In demoscene nomenclature, an "intro" is a demo with a sizelimit. This was entered in the demo compo, ergo "no size limit".
With file size, most democoders go all the way, both ways. By that I mean that if they choose a sizelimit category, they squeeze out every last byte, and if they don't, most don't care about filesize at all. There's demos these days that are many times bigger than an acceptable video recording would be because nobody bothered to eg compress the assets, it includes an entire game engine, etc. Like 800MB for a 3 minute audiovisual show. Kinda ridiculous but it's just.. well, call it either laziness or focused pragmatism :-) Gotta get that prod out before the deadline!
The Razor1911 zip[1] is 30MB, which actually is very much on the small side for a current-day demo.
> The Razor1911 zip[1] is 30MB, which actually is very much on the small side for a current-day demo.
> and music is probably a significant fraction?
For the Razor1911.exe in the ZIP which ends up being 31MB on disk, which is almost entirely made out of a compressed 145MB executable, whose size is mostly 48 PNG files (11MB), 69MB of zeros (nice?), 329 compiled DirectX shader blobs (DXBC) totaling 6MB, One large MP3 of about 17MB and finally like 34MB of what seems to be other types of runtime data like asset tables, font and UI data,
Seems about right then, my guess was about a third for music, classic 128kbps mp3's are at about a meg a minute (960kb/m) so this is at a slightly higher bitrate. Not sure how compressible those parts are but between half and a third in the end depending on the final compressor checks out.
Huge difference between constantly being in passive alert mode waiting for the kid to wake up and cry their heart out, and proper uninterrupted “I know have x minutes for myself, no matter what” time.
AH, MANY THANKS!
That was the wording I was actually looking for when our twins arrived - I couldnt even sit down to read a printed newspaper article with 2 pages....
Meh, you're right but the EU also makes laws in the US (https://en.wikipedia.org/wiki/Brussels_effect). In the end it's not about who makes the law but whether it's a good law. Ecodesign laws making US vacuum cleaners more economical is good. Trade pressures undermining EU privacy protections maybe not so good.
Who cares where a law originates? What matters is whether it’s a good idea or bad. Eroding privacy protections is bad. If the EU had come up with that all on their own (and they try that aplenty too; chat control anyone?) then it’s also bad.
I wonder what percentage of "obedient" teachers saw through the facade, realized that the learner wasn't a very good actor, and was just having a good time playing along with what must've seemed like some psychology professor's weird pain kink.
Let's not forget that most of these pictures were made by teenagers, doing the best they could (and hoping others didn't know about Boris Vallejo). The demoscene was very young back then. Copying is generally considered pretty lame in the demoscene these days.
Making something appear digitally that only exists in the far-away analog world still gets 'em.
If it's indistinguishable from the real thing but made without any of the traditional tools, it's remarkable, even if you think it's lame in any way at all.
Exactly. 12-16 was predominantly on the producer side.
The hidden deciding factor nevertheless was time. And that affected the whole production cycle: coding, graphics, music, crunching, copying, spreading (postal services!).
We had way more snow back then and we enjoyed working on something for hours till the wee hours.
18 was a deciding factor because after that military service killed quite a few scener careers.
Have a look at all the pr0n stuff pixel graphics that were cherished by the young studs as well as all the scroll texts as well as early disk magazines or pictures of programmers in computer magazines, with lots of profanity and simply stating age competition: 14 years old scolding 13 years old…
A lazy copy has of course always been lame, but it also depends on when in the 90s, and the platform.
There were plenty of images that amazed me back then even though I was perfectly aware of the source material. It depends on the platform, and the amount of effort going into recreating it. Reinterpreting an image for a C64 or Amiga with a restricted palette is a skill in itself. Copying it for a platform, or in a style / resolution / bitmap depth, where you might as well use a scanner, not so much (and so, of course, the accusations became more and more frequent, often warranted).
Copying it and trying to pass something off as original is of course also very different from acknowledging the original and letting the conversion stand on its own as what it is.
At least they know who to cite, even if they don't. I like to have a diffusion model generate an image of my desired subject in whatever media I choose then look at it as make something close but not quite the same. I'm copying tons of people I don't even know. But I am also just practicing and don't try to pass it off as my own creation.
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