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sherylattewellunit73 · 7 years ago

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Evaluation

The first thing we did was research examples of both fine art and commercial cinemagraphs, looking at the way they used cinemagraphs to portray a message. This step was important as we wanted to explore both genres and not limit ourselves too early on in the creative process. We then brainstormed our own ideas, creating 5 examples for both fine art and commercial styles before narrowing them down to 3 potential fine art ideas. Next, we pitched these ideas during group crit and received feedback, helping us to develop our final idea. Once we decided on our final idea, we researched photographers whose work influenced us. This helped us to put more thought into our desired aesthetic. We created sketches, mind maps, bought props from local charity shops and did a test shoot prior to shooting and editing our final cinemagraphs. This was important as it enabled us to plan out exactly what we wanted to do, allowing for smooth running.

Our group was made of Emma, Sheryl and Paige. Emma was the creative director which meant she was in control of the overall idea development and creative direction of the project. Sheryl was the project manager which meant she was responsible of the smooth running of the project as ell as organising people, materials and equipment. Paige was the chief editor/retoucher which meant she was in control of the post production process and making sure everything was documented. One of our main strengths as a team was that we organised ourselves into the roles we were most comfortable with and believed we would be best at which made the project run smoothly. Another one of our strengths was that we communicated effectively which meant we were able to develop ideas as well as create a plan for this project. However one weakness we had was bringing the larger pieces of written work together as we shared the workload. We communicated effectively by making a Facebook group chat so that we would have place just for discussing the project with each other while at home. As well as this, we met up a couple of times at someone’s house to review and talk about our work. One way that we could have communicated better is by having video calls while at home so we could talk to each other about what work we needed to complete.

We originally came up with a punch of ideas, both fine art and commercial. A butterfly on fruit, hair flicking, make up highlight dripping and foot tapping on record player for commercial. Then isolated mood dinner table, person in the middle of trees, abandonedness durning an apocalypse, distance in family reflected in home. These ideas were the ideas we first had when given the brief before we had decided what we wanted to focus on.

From this collectively, as a group we decided to narrow it down to our three favourites. These consisted of the Shoe advert, with tapping of a foot on a record player for a collaboration of brands such a Dr Martens and Rough Trade in a grungy feel for commercial. The apocalyptic scene of the kitchen showing abandonedness that we captured inspiration from Emma’s photograph for fine art. Then finally the triptych of distance in the family, show by lived in homes but without people again for fine art.

To help us come up with the final idea, we pitched our 3 ideas to our class. We started off with the commercial one which is the one we had least confidence in, as we thought our fine art ideas were better. Our tutor mentioned to us how it was a good concept and idea, but we would have try find business around nottingham that fitted with aesthetic we wanted. He then expressed his interest in our second idea. Which we thought was a good idea however could come off as cringey and over done. He believe if we didn’t stick with the common and typical apocalypse photographs/movie ideas, it could be executed very well. He suggested, that we come up with and idea of why the apocalypse happened and have a subtle hint of it in our cinegraph. We then shared our finally and favourite idea. Our tutor and fellow peers, expressed a liking to this idea. However at first didn’t understand it to the extent we were trying to explain. Once explaining the idea in a more understandable way, everyone enjoyed the idea. They believe if well executed this could look very good and even the best out of all the ideas.

With help from this, we thought the first idea was not what we wanted to do. It was gonna he a cinemgraph to be a cinemagraph. We wanted it to have deeper meaning but, it didn’t. The second idea we did like more though, we thought the idea was over done and was going to be hard to have an original idea that hadn’t been done before. From that we also thought the idea had a cringey, cheesy feel. This is because in general apocalyptic films, books and photographs can feel that way.

As a collective, Sheryl, Emma and I, decided to go with our favourite and most loved idea, which is as the Distance in the family. We took on board what or tutor and peers said however, we thought as this was the idea we related to more personal and had a connection to us all. We could work better on this idea and make the best cinemagraph we could.

The aim of our final cinemagraphs was to portray a feeling of disconnect within the family home. We did this by producing 3 cinemagraphs (a triptych), each taking place in a different room inside the home. Each room looks lived in however, we are unable to see the identities of those who live there, creating a feeling of unease within the viewer. By keeping the identities of the family members hidden we reflect the disconnect between them, portraying a feeling of loneliness. We decided upon this idea because a dysfunctional family life is something all 3 of us had experienced, making it more personal to us. We felt that our idea needed to take a fine art approach as neither of us thought our styles suited a commercial approach, and we wanted to be able to convey a meaning in each cinemagraph. Inspiration was mainly gathered through our own experiences, alongside outside influences such as Gregory Crewdson, Todd Hido and Alexander Gronsky. The way Crewdson staged his images inspired us throughout this project, prompting us to think about the way we wanted each room to look and buying the necessary props to achieve our desired aesthetic. Hido's body of work named 'Interiors' also inspired us, as we liked the way he used natural lighting to create an atmosphere within the photograph. The images feel familiar, as scenes most of us can relate to are featured, such as bedroom walls. The feeling of familiarity is something we really wanted to achieve within our work and I think we achieved this.

What we have learned about animation in history is that it’s come far from what it was at the beginning. Starting off with low resolution websites with few but bright colours in 1990. slowly moving onto low resolution images in 1994/5. Then the leading search engine ‘google’ was created in 1998. From this graphic interchanged format or ‘gifs’ were created. Very pixelated moving objects and images which became very popular. In 1999 adobe flash was created, this platform for graphic designers to create graphics and web pages. This meant a lot of websites become more ‘professional’ for the time. This was moving images, hiding pages, and more colours.

The animation we knows today seeming a different, however it’s not very different. The same type of format and layouts are the same. this said it has more of a current feel which changes through out time.

Animation in advertising is very important, it allows more creative freedom for directors and brands as it’s not just film or photography.The main new skill we all learned during this project is how to make a working and effective cinemagraph. Another skill we have learned is how to edit video clips using photoshop. Knowing how to make a cinemagraph could be very useful in the future because we may be hired to create advertisements, which could include cinemagraphs, for a business/company. As well as this, having this skill may make us stand out from others when applying for jobs and could be what gets us the job. This project has helped us develop as photographers because it has taught us about how video can be a part of our photographic work. It has also made us consider the composition of our shots because once it had started recording, we couldn’t move the camera.

We are all very happy with our final pieces because they work together well as a series. They match well in terms of colour and composition. Another thing we are happy with is how well we worked as a team. We were able to give feedback and constructive criticism when discussing each others ideas. However, something that didn’t go so well during the assignment was when we tried bring all our work together as we would split questions and bring them back together. This meant we fell a little bit behind when it came to completing the written work. If we were to do this project again, we would try different compositions as the kitchen cinemagraph stands out slightly because it is straight on instead of at an angle. As well as this, we would improve how we brought our work together by emailing each other the work as soon as we had finished so we don’t lose track of what has been done.

During our group critique, the majority of people were positive towards our cinemagraphs however some didn’t understand their meaning which is understandable because our ideas were displayed quite subtly. We got good feedback on the technical aspects such as the composition, lighting and overall aesthetic. As well as this, people said we have edited our cinemagraphs very well as there aren’t any jumps and the loop is smooth. We were able to voice our strengths and weaknesses to the others during the group crit.

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sherylattewellunit73 · 7 years ago

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Proposal

We will be creating 3 cinemagraphs as part of a triptych, each being square format. We decided to use square format because it is reminiscent of 1x1 medium format photographs, therefore giving our cinemagraphs an aged feel. Each cinemagraph will represent a member of the family however, each room will be empty. The absence of people reflects the disconnect between family members.

We have decided to take a fine art approach to this brief as opposed to a commercial approach as we wanted to be able to think freely and creatively without being limited to a specific product to advertise. Narrative is a something we all wanted to incorporate within our cinemagraphs and we didn't think we'd be able to achieve this commercially. We will be filming on location in a home as we wanted the finished product to feel familiar to the viewer and shooting in a studio would feel too artificial for our desired aesthetic. Because our idea is based upon isolation within the home, shooting in a studio wouldn't make sense as others wouldn't be able to relate to it. We want to try and achieve something that others relate to by using natural lighting, possibly during golden hour when the lighting is soft and dream like.

Our cinemagraphs will be unique to many other cinemagraphs as they are going to be versatile. We want them to look like they could have been taken out of a movie as well as a photograph and cinemagraph. We want the movement within the image to be quite subtle, which in turn will intrigue the viewer and generate questions. Many cinemagraphs are quite loud and commercial based, with very obvious and predictable movement within the scene. Ours will be more subtle and understated, which I think in turn will make them more eye catching as it's not typical of a cinemagraph.

The first cinemagraph we will be filming is the one of the living. In this one, we will be having a vintage lamp sat on top of a pile of old books, being turned on and off. We will be having the arm of the person turning the lamp on and off in the frame but there won’t be anything relating them to an identity which will keep it within our theme of disconnection in the home. We will be filming this cinemagraph in the early evening because it has to be dark enough to need the lamp on.

The second cinemagraph we will be producing is going to be of an egg being cooked on the hob. There will also be a vintage kettle on another hob, boiling some water. This will result in there being some steam moving as well as the egg. There will be a model holding a spatula as if they are about to flip the egg and that will be the contrast the cinemagraph needs. The camera will be positioned higher than the hob so that we can see the egg in the frying pan. We will be shooting this footage during golden hour because we want a golden/film aesthetic.

The third cinemagraph will be of a book as the page is being turned. We will position the model doing this at the windowsill in a bedroom because we are using natural light. Like the previous cinemagraphs, the model’s hands will be in the shot. They will be staying completely still which will add the contrast it needs to work as a cinemagraph. The time of day we will be shooting at will be golden hour because we want it to have quite a golden/film aesthetic.

We will be creating these cinemagraphs by setting up the scene to how we want it. Then we will position the camera, on the tripod, so that we get the composition we want. We will then begin filming, making sure to leave some dead footage at the start as well as the end so it can be trimmed and edited. When all of the footage has been edited, we will be cropping all of the cinemagraphs so that they are all in square format. While filming we will have to make sure that there is nothing that could relate the person to an individual identity because that would take away from our theme, disconnection within the home. As well as this, we will have to think about composition because of how we want to crop them in post production.

We will need a camera that can record as we will be filming. As well as this, we need a tripod because the camera has to be completely still when we are filming. This is because a snapshot has to be taken during the editing process. Studio lighting may also be used if it is needed but we would prefer to stick to natural lighting. As we will be creating a triptych of cinemagraphs, in different areas of the house, we will need different types of props. For example, one of the cinemagraphs might be in the kitchen so we would include the hob, an egg being fried, a kettle and someone holding a spatular. For a scene in a bathroom, we would probably use things such as shower gels, shampoos and soaps. In the scene shot in a living room, we would want a vintage lamp and a stack of old looking books as well as a chair. For the scene in the bedroom, we would need a chair for the model to sit on and a old looking book to flick through. We will be filming the living room cinemagraph on the 18th of January at Sheryl’s house in the early evening. The kitchen and bedroom scenes will be filmed on the 19th of January at Emma’s house.

We will require a couple of models as our idea is based on isolation and having the cinemagraphs look as if there should be people there when the whole person isn’t there.

One major source of inspiration is Gregory Crewdson, an American photographer who's work often explores the relationship between the domestic and the fantastical. The photographs he creates resemble a snapshot of a movie. However, with film we get a beginning, middle and end, whereas these photographs are just a single moment, leaving the viewer wondering what happened/ what will happen. Part of the reason why they look like they could have been taken from a movie is the elaborate lighting set up Crewdson uses, which is very similar to light set ups used within the film industry. Although we won't be using elaborate lighting set ups, we would like to try and achieve something that looks like it could have been taken from a movie through the use of props and natural lighting. Crewdsons work has a strong focus on narrative, with each image presenting it's own story. We will be taking inspiration from the way Crewdson creates a narrative within his work in our work through using carefully thought out props and considered composition.

Another source of inspiration is San Francisco based photographer Todd Hido. Best known for his body of work, 'Homes at Night', I found his series named 'Interiors' very inspiring. Interiors is a body of work that explores the inside of homes. Hido states that he loves shooting home interiors because “they add another layer of narrative to a sequence of photographs- it brings the viewer inside the home”. As a photographer Hido is “very much interested in the loss that happens in the spaces. Walls do talk. I was interested in the family drama that had occurred. A lot of my work is really about home and family. In these spaces I often recognize something of my own unstable childhood in them. Many of the places and people I photograph, resonate with me”. His reasoning for photographing home interiors is similar to ours, as we want to try and portray the loss of connection between family members. His work is very natural looking and not over complicated, which I like. The images also feel familiar, as scenes most of us can relate to are featured, such as bedroom walls. This feeling of familiarity is something we would like to recreate within our work.

While looking for inspiration, I came across an image taken by Alexander Gronsky for a series named 'endless night'. The photograph has been taken in a dark room, with the T.V being the only light source present. There is a person lay lifelessly on the couch, portraying a feeling of hopelessness and isolation. The low key lighting also adds to the sober mood present within the image. The composition of the room is something that we would like to incorporate within our cinemagraphs, as I think including the whole room as opposed to small details will give the cinemagraphs more context. The use of the T.V within the frame has inspired us to think about different ways we could also include a T.V within the scene.

We have chosen isolation and disconnection within the home as the subject to base our cinemagraphs around because it is something we all relate to. All of us live with single parents which can be isolating at times so we want to try and communicate this through our cinemagraphs. Research into photographers such as Todd Hido and Gregory Crewdson has influenced the way we approached our cinemagraphs aesthetically, whereas cinemagraph creators such as Kevin Burg and Jamie Beck has helped us to think about our cinemagraphs from a technical point of view. The way the photographers used lighting to portray a mood influenced our decision to photograph during golden hour in order to create an atmospheric look within our trip-tych. For a cinemagraph to look good, you need to include contrast between stationary and moving objects, otherwise it's just a film. This is why we changed our original idea, later deciding to include people within the frame instead of just an empty room. The decision to include people within the frame improved the overall look of our cinemagraphs from both a technical and aesthetic standpoint.

The overriding theme within our 3 cinemagraphs is isolation, specifically isolation within the home. The absence of identity reflects the disconnect between family members, portraying a feeling of loneliness. The lack of identity is important as we want the family members to look like they could be any age/gender. By doing this we are showing that not everyone has a nuclear family, which is an ideology that is very unrealistic. Deciding to photograph on location within the home, we create a sense of familiarity within the viewer.

At the end of this project, I hope to have learnt how to create a coherent series of cinemagraphs in the form of a triptych, and how to create a smooth cinemagraph with good flow. I also hope to have learnt how to portray a story through the use of a cinemagraph, as this is something I’ve never done before.

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sherylattewellunit73 · 7 years ago

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The Pitches

Boot/shoe company X record company collaboration:

For this idea, we would have a forest green record player playing a record on the floor while someone is tapping their foot tapping, wearing a branded boot. In terms of props, there would be vintage looking wallpaper, medium wood floor, person sat on vintage tub chair. Lighting would be warm toned and low key but still makes everything visible. Make it look like it was shot a on a film camera. This idea would be for a commercial advertisement because we believe it would be an interesting concept for a poster or something similar. We would have shot it in a studio so that we could make it look exactly how we want it to. Having complete control would be useful if we were to make this idea into a cinemagraph. As inspiration, we saw a cinemagraph where a woman was wearing high heels and was tapping her foot. We thought we could turn this around and make with more of a grunge aesthetic to suit our own style. For this shoot, we would need a camera to film with. We would also need a tripod because the camera has to be completely still while filming. We would need two models, one for a female advert and one for a male advert.

Apocalypse Kitchen:

For this idea, we would have a tap dripping (moving) in front of slightly smashed window with net curtains. In terms of props, we would want a pile of dirty dishes, drying rack, yellow rubber gloves near sink. Then in right top corner, small old style tv with evacuation news broadcast. This idea is more on the fine art side because it wouldn’t be trying to sell something, it’s more about providing people with something to view rather than something to buy. We would want this cinemagraph to have a film aesthetic with magenta tones. This idea is Gregory Crewdson inspired, as we would want it to look like a movie set and high production. We were also inspired by a couple of Emma’s photos that she took of her kitchen and they were the origin of where we would shoot this cinemagraph. This cinemagraph would require a camera to film and a tripod so that there isn’t any camera shake. We wouldn’t need any models because the scene is meant to look abandoned and unused.

Home Isolation:

For this idea, we would be creating a triptych of cinemagraphs showing isolation in the home in a fine art style. We have a few ideas of how we would make each cinemagraph look. One of them would take place in the kitchen and we will either create a scene at the sink or maybe at the cooker. We would want the tap running and for there to be dirty dishes around the sink. Another one may take place in a bedroom so we might have a book or some curtains moving. The next idea for this triptych would be filmed in the bathroom where we might have the bath full of water with bubble and have a tap running as the moving part. The last cinemagraph idea we have would take place in a living room where we might try to set up an old tv that has static on the screen. We want to make each room we use look as if it is being lived in without there being anyone there. We will be shooting in both Sheryl’s and Emma’s houses because we want it to look natural and realistic. We were inspired by Gregory Crewdson, Todd Hido and Alexander Gronsky, we all like their work and agreed that we would want our cinemagraphs to have a similar aesthetic to their images. To create these cinemagraphs we will need a camera to film and a tripod so that there won’t be any camera shake. In terms of props we would need dirty dishes, drying rack, frying pans, kettle for the kitchen scene, then shampoo bottles, soaps, bubbles for the bathroom scene, then books, chair, maybe a bed for the bedroom scene then an old tv, books, and sofa/chair for the living room scene. We would prefer to not have any models in these cinemagraphs so that it in keeps with our idea of isolation but they may need to be introduced to add the contrast that cinemagraphs need to work.

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sherylattewellunit73 · 7 years ago

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Fine Art Cinemagraphs

The first cinemagraph shows a man sitting at a table in a kitchen. The moving part of this cinemagraph is the fan in the background. When filming this, they would have had to consider the positioning of the model because if he moved, he might hide the fan which might stop the cinemagraph from working as well. What I like about this cinemagraph is how they have made it look like it could be a clip from a movie as you have to look for a few seconds to realise the man is completely still. I think it is creative because of how they chose to make the fan the moving part instead of the model doing something like pouring the milk which would’ve been a bit more generic. In terms of technical aspects, they would have had to make sure the light from the fan that is on the other side of the man was edited to move too otherwise it wouldn’t have looked as effective. I think they have composed the scene well because of having the fan and the light on either side of the subject. Something that they could have done differently is not have as many things on the table as it takes away from the subject slightly.

The second cinemagraph shows a street scene with traffic lights that are reflecting onto the floor because it is raining. Something that they would have had to consider when filming is if cars were going to be going past as it would have interrupted the loop. Another thing that they would have had to consider when filming this cinemagraph is people on the pavement. If there were people walking toward or away from the camera then it would have been very noticeable when it’s looped. The aspect I like most about this cinemagraph is how the traffic lights stand out on the wet ground because they stand out against their dark surroundings. I also like how simple the cinemagraph is because by only having the rain move, it means there isn’t too much going on. I don’t think this cinemagraph is the most creative because rain is a common subject for them. However, I think it is good how they have composed it so that the reflection is completely in shot. A technical aspect would also be timing the filming at a time where there were no people or cars as it would have disrupted the cinemagraph’s loop. Another technical aspect would be how they that composed it as they would have thought about it photographically as well. I think they could improve upon it by having the edge of the pavement move to the right side so that it follows the rules of thirds.

The final cinemagraph shows two hands in a sink holding a small bird. There is also some running water presumably coming from the tap. The bird and water is moving while the hands are completely still. This is something that they would have to consider while filming because the model would have had to stay still while having a bird moving in his hand. Another thing that they would have had to consider while filming is the composition because they wouldn’t have wanted the bird interfering with the water stream. One thing I like about this cinemagraph is how different it is compared to others because of how they have managed to capture the bird moving in a way that works as a loop. I also like how they have included the water and made that move as well because it helps make it look more realistic because otherwise the water would be disappearing and reappearing. This is also something that I think is creative because not many cinemagraphs have animals such as birds as their subject due to them being unpredictable. One technical aspect would be editing the footage so that the bird is in a perfect loop instead of there being a jump in it. I don’t think there is anything that they should have done differently because I think it very good.

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sherylattewellunit73 · 7 years ago

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Commercial Cinemagraphs

The first cinemagraph shows a man holding a glass of what looks like whiskey, dressed in formal looking clothing. To the side of him is the text for the advert and it tells us that it is for men’s evening wear. When filming this, they would have had to take the composition into consideration because they would have had to remember to leave space for the text which is why the model is to one side. As well as this, they would have had to think about how the model was moving his hand because if he was moving to too slowly or quickly then it might have not looked how they wanted it to. Also, they would have had to make sure the model was keeping as still as possible to prevent the cinemagraph looking slightly off. Something I like about this cinemagraph is how they have kept the moving subject subtle let obviously there, they haven’t had something big moving. I also like how they have composed it so the model’s face isn’t in it so that the focus is on the clothing and the model’s hand. I think it is creative how they have shot the cinemagraph in a bar, making the viewer think it is in the evening as that is in-keeping with the brand they are trying to sell. While editing this cinemagraph, they would have had to make sure to make the hand’s movement looked natural instead of jumpy. A photographic element is how they have a shallow depth of field so that the viewer’s attention goes to the model what what he is wearing. Something that they could have done differently is have less candles on the bar as it doesn’t look very realistic.

The second cinemagraph shows a bottle of perfume/cologne in the side of a large piece of ice. The contents of the bottle is moving and there is also droplets of melted ice running down it as well. One thing that they would have had to consider while filming this cinemagraph is how to make the contents of the bottle move without there being anything in the shot that they didn’t want there. As well as this, they would have had to find a way of making the liquid in the bottle to move while having the bottle itself still. I like this cinemagraph because of how simple it is, there isn’t too much going on. I also like and think it’s creative how they given the viewer an idea of what the product is like by placing the bottle in a block of ice because it makes the viewer think the perfume/cologne has a refreshing scent. In terms of technical aspects, I think they would have had to do some further editing to make only the liquid move and not the whole bottle. As well as this, they would have had to photograph the ice and then edit the bottle into it. Something that they could have done differently is add some text to the image so the viewer gains more information about the brand/product when looking at the cinemagraph.

The third cinemagraph shows two presumably alcoholic drinks and a man’s arm on a table. The contents of the larger glass is the moving aspect of this cinemagraph as it is spinning. The main thing that they would have had to consider when filming is how to stir the liquid at the right speed and without getting anything in the shot that they didn’t want. As well as this, they would have to make sure the model was staying still so that the glass wasn’t knocked or moved because otherwise it might not have worked as well. One thing I like about this cinemagraph is how they have kept it simple by not having multiple things moving. I don’t think this advert is overly creative because they are making the contents of a glass move, which is seen quite a lot. One technical aspect would be how they chose to compose the shot as they have included some text. They would have had to think about how much space they needed for the text when shooting the cinemagraph to make sure there was enough space. I think they could have made the shot look more interesting overall by changing the angle of it so there was more of a background. Then they could have put something in the background instead of just having two glasses and the model’s arm.

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sherylattewellunit73 · 7 years ago

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Top 5 Cinemagraph Subjects:

Liquids (pouring, dripping, mixing, bodies of water)

Flicker of candles

Transport (passing vehicles, trains, cabs, busses)

Steam and smoke

Wind

Idea Generation:

5 commercial ideas:

- Shoe tapping

- Flick of hair (shampoo)

- Jacket on and off

- Fruit baskets w/ butterflies wings flapping

- Liquid highlight dripping down face

5 fine art ideas:

- Isolated building fluorescent light flickering

- Person in distance trees rustling

- Kitchen, tap running, abandoned, apocalypse

- Dining room, family dinner, steam from food on table is moving

Doc Martens/ record company collaboration:

For this idea, we would have a forest green record player playing a record on the floor while someone is tapping their foot tapping, wearing doc Martens. There would be vintage looking wallpaper, medium wood floor, person sat on vintage tub chair. Lighting would be warm toned and low key but still makes everything visible. Make it look like it was shot a on a film camera.

Apocalypse Kitchen:

For this idea, we would have a tap dripping (moving) in front of slightly smashed window with net curtains. Pile of dirty dishes, drying rack, yellow rubber gloves near sink. Then in right top corner, small old style tv with evacuation news broadcast. Film aesthetic, magenta tones. Gregory Crewdson inspired, looks like a movie set, high production.

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sherylattewellunit73 · 7 years ago

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History of Web Animation

The Internet was invented in 1990. The first web page was the “World Wide Web”. Websites would be text based with textures and icons and only a few companies would have one. There were no photos or videos as websites were not capable of running moving images/photos. Also, monitors could only support 16 colours which limited the few websites that did exist. Then around 1994/5, Internet Explorer was introduced which allowed images to be shown. However they were at a very low resolution due to the limited amount of colours. At this time, websites started to become more common and as more businesses began to use them, they started to look more designed. In 1998, Google was created. The logo then now looks dated as it had the 3D effect that was commonly used. The homepage itself looked very similar to how does now in the way it was laid out. GIFs (Graphics Interchangeable Format, a digital file format) were also made at this time and they were a way of having moving images while keeping the file size small. People thought having these on a website made them more interesting. Websites at this time were very bright and hard to read as it look people a while to figure out web design. As well as this, animations were put everywhere which made the websites even harder to read and GIFs were used to animate logos. Flash was a program used by amateur web designers to make websites and was introduced soon after. It allowed them to make slightly sleeker websites as well as create their own animations and web buttons. Flash animators gained fame on Youtube as what they were able to do seemed amazing at the time. However, using these type of animations made the websites too slow because the machines at the time weren’t quick enough. This meant Flash almost became obsolete but some modern sites still use it well. Animated photographs were created by use Ps and After Effects. If a website had a video at this time, you would have had to download which could take 2-10 minutes as streaming wasn’t a thing yet.

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