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Adobe Adobe Certified Macromedia Flash

Flash within the Pan: historic training Of Adobe's Macromedia Acquisition | killexams.com real Questions and Pass4sure dumps

victorwong“data-driven pondering" is written by means of participants of the media community and includes sparkling ideas on the digital revolution in media.

these days’s column is written through Victor Wong, CEO at PaperG.

Adobe’s 2005 acquisition of Macromedia, together with its flagship products glint and Dreamweaver, for $3.4 billion in stock, had big expertise.

Macromedia’s way for glint to become the underlying know-how for a wide latitude of apps and contraptions appeared to align perfectly with Adobe’s wish to dominate the advertising and media markets. but on its most recent profits call, Adobe published that glint changed into no longer a massive contributor to the ground line.

but was it ever?

on the time of the sale, Macromedia became only producing about $forty million a yr in net income, on $422 million in profits. it will believe taken huge amounts of charge-chopping, synergies and time to do returned $three.four billion on that sort of economic efficiency.

So if no longer the tangible money, perhaps Adobe changed into extra attracted to some intangible merits. You might argue that it did subsist triumphant in positioning inventive Suite, now creative Cloud, as a must believe for any interactive clothier or developer. despite the fact, seek counsel from any clothier today and it was at bar nobody times Photoshop that became the believe to-have for inventive experts, with glint most effectual truly being used through the promoting and media industries.

So if Adobe’s goal become to capture the promoting spend of firms, why hassle purchasing Macromedia? Omniture, received for a mere $1.8 billion in 2009, has been the some distance greater investment for Adobe on this front. Now generating tons of of thousands and thousands of bucks per quarter, it grew to become the groundwork of Adobe’s advertising cloud, and has probably already paid for itself. In 2015, advertising Cloud is not off course to generate $1.35 billion in income.

it would subsist elaborate to argue nowadays that Macromedia “earned its retain” inside the Adobe suite of solutions. beyond pleasing some curiosity and even schadenfreude, retracing the yarn of Adobe’s doomed Macromedia acquisition highlights the mismanagement and directional shifts in the software and promoting industries that gave the imprint to doom the deal from the start.

overlooked cellular alternatives

After the Macromedia acquisition closed, Adobe wanted to build on Flash’s success in Japan, the situation it built a $1 billion market in glint content material for mobile by way of licensing glint Lite to japanese cellular carriers. Adobe wanted to execute the identical within the US and Europe but additionally to create a “Flash App keep,” where Adobe would share in the gains on selling supplemental glint content.

but there believe been two immense problems with the execution. First, after the acquisition, Adobe had laid off bar nobody participants of the fashioned mobile commerce unit from Macromedia that had spearheaded glint Lite’s success in Japan. second, Adobe wager on preeminent characteristic telephones while ignoring the starting to subsist smartphone market.

finally, as Adobe didn't spark a Western market for mobile glint content, it grew to subsist tougher to bag cellular traction because of the seat of attention on characteristic phones as smartphones took off. The glint crew informed a rewrite of glint to do it more smartphone-friendly, but by bar nobody bills, they had been grew to become down with the aid of Adobe leadership as cost-chopping became a precedence. This left glint in an untenable position in mobile.

Steve Jobs’ 2010 open letter, “recommendations on Flash,” didn’t aid both. In his terse explanation of why Apple did not allow glint on its items, he skewered its safety, reliability and efficiency. glint wasn’t built for cellular touchscreens, he said, lambasting it for sucking battery vigour as neatly. no matter if Adobe simply didn’t regard it was price reinventing glint for cellular or some other aspect was at play, these considerations persisted.

Jobs wasn’t on my own in his criticism. glint changed into generally panned for its bloat, when it comes to the computing verve required to accelerate it. As others held Adobe accountable for now not protecting the platform, it really created some unwell will in the know-how area. by 2011, Adobe had laid off 750 personnel, together with the Flash-authoring crew, and threw within the towel on constructing glint for mobile.

It’s a request yourself glint limped alongside as far as 2015, but it did, albeit slowly, losing away the total time unless Google introduced it will cease bar nobody glint content material from enjoying instantly on the Chrome browser.

The handiest americans upset to ogle glint travel were in the promoting industry, which relied on it as a consistent, exotic animation engine, and yet Adobe determined the companies weren’t primary adequate. Adobe would later wager on going at once to manufacturers by means of its marketing Cloud, which it sells to companies. For its part, advertising Cloud was the a long way smarter wager and fewer reliant on outsiders to aid it.

The cell predicament

distress loves company, and Adobe isn't the best tech immense to study a painful lesson on account of cellular and overextension.

Microsoft lately wrote $7.5 billion off its Nokia unit, which it acquired just greater than a 12 months in the past to win cell by stepping into the hardware business. an challenging aside: Macromedia’s CEO at the time of its sale, Stephen Elop, too led Nokia as CEO into the sale to Microsoft. In both Adobe’s and Microsoft’s situations, the leadership may believe benefited in the event that they had not underestimated mobile and deviated from their core competency.

Given the swift-fire pace at which applied sciences evolve, the choices these companies are making, as counseled as they may additionally seem on the time, didn’t dwell sound for lengthy. in retrospect, it appears bar nobody too pellucid that Adobe’s Macromedia acquisition become destined to fail after a merger. probably if Macromedia had stayed unbiased, it might believe maintained standpoint on what had made it successful during the past and persevered to allot money into its personal future rather than reduce charges to achieve some profile of synergy.

Regardless, you can actually simplest hope that these giant organizations are researching from the multibillion-greenback mistakes of the previous. if so, they may additionally not subsist doomed to reiterate them.

observe Victor Wong (@vkw), PaperG (@paperg) and AdExchanger (@adexchanger) on Twitter.


Adobe promotes former Macromedia chief to CTO post | killexams.com real Questions and Pass4sure dumps

In an announcement late Tuesday, Adobe spoke of it is advertising its current senior vp and chief software architect, Kevin Lynch, to what looks to subsist a brand original submit with larger flush of seniority.

Kevin Lynch was the executive software Architect of Adobe programs, having joined the company via its 2005 acquisition of Macromedia, where he became seen as the co-creator of the Dreamweaver net site construction environment. Now it seems he'll subsist taking up original tasks there.

A cryptically worded remark from Adobe late this afternoon looks to attest Lynch -- who on archaic activities had in reality been delivered as the enterprise's CTO anyway -- will now oversee greater than just Flash, Flex, AIR, and the company instruments he helped enhance at Macromedia. BetaNews has requested Adobe's representatives for extra comment, which may subsist drawing close.

Newly appointed Adobe Systems CTO Kevin LynchWhat is not yet pellucid is how, or if, the movement will quiver up the company constitution. Up unless this afternoon, Adobe had 13 executives who sat on the Senior vice president level, with six of those having purview over some factor of technology, and with one of those SVPs -- primarily John Brennan -- holding the very title as SVP of the Platform commerce Unit as did Lynch. If this is a traditional promotion through which the CTO publish is readily created, the other 5 technological SVPs might file to Lynch, and Lynch would then record directly to President and CEO Shantanu Narayen.

simply closing week, when Adobe advanced its PDF 1.7 specification to the ISO for consideration as a full overseas typical, it was Lynch who became chosen to talk on behalf of his company. "As governments and businesses increasingly request open codecs, protection of the PDF specification via an exterior and participatory organization will back proceed to pressure innovation and expand the prosperous PDF ecosystem that has evolved over the past 15 years," examine Lynch's statement at the time.

anyway that example, although, Lynch has stored a comparatively low government profile, apart from at conferences the situation he's established to interact audiences together with his informal, personable vogue.

Update ribbon (small)

9:30 pm ET February 5, 2008 - Tuesday evening, an Adobe methods spokesperson verified to BetaNews that Adobe's original CTO Kevin Lynch will document at once to president and CEO Shantanu Narayen.

moreover, the spokesperson delivered, "As CTO, Kevin will head a original corporation called the journey & expertise group, which contains undergo design and core know-how as neatly as the Platform commerce Unit."


Macromedia glint fashion designer: Job Description and requirements | killexams.com real Questions and Pass4sure dumps

A Macromedia glint designer, or Adobe glint fashion designer, requires some formal education. gain learning of in regards to the practicing, job duties and necessities to ogle if here is the reform career for you.

besides the fact that children as soon as known as Macromedia glint designers, Adobe now owns and operates Flash. net developers and designers who specialise in Adobe glint create a immense purview of visual effects and interactive media predominantly for sites. youngsters creativity and a detailed-oriented frame of intelligence are necessary for this career field, experts additionally necessity beneficial communique talents, and that they ought to subsist comfy with customer service.

basic tips

Macromedia glint designers at the jiffy are referred to as Adobe glint designers. they are the inventive minds in the back of the development and implementation of interactive, animated snap shots, and text on web sites. glint designers labor for plenty of customers to expose off individuals, products, and concepts via particular digital outcomes. journey with Adobe artistic workplace Suite, picture design and laptop programming is required.

Required schooling associate's or bachelor's degree other necessitiesexperience with Adobe inventive office Suite, computer programming, photograph design, animation and illustration; intentional certification attainable Projected Job boom (2014-2024) 27%* (for web developers) Median earnings (2016) $53,527**

supply: *U.S. Bureau of Labor records; **Payscale.com

Flash dressmaker Job Description

those interested in becoming a Macromedia glint fashion designer may quiet word that Adobe bought Macromedia in 2005. whereas the products and job obligations are the equal, job-seekers may quiet word the update and title adjustments inside the company and utility.

Flash designers labor with the Adobe artistic office suite. They spruce up sites through creating interactive pix and animation, incorporating visuals and adding sound to give guests a sensory undergo in addition to providing them with the tips supplied on the web site. glint designers speak with customers and coworkers about what a comprehensive product should ogle fancy earlier than customizing the audio and visuals for each web page and page. Designers may additionally even subsist answerable for developing and publishing total web sites and integrating animation to those larger initiatives.

find faculties that present these common courses

  • tips programs safety
  • Networking administration
  • techniques Administration
  • Webmaster and Multimedia management
  • more programs

    necessities of a glint clothier

    Most glint designers believe either undergo or training in computing device programming, picture design, animation, and illustration. potential of HTML and the cyber web as well as website-constructing fundamentals are important.

    Employers may too require skillability with different design utility akin to Adobe Photoshop, Illustrator, or Dreamweaver. There are lots of classes licensed through Adobe that present practising of their specific desktop courses. in a similar way, Adobe gives certification for designers (and other Adobe application clients) who are looking to supplement and enhance their résumé and maybe even compete for an improved salary or diverse jobs. glint design classes are provided bar nobody through the U.S..

    Flash designers may additionally resolve to subsist self-employed. during this case, carrying on with education and certification could subsist up to the individual's discretion, however an in depth resume is vital. outside of the training and journey required of glint designers, it is essential that every candidate cultivates and at bar nobody times proves a robust labor ethic.

    as with any unbiased contractor place, glint designers believe to subsist effectual in time administration and personal scheduling. They necessity to subsist in a position to meet deadlines, subsist flexible, and allow for alterations in plan. glint designers can self-teach by way of studying informational books, looking at tutorials, attending seminars, or completing courses offered in technical and design faculties.

    income data and Job Outlook

    based on PayScale.com, the vast majority of glint designers working in October 2016 earned between $30,913 and $eighty one,645 per 12 months. youngsters the U.S. Bureau of Labor facts (BLS) does not provide counsel selected to the container of glint designers, the BLS did mission that the employment of bar nobody web developers should quiet raise by means of a sooner-than-commonplace expense of 27% from 2014-2024.

    Macromedia glint designers, greater commonly now known as Adobe glint designers, create interactive types of media, specifically for on-line users. These experts necessity wide competencies of computers, programming languages, website design, and web page building, and they can gain this learning from undergraduate degree classes, certificates classes, or standalone glint working towards lessons.


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    Certified Macromedia glint MX 2004 Developer

    Pass 4 sure 9A0-602 dumps | Killexams.com 9A0-602 real questions | http://www.jeepmansoffroad.com/

    The Evolution of wealthy Media | killexams.com real questions and Pass4sure dumps

    January 17, 2004

    Flash traces its beginnings to an animation tool called FutureSplash, debuted by FutureWave Software in 1992. By 1996, Disney Online was using FutureSplash for animated content on its subscription based online service Disney Daily Blast. In December of 1996, Macromedia bought FutureWave Software and FutureSplash Animator, the design tool at the heart of the technology, became Macromedia glint 1.0.

    Over the next several years, Macromedia issued several updates to Flash. Most of these were improvements that believe changed the nature of glint from a simple Web drawing and animation package to a full multimedia development environment. The biggest leap forward took situation in March 2002 when Macromedia released the glint MX developer tool in tandem with glint Player 6. The application and associated software made a total host of original wealthy media applications available—including Web-based e-commerce forms and compatibility with mobile devices.

    The latest glint upgrade hit the market in summer 2003. Plug-ins to glint Player 6 and the original glint Player 7 made other original applications possible, such as a module where online shoppers could redeem information seen in a wealthy media animation to their arduous drives for subsequent view. These enhancements took situation in the original glint MX 2004 developer environment, released at the very time. PriceGrabber.com was an early adopter.

    The way It Streams From Here

    The earliest days of the Web were characterized by what is commonly described as “static” media—text and quiet photos, puny more than “brochureware” on a computer screen.

    In the mid-1990s, the Internet exploded from a text-based system to one that contained pictures, even sounds, videos and animations

    When a company then known as Progressive Networks first released RealAudio 1.0 in 1995, at the National Association of Broadcasters annual convention, everything changed. Although early versions were far less advanced than today’s state-of-the-art RealOne, people could first hear sounds, and later view images over the Internet—not via download but at the time the actual event occurred or the content was delivered. This so-called streaming media technology not only enabled real-time witnessing of audio and video images on the Web, but too listening and viewing on require without having to wait for lengthy download times of the earlier audio and video delivery. With this streaming technology, the Web user could relish the content immediately, as it was being “streamed. Almost immediately after it was released, RealAudio became the Web’s most common benchmark for audio broadcasting.

    In April 1997, Progressive Networks took another transcending step, launching RealVideo. Immediately, it changed the way videos are transmitted over the Internet, from time-consuming downloads to real-time viewing. The product was bundled with RealAudio in RealPlayer 4.0. For the product’s debut, three short films featuring acclaimed director Spike Lee were offered on the site of what was then Progressive Networks. Within 24 hours, viewers downloaded more than 100,000 copies of RealPlayer 4.0.

    Progressive Networks changed its denomination to RealNetworks in September 1997. The fact that RealAudio and RealVideo both made it practicable to view and hear content over the Web in “real” time was a major impetus for this original identity.

    RealNetworks released RealPlayer 5.0 in October 1997. RealPlayer G2, a quantum leap in streaming media technology, made its entry in October 1998. Subsequent versions believe been released about every 18 months since then. RealOne, the latest version of RealPlayer, made its debut in 2001.

    Microsoft was soon on Progressive Networks' heels. NetShow made its debut in September 1996 as a streaming media-playing companion to primitive, built-in Media Player technology included since the earliest versions of Windows. The division of labor was thus: NetShow played the streams, and Media Player was used to play audio content, such as tracks on a music CD that a user placed in his or her PC's CD drive.

    NetShow's first edition, known as NetShow 1.0, had basic streaming media audio technology, including access to a few of the streaming radio stations who were offering their programming over the Internet. The release was widely seen as a competitive reaction against RealPlayer, the leading streaming media software at the time. RealPlayer, from RealNetworks (then known as Progressive Networks), first appeared in 1995.

    At that time, Microsoft promoted NetShow more as a platform for developers to design streaming media content than for consumers to listen and watch such content. The company replicated the strategy in NetShow 2.0, which came out in 1997. Some 11 million people downloaded NetShow that year, and were able to pick handicap of the updated version’s better utilize of bandwidth.

    Bandwidth improvement took a leap forward with the release of NetShow 3.0 in mid-1998. The company had bought a streaming media player company called Vextreme in late 1997, an acquisition that gave it original tools for managing bandwidth-intensive streaming video content. Providers such as CNN, Fox tidings and MSNBC signed aboard to deliver video to site visitors with NetShow 3.0 on their desktops.

    NetShow kept working on gradual improvements. In October 1999, Microsoft re-branded NetShow into a full streaming media product known as Windows Media Player 6. Unlike NetShow, the original WMP ran on Microsoft's proprietary streaming audio and video formats, and brought the former functions of Media Player in to profile an all-in-one media player solution.

    Windows Media Player 7 came to the market in the summer of 2000, offering enhanced streaming audio and video playback, compatibility with MP3 files, and, befitting Napster's huge popularity at that time, a built-in CD burner. Media guides where users could search for streaming audio and video content on the Web were embedded into WMP 7. For the first time, users could too customize their copy of WMP by choosing from a library of more than 20 skins.

    Microsoft never released a "Windows Media Player 8" as such, instead branding "8" as a developer tool for improved audio and video encoding. Although it was quiet called Windows Media Player 7, a de facto "8" version was bundled into the then-new Windows XP operating system in October 2001. This edition was compatible with the enhanced audio and video codecs built into Windows Media Audio and Video 8.

    Everything changed in January 2003 with the official release of Windows Media Player 9. The main improvements were for the talent of the user to customize his or her experiences. Here was streaming media software with mini-player mode, queue-it-up, cross-fading, auto-volume leveling, variable hurry playback, auto playlists and ratings. It too added back for original Windows Media Audio 9 lossless, variable bit-rate (VBR) encoding, sound distortion reduction HDCD (High Definition Compatible Digital) playback technology and "video smoothing" technology for content encoded at comparatively low bit rates. A immense help for consumers with comparatively slow, dial-up connections, the video smoothing technology built into Windows Media Player 9 smoothes out streams by inserting interpolated (estimated purview of parade characteristics) frames into content.

    Apple Computer followed a rather different path to the streaming media competitive marketplace. The company first rolled out QuickTime in 1992 as software that would primarily play wealthy media files the user had already downloaded to their computer. Apple maintained that the main handicap of this way over streaming was that since the file being played was being generated from the user's computers, playback was not compromised by the vagaries of discrepant Internet connections at low speeds.

    As more customers obtained posthaste broadband connections, and as streaming media software showed it was here to stay, Apple upgraded QuickTime with streaming media playback capability. The first version of QuickTime with the capacity to play streaming files directly from the Internet was QuickTime 4.0, released in September 1999.

    Apple has issued two substantial upgrades since then. The latest version, QuickTime 6.4, was released in September, 2003. It includes back for mobile wealthy media content as well as MPEG-4 technology, an enhanced digital compression technique for encoding wealthy multimedia content. 

    Brand: BigFix

    Agency: Rassak Experience

    Sample coverage: The original York Times, San Francisco Chronicle, NPR, Scobleizer

    Campaign: Exploiting America's obsession with eventual year's presidential race -- and perhaps offering a humorous tonic for those bored with the election -- BigFix offered up Ray Hopewood, a fictional candidate who mocked the absurdity of non-stop political ads while subtly touting the virtues of the company's enterprise software offerings. Hopewood had his own Facebook page, videos, and merchandise. And as the real presidential race heated up, BigFix kept pace with original "developments" from its candidate.

    What set it apart: During eventual year's election season, there was no shortage of campaigns that sought to utilize the political event to their own advantage. But what made the dissimilarity for BigFix was the genuine nature of the campaign, says Barak Kassar, president of Rassak Experience.

    "A key mistake is to lose sight of the actual digital human undergo you are creating for people," Kassar says. "We climbed into the skin of their viewer, and they sweated every detail of how this drive would first loom to a person, and how it would unfold. Was the first eighth of an eighth of a second going to feel just right? And would it bag better and better along the way?"

    That strategy paid off, according to Kassar, who says some European users who weren't closely following the American election actually believed Hopewood to subsist the genuine article after seeing some banner ads. But more than that, Kassar insists that the key was that the drive offered real touchpoints (including a Facebook page, Flickr photos, and a blog) that enabled people and reporters to engage on their own terms.

    Advice: "Never bank on media coverage and never, ever bank on viral," Kassar says. "Both are gifts, and if you believe you deserve them, you will bag hurt. bar nobody you can execute is do something as beneficial and human as you can. deal the audience as human beings and deal reporters as human beings."

    Brand: BBQ Addicts

    Agency: None

    Sample coverage: The original York Times, Akron Beacon Journal, Toronto Star

    Campaign: After receiving a Twitter challenge to execute something with bacon, BBQ fanatics Jason Day and Aaron Chronister set about creating the now infamous Bacon Explosion. But what began as a recipe disseminated through their website, BBQAddicts.com, and a few tweets, grew into a full-blown media frenzy, aided in section by America's obsession with atrocious Super Bowl snacks. The drive helped drive traffic to the duo's blog, which has helped Chronister and Day revolve their passion for BBQ into a full-time job.

    What set it apart: There are a lot of crazy, pork-filled recipes floating around the internet, but according to Chronister, the Bacon Explosion took off because of three faultfinding factors.

    The first factor, Chronister says, was timing. With a launch date so nearby to the Super Bowl, BBQ Addicts gave legions of foodie football fans an exciting original dish to bring to their halftime party.

    The second factor, according to Chronister, was the name, which even he admits is a puny over the top. But, he says, one can't negate the power of an over-the-top denomination when it comes to grabbing the attention of an internet audience.

    But the third factor -- which one could easily define as guilty-pleasure syndrome -- is what made Bacon Explosion, well, explode. "In reality, the recipe is very beneficial (in moderation, of course)," Chronister says. "People were thinking, 'Who on Earth would devour that?' But in reality, they actually wanted one."

    In other words, Bacon Explosion offered the shock value of something absurd, but behind the unusual recipe was a dish many people secretly wanted to try. That combination offered a benevolent of one-two punch, enabling BBQ Addicts to lead with a zany concept while delivering something of substance.

    Advice: To thrust the campaign, BBQ Addicts relied heavily on gregarious networking tools fancy Twitter and Facebook. But, according to Chronister, many brands often misuse those platforms.

    "Many companies haven't embraced the real nature of gregarious networking and are hesitant due to awe of backlash," Chronister explains. "What they necessity to understand is any feedback at bar nobody is good, even negative responses. It's an instant survey and one of the fastest ways to help whatever it is they're offering. bar nobody markets consist of human beings who fancy to subsist involved, and many times companies are pushing too much of a corporate message instead of a human message. They necessity to discontinue being fearful of their customers and start building relationships."

    In BBQ Addicts' case, that relationship led to a conversation, which turned into a challenge, which in revolve became a recipe that allot the blog on the map.

    Agency: None

    Sample coverage: Fort Worth commerce Press, Star-Telegram, ABA Journal (print)

    Campaign: Hollywood it's not. But North Texas is home to one of the more unusual and risky bank campaigns anyone has ever seen. Rather than spending money on a traditional print and radio buy to advertise the bank's latest programs, Worthington (a regional bank) made four short films for YouTube, including a finale that mimicked a Western-style bank robbery. The mock robbery -- something most banks would coy away from -- was foiled by the bank's employees, who used their customer service skills to fascinate the thieves into submission.

    The drive relied almost entirely on local press coverage to drive customers to the bank's website and YouTube page.

    What set it apart: While the numbers on the drive were minute (North Texas isn't the very as going national), Worthington Bank CEO Greg Morse says the YouTube videos were a success because they took risks few brands in the space ever dream of taking.

    "We were at a bank conference two years ago and noticed that the advertising for smaller banks was pretty lame," Morse says. "The videos were made purposely to incorporate situations one wouldn't necessarily associate with a bank, fancy a day at the beach. They were made to showcase as much personality as practicable (again, something not generally associated with banks). They aimed to do the drive as unexpected as practicable because people always talk about the things that dumbfound them."

    That tactic worked, and many local reporters took note of a bank talking -- albeit in jest -- about bank robberies. According to Morse, that buzz helped energize existing customers and bring in original clients who were looking for a more personal relationship with their local bank.

    Advice: While Morse attributes much of the campaign's success to the dumbfound factor, he too believes that using employees as actors in the ads made a immense difference. "Using real-life employees added a bit of human interest and upped the tidings value of the story," Morse explains.

    The utilize of employees too helped sell the bank's message of personable customer service, something Morse believes is best kept out of the hands of paid actors who are less likely to loom genuine.

    Brand: Honda

    Agency: RPA

    Sample coverage: Salon, The original York Times, Advertising Age (subscription required)

    Campaign: If an award-winning director made three short films that just happened to embrace passing reference to Honda, the result would likely subsist the "Dream the Impossible" campaign, which asked consumers to link the automaker in an exploration of themes that reflect the brand's core values. One video, which touched upon the company's mission of transportation, speculated on what a car brand might value in the year 2088. Another video, which highlighted Honda's passion for innovation, took the unusual tact of probing the role of failure in achieving technological breakthroughs.

    What set it apart: While a number of car brands believe dabbled in short films (most notably BMW), few believe taken the bold step of making an earnest documentary that barely features the brand denomination at all. But that's exactly what J Barbush, RPA's VP and associate creative director, wanted to achieve with "Dream the Impossible."

    "We liked the feel of the documentary," Barbush says. "It allowed for a very soft message, which was primary because they didn't want this drive to subsist about Honda, they wanted it to subsist about the philosophy of Honda."

    According to Barbush, the focus on Honda's philosophy -- and how it relates to stories of regular people -- helped bag bloggers and reporters writing not just about Honda the company, but about Honda the brand and, more importantly, what it meant.

    "It wasn't just about presenting feel-good stories," Barbush explains. "People responded the most to the film about failure, and that makes sense because that's section of reality."

    Advice: While Honda's bold creative (notably its decision to confront failure) may not subsist palatable for every brand, Barbush does believe that one takeaway bar nobody marketers can utilize has to execute with the vast size and scope of the web. According to Barbush, one of the keys to the drive was that Honda didn't try to maintain the conversation confined to its site.

    "We used the full web; it's a immense place," Barbush says. "For this campaign, they pushed comments to YouTube because they just didn't appropriate on their site. Marketers shouldn't subsist fearful to pick people away from the destination. That may value you're soft on metrics, but you necessity to ogle at the bigger picture to view where people are going and engage them there."

    Brand: Colt 45

    Agency: Cole & Weber United

    Sample coverage: MSNBC, LA Weekly, LiquorSnob.com

    Campaign: Looking to focus on a young, hip demographic, Colt 45 (perhaps best known as Billy Dee Williams' preferred malt liquor) used a microsite http://www.workseverytime.com/home/default.aspx, an underground comic reserve aesthetic, a painfully honest tagline ("Works every time"), and a partnership with Vice Magazine to share stories that revolve around the beverage. 

    What set it apart: "If you talk to people who drink Colt 45, one verity immediately comes to the surface -- they always believe a yarn to tell," says Britt Peterson, colleague at Cole & Weber United.

    While those stories often involve a benevolent of drunken debauchery not commonly voiced in most alcoholic beverage ads, Peterson says the drive worked because it didn't bag in the way of how people actually utilize the product or try to constrain an simulated image. But the story-based approach too gave the drive a life of its own because it asked people to share their experiences, which in revolve prompted numerous reporters and bloggers to quip about their own memories of drinking Colt 45. While that may believe made for some tongue-in-cheek coverage, it did garner press nonetheless, which helped do the brand relevant for a hipper demographic.

    Advice: Stories aside, one faultfinding factor for any drive seeking to bag press coverage is its talent to exploit something happening in gregarious culture privilege now. "If you're tapping into something that's really happening, you believe a beneficial casual to bag some media attention," Peterson says.

    In Colt's case, the beverage resonated with budget-conscious hipsters because the low price was an implicit section of a highly stylized message, rather than overt proffer of savings. The result was a message that was more of a genuine cultural contribution than an ad, at least as far as the target audience was concerned.

    Michael Estrin is an editor at BitterLawyer.com.

    Participatory cultureThere is no question that the notion of "media as a gregarious affair" has caused one of the most profound climate changes for marketers in the eventual 50 years. Despite gregarious media's weighty impact, one could do the controversy that it is section of a larger trend that has existed long before the coining of the term "social media" (or more specifically, its utilize in common parlance).

    In 2006, Henry Jenkins co-authored a white paper entitled "Confronting the Challenges of Participatory Culture: Media Education for the 21st Century." Many marketers pay lip service to Jenkins' work, but when you view the initiatives that some deploy, it becomes obvious that many believe not bothered to actually read it. Toward the rise of the white paper, Jenkins gives a definition of participatory culture. It is defined as a culture:

  • With relatively low barriers to artistic expression and civic engagement
  • With tough back for creating and sharing one's creations with others
  • With some ilk of informal mentorship whereby what is known by the most experienced is passed along to novices
  • Where members believe that their contributions matter
  • Where members feel some degree of gregarious connection with one another (at the least, they supervision what other people regard about what they believe created).
  • As marketers strive to harvest the benefits of the viral nature of content that is produced within a participatory culture, they mind to forget many of the ideas laid out above. Marketers seem to continuously descend short on the following points:

  • Participatory culture is about gregarious connections with people. The definition above says nothing about brands. I don't believe people can believe a gregarious connection with a brand; they can either believe a more generic connection with a brand or a gregarious connection with someone working at the brand, but a brand is an abstract concept, one that is not capable of a gregarious life. 
  • Prizes are not the only way to do people feel their contributions matter. Point four in the definition above talks about people's incentives for being lively in a participatory culture. Many brand marketers feel that cash and prizes are the only reward for participation. Still, organic participatory culture is not driven by economic gain, per se.
  • Participation should subsist valuable for everyone. One of the graceful things that happens in participatory culture is co-creation, or the bringing together of ideas between brand and consumer. When attempting to leverage participation for marketing, brands should ogle at co-creation as the key ingredient in activation
  • Platform thinkingThere was a time, not too long ago, when the word fragmentation conjured up feelings of terror in seasoned marketers everywhere. For those marketers who continue to fight to maintain their archaic ways of doing things, may I present Bob Dylan:

    Come collect 'round peopleWherever you roamAnd admit that the watersAround you believe grownAnd accept it that soonYou'll subsist drenched to the bone.If your time to youIs worth savin'Then you better start swimmin'Or you'll sink fancy a stoneFor the times they are a-changin'.-Bob Dylan, 1963

    As a original generation of marketers takes the strategic reins, fragmentation is becoming less of a tropical topic, but why? This original generation of marketers is used to alive in a world where media is consumed in numerous ways, through numerous devices, whenever it is convenient. Although fragmented media consumption has become the rule, not the exception, many marketers quiet struggle with the talent to disclose effectual stories across platforms. Channel integration and transmedia storytelling are no longer just challenging concepts for marketers to consider. Distributed storytelling across various channels is absolutely essential in creating effectual communications strategies in today's media landscape. The age of platform thinking is here. 

    As defined in this forum, platform thinking refers to a non-linear but holistic approach to storytelling. This approach differs from integrated marketing in that, traditionally, integrated marketing refers to a holistic approach where consistency of message is of the utmost importance. The platform approach differs in that elements are delivered at different times and in different places, each in service of a larger yarn arc.

    When assessing the importance of platform thinking, one must regard that the internet is now everywhere. The current media landscape is experiencing a rapid divergence in the types of devices they use, but the content spread across these devices is similar, yet packaged differently. The day will soon arrive when their devices will subsist smart enough to detect content and automatically appropriate it for the particular device it is being accessed from. But they are at a crossroads, a challenging time in which it is the marketer's job to ensure that bar nobody communications can subsist accessed everywhere, in a way that makes sense for the way in which it is being accessed, and increasingly, at the time and situation it is accessed. Branded utilityA concept near and dear to my heart, branded utility is, in my opinion, one of the most primary aspects of advertising and marketing innovation. In a world of boundless alternatives, even attribute can become a commodity. Brands that thrust out products of similar attribute to their competition necessity to find original ways to differentiate. This fact challenges marketers to request the question, "What more can I execute to add value?"

    Given the weight of this concept, it is not easy to achieve. It is too not practicable to create branded utility bar nobody the time without becoming redundant. While bar nobody marketing initiatives cannot subsist branded utility (you actually view very few examples in the market that truly appropriate the definition), the conception behind this trend is incredibly powerful and possesses an unparalleled talent to create tough ties with consumers. The core tenets behind branded utility should subsist considered in every marketing effort. 

    As a concept, branded utility is possibly the closest of the three trends discussed in this article to the conception of innovation because both branded utility and innovation require creativity and believe the mandate of using this creativity to serve a purpose (other than simply being creative).

    |

    Who is joining me at ad:tech and what you will hearOne of the best parts of this ad:tech undergo is meeting new, really smart people. While the details are theme to change, you can way on hearing from the following industry rock stars, among others:

    Obi Felten, head of consumer marketing, Google UKBen Malbon, executive director of innovation, BBH original YorkJerome Austria, interactive creative director, Wieden+Kennedy NYCJason Clement, director of digital strategy, Wieden+Kennedy NYCIvan Askwith, director of strategy, immense Spaceship

    If that is not enough to whet your appetite, here are a few of the case studies you will hear about:

    Watch video here.

    I ogle forward to seeing you at this groundbreaking event. maintain in mind, this track is not just about people speaking at you. There will subsist a conversational portion. Furthermore, I will subsist sure to set up necessary back channels to start the dialog before the event, and continue it afterwards.

    Adam Broitman is colleague and ringleader at Circ.us.

    On Twitter? ensue iMedia at @iMediaTweet.


    The Future of Web Content – HTML5, glint & Mobile Apps | killexams.com real questions and Pass4sure dumps

    Editor’s note: This is a guest post written by Jeremy Allaire, founder and CEO of Brightcove. Prior to Brightcove, Jeremy founded Allaire Corporation which was subsequently acquired by Macromedia due to the success of their web development tool ColdFusion. At Macromedia, Jeremy helped create the Macromedia MX (Flash) platform. You can view a recent interview of Jeremy here. As one of the guys who helped build the glint Platform, they asked him to weigh in on the recent HTML5 v. glint debate.

    The recent introduction of the original Apple iPad has stirred the discussion over the future of web content and application runtime formats, and shone light onto the political and commerce battles emerging between Apple, Adobe and Google. These discussion are often highly polarized and irrational. My hope in this post is to help provide some equipoise and clarity onto this discussion.

    I believe a particularly unique perspective, stake and role in this discussion. My first company (Allaire) was born during the advent of the Web, with the conception that a browser and HTML could profile the basis for creating content-rich, interactive software applications, ones that didn’t require aboriginal code and could subsist platform and operating system independent. They built ColdFusion as a way to realize this vision. They later became deeply committed to the world of HTML as a developer format, acquiring and building HomeSite, what was the world’s preeminent Windows-based HTML authoring application.

    In 2000, it became pellucid to me that web applications and runtimes were not advancing posthaste enough, and that with the emerging world of broadband internet connectivity that an entirely original realm of wealthy internet applications would subsist possible. They (Allaire and Macromedia) merged their companies with the vision that a original class of browser-based applications would emerge, and that they could evolve Macromedia glint Player from its origins as an animation and motion-graphics engine into a real application platform and wealthy client runtime that fused media (text, audio, images, video), communications (web services, real-time APIs) and interactivity (rich client-side remonstrate model and UI component framework). In March of 2002 they launched the Macromedia MX Platform, anchored around the original glint runtime, and realized this vision for the transformation of the Web undergo and enabling a original class of rich, browser-based applications.

    For several years, the glint Platform was unique in its talent to create highly interactive browser based applications. Around 2003-2004 HTML/JavaScript (Ajax) started to meaningfully emerge as a competing approach to building apps on the Web. Meanwhile, as original glint Players shipped, it’s ubiquity ensured that the birth of the online video industry would subsist largely built on Flash. This gave birth to everything from YouTube and Brightcove and Hulu, to hundreds of other online video companies.

    Today, my company sits at the seat of these original battles over the future of web content and app formats and runtimes. They labor with thousands of media publishers who flush to maximize the distribution, compass and user opportunities with their content. This original re-fracturing of web content runtimes is creating challenges (and opportunities) for us and their peers.

    A Battle for the Hearts and Minds of Developers (and Audiences!)

    I regard it’s faultfinding to first frame and understand this discussion with the broader political economy of Internet software platforms. Most of the debate and discussion over HTML5 vs. glint vs. aboriginal Apps has puny to execute with what is the privilege technical approach, or whether something is open or closed, it has to execute with the expressions of power and control that drive the businesses of the Internet’s preeminent platform companies — Apple, Adobe, Google and Microsoft.

    Each of these companies seeks to create unique runtimes and APIs that provide a strategic wedge that can drive other aspects of their business. At one flush this is a battle for the hearts and minds of developers and ISVs, but these developers are merely a means to an end. Gaining broad adoption for their runtime platforms translates into their talent to create massive derivative value through downstream products and services. For Apple, this is hardware and paid media (content and apps) sales. For Google, this is about creating massive compass for their advertising platforms and products. For Adobe, this about creating major original applications businesses based on their platform. For Microsoft, it is about driving unit sales of their core OS and commerce applications.

    Web Apps and Content

    I’m often asked “Will HTML5 replace Flash?” on the Web. The quick retort is no. However, there is a lot of umbrage here and it’s helpful to do the distinction between two broad classes of content applications that are deployed in browsers.

    First, there are what I would convene Web Productivity Apps. These kinds of applications require responsive, cross-platform, desktop fancy and highly interactive experiences. They often require seamless integration with existing web content and data. For several years, the glint Platform was the best platform for creating these types of applications (per above). However, in the past several years, HTML+JavaScript (Ajax) and now HTML5 believe created a highly compelling framework to build these applications, and for a big number of web productivity apps, the HTML5 approach will become the preferred model. The best examples are Google Apps, Salesforce.com, and even Microsoft’s forthcoming Office Online. There are too a class of Web Productivity Apps where glint is the preferred runtime, especially those that involve working with and manipulating media such as images, audio and video. We, fancy many companies, are pragmatic and utilize both glint and HTML as the technology needs require. Other examples of this embrace wealthy data visualization applications, where glint has gained prominence inside of enterprises because of its wealthy data and visualization features.

    The second broad class of applications are what I would convene wealthy Media Apps. These kinds of applications embrace largely consumer-facing, audience and media centric experiences. In particular, this includes online video, wealthy media advertising and marketing, and online games (casual games). bar nobody of these kinds of applications are highly focused on having a powerful and immersive undergo that just works, and the creators of these apps are very focused on audience compass — anything that impedes 100% consumer acceptance is a significant concern. Here, glint is dominant. The unique runtime characteristics of Flash, combined with its incredible reach, has led these types of apps to become highly dependent on Flash, and massive amounts of the broadband economy are dependent on it. It seems unlikely that HTML5 would subsist at bar nobody positioned to replace glint for these categories, though it is clearly worth watching how consistent wealthy media runtimes find their way into the HTML5+ standard. privilege now, it is a non starter.

    The Handheld Disruption

    Much of the above classes of content applications are in reference to the PC/Browser-based Web. The explosive growth in hand-held computing has introduced an entirely original dynamic into the content and app run-time battles which in revolve will believe a cascading repercussion on the PC Web. Hand-held computing includes smartphones (iPhone, Android, Nokia, et. al), portable music/entertainment devices and tablet computing devices (iPad and Android devices).

    In many respects, the successful launch and growth of these devices has created an entirely original and largely blank canvas for content and applications. First, these devices proffer original aboriginal services and OS-specific features (location, multi-touch UI, local media, wireless networking APIs, cameras, offline) that are giving birth to a massive original class of non-Web Apps that are built using proprietary native-code APIs and runtimes. Because of always-on broadband connectivity and easy to discovery App Stores, there has been rapid adoption of these original “disposable content apps”.

    Hand-held platforms create a original break for platform vendors to disrupt runtime hegemony from platforms that believe seen ascendance on the PC/Web, and controlling these original run-times and developer adoption of these runtimes has a direct repercussion on these platform vendors talent to own audience relationships and monetization opportunities. For example, a web-centric, HTML5-centric handheld world favors Google because it can leverage it’s existing dominance in search and web advertising. A proprietary App-centric universe favors Apple because it can become the primary gatekeeper to reaching the mobile audience and already has a pole position in integrating payments and advertising into content applications.

    In the case of hand-held platforms, however, it seems quite patent that it is not a zero-sum game. Three runtime platforms will gain adoption and often even inter-mingle — HTML5 content and apps, aboriginal Apps (that may accommodate glint and HTML content), and HTML5 apps that accommodate and leverage glint Player. There is a wealthy pallet of capabilities emerging, and each developer will necessity to regard what will subsist appropriate for their specific audience or application. It is too pellucid that the adoption of these diverse run-time platforms has the real potential to reconstitute fundamental relationships to audiences and monetization systems.

    Video as a Cornerstone Issue

    I’m too often asked “Will HTML5 Video replace glint Video?”. Posited as a winner-take-all, absolute, the retort is clearly no. But fancy the umbrage of HTML5 vs. glint on the Web, there is too a very nuanced and intricate evolving landscape in the video format world.

    On the PC/Web, video has gained tremendous momentum as a fundamental media ilk for bar nobody content on the Web. This has largely been driven by the adoption of glint Video, which has approximately 75% market-share for online video. For most web and content app developers, this is fine, it is a powerful run-time and offers an excellent user undergo and Adobe has done a very beneficial job keeping the platform simultaneous with the most demanding needs of video delivery and quality.

    It is the rapid emergence of hand-held devices, however, that is bringing this issue to the forefront. With massive growth in hand-held web browsing from smartphones, iTouch devices and the pending iPad product, this has raised a deeper issue for media publishers who are interested to believe their content subsist accessible to end-users. In particular, it is the show-down between Apple, Google and Adobe over who can control video formats on these devices that is creating challenges. Again, this is not about “what is the privilege technical solution”, it is about the political economy of who controls the formats that in revolve lead to owning downstream audience and monetization opportunities.

    The basic conception behind HTML5 video is that there would subsist a common video format that could subsist placed and rendered into any compatible web browser, conceptually replacing the necessity for the glint run-time to render video in browsers. But there are tremendous challenges with this, some political, some technical and some based on audience behavior.

    First, privilege now, there is a want of common approach among browser makers on what format to utilize for the HTML video object. This want of agreement represents a proxy for broader political battles. Apple promotes MPEG-4/H.264, which it uses for it’s device platforms. Microsoft promotes VC-1, it’s own benchmark video codec. Google has yet to fully weigh-in on what format to support, which leads me to speculate that they will soon interject a original format, based on On2 VP8, but under a broad open source license to the format and technology. Firefox, with 24% share of the browser market, proposes to utilize the open source Ogg Vorbis codec. What few people realize is that while H.264 appears to subsist an open and free standard, in actuality it is not. It is a benchmark provided by the MPEG-LA consortsia, and is governed by commercial and IP restrictions, which will in 2014 impose a royalty and license requirement on bar nobody users of the technology. How can the open Web adopt a format that has such restrictions? It can’t. Google will do an end-run on this by launching an open format with an open source license for the technology, which according to industry experts delivers almost bar nobody of the very technical benefits as H.264. bar nobody of this is a long way of proverb that there is quiet significant format tension and that it will pick a long time for it to subsist resolved in next-gen browsers.

    Second, but related, is the raw reality of browser adoption and churn cycles, and the fact that online video publishers will only adopt standards that believe extremely broad adoption. Until penetration rates consistently compass 80%, it will subsist arduous for publishers to switch and adopt a single, original solution. It is more likely that HTML5 Video adoption will compass that faultfinding mass on hand-held devices before it does on the PC/Web.

    Third, and equally important, is the more practical issue of the massive industry-wide ecosystem back for glint Video. From advertising formats, to commerce logic for the interaction of video with ads and analytics, hundreds of 3rd party technology companies who believe built solutions around online video that are built on Flash, not to mention high attribute design and authoring tools that sit at the seat of a big labor market for glint design and development; bar nobody of this creates inertia for glint and a relatively high industry-wide switching cost.

    But stepping back and looking at this specifically in the context of hand-held computing, where Apple is politically motivated to screen the glint runtime, it is patent video publishers will subsist driven to build and operate solutions that leverage HTML5 Video on mobile and iPad browsing environments.

    It’s bar nobody About Reach

    Whether on the supply side of content and applications, or on the distribution and run-time side of the equation, what is abundantly pellucid is that compass is quiet king. For platform makers, these battles will continue as they bar nobody seek to drive enough compass for their open and proprietary standards such that they can exploit this distribution for their core commercial goals. Likewise, and more important, whatever standards and models deliver the broadest compass will ultimately drive what is adopted by publishers, developers and ISVs.

    While it is easy to pick a binary position in the future of content applications and run-times, it is evident that the competing interests of platform vendors, consumers and app and content publishers will ensure that this remains a fragmented and competitive environment for many years to come.


    AD SPECS | killexams.com real questions and Pass4sure dumps

    AD SPECSRich Media High repercussion Ad Formats | wealthy Media Vendors and File Types | Production Guidelines BannerBluestreak Video, DoubleClick, Eyeblaster, Flash, HTML, PointRoll, Unicast, Viewpoint Expandable/Out-of-BannerAtlas, Bluestreak, DoubleClick, Eyeblaster, PointRoll, Unicast, Viewpoint Floating AdsDoubleClick, Eyeblaster, Atlas, Viewpoint Please note that glint ads must conform to bar nobody benchmark Turner Broadcasting System, Inc. interactive ad specs and guidelinesincluding file size, animation, and content-in addition to the specific coding specs illustrious in the CNNMoney.com Production Guidelines.

    NOTE: If a third party is serving the ad, gratify ensue that vendor's instructions for coding the glint click through. All the aspects of the ad (i.e. file size, animation, etc.) must subsist in accordance with CNNMoney.com ad specifications.

    SWF Movie Requirements (for the glint developer)For the most part, the movie is made fancy any other glint movie. Any animation or ActionScript that would normally be used can subsist used with this method. The main dissimilarity is in the click through (getURL) actions.

    SWF File Requirements

    Flash version SWF files must subsist published as glint 5, 6, or 7. They execute not currently accept glint 8.

    FilenamesThe following characters should not subsist included in the filename:

  • Ampersands       &
  • Asterisks              *
  • Slashes             / or \
  • Spaces
  • Question Marks  ?
  • Frame RateMacromedia recommends when designing an ad banner to maintain the frames per second as low as possible-18 fps or lower; ideally 12 fps.

    AnimationFlash offers the talent to create additional animation on rollover. Their benchmark animations spec is 15 seconds, but glint ads can additionally animate upon rollover, as long as the animation stops as soon as the user rolls off the ad.

    Backup GIFDue to massive glint ads sniff, a backup GIF is required for every drive to ensure smooth delivery.

    getURL ActionsMacromedia currently recommends a "clickTag" way to track clicks for glint ads. This way uses variables to pass the click tracking string and URL into glint movies. As a result, the only text in the URL box is: "_level0.clickTag" (without the quotes). The _level0 section is included for 'pathing' purposesto ensure that glint can properly locate the variable.

    Because clickTag is a variable, the text that is entered into the URL box is an expression. When the movie plays, the expression will subsist evaluated and replaced with the click tracking string and the destination URL. For this way to role correctly in glint 5 and glint 6 (MX), indicate that the text is an expression by checking the expression check box. Note that there are two buttons or check boxes. One is for the URL and one is for the target window. do sure that the button or check box for the URL is set correctly. In addition, set the Variables drop-down box to "Don't send." No special check boxes or drop down selections are required for glint 7(MX 2004).

    Because frames are sometimes used for serving ads, the target window for the click-through URL must subsist set to "_blank". If the target window is set incorrectly, the advertiser's site might loom in the ad frame. Never leave the target statement undeclared.

    Upon submission, gratify denote a click-through URL for each ad in the e-mail corpse or in a spreadsheet. This URL will subsist used such that when a click through occurs, the browser will first contact the ad server to signify the click and then travel to the click-through site.



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