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9A0-602 Certified Macromedia glimmer MX 2004 Developer

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9A0-602 exam Dumps Source : Certified Macromedia glimmer MX 2004 Developer

Test Code : 9A0-602
Test appellation : Certified Macromedia glimmer MX 2004 Developer
Vendor appellation : Adobe
exam questions : 130 existent Questions

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Adobe Certified Macromedia glimmer MX

Adobe glimmer certified for ARM Cortex A8 Processors with the aid of Calsoft Labs | killexams.com existent Questions and Pass4sure dumps

The design arm of ALTEN community, Calsoft Labs has just announced it has reached an agreement with Freescale to certify Adobe glimmer participant on i.MX51 purposes processor platform

under agreement, Calsoft Labs might be allowed to commercially dispense Adobe glimmer player 10.1 on Freescale's i.MX51 construction platforms.

Calsoft Labs is a well-recognized Adobe scaling associate and presents glimmer player porting, certification and improve capabilities in addition to glimmer player licenses.

The company is a vital participant within the smartphone market and it has efficiently completed numerous glimmer participant ports to a considerable number of operating systems, together with Android.

“The i.MX51 family unit of processors with ARM Cortex A8 CPU operating at as speedy as 800 MHz is premier for working affluent glimmer based content on a wide gain of multimedia devices. An accelerated glimmer participant solution will permit OEMs to bring laptop-like browser experiences on tablet category contraptions,” mentioned Anand Joshi, vp of Digital domestic expertise BU at Calsoft Labs.

The i.MX51 functions processor platform is geared toward a bigger gain of CE applications corresponding to tablets and other gadgets, together with smartphones that require elevated efficiency and low vigour.

“Our collaboration with Calsoft Labs skill that i.MX51 customers can now extra utterly leverage the glimmer player. aid for optimized, wealthy looking of glimmer based content is essential for their customers. a certified reference platform is expected to in the reduction of time to market for OEMs constructing their gadgets the employ of their advanced i.MX51 platform,” pointed out Rajeev Kumar, i.MX product line manager for Freescale's Multimedia applications Division.

in line with the ARM Cortex- A8 CPU, the i.MX51 integrates a hardware video decoder and will assist a few video codecs including H.264, On2 VP6, and Sorenson Spark.

youngsters, hardware decoded videos could be required to allow first-rate playback of video content on the web from various web sites, together with YouTube.


The pass forward for internet content material – HTML5, glimmer & cell Apps | killexams.com existent Questions and Pass4sure dumps

Editor’s be aware: here's a guest submit written by pass of Jeremy Allaire, founder and CEO of Brightcove. previous to Brightcove, Jeremy centered Allaire organization which changed into consequently obtained with the aid of Macromedia as a result of the success of their web evolution tool ColdFusion. At Macromedia, Jeremy helped create the Macromedia MX (Flash) platform. that you can remark a fresh interview of Jeremy right here. As probably the most guys who helped construct the glimmer Platform, they requested him to weigh in on the coincident HTML5 v. glimmer debate.

The coincident introduction of the original Apple iPad has stirred the discussion over the future of web content material and application runtime codecs, and shone mild onto the political and business battles rising between Apple, Adobe and Google. These dialogue are sometimes highly polarized and irrational. My hope during this reserve up is to aid provide some stability and readability onto this discussion.

I actually absorb a particularly wonderful viewpoint, stake and position in this discussion. My first company (Allaire) changed into born throughout the creation of the net, with the concept that a browser and HTML might benign the basis for growing content-wealthy, interactive application purposes, ones that didn’t require aboriginal code and will be platform and operating outfit independent. They built ColdFusion as a pass to know this imaginative and prescient. They later grew to become deeply dedicated to the realm of HTML as a developer structure, acquiring and pile HomeSite, what become the world’s paramount windows-based HTML authoring application.

In 2000, it grew to become limpid to me that net functions and runtimes were now not advancing posthaste ample, and that with the emerging world of broadband internet connectivity that a completely original realm of wealthy information superhighway applications could be possible. They (Allaire and Macromedia) merged their companies with the imaginative and prescient that a brand original classification of browser-based applications would emerge, and that they could evolve Macromedia glimmer player from its origins as an animation and motion-photographs engine into a dependable application platform and wealthy client runtime that fused media (text, audio, images, video), communications (net services, real-time APIs) and interactivity (wealthy customer-facet protest model and UI ingredient framework). In March of 2002 they launched the Macromedia MX Platform, anchored across the original glimmer runtime, and realized this imaginative and prescient for the transformation of the net journey and enabling a brand original classification of rich, browser-based mostly applications.

For a pair of years, the glimmer Platform changed into enjoyable in its skill to create particularly interactive browser based applications. around 2003-2004 HTML/JavaScript (Ajax) everyone started to meaningfully emerge as a competing strategy to pile apps on the internet. in the meantime, as original glimmer avid gamers shipped, it’s ubiquity ensured that the start of the on-line video industry would be mostly built on Flash. This gave dawn to everything from YouTube and Brightcove and Hulu, to lots of of alternative online video corporations.

these days, my enterprise sits at the headquarters of those original battles over the future of net content material and app formats and runtimes. They toil with heaps of media publishers who goal to maximise the distribution, attain and user opportunities with their content. This original re-fracturing of net content runtimes is growing challenges (and alternatives) for us and their peers.

A combat for the Hearts and Minds of developers (and Audiences!)

I believe it’s crucial to first frame and be mindful this dialogue with the broader political economic climate of information superhighway utility structures. most of the debate and dialogue over HTML5 vs. glimmer vs. aboriginal Apps has itsy-bitsy to upshot with what is the arrogate technical method, or whether whatever thing is open or closed, it has to upshot with the expressions of vim and control that pressure the businesses of the web’s paramount platform companies — Apple, Adobe, Google and Microsoft.

each of those corporations seeks to create entertaining runtimes and APIs that supply a strategic wedge that may coerce other elements of their business. At one degree here's a combat for the hearts and minds of developers and ISVs, however these builders are only a pass to an conclusion. Gaining large adoption for his or her runtime structures interprets into their skill to create remarkable derivative cost via downstream items and features. For Apple, this is hardware and paid media (content material and apps) sales. For Google, here's about developing remarkable attain for his or her advertising structures and products. For Adobe, this about developing main original purposes agencies based on their platform. For Microsoft, it is set driving unit sales of their core OS and business applications.

web Apps and content material

I’m frequently asked “Will HTML5 exchange Flash?” on the net. The brief answer isn't any. besides the fact that children, there's lots of nuance here and it’s effective to gain the remarkable dissimilarity between two extensive classes of content material applications that are deployed in browsers.

First, there are what i might convene internet productiveness Apps. These kinds of applications require responsive, move-platform, desktop like and tremendously interactive experiences. They commonly require seamless integration with existing web content and data. For a pair of years, the glimmer Platform turned into the ultimate platform for growing these kinds of functions (per above). however, during the past several years, HTML+JavaScript (Ajax) and now HTML5 absorb created a tremendously compelling framework to build these purposes, and for a huge variety of internet productivity apps, the HTML5 approach will become the favourite model. The superior examples are Google Apps, Salesforce.com, and even Microsoft’s drawing nigh office on-line. There are likewise a class of web productivity Apps the region glimmer is the preferred runtime, notably people that contain working with and manipulating media corresponding to photographs, audio and video. We, like many agencies, are pragmatic and employ each glimmer and HTML as the know-how wants require. other examples of this consist of prosperous records visualization applications, where glimmer has gained prominence inner of organizations as a result of its affluent facts and visualization aspects.

The 2d wide classification of purposes are what i might appellation wealthy Media Apps. These sorts of applications consist of largely client-facing, viewers and media centric experiences. In selected, this contains online video, affluent media promoting and advertising, and on-line video games (informal video games). everyone of these forms of purposes are incredibly focused on having a superb and immersive journey that just works, and the creators of those apps are very concentrated on audience attain — the ease that impedes one hundred% buyer acceptance is a significant concern. here, glimmer is dominant. The enjoyable runtime characteristics of Flash, mixed with its striking attain, has led these forms of apps to become particularly dependent on Flash, and massive quantities of the broadband economic climate are based on it. It seems unlikely that HTML5 can be in any respect placed to exchange glimmer for these categories, even though it is clearly value observing how consistent wealthy media runtimes locate their approach into the HTML5+ average. at the moment, it's a non starter.

the handheld Disruption

lots of the above classes of content functions are in reference to the pc/Browser-based mostly web. The explosive boom in hand held computing has delivered a completely original dynamic into the content and app run-time battles which in revolve could absorb a cascading impact on the notebook web. hand-held computing comprises smartphones (iPhone, Android, Nokia, et. al), transportable track/entertainment devices and tablet computing contraptions (iPad and Android contraptions).

in lots of respects, the a hit launch and growth of those gadgets has created a completely original and generally spotless canvas for content and purposes. First, these contraptions tender original aboriginal features and OS-particular features (region, multi-contact UI, local media, instant networking APIs, cameras, offline) that are giving birth to a colossal original category of non-internet Apps that are developed the usage of proprietary native-code APIs and runtimes. as a result of always-on broadband connectivity and straightforward to discovery App retailers, there has been swift adoption of these original “disposable content material apps”.

hand-held structures create a brand original probability for platform carriers to disrupt runtime hegemony from platforms which absorb viewed ascendance on the workstation/net, and controlling these original run-instances and developer adoption of those runtimes has a direct absorb an impact on on these platform vendors skill to personal viewers relationships and monetization opportunities. for instance, a web-centric, HTML5-centric handheld world favors Google since it can leverage it’s existing dominance in search and net advertising. A proprietary App-centric universe favors Apple since it can revolve into the fundamental gatekeeper to attaining the cellular audience and already has a pole position in integrating payments and promoting into content purposes.

in the case of hand-held structures, besides the fact that children, it seems reasonably distinct that it is not a nil-sum video game. Three runtime structures will gain adoption and infrequently even inter-mingle — HTML5 content and apps, aboriginal Apps (that may likewise comprise glimmer and HTML content), and HTML5 apps that include and leverage glimmer participant. there is a prosperous pallet of capabilities emerging, and every developer will should accept as dependable with what could be applicable for his or her selected viewers or software. it's likewise limpid that the adoption of these distinct run-time structures has the precise potential to reconstitute simple relationships to audiences and monetization programs.

Video as a Cornerstone concern

I’m likewise commonly asked “Will HTML5 Video replace glimmer Video?”. Posited as a winner-take-all, absolute, the answer is clearly no. but like the nuance of HTML5 vs. glimmer on the internet, there's likewise a extremely nuanced and complicated evolving landscape in the video format world.

On the notebook/net, video has gained remarkable momentum as a basic media sort for everyone content on the net. This has generally been pushed by means of the adoption of glimmer Video, which has approximately 75% market-share for on-line video. for most internet and content material app developers, this is quality, it's an outstanding run-time and offers an excellent person journey and Adobe has completed a superb job maintaining the platform modern with probably the most worrying wants of video dawn and first-class.

it's the speedy emergence of hand held gadgets, however, it truly is bringing this concern to the forefront. With huge increase in handheld internet looking from smartphones, iTouch devices and the pending iPad product, this has raised a deeper challenge for media publishers who are enthusiastic to absorb their content be obtainable to end-clients. In certain, it is the show-down between Apple, Google and Adobe over who can ply video codecs on these devices it really is creating challenges. once more, here is no longer about “what is the reform technical solution”, it is concerning the political economic climate of who controls the formats that in flip result in possessing downstream viewers and monetization alternatives.

The basic conception at the back of HTML5 video is that there would be a common video format that can be positioned and rendered into any suitable net browser, conceptually changing the want for the glimmer run-time to render video in browsers. however there are gigantic challenges with this, some political, some technical and some according to audience conduct.

First, right now, there is an absence of general strategy among browser makers on what layout to gain employ of for the HTML video object. This want of contract represents a proxy for broader political battles. Apple promotes MPEG-4/H.264, which it makes employ of for it’s gadget systems. Microsoft promotes VC-1, it’s personal typical video codec. Google has yet to completely weigh-in on what layout to guide, which leads me to speculate that they're going to quickly interlard a original structure, according to On2 VP8, however under a wide open supply license to the format and know-how. Firefox, with 24% share of the browser market, proposes to gain employ of the open source Ogg Vorbis codec. What few individuals understand is that while H.264 appears to be an open and free common, in conviction it isn't. it's a measure offered by means of the MPEG-LA consortsia, and is governed through industrial and IP restrictions, with a purpose to in 2014 impose a royalty and license requirement on everyone clients of the know-how. How can the open web undertake a layout that has such restrictions? it could possibly’t. Google will gain an end-run on this by pass of launching an open structure with an open supply license for the know-how, which in keeping with trade experts supplies pretty much the entire identical technical advantages as H.264. everyone of here's an extended manner of asserting that there continues to be colossal layout tension and that it will pick a very long time for it to be resolved in next-gen browsers.

2d, however linked, is the raw fact of browser adoption and churn cycles, and the fact that online video publishers will only adopt requirements that absorb extremely extensive adoption. until penetration charges constantly attain 80%, it might be complicated for publishers to swap and undertake a single, original answer. it is greater possible that HTML5 Video adoption will gain that considerable mass on handheld gadgets before it does on the computing device/web.

Third, and equally vital, is the extra useful theme of the massive industry-huge ecosystem assist for glimmer Video. From promoting codecs, to company logic for the interaction of video with adverts and analytics, a entire bunch of 3rd celebration know-how agencies who've constructed solutions round on-line video which are constructed on Flash, not to point out excessive satisfactory design and authoring tools that pick a seat at the core of a huge labor marketplace for glimmer design and construction; everyone of this creates inertia for glimmer and a relatively elevated industry-extensive switching can charge.

but stepping again and looking at this principally in the context of hand held computing, where Apple is politically prompted to obstruct the glimmer runtime, it's obvious video publishers might be driven to construct and operate options that leverage HTML5 Video on cellular and iPad looking environments.

It’s everyone About reach

whether on the supply aspect of content and functions, or on the distribution and run-time facet of the equation, what is abundantly limpid is that attain is quiet king. For platform makers, these battles will continue as they everyone are seeking for to drive ample gain for their open and proprietary specifications such that they can exploit this distribution for his or her core business goals. Likewise, and more important, anything requisites and fashions deliver the broadest gain will subsequently pressure what's adopted by publishers, builders and ISVs.

whereas it is light to pick a binary region in the future of content functions and run-times, it is evident that the competing pastimes of platform companies, buyers and app and content publishers will be positive that this remains a fragmented and competitive ambiance for a long time to return.


Why Is Steve Jobs Flash-obsessed? | killexams.com existent Questions and Pass4sure dumps

money owed of his anti-Adobe rants carry questions about what truly motivates them

I haven't any doubt that Steve Jobs is at least in Part trustworthy when he complains to his staff and the gossipy editors on the Wall road Journal about Flash, the multimedia platform Apple pointedly refuses to advocate on the iPhone, the iPod contact and the approaching iPad pill desktop.

with his penchant for simplicity and elegance, Jobs might likewise very smartly dependence that the ubiquitous net animation utility is “buggy,” a “CPU hog,” “full of safety holes,” “a dying know-how,” the reason for most Mac crashes, and that the Adobe engineers liable for it are “lazy,” as nameless sources absorb mentioned to Wired, Valleywag and in other places.

however ditching glimmer — which generates roughly seventy five% of the video on the net — and replacing it with MPEG-4/H.264 isn't, as Jobs claims, “trivial,” and that i suspect he knows it. Nor would helping glimmer necessarily reduce the iPad’s pronounced 10-hour battery lifestyles to 1.5 hours, as he is talked about to absorb claimed.

Of route there are other motives Jobs hates glimmer — company explanations.

As Holman Jenkins brought up in the Journal every week after Jobs met with its editors,

“Flash would likewise enable iPhone and iPad users to devour video and different enjoyment with out going through iTunes. glimmer would let clients freely obtain the sorts of aspects they can only secure now at the Apple App store.”

but Apple makes most of its cash selling hardware, now not 99-cent apps. What’s truly going, in accordance Brightcove CEO Jeremy Allaire, is a battle for power and manage among the many cyber web’s paramount platform organizations: Apple (AAPL), Adobe (ADBE), Google (GOOG) and Microsoft (MSFT).

Allaire lays it everyone out in a 2,200-be sensible visitor publish that became published with the aid of TechCrunch two weeks in the past:

“each of those organizations seeks to create unique runtimes and APIs that give a strategic wedge that can drive different elements of their company,” he wrote. “At one degree this is a fight for the hearts and minds of builders and ISVs, however these developers are in basic terms a means to an conclusion. Gaining large adoption for their runtime systems translates into their potential to create remarkable spinoff value via downstream items and features. For Apple, this is hardware and paid media (content material and apps) earnings. For Google, here is about growing massive attain for their advertising systems and products. For Adobe, this about creating major original applications companies based on their platform. For Microsoft, it is about driving unit income of their core OS and business functions.”

For Apple watchers drawn to understanding Jobs’ obsession with Flash, it’s a absorb to-examine. that you would be able to secure it right here.

observe: Allaire spent two years as chief expertise officer at Macromedia, the region he helped improve the Macromedia MX platform that changed into released in glimmer player 6.

replace: Roughly Drafted’s Daniel Eran Dilger has posted a observation by means of Morgan Adams, a developer who is sensible of a entire lot about pile apps in Flash. Adams suggests that the precise vicissitude with glimmer is that it doesn’t toil — and may’t readily be made to toil — with the iPad (or for that matter the iPhone) on account of the “hover and mouseover” difficulty. remark right here.

[Follow Philip Elmer-DeWitt on Twitter @philiped]


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Certified Macromedia glimmer MX 2004 Developer

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The Evolution of affluent Media | killexams.com existent 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 glimmer 1.0.

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

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

The pass It Streams From Here

The earliest days of the Web were characterized by what is commonly described as “static” media—text and quiet photos, itsy-bitsy 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 remark 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 likewise 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 baskin the content immediately, as it was being “streamed. Almost immediately after it was released, RealAudio became the Web’s most current measure for audio broadcasting.

In April 1997, Progressive Networks took another transcending step, launching RealVideo. Immediately, it changed the pass 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 appellation to RealNetworks in September 1997. The fact that RealAudio and RealVideo both made it possible to remark 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 absorb 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 employ 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 news 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 shape 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 likewise 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 skill 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 speed playback, auto playlists and ratings. It likewise added advocate 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 remarkable befriend 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 gain of array characteristics) frames into content.

Apple Computer followed a tosomeextent different path to the streaming media competitive marketplace. The company first rolled out QuickTime in 1992 as software that would primarily play affluent media files the user had already downloaded to their computer. Apple maintained that the main handicap 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 incompatible 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 advocate for mobile affluent media content as well as MPEG-4 technology, an enhanced digital compression technique for encoding affluent multimedia content. 

Brand: BigFix

Agency: Rassak Experience

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

Campaign: Exploiting America's obsession with ultimate 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 existent presidential race heated up, BigFix kept pace with original "developments" from its candidate.

What set it apart: During ultimate year's election season, there was no shortage of campaigns that sought to employ 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 smack 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 materialize 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 secure 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 drive offered existent 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 secure hurt. everyone you can upshot is gain something as magnificient 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 original York Times, Akron Beacon Journal, Toronto Star

Campaign: After receiving a Twitter challenge to upshot 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 Part 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 censorious factors.

The first factor, Chronister says, was timing. With a launch date so nigh 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 itsy-bitsy over the top. But, he says, one can't contradict the power of an over-the-top appellation 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 magnificient (in moderation, of course)," Chronister says. "People were thinking, 'Who on Earth would ingest 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 benign 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 convivial networking tools like Twitter and Facebook. But, according to Chronister, many brands often misuse those platforms.

"Many companies haven't embraced the existent nature of convivial networking and are hesitant due to awe of backlash," Chronister explains. "What they exigency to understand is any feedback at everyone is good, even negative responses. It's an instant survey and one of the fastest ways to improve whatever it is they're offering. everyone markets consist of human beings who like to be involved, and many times companies are pushing too much of a corporate message instead of a human message. They exigency to discontinue being afraid of their customers and start pile relationships."

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

Agency: None

Sample coverage: Fort Worth business 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 shy away from -- was foiled by the bank's employees, who used their customer service skills to enchant 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 minuscule (North Texas isn't the same 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, like a day at the beach. They were made to showcase as much personality as possible (again, something not generally associated with banks). They aimed to gain the drive as unexpected as possible 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 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 amaze factor, he likewise believes that using employees as actors in the ads made a remarkable difference. "Using real-life employees added a bit of human interest and upped the news value of the story," Morse explains.

The employ of employees likewise 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 materialize 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 include passing reference to Honda, the result would likely be the "Dream the Impossible" campaign, which asked consumers to connect 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 impress in the year 2088. Another video, which highlighted Honda's passion for innovation, took the unusual diplomacy of probing the role of failure in achieving technological breakthroughs.

What set it apart: While a number of car brands absorb dabbled in short films (most notably BMW), few absorb taken the bold step of making an earnest documentary that barely features the brand appellation 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 considerable because they didn't want this drive 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 secure 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 Part 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 everyone marketers can employ has to upshot 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 reserve the conversation confined to its site.

"We used the full web; it's a remarkable place," Barbush says. "For this campaign, they pushed comments to YouTube because they just didn't suitable on their site. Marketers shouldn't be afraid to pick people away from the destination. That may impress you're soft on metrics, but you exigency to gaze at the bigger picture to remark 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 engage 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 absorb a record to tell," says Britt Peterson, ally at Cole & Weber United.

While those stories often involve a benign of drunken debauchery not commonly voiced in most alcoholic beverage ads, Peterson says the drive worked because it didn't secure in the pass of how people actually employ the product or try to coerce an ersatz image. But the story-based approach likewise 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 joke about their own memories of drinking Colt 45. While that may absorb made for some tongue-in-cheek coverage, it did garner press nonetheless, which helped gain the brand pertinent for a hipper demographic.

Advice: Stories aside, one censorious factor for any drive seeking to secure press coverage is its skill to exploit something happening in convivial culture right now. "If you're tapping into something that's really happening, you absorb a magnificient random to secure some media attention," Peterson says.

In Colt's case, the beverage resonated with budget-conscious hipsters because the low expense was an implicit Part of a highly stylized message, rather than overt tender 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 convivial affair" has caused one of the most profound climate changes for marketers in the ultimate 50 years. Despite convivial media's weighty impact, one could gain the dispute that it is Part of a larger trend that has existed long before the coining of the term "social media" (or more specifically, its employ 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 remark the initiatives that some deploy, it becomes obvious that many absorb 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 strong advocate for creating and sharing one's creations with others
  • With some sort 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 convivial connection with one another (at the least, they custody what other people deem about what they absorb created).
  • As marketers strive to garner the benefits of the viral nature of content that is produced within a participatory culture, they tend to forget many of the ideas laid out above. Marketers look to continuously topple short on the following points:

  • Participatory culture is about convivial connections with people. The definition above says nothing about brands. I don't believe people can absorb a convivial connection with a brand; they can either absorb a more general connection with a brand or a convivial connection with someone working at the brand, but a brand is an abstract concept, one that is not capable of a convivial life. 
  • Prizes are not the only pass to gain 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 be valuable for everyone. One of the magnificent 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 gaze 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 conventional ways of doing things, may I present Bob Dylan:

    Come gather 'round peopleWherever you roamAnd admit that the watersAround you absorb 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 like 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 stinging topic, but why? This original generation of marketers is used to animate 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 skill to expose effective stories across platforms. Channel integration and transmedia storytelling are no longer just bewitching concepts for marketers to consider. Distributed storytelling across various channels is absolutely essential in creating effective 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 record arc.

    When assessing the moment of platform thinking, one must deem 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 forward when their devices will be smart enough to detect content and automatically suitable 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 everyone communications can be accessed everywhere, in a pass that makes sense for the pass in which it is being accessed, and increasingly, at the time and region it is accessed. Branded utilityA concept near and dear to my heart, branded utility is, in my opinion, one of the most considerable aspects of advertising and marketing innovation. In a world of boundless alternatives, even character can become a commodity. Brands that thrust out products of similar character to their competition exigency to find original ways to differentiate. This fact challenges marketers to request the question, "What more can I upshot to add value?"

    Given the weight of this concept, it is not light to achieve. It is likewise not possible to create branded utility everyone the time without becoming redundant. While everyone marketing initiatives cannot be branded utility (you actually remark very few examples in the market that truly suitable the definition), the conception behind this trend is incredibly powerful and possesses an unparalleled skill to create strong 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 conception of innovation because both branded utility and innovation require creativity and absorb 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 smack is meeting new, really smart people. While the details are theme to change, you can plan 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, remarkable 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 gaze forward to seeing you at this groundbreaking event. reserve in mind, this track is not just about people speaking at you. There will be a conversational portion. Furthermore, I will be positive to set up necessary back channels to start the dialog before the event, and continue it afterwards.

    Adam Broitman is ally and ringleader at Circ.us.

    On Twitter? follow iMedia at @iMediaTweet.


    The Future of Web Content – HTML5, glimmer & Mobile Apps | killexams.com existent 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 tool ColdFusion. At Macromedia, Jeremy helped create the Macromedia MX (Flash) platform. You can remark a recent interview of Jeremy here. As one of the guys who helped build the glimmer Platform, they asked him to weigh in on the recent HTML5 v. glimmer 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 business battles emerging between Apple, Adobe and Google. These discussion are often highly polarized and irrational. My hope in this post is to befriend provide some balance and clarity onto this discussion.

    I absorb 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 shape the basis for creating content-rich, interactive software applications, ones that didn’t require aboriginal code and could be platform and operating system independent. They built ColdFusion as a pass to realize this vision. They later became deeply committed to the world of HTML as a developer format, acquiring and pile HomeSite, what was the world’s paramount Windows-based HTML authoring application.

    In 2000, it became limpid 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 affluent internet applications would be 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 glimmer Player from its origins as an animation and motion-graphics engine into a existent application platform and affluent client runtime that fused media (text, audio, images, video), communications (web services, real-time APIs) and interactivity (rich client-side protest model and UI component framework). In March of 2002 they launched the Macromedia MX Platform, anchored around the original glimmer runtime, and realized this vision for the transformation of the Web smack and enabling a original class of rich, browser-based applications.

    For several years, the glimmer Platform was unique in its skill to create highly interactive browser based applications. Around 2003-2004 HTML/JavaScript (Ajax) started to meaningfully emerge as a competing approach to pile apps on the Web. Meanwhile, as original glimmer 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 headquarters of these original battles over the future of web content and app formats and runtimes. They toil with thousands of media publishers who train to maximize the distribution, gain 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 deem it’s censorious 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. glimmer vs. aboriginal Apps has itsy-bitsy to upshot with what is the right technical approach, or whether something is open or closed, it has to upshot with the expressions of power and control that drive the businesses of the Internet’s paramount 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 skill 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 gain 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 business applications.

    Web Apps and Content

    I’m often asked “Will HTML5 replace Flash?” on the Web. The quick answer is no. However, there is a lot of nuance here and it’s helpful to gain 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 like and highly interactive experiences. They often require seamless integration with existing web content and data. For several years, the glimmer 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 absorb 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 likewise a class of Web Productivity Apps where glimmer is the preferred runtime, especially those that involve working with and manipulating media such as images, audio and video. We, like many companies, are pragmatic and employ both glimmer and HTML as the technology needs require. Other examples of this include affluent data visualization applications, where glimmer has gained prominence inside of enterprises because of its affluent data and visualization features.

    The second broad class of applications are what I would convene affluent Media Apps. These kinds of applications include largely consumer-facing, audience and media centric experiences. In particular, this includes online video, affluent media advertising and marketing, and online games (casual games). everyone of these kinds of applications are highly focused on having a remarkable and immersive smack that just works, and the creators of these apps are very focused on audience gain — anything that impedes 100% consumer acceptance is a significant concern. Here, glimmer 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 be at everyone positioned to replace glimmer for these categories, though it is clearly worth watching how consistent affluent media runtimes find their pass into the HTML5+ standard. right 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 absorb a cascading impact 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 tender 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 light to discovery App Stores, there has been rapid adoption of these original “disposable content apps”.

    Hand-held platforms create a original occasion for platform vendors to disrupt runtime hegemony from platforms that absorb seen ascendance on the PC/Web, and controlling these original run-times and developer adoption of these runtimes has a direct impact on these platform vendors skill 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 distinct 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 contain glimmer and HTML content), and HTML5 apps that contain and leverage glimmer Player. There is a affluent pallet of capabilities emerging, and each developer will exigency to deem what will be arrogate for their specific audience or application. It is likewise limpid that the adoption of these diverse run-time platforms has the existent potential to reconstitute fundamental relationships to audiences and monetization systems.

    Video as a Cornerstone Issue

    I’m likewise often asked “Will HTML5 Video replace glimmer Video?”. Posited as a winner-take-all, absolute, the answer is clearly no. But like the nuance of HTML5 vs. glimmer on the Web, there is likewise a very nuanced and complicated evolving landscape in the video format world.

    On the PC/Web, video has gained colossal momentum as a fundamental media sort for everyone content on the Web. This has largely been driven by the adoption of glimmer 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 smack and Adobe has done a very magnificient job keeping the platform coincident 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 enthusiastic to absorb 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 right 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 be a common video format that could be placed and rendered into any compatible web browser, conceptually replacing the exigency for the glimmer run-time to render video in browsers. But there are colossal challenges with this, some political, some technical and some based on audience behavior.

    First, right now, there is a want of common approach among browser makers on what format to employ 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 measure video codec. Google has yet to fully weigh-in on what format to support, which leads me to speculate that they will soon interlard 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 employ 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 measure 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 everyone users of the technology. How can the open Web adopt a format that has such restrictions? It can’t. Google will gain 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 everyone of the same technical benefits as H.264. everyone of this is a long pass of adage that there is quiet significant format tension and that it will pick 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 absorb extremely broad adoption. Until penetration rates consistently gain 80%, it will be difficult for publishers to switch and adopt a single, original solution. It is more likely that HTML5 Video adoption will gain that censorious 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 glimmer Video. From advertising formats, to business logic for the interaction of video with ads and analytics, hundreds of 3rd party technology companies who absorb built solutions around online video that are built on Flash, not to mention elevated character design and authoring tools that sit at the headquarters of a large labor market for glimmer design and development; everyone of this creates inertia for glimmer and a relatively elevated 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 obstruct the glimmer runtime, it is distinct video publishers will be driven to build and operate solutions that leverage HTML5 Video on mobile and iPad browsing environments.

    It’s everyone 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 limpid is that gain is quiet king. For platform makers, these battles will continue as they everyone hunt to drive sufficient gain 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 gain will ultimately drive what is adopted by publishers, developers and ISVs.

    While it is light 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 existent questions and Pass4sure dumps

    AD SPECSRich Media High impact Ad Formats | affluent 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 glimmer ads must conform to everyone measure Turner Broadcasting System, Inc. interactive ad specs and guidelinesincluding file size, animation, and content-in addition to the specific coding specs famed in the CNNMoney.com Production Guidelines.

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

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

    SWF File Requirements

    Flash version SWF files must be published as glimmer 5, 6, or 7. They upshot not currently accept glimmer 8.

    FilenamesThe following characters should not be included in the filename:

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

    AnimationFlash offers the skill to create additional animation on rollover. Their measure animations spec is 15 seconds, but glimmer 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 glimmer ads sniff, a backup GIF is required for every drive to ensure smooth delivery.

    getURL ActionsMacromedia currently recommends a "clickTag" routine to track clicks for glimmer ads. This routine uses variables to pass the click tracking string and URL into glimmer movies. As a result, the only text in the URL box is: "_level0.clickTag" (without the quotes). The _level0 Part is included for 'pathing' purposesto ensure that glimmer 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 be evaluated and replaced with the click tracking string and the destination URL. For this routine to role correctly in glimmer 5 and glimmer 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. gain positive 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 glimmer 7(MX 2004).

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

    Upon submission, delight denote a click-through URL for each ad in the e-mail body or in a spreadsheet. This URL will be used such that when a click through occurs, the browser will first contact the ad server to weigh the click and then proceed to the click-through site.



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