" -
must match the picture to the music
(from part to pattern to the subtlest accents─
Comrade). You can read about sync in others
articles in this issue, so we won’t go into
Let’s stop here and move on to mo─
ntazhu.

             What is installation?

   Montage is, in simple words, a combination
elements in space and time. Installation
has a bunch of principles that are often difficult
combine, by virtue of which this science transforms─
goes into art - so that the elements don’t pro─
contradicted each other, smoothly transitioned
at each other and did not hit each other in the eyes.
   Unfortunately, among demosceners you will meet─
There is an opinion that installation consists of
mastery of special effects, although already at the most
During the first installation lectures they will explain to you that
without mastering simple gluing to special effects─
It’s better not to start there.
   I won’t list all the principles here.
installation (Russian-speaking readers can under─
familiarize yourself with them first
at L.V. Kuleshova in"The ABC of Film Directing" and
is especially complete in the three-volume work by A.G. Sokolova"Editing: television, cinema, video"), but
you need to know the main ideas: they must be combined
scales, colors and movements. The viewer is not up to
lying every time the picture changes for a long time─
mother's head, what is he seeing and where
In general, you need to look - the transition itself should
prompt him with this information. This doesn't matter
a clean, clear picture with graphics can also help─
a winding composition, which has also been written about─
us books.
   The editing is very similar to the theory
vision in general and with such subtleties as
color perception (chromatic adaptation
and post-image, Bezold's effects and 
Purkinje...), perception of movement (inertia 
vision and action-specific perception, 
Troxler's fading and lilac chaser...), oso─ 
the benefits of perceiving geometry with a bunch of connections
associated with this visual illusions, even more
useful, helping to understand how many furs there are ─
what our vision actually consists of.

   It may be difficult to achieve if you are unaccustomed to
high-quality, pleasant installation. But we'll help─
thread: sometimes the work is visible. Visible and absent─
vie of labor.

                  * * *

 There are no ideal dems. Every shed─
there are shortcomings that are compensated
something else. You can't take something in general─
known andsay: "repeat as done
there". This recipe won't work. You need─
work on the sense of taste. Produced
it is an extension of the evaluation base - look
and read as much as possible, and you MUST─
ALSO not limited to any genre
with style frames.