When you first arrive at helloheco.com you are met by an endless sequence of rolling black waves moving hypnotically across the screen. The lack of information written on this first screen encourages the website user to scroll down in order to gain a better understanding of what the website is about.
The website has a background that changes as you scroll down the page which keeps the eye interested and the user engaged. The aesthetic of the site is minimalist which allows the written information provided to really pop off the page. Links are underlined by undulating squiggles which give each page some dynamism.
The first page that breaks away from the black and white color palette introduces the partners that are at the head of the design company that the website is advertising. The contrast that this splash of color has to the rest of the site forces the user to stop and really examine this part of the page.
helloheco.com is a website for a design company, so it seems obvious that they would need a beautiful, well-designed website to advertise for that company. The site is incredibly visually appealing and it is a great showcase of the creator’s abilities with design.
Matching the color pallet of a photo that you are editing to a photo of a painting can create an interesting effect. To do this start by opening the photo you are editing and a picture of a painting.
Next, select “Image” “Adjustments” and “Match Color”.
You will now have the ability to match the color pallet of the photo that you want to edit to another picture.
You can also adjust the luminance, color intensity, and fade in this window.
Lens flare occurs naturally when non-image forming light enters the lens and subsequently hits the camera’s film or digital sensor. This effect has been used frequently by Director J.J. Abrams in films like Super 8, and Star Wars VII: The Force Awakens.
To create lens flare in adobe premiere pro you must first bring the clip that you wish to edit into the timeline:
Next select the “Effects” panel and scroll down to the “Generate” heading. An option to select a lens flare effect should appear. Select this effect and drag it to the clip in your timeline and it will defualt format to that clip.
Now you can adjust the Lens flare effect by selecting the “Effect Controls” panel.
In the effects control panel you have the options to move the flare center, adjust the flare brightness, alter the lens type, and blend the flare with the original clip. Play around with these options until the desired lens flare effect is created.
In “Amar (all great achievements require time)” the filmmakers attempt to capture and depict the daily life of a young Indian boy living in poverty. The film highlights the drudgery of the daily struggles that Amar must face in order to survive and succeed in his environment. The filmmakers use atmospheric audio, time stamps, and close ups of Amar to help convey their message.
This film contains no music and almost no dialogue aside from some brief readings done by Amar. Instead, the filmmakers attempt to insert the viewer directly into Amar’s life by using the ambient audio that surrounds him. The viewer hears the water splash onto Amar’s face as he wakes up early in the morning, the sound of the spokes on his bicycle wheels as he delivers papers, and the noise of the city traffic buzzing as he works his day job. The effect of this atmospheric audio is that it both gives the film a sense of place and grounds the viewer in that place with the relatable sounds of everyday life.
Throughout the film time stamps appear on the screen to show the progression of Amar’s day. These time stamps are a crucial element in capturing the length and tediousness of a typical day for Amar. The film makes it seems as though Amar moves from one job/activity to the next with little to no downtime in between. Amar is constantly working to accomplish something, and the time stamps give the viewer an idea of the busyness of his day and of his commitment to accomplish all of his daily tasks.
The most emotionally affective visuals in the film are the close-ups of Amar’s face as he moves throughout his day. Most of these close ups occur while Amar is riding his bike in the transition from one location to another. Though Amar is constantly in motion throughout the film, but the expression on his face during these close ups is always peaceful and relaxed. These shots reveal Amar’s stoicism and how he is content to move through what many would consider a stressful ordeal without any negative effects on his psyche. At times Amar will flash a brief smile, these moments are powerfully uplifting. The filmmakers inspire viewers by capturing the calm determination evident on this young child’s face.
To make record of a moment is to fundamentally alter the moment that one wishes to record. The act of recording creates a tension between the archivist and the moment in the present that is being recorded. This tension exists because an archivist records information in the present, in order for people in the future to examine the past. Instead of the archivist simply “living in the moment” they are constantly making judgments about who and what might be relevant in the future. As Derrida has suggested these judgments result in the archivist creating a moment rather than just recording it. When an archivist is recording another human being, they cannot only consider how they are producing the moment but must also take great care in the creation and depiction of the human subject.
The relationship between the archivist and the archived individual is intimate. The archived exposes their self (or some part of their self) to the possibility of being recorded eternally. The archived individual risks much by allowing the archivist to take this piece of them and preserve it. There is always the chance for mischaracterization, inaccuracy, or dishonesty, on the part of the archivist and the poor portrayal of the archived could do permanent damage to the subject or subjects being recorded. In return for the risk being taken by the archived, the archivist must be held responsible to truthfully record a moment to the best of their abilities.
In Erika Larsen’s “Photograph not Taken” piece, Larsen writes about her decision not to record an image of a man experiencing a moment of great heartbreak as he reflects on the suicide of his daughter and the death of his mother. The moment of grief and grace was pure and to record it as it was happening would be to alter and adulterate it. Larsen writes “I put down the camera; the moment was his.” She knew that if she recorded and became a producer of this moment that she would on some level diminish the beauty and intimacy of the moment.
Derrida describes archives and the act of archiving as being a paradoxical experience. These paradoxes arise from the dichotomous nature of archives. Derrida says an archive is “at once institutive and conservative. Revolutionary and traditional.” The archive is a recording of information from the past, but this information can only become relevant to us in the future. We can only understand the meaning or the importance of the information that is being archived within the context of the future wherein the archived information will be accessed. This creates a difficulty in formulating a clear concept of what an archive is. In order to have a concept of an archive readily at our disposal the idea of the archive would have to be “archivable” itself, and even if it was, the concept would be fluid and ever changing as it would be viewed in the always different contexts of an unknowable future. Derrida summarizes this idea saying, “The archive: if we want to know what this will have meant, we will only know in the times to come.”
Advances in technology have radically altered both the amount of information that can be archived and the ease and efficiency through which this information can be accessed. Archiving is the creation of artificial memory to combat what Derrida argues is the brain’s natural tendency to be destructive towards its own memories. The advent of digital memory allowed people to begin to have access to an almost limitless amount of data at just the push of a button. This means that the practice archiving has become increasingly more frequent. Will we ever reach a point in technological advancement where all information received by the brain is immediately archived?
It seems obvious that this change in how archiving is conducted would congruently change the meaning of the archived information. Derrida argues this point saying, “Archivable meaning is also and in advance codetermined by the structure that archives. It begins with the printer.” The change in the meaning of different archived information when stored on a computer as compared to a traditional archival object like a book is distinct, but even among different digital archiving methods, there is a great disparity in the meaning of the archived content. A post that is archived identically on Facebook, Instagram, and Twitter, will have a different meaning on each one of these platforms because of the differing contexts.