FUI (Fantasy User Interface)

架空ユーザーインターフェース / 1997– / Style / UI Expression

The name that stuck to the craft of making the screens that appear inside films. It spread around the work of Mark Coleran, who says he is given credit for the term without being sure he can take it, and who describes these screens as illustration and a storytelling device that was never designed to be used. He works with light, shape, form, movement and sound so that each film screen has one thing the audience is meant to read.

One thing per screen that the audience is meant to read, with everything else present as density / Columns of monospaced figures updating continuously while computing nothing / Thin luminous lines on black, with shapes drawn as outlines and almost no fill / Frames and controls that look like plausible equipment rather than pure abstraction

FUI (Fantasy User Interface) — 『スター・トレック／ヴォイジャー』の LCARS 操作パネル 2016年撮影 — Wikimedia Commons / CC BY-SA 4.0 — 『スター・トレック／ヴォイジャー』の LCARS 操作パネル 2016年撮影 — Wikimedia Commons / CC BY-SA 4.0 ／『新スタートレック』エンタープライズD ブリッジの操作卓 2008年撮影 — Wikimedia Commons / CC BY-SA 2.0 ／『宇宙大作戦』USSエンタープライズ NCC-1701 のブリッジセット 2019年撮影 — Wikimedia Commons / CC BY-SA 2.0

FUI (Fantasy User Interface) — 『新スタートレック』エンタープライズD ブリッジの操作卓 2008年撮影 — Wikimedia Commons / CC BY-SA 2.0 — 『スター・トレック／ヴォイジャー』の LCARS 操作パネル 2016年撮影 — Wikimedia Commons / CC BY-SA 4.0 ／『新スタートレック』エンタープライズD ブリッジの操作卓 2008年撮影 — Wikimedia Commons / CC BY-SA 2.0 ／『宇宙大作戦』USSエンタープライズ NCC-1701 のブリッジセット 2019年撮影 — Wikimedia Commons / CC BY-SA 2.0

Dictionary entry

Best used for: Designing a screen that has to be read in the few seconds an actor is looking at it · Designing the display of a device that does not exist, as a picture that never has to work
Type: Lead with monospace and let most of the text act as texture. Only the word that must be read changes size and brightness.
Composition: Decide the one thing to be read first and aim the light and the motion at it. Fill the rest with density that carries no meaning.
Material: One or two luminous colours on black, thin strokes, almost no fill. Pull the brightness down so the screen sits inside the photographed shot.
Caution: Trying to make the screen genuinely operable thins out the density and scatters the information, and it stops being readable in the length of the performance.
Further study: Coleran が関わった Spy Game、Blade II、The Island、The Bourne Ultimatum の画面 / 1つの画面に読ませる点を1つに絞るという考え方 / 実写に重ねたときの明るさの落とし方と合成の作法

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