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9A0-502 exam Dumps Source : Certified Macromedia shimmer MX 2004 Designer

Test Code : 9A0-502
Test title : Certified Macromedia shimmer MX 2004 Designer
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exam questions : 121 actual Questions

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ADOBE ADOBE Certified Macromedia Flash

The Reliability Of Adobe | killexams.com actual Questions and Pass4sure dumps

No outcome found, are attempting unique key phrase!Adobe acquired Macromedia in 2005 which became liable for constructing Adobe shimmer participant. This Macromedia utility has been developed and dispensed through Adobe methods ever since the purchase and ...

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

victorwong“information-driven thinking" is written through members of the media community and contains fresh concepts on the digital revolution in media.

nowadays’s column is written by artery of Victor Wong, CEO at PaperG.

Adobe’s 2005 acquisition of Macromedia, together with its flagship products shimmer and Dreamweaver, for $three.four billion in stock, had massive competencies.

Macromedia’s contrivance for shimmer to develop into the underlying expertise for a huge purview of apps and gadgets looked as if it would align perfectly with Adobe’s want to dominate the marketing and media markets. but on its most fresh revenue call, Adobe revealed that shimmer was not an gigantic contributor to the bottom line.

however become it ever?

on the time of the sale, Macromedia was handiest generating about $40 million a yr in web profits, on $422 million in salary. it could own taken large quantities of cost-cutting, synergies and time to design lower back $three.4 billion on that configuration of monetary efficiency.

So if now not the tangible cash, might be Adobe became greater interested in some intangible advantages. You could quarrel that it did prevail in positioning creative Suite, now creative Cloud, as a must own for any interactive designer or developer. however, consult with any dressmaker these days and it was always Photoshop that was the own to-have for inventive professionals, with shimmer best really getting used via the promoting and media industries.

So if Adobe’s goal was to catch the advertising spend of organizations, why effort purchasing Macromedia? Omniture, acquired for a mere $1.8 billion in 2009, has been the some distance stronger investment for Adobe on this entrance. Now generating hundreds of millions of dollars per quarter, it became the groundwork of Adobe’s advertising and marketing cloud, and has practicable already paid for itself. In 2015, advertising Cloud is on target to generate $1.35 billion in income.

it would be problematic to quarrel these days that Macromedia “earned its keep” in the Adobe suite of options. beyond pleasant some curiosity or even schadenfreude, retracing the narrative of Adobe’s doomed Macromedia acquisition highlights the mismanagement and directional shifts in the utility and promoting industries that gave the impression to doom the deal from the start.

missed mobile opportunities

After the Macromedia acquisition closed, Adobe desired to construct on Flash’s success in Japan, the residence it constructed a $1 billion market in shimmer content material for cellular through licensing shimmer Lite to japanese cell carriers. Adobe wanted to achieve the equal within the US and Europe but additionally to create a “Flash App store,” where Adobe would partake within the profits on promoting supplemental shimmer content material.

but there were two massive problems with the execution. First, after the acquisition, Adobe had laid off everything participants of the long-established cellular enterprise unit from Macromedia that had spearheaded shimmer Lite’s success in Japan. 2nd, Adobe guess on dominant feature telephones whereas ignoring the turning out to be smartphone market.

finally, as Adobe did not spark a Western market for mobile shimmer content material, it grew to become more durable to earn cellular traction because of the focus on feature phones as smartphones took off. The shimmer group informed a rewrite of shimmer to design it more smartphone-pleasant, but via everything bills, they had been became down with the aid of Adobe management as can charge-reducing became a priority. This left shimmer in an untenable residence in mobile.

Steve Jobs’ 2010 open letter, “strategies on Flash,” didn’t back either. In his terse explanation of why Apple didn't permit shimmer on its items, he skewered its protection, reliability and efficiency. shimmer wasn’t built for cellular touchscreens, he talked about, lambasting it for sucking battery verve as neatly. whether Adobe readily didn’t suppose it turned into value reinventing shimmer for mobile or any other aspect was at play, those considerations persevered.

Jobs wasn’t solitary in his criticism. shimmer turned into widely panned for its bloat, in terms of the computing verve required to sprint it. As others held Adobe dependable for not retaining the platform, it in fact created some unwell will in the know-how area. by artery of 2011, Adobe had laid off 750 personnel, including the Flash-authoring crew, and threw within the towel on establishing shimmer for mobile.

It’s a request yourself shimmer limped alongside as far as 2015, however it did, albeit slowly, wasting away the complete time except Google announced it would desist everything shimmer content from playing immediately on the Chrome browser.

The best individuals upset to discern shimmer Go own been within the promoting industry, which relied on it as a consistent, outstanding animation engine, and yet Adobe determined the groups weren’t essential enough. Adobe would later guess on going directly to brands by artery of its marketing Cloud, which it sells to companies. For its part, advertising Cloud become the a ways smarter wager and less reliant on outsiders to pilot it.

The cell dilemma

distress loves company, and Adobe isn't the most efficacious tech giant to be taught a painful lesson as a result of cellular and overextension.

Microsoft these days wrote $7.5 billion off its Nokia unit, which it obtained just more than a 12 months ago to win cell with the aid of stepping into the hardware company. a fascinating apart: Macromedia’s CEO on the time of its sale, Stephen Elop, furthermore led Nokia as CEO into the sale to Microsoft. In both Adobe’s and Microsoft’s instances, the management might own benefited in the event that they had no longer underestimated cell and deviated from their core competency.

Given the quick-hearth tempo at which technologies evolve, the selections these organizations are making, as informed as they can furthermore look to be on the time, didn’t dwell sound for lengthy. on reflection, it seems everything too clear that Adobe’s Macromedia acquisition became destined to fail after a merger. perhaps if Macromedia had stayed impartial, it could own maintained perspective on what had made it a hit in the past and persevered to invest in its own future instead of reduce prices to achieve some character of synergy.

Regardless, you will only hope that these colossal corporations are studying from the multibillion-dollar error of the past. if so, they might furthermore now not be doomed to restate them.

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


Macromedia shimmer designer: Job Description and requirements | killexams.com actual Questions and Pass4sure dumps

A Macromedia shimmer clothier, or Adobe shimmer mode designer, requires some formal schooling. learn concerning the training, job tasks and necessities to study if this is the amend profession for you.

however once referred to as Macromedia shimmer designers, Adobe now owns and operates Flash. net builders and designers who specialize in Adobe shimmer create a wide array of visible results and interactive media predominantly for web sites. although creativity and a detailed-oriented mind-set are vital for this profession field, professionals furthermore requisite respectable conversation talents, and they must be relaxed with customer carrier.

standard assistance

Macromedia shimmer designers are actually known as Adobe shimmer designers. they're the inventive minds behind the construction and implementation of interactive, animated pictures, and textual content on websites. shimmer designers travail for a number of valued clientele to demonstrate off americans, items, and ideas through particular digital outcomes. suffer with Adobe inventive office Suite, picture design and laptop programming is required.

Required schooling associate's or bachelor's diploma different requirementsexperience with Adobe artistic office Suite, computing device programming, realistic design, animation and illustration; willing certification purchasable Projected Job growth (2014-2024) 27%* (for net builders) Median income (2016) $53,527**

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

Flash designer Job Description

these attracted to becoming a Macromedia shimmer clothier should word that Adobe bought Macromedia in 2005. while the items and job obligations are the equal, job-seekers may quiet notice the supersede and title changes inside the enterprise and utility.

Flash designers travail with the Adobe artistic office suite. They spruce up websites via growing interactive photos and animation, incorporating visuals and adding sound to provide guests a sensory journey apart from presenting them with the guidance provided on the web page. shimmer designers speak with consumers and coworkers about what a finished product should loom to be before customizing the audio and visuals for each and every site and web page. Designers may additionally even be accountable for growing and publishing complete web sites and integrating animation to these larger projects.

discover colleges that present these commonplace courses

  • tips methods security
  • Networking administration
  • programs Administration
  • Webmaster and Multimedia administration
  • greater courses

    necessities of a shimmer dressmaker

    Most shimmer designers own either event or training in computing device programming, realistic design, animation, and illustration. edge of HTML and the information superhighway in addition to website-building basics are crucial.

    Employers might furthermore require proficiency with different design utility akin to Adobe Photoshop, Illustrator, or Dreamweaver. There are a total lot of courses approved by Adobe that offer practicing in their unavoidable computer programs. similarly, Adobe provides certification for designers (and different Adobe software users) who want to complement and boost their résumé and perhaps even compete for a far better earnings or distinctive jobs. shimmer design lessons are offered throughout the united states.

    Flash designers may choose to be self-employed. during this case, carrying on with education and certification can be as much as the individual's discretion, but an extensive resume is key. outside of the education and journey required of shimmer designers, it is captious that each and every candidate cultivates and perpetually proves a tenacious travail ethic.

    as with any unbiased contractor position, shimmer designers should be efficacious in time administration and personal scheduling. They must be in a position to meet closing dates, be flexible, and enable for changes in plan. shimmer designers can self-teach through reading informational books, staring at tutorials, attending seminars, or completing courses provided in technical and design faculties.

    income info and Job Outlook

    according to PayScale.com, nearly everything of shimmer designers working in October 2016 earned between $30,913 and $81,645 per 12 months. besides the fact that children the U.S. Bureau of Labor information (BLS) doesn't provide tips unavoidable to the box of shimmer designers, the BLS did venture that the employment of everything net builders may quiet enhance through a quicker-than-regular expense of 27% from 2014-2024.

    Macromedia shimmer designers, more often now known as Adobe shimmer designers, create interactive styles of media, especially for online clients. These gurus requisite extensive capabilities of computer systems, programming languages, site design, and site constructing, and they can attain this potential from undergraduate degree programs, certificate classes, or standalone shimmer practicing courses.


    9A0-502 Certified Macromedia shimmer MX 2004 Designer

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    9A0-502 exam Dumps Source : Certified Macromedia shimmer MX 2004 Designer

    Test Code : 9A0-502
    Test title : Certified Macromedia shimmer MX 2004 Designer
    Vendor title : ADOBE
    exam questions : 121 actual Questions

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

    January 17, 2004

    Flash traces its beginnings to an animation utensil 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 utensil at the heart of the technology, became Macromedia shimmer 1.0.

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

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

    The artery It Streams From Here

    The earliest days of the Web were characterized by what is commonly described as “static” media—text and quiet photos, runt 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 discern 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 furthermore listening and viewing on claim without having to wait for lengthy download times of the earlier audio and video delivery. With this streaming technology, the Web user could bepleased the content immediately, as it was being “streamed. Almost immediately after it was released, RealAudio became the Web’s most Popular standard for audio broadcasting.

    In April 1997, Progressive Networks took another transcending step, launching RealVideo. Immediately, it changed the artery 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 title to RealNetworks in September 1997. The fact that RealAudio and RealVideo both made it practicable to discern and hear content over the Web in “real” time was a major impetus for this unique 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 own 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 purchase edge of the updated version’s better spend 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 unique tools for managing bandwidth-intensive streaming video content. Providers such as CNN, Fox intelligence 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 replete streaming media product known as Windows Media Player 6. Unlike NetShow, the unique WMP ran on Microsoft's proprietary streaming audio and video formats, and brought the former functions of Media Player in to configuration 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 furthermore 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 utensil 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 competence 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 quicken playback, auto playlists and ratings. It furthermore added advocate for unique 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 gigantic back 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 display 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 edge of this routine 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 inconsistent Internet connections at low speeds.

    As more customers obtained hasty 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 advocate 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 unique York Times, San Francisco Chronicle, NPR, Scobleizer

    Campaign: Exploiting America's obsession with final 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 actual presidential race heated up, BigFix kept pace with unique "developments" from its candidate.

    What set it apart: During final year's election season, there was no shortage of campaigns that sought to spend the political event to their own advantage. But what made the inequity 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 suffer you are creating for people," Kassar says. "We climbed into the skin of their viewer, and they sweated every detail of how this push 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 earn 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 be the genuine article after seeing some banner ads. But more than that, Kassar insists that the key was that the push offered actual 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 earn hurt. everything you can achieve is design something as righteous and human as you can. treat the audience as human beings and treat reporters as human beings."

    Brand: BBQ Addicts

    Agency: None

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

    Campaign: After receiving a Twitter challenge to achieve 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 monstrous Super Bowl snacks. The push helped drive traffic to the duo's blog, which has helped Chronister and Day gyrate 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 captious factors.

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

    The second factor, according to Chronister, was the name, which even he admits is a runt over the top. But, he says, one can't negate the power of an over-the-top title 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 righteous (in moderation, of course)," Chronister says. "People were thinking, 'Who on Earth would eat 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 kind of one-two punch, enabling BBQ Addicts to lead with a zany concept while delivering something of substance.

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

    "Many companies haven't embraced the actual nature of social networking and are hesitant due to fright of backlash," Chronister explains. "What they requisite to understand is any feedback at everything is good, even negative responses. It's an instant survey and one of the fastest ways to better whatever it is they're offering. everything markets consist of human beings who infatuation to be involved, and many times companies are pushing too much of a corporate message instead of a human message. They requisite to desist being afraid of their customers and start edifice relationships."

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

    Agency: None

    Sample coverage: Fort Worth trade 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 demure away from -- was foiled by the bank's employees, who used their customer service skills to enchant the thieves into submission.

    The push 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 push were tiny (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, infatuation 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 design the push as unexpected as practicable because people always talk about the things that amaze 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 unique 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 amaze factor, he furthermore believes that using employees as actors in the ads made a gigantic difference. "Using real-life employees added a bit of human interest and upped the intelligence value of the story," Morse explains.

    The spend of employees furthermore 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 unique York Times, Advertising Age (subscription required)

    Campaign: If an award-winning director made three short films that just happened to include passing reference to Honda, the result would likely be the "Dream the Impossible" campaign, which asked consumers to relate 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 imply 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 own dabbled in short films (most notably BMW), few own taken the bold step of making an earnest documentary that barely features the brand title 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 well-known because they didn't want this push to be about Honda, they wanted it to be about the philosophy of Honda."

    According to Barbush, the focus on Honda's philosophy -- and how it relates to stories of regular people -- helped earn 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 determination to confront failure) may not be palatable for every brand, Barbush does believe that one takeaway everything marketers can spend has to achieve with the vast size and scope of the web. According to Barbush, one of the keys to the push was that Honda didn't try to preserve the conversation confined to its site.

    "We used the replete web; it's a gigantic place," Barbush says. "For this campaign, they pushed comments to YouTube because they just didn't fit on their site. Marketers shouldn't be afraid to purchase people away from the destination. That may imply you're soft on metrics, but you requisite to study at the bigger picture to discern 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 book aesthetic, a painfully honest tagline ("Works every time"), and a partnership with Vice Magazine to partake stories that revolve around the beverage. 

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

    While those stories often involve a kind of drunken debauchery not commonly voiced in most alcoholic beverage ads, Peterson says the push worked because it didn't earn in the artery of how people actually spend the product or try to accommodate an synthetic image. But the story-based approach furthermore gave the push a life of its own because it asked people to partake their experiences, which in gyrate prompted numerous reporters and bloggers to wisecrack about their own memories of drinking Colt 45. While that may own made for some tongue-in-cheek coverage, it did garner press nonetheless, which helped design the brand relevant for a hipper demographic.

    Advice: Stories aside, one captious factor for any push seeking to earn press coverage is its competence to exploit something happening in social culture perquisite now. "If you're tapping into something that's really happening, you own a righteous random to earn some media attention," Peterson says.

    In Colt's case, the beverage resonated with budget-conscious hipsters because the low expense was an implicit section of a highly stylized message, rather than overt offer 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 social affair" has caused one of the most profound climate changes for marketers in the final 50 years. Despite social media's weighty impact, one could design the argument that it is section of a larger trend that has existed long before the coining of the term "social media" (or more specifically, its spend 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 discern the initiatives that some deploy, it becomes obvious that many own not bothered to actually read it. Toward the dawn 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 tenacious advocate for creating and sharing one's creations with others
  • With some character 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 social connection with one another (at the least, they trust what other people reflect about what they own created).
  • As marketers strive to reap the benefits of the viral nature of content that is produced within a participatory culture, they minister to forget many of the ideas laid out above. Marketers look to continuously topple short on the following points:

  • Participatory culture is about social connections with people. The definition above says nothing about brands. I don't believe people can own a social connection with a brand; they can either own a more general connection with a brand or a social connection with someone working at the brand, but a brand is an abstract concept, one that is not capable of a social life. 
  • Prizes are not the only artery to design people feel their contributions matter. Point four in the definition above talks about people's incentives for being energetic 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 be valuable for everyone. One of the radiant 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 study 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 gather 'round peopleWherever you roamAnd admit that the watersAround you own grownAnd accept it that soonYou'll be drenched to the bone.If your time to youIs worth savin'Then you better start swimmin'Or you'll sink infatuation a stoneFor the times they are a-changin'.-Bob Dylan, 1963

    As a unique generation of marketers takes the strategic reins, fragmentation is becoming less of a inflamed topic, but why? This unique generation of marketers is used to animated 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 competence to uncover efficacious stories across platforms. Channel integration and transmedia storytelling are no longer just involving concepts for marketers to consider. Distributed storytelling across various channels is absolutely essential in creating efficacious 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 narrative arc.

    When assessing the consequence of platform thinking, one must respect 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 reach when their devices will be smart enough to detect content and automatically fit 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 everything communications can be accessed everywhere, in a artery that makes sense for the artery in which it is being accessed, and increasingly, at the time and residence it is accessed. Branded utilityA concept near and dear to my heart, branded utility is, in my opinion, one of the most well-known aspects of advertising and marketing innovation. In a world of illimitable alternatives, even property can become a commodity. Brands that propel out products of similar property to their competition requisite to find unique ways to differentiate. This fact challenges marketers to request the question, "What more can I achieve to add value?"

    Given the weight of this concept, it is not easy to achieve. It is furthermore not practicable to create branded utility everything the time without becoming redundant. While everything marketing initiatives cannot be branded utility (you actually discern very few examples in the market that truly fit the definition), the strategy behind this trend is incredibly powerful and possesses an unparalleled competence to create tenacious ties with consumers. The core tenets behind branded utility should be considered in every marketing effort. 

    As a concept, branded utility is possibly the closest of the three trends discussed in this article to the strategy of innovation because both branded utility and innovation require creativity and own 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 suffer is meeting new, really smart people. While the details are topic to change, you can contrivance on hearing from the following industry rock stars, among others:

    Obi Felten, head of consumer marketing, Google UKBen Malbon, executive director of innovation, BBH unique YorkJerome Austria, interactive creative director, Wieden+Kennedy NYCJason Clement, director of digital strategy, Wieden+Kennedy NYCIvan Askwith, director of strategy, gigantic 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 study forward to seeing you at this groundbreaking event. preserve in mind, this track is not just about people speaking at you. There will be a conversational portion. Furthermore, I will be confident to set up necessary back channels to start the dialog before the event, and continue it afterwards.

    Adam Broitman is partner and ringleader at Circ.us.

    On Twitter? succeed iMedia at @iMediaTweet.


    The Future of Web Content – HTML5, shimmer & Mobile Apps | killexams.com actual 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 evolution utensil ColdFusion. At Macromedia, Jeremy helped create the Macromedia MX (Flash) platform. You can discern a recent interview of Jeremy here. As one of the guys who helped build the shimmer Platform, they asked him to weigh in on the recent HTML5 v. shimmer debate.

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

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

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

    For several years, the shimmer Platform was unique in its competence to create highly interactive browser based applications. Around 2003-2004 HTML/JavaScript (Ajax) started to meaningfully emerge as a competing approach to edifice apps on the Web. Meanwhile, as unique shimmer Players shipped, it’s ubiquity ensured that the birth of the online video industry would be 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 focus of these unique battles over the future of web content and app formats and runtimes. They travail with thousands of media publishers who direct to maximize the distribution, achieve and user opportunities with their content. This unique 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 reflect it’s captious 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. shimmer vs. indigenous Apps has runt to achieve with what is the perquisite technical approach, or whether something is open or closed, it has to achieve with the expressions of power and control that drive the businesses of the Internet’s dominant 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 level 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 competence 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 achieve for their advertising platforms and products. For Adobe, this about creating major unique applications businesses based on their platform. For Microsoft, it is about driving unit sales of their core OS and trade applications.

    Web Apps and Content

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

    First, there are what I would call Web Productivity Apps. These kinds of applications require responsive, cross-platform, desktop infatuation and highly interactive experiences. They often require seamless integration with existing web content and data. For several years, the shimmer 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 own created a highly compelling framework to build these applications, and for a large 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 furthermore a class of Web Productivity Apps where shimmer is the preferred runtime, especially those that involve working with and manipulating media such as images, audio and video. We, infatuation many companies, are pragmatic and spend both shimmer and HTML as the technology needs require. Other examples of this include wealthy data visualization applications, where shimmer has gained prominence inside of enterprises because of its wealthy data and visualization features.

    The second broad class of applications are what I would call wealthy Media Apps. These kinds of applications include largely consumer-facing, audience and media centric experiences. In particular, this includes online video, wealthy media advertising and marketing, and online games (casual games). everything of these kinds of applications are highly focused on having a remarkable and immersive suffer that just works, and the creators of these apps are very focused on audience achieve — anything that impedes 100% consumer acceptance is a significant concern. Here, shimmer is dominant. The unique runtime characteristics of Flash, combined with its incredible reach, has led these types of apps to become highly contingent on Flash, and massive amounts of the broadband economy are contingent on it. It seems unlikely that HTML5 would be at everything positioned to supersede shimmer for these categories, though it is clearly worth watching how consistent wealthy media runtimes find their artery into the HTML5+ standard. perquisite 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 unique dynamic into the content and app run-time battles which in gyrate will own 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 unique and largely blank canvas for content and applications. First, these devices offer unique indigenous services and OS-specific features (location, multi-touch UI, local media, wireless networking APIs, cameras, offline) that are giving birth to a massive unique 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 unique “disposable content apps”.

    Hand-held platforms create a unique break for platform vendors to disrupt runtime hegemony from platforms that own seen ascendance on the PC/Web, and controlling these unique run-times and developer adoption of these runtimes has a direct repercussion on these platform vendors competence 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 clear-cut that it is not a zero-sum game. Three runtime platforms will gain adoption and often even inter-mingle — HTML5 content and apps, indigenous Apps (that may contain shimmer and HTML content), and HTML5 apps that contain and leverage shimmer Player. There is a wealthy pallet of capabilities emerging, and each developer will requisite to respect what will be appropriate for their specific audience or application. It is furthermore clear that the adoption of these diverse run-time platforms has the actual potential to reconstitute fundamental relationships to audiences and monetization systems.

    Video as a Cornerstone Issue

    I’m furthermore often asked “Will HTML5 Video supersede shimmer Video?”. Posited as a winner-take-all, absolute, the respond is clearly no. But infatuation the shade of HTML5 vs. shimmer on the Web, there is furthermore a very nuanced and involved evolving landscape in the video format world.

    On the PC/Web, video has gained gigantic momentum as a fundamental media character for everything content on the Web. This has largely been driven by the adoption of shimmer Video, which has approximately 75% market-share for online video. For most web and content app developers, this is fine, it is a remarkable run-time and offers an excellent user suffer and Adobe has done a very righteous 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 fervent to own their content be 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 perquisite technical solution”, it is about the political economy of who controls the formats that in gyrate lead to owning downstream audience and monetization opportunities.

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

    First, perquisite now, there is a need of common approach among browser makers on what format to spend for the HTML video object. This need 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 standard 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 unique format, based on On2 VP8, but under a broad open source license to the format and technology. Firefox, with 24% partake of the browser market, proposes to spend the open source Ogg Vorbis codec. What few people realize is that while H.264 appears to be an open and free standard, in actuality it is not. It is a standard 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 everything users of the technology. How can the open Web adopt a format that has such restrictions? It can’t. Google will design 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 everything of the very technical benefits as H.264. everything of this is a long artery of saying that there is quiet significant format tension and that it will purchase a long time for it to be 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 own extremely broad adoption. Until penetration rates consistently achieve 80%, it will be hard for publishers to switch and adopt a single, unique solution. It is more likely that HTML5 Video adoption will achieve that captious 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 advocate for shimmer Video. From advertising formats, to trade logic for the interaction of video with ads and analytics, hundreds of 3rd party technology companies who own built solutions around online video that are built on Flash, not to mention towering property design and authoring tools that sit at the focus of a large labor market for shimmer design and development; everything of this creates inertia for shimmer and a relatively towering 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 cache the shimmer runtime, it is clear-cut video publishers will be driven to build and operate solutions that leverage HTML5 Video on mobile and iPad browsing environments.

    It’s everything 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 clear is that achieve is quiet king. For platform makers, these battles will continue as they everything seek to drive sufficient achieve 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 achieve will ultimately drive what is adopted by publishers, developers and ISVs.

    While it is easy to purchase 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.


    Guest Columnist: Anthony Wilko | killexams.com actual questions and Pass4sure dumps

    Anthony Wilko is a full-time webmaster and owner of Infuseweb LLC, an affordable full-featured web hosting company based out of San Antonio, Texas.

    He has over 7 years of web design and evolution suffer including data-driven site design with ASP, ColdFusion, MS SQL Server, Access. He is furthermore a Macromedia Dreamweaver MX 2004 Certified Professional.



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