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Vendor Name : Adobe
Exam Code : 9A0-602
Exam Name : Certified Macromedia Flash MX 2004 Developer
Questions and Answers : 130 Q & A
Updated On : November 12, 2018
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Adobe 9A0-602 Exam (Certified Macromedia Flash MX 2004 Developer) Detailed Information

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Adobe Certified Associate exams
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Q: What are the benefits of training courses?
A: Successful businesses work with Adobe’s world-class products and solutions every day. When you train with Adobe, you stay ahead of the pack with digital skills that will take you anywhere you want to go.
We offer more than just old-school training, including:
• Skills assessment
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A: Just fill out our form to request private training for up to 12 individuals at your site. Price includes travel costs. Any unused portion of this Adobe Professional Services engagement will expire 12 months after the effective date and may not be carried over or used for any purpose. Price includes up to 12 students. Note that this service is not available in India.
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Adobe reserves the right to reschedule or cancel a training course due to low enrollment or if necessitated by an emergency or other unforeseen circumstances. In such cases, you will receive a credit for the full amount that must be used before the expiration of the applicable term. Adobe will not be liable for any nonrefundable travel arrangements. Contact us for assistance.
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A: This offering creates a non-refundable bank of funds which will be decremented by the list price of each regional, online or on premise training course in which Customer enrolls, registers or attends. Customer may cancel an enrollment, without charge, if it provides Adobe with at least 7 business days advance written notice. If Customer fails to attend a training course in which it is enrolled, cancels such enrollment with less than 7 business days written notice, or fails to provide the minimum requirements (such as PCs, space, projectors) that may be reasonably requested by Adobe in order to provide an on premise training course, Customer’s bank of funds will still be decremented in the amount of the enrollment fee. In the event Adobe cancels a training course, Customer’s bank of funds will not be decremented. All unused funds as of the End Date shall expire and be forfeited.
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A: We offer both virtual instructor-led courses and videos on demand so you can learn where and when it’s convenient for you. You can also check out our free video learning content to get a taste of what ATS training is all about.
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Q: I have registered for my training course in EMEA. When will I receive the confirmation e-mail?
A: For all EMEA course registrations, a confirmation e-mail will be sent about a week before the course starts.
Q: In which languages are the courses conducted (JPAC)?
A: In Japan, training course materials are localized in Japanese. For all other Asia-Pacific countries, they will be in English.
Q: In which languages are course materials available (JPAC)?
A: Training course materials in JPAC are mainly localized.
Q: I want to request on-site or regional training in a country not listed in the registration area. Can I do so?
A: Yes. Contact us directly and we will provide more information.
Certification
General questions
Q: How do I prepare for my exam?
A: You should have extensive experience for all listed exam topics. The topics for each exam are in the exam guide. Review the recommended materials listed in the relevant exam guide to see if you’re ready to take the certification exam.
Q: Does attending training courses help with certification?
A: Attending training courses gives you hands-on experience and in-depth expertise in Adobe products. However, training courses are not prerequisites for a certification exam.
Q: How are the exams administered?
A: Adobe Certified Expert (ACE) exams are administered by Pearson VUE, an independent third-party testing company. The tests are offered at over 5,000 authorized testing centers in more than 100
countries. Visit the Pearson VUE website for more information or to register for an exam.
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A: You can pay for a certification exam with a credit card, or you may request to be invoiced through your salesperson. Invoiced customers will receive a voucher number to use as payment.
Q: If I don't pass an exam, can I get a refund?
A: We are unable to offer refunds for failed exams.
Q: How long do the certifications last?
A: Certifications on Adobe Digital Marketing Suite products are valid for 12 months. All other product certifications do not expire, although ACE exams are continually evaluated and updated to ensure content remains relevant. Maintaining your certification status validates your knowledge and skills as a competent professional.
Q: When will I receive my score?
A: Results for exams that consist of only multiple choice questions will be provided immediately upon completion. Exams with both multiple choice and short-answer questions will have results delivered in two parts: The multiple-choice portion is scored immediately and the short answer portion is scored within five business days. You will receive your score by email.
Q: What happens if I fail?
A: You may register for the exam again 14 days after a failed attempt. You are allowed up to three exam attempts for any exam annually. Each attempt will incur a separate exam fee.
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A: Question answers are not disclosed. Adobe strives to maintain the highest standards to protect the integrity of the certifications you earn.
Q: What can I do if I have a grievance with an exam question?
A: Adobe is focused on the integrity of the ACE certifications and ensuring the accreditations remain meaningful. If you have a grievance with a question, send a description of the question and your complaint to aceprogram@pearson.com.
Q: What do I receive upon certifying?
A: All certifications offer an e-certificate and use of the ACE logo, which will be emailed to you after you sign the ACE Agreement.
Q: Where do I view my certification history (results and so on)?
A: You can view your certification status, history, results and more by logging in to the Adobe Certified Portal.
Q: What is the prerequisite for taking an ACE recertification exam?
A: Candidates must be certified on the previous version of the product to have their recertification exam results apply to the current version.
Q: How do I add my name to the ACE Finder?
A: Follow these instructions to get your name added to our Adobe Certified Expert Finder:
• Log in to the Adobe Certified Portal. If you need assistance with your credentials, contact aceprogram@pearson.com
• Select Update Personal Info from the menu.
• Scroll down to the bottom section, Custom Questions, and select Yes so we can share your credentials.
• Enter a URL to showcase your skills, previous project, contact information and more in the Website field (optional).
• Click Submit
Please allow five business days for your information to appear. If you still don't see yourself listed, contact aceprogram@pearson.com for assistance.
Adobe Creative Cloud and Creative Suite Certifications
Q: Why are certifications offered in both Creative Cloud and Creative Suite?
A: When you purchased a version of a Creative Suite product you were able to use that version indefinitely, so the certification remained valid indefinitely as well. When you certify on a perpetual product you continue to be an expert on that version, but as features are added and changed you will, over time, be using a different product. To ensure that all our ACEs have a level playing field, only those who are able to show they have the most current knowledge are able to represent themselves as ACEs of the most recent product/exams.
Q: What does the release of Creative Cloud mean to the ACE program?
A: The process of registering and taking exams and becoming certified does not change with the release of Creative Cloud.
Q: Do I have to recertify every time my Creative Cloud product is updated?
A: No. Creative Cloud products are updated regularly, but not all changes will impact the skills that make someone an ACE. You will need to recertify after your ACE certificate expires to continue to represent yourself as a current Creative Cloud ACE.
Q: For how long will my Creative Cloud certifications be valid?
A: Your ACE certification for Creative Cloud products will be valid for two years after the date you certify.
Q: I am currently certified in Creative Suite products. How long will those certifications be valid?
A: Your existing Creative Suite certifications will always be valid; however, they will be valid only for the product version on which you were certified.
Q: Will the beta exams count as my CC certification?
A: Yes. If you participate in our exam beta process, and receive a passing score for a live exam based on your answers to questions from a product beta, that passing score will apply toward your Creative Cloud certification. If you are interested in participating in upcoming betas, follow us on Facebook and Twitter for recruitment updates.
Q: How long will the CS6 exams be available?
A: The CS6 exams will continue to be available for as long as Adobe continues to sell and provide product support for CS6.
Q: What about my certification that isn’t for Creative Cloud or Creative Suite?
A: Currently there are no changes to our other exams/certifications in the ACE program.

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

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Test Name : Certified Macromedia Flash MX 2004 Developer
Vendor Name : Adobe
Q&A : 130 Real Questions

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Adobe Adobe Certified Macromedia Flash

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

victorwong“statistics-pushed thinking" is written by means of participants of the media group and contains clean ideas on the digital revolution in media.

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

Adobe’s 2005 acquisition of Macromedia, together with its flagship items Flash and Dreamweaver, for $three.four billion in inventory, had big expertise.

Macromedia’s plan for Flash to develop into the underlying know-how for a vast range of apps and gadgets perceived to align completely with Adobe’s desire to dominate the advertising and media markets. however on its most recent income name, Adobe published that Flash became no longer an important contributor to the final analysis.

however turned into it ever?

on the time of the sale, Macromedia become simplest generating about $forty million a year in net revenue, on $422 million in income. it might have taken tremendous amounts of cost-reducing, synergies and time to make returned $three.4 billion on that sort of financial efficiency.

So if now not the tangible money, probably Adobe become greater interested in some intangible merits. You could argue that it did succeed in positioning creative Suite, now artistic Cloud, as vital for any interactive clothier or developer. although, confer with any clothier nowadays and it turned into all the time Photoshop that became the must-have for creative authorities, with Flash simplest really getting used by way of the promoting and media industries.

So if Adobe’s aim became to catch the advertising spend of companies, why trouble purchasing Macromedia? Omniture, acquired for a mere $1.8 billion in 2009, has been the some distance enhanced investment for Adobe on this entrance. Now producing lots of of tens of millions of dollars per quarter, it grew to become the groundwork of Adobe’s advertising cloud, and has seemingly already paid for itself. In 2015, marketing Cloud is heading in the right direction to generate $1.35 billion in income.

it might be complicated to argue these days that Macromedia “earned its retain” in the Adobe suite of options. past pleasing some curiosity or even schadenfreude, retracing the story of Adobe’s doomed Macromedia acquisition highlights the mismanagement and directional shifts inside the utility and promoting industries that perceived to doom the deal from the beginning.

ignored cellular alternatives

After the Macromedia acquisition closed, Adobe wanted to construct on Flash’s success in Japan, the place it constructed a $1 billion market in Flash content for cellular via licensing Flash Lite to jap cellular carriers. Adobe desired to do the same in the US and Europe but additionally to create a “Flash App store,” the place Adobe would share in the earnings on selling supplemental Flash content material.

but there have been two big complications with the execution. First, after the acquisition, Adobe had laid off all members of the customary mobile enterprise unit from Macromedia that had spearheaded Flash Lite’s success in Japan. 2d, Adobe wager on dominant function phones whereas ignoring the growing to be smartphone market.

finally, as Adobe did not spark a Western marketplace for mobile Flash content, it became more durable to get mobile traction because of the focal point on characteristic telephones as smartphones took off. The Flash team suggested a rewrite of Flash to make it extra smartphone-pleasant, but by all accounts, they have been turned down through Adobe leadership as cost-slicing became a precedence. This left Flash in an untenable position in mobile.

Steve Jobs’ 2010 open letter, “techniques on Flash,” didn’t assist either. In his terse clarification of why Apple didn't allow Flash on its items, he skewered its safety, reliability and performance. Flash wasn’t constructed for cell touchscreens, he mentioned, lambasting it for sucking battery energy as well. no matter if Adobe comfortably didn’t feel it become value reinventing Flash for mobile or some other element changed into at play, these considerations persisted.

Jobs wasn’t alone in his criticism. Flash changed into generally panned for its bloat, when it comes to the computing power required to run it. As others held Adobe dependable for now not holding the platform, it really created some ill will in the technology house. through 2011, Adobe had laid off 750 personnel, together with the Flash-authoring group, and threw within the towel on constructing Flash for cellular.

It’s a ask yourself Flash limped alongside as far as 2015, nevertheless it did, albeit slowly, losing away the complete time until Google announced it will stop all Flash content material from playing immediately on the Chrome browser.

The handiest americans upset to look Flash go had been within the advertising trade, which relied on it as a consistent, excellent animation engine, and yet Adobe decided the agencies weren’t crucial enough. Adobe would later bet on going without delay to manufacturers by means of its advertising Cloud, which it sells to organizations. For its part, marketing Cloud changed into the a ways smarter wager and fewer reliant on outsiders to guide it.

The cell dilemma

misery loves business, and Adobe isn't the handiest tech big to be taught a painful lesson as a result of mobile and overextension.

Microsoft currently wrote $7.5 billion off its Nokia unit, which it bought just greater than a 12 months ago to win mobile by means of stepping into the hardware company. a captivating aside: Macromedia’s CEO on the time of its sale, Stephen Elop, also led Nokia as CEO into the sale to Microsoft. In both Adobe’s and Microsoft’s situations, the leadership may have benefited in the event that they had not underestimated cellular and deviated from their core competency.

Given the speedy-hearth tempo at which technologies evolve, the decisions these businesses are making, as informed as they may additionally seem on the time, didn’t reside sound for lengthy. looking back, it seems all too clear that Adobe’s Macromedia acquisition changed into destined to fail after a merger. might be if Macromedia had stayed independent, it will have maintained perspective on what had made it a hit in the past and persisted to invest in its personal future as opposed to reduce fees to obtain some sort of synergy.

Regardless, you can actually only hope that these giant companies are learning from the multibillion-dollar blunders of the past. if so, they may additionally no longer be doomed to repeat them.

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


Macromedia Flash designer: Job Description and necessities | killexams.com Real Questions and Pass4sure dumps

A Macromedia Flash designer, or Adobe Flash dressmaker, requires some formal training. be taught concerning the working towards, job obligations and requirements to look if here's the appropriate career for you.

youngsters as soon as referred to as Macromedia Flash designers, Adobe now owns and operates Flash. internet builders and designers who specialize in Adobe Flash create a wide array of visual effects and interactive media predominantly for websites. besides the fact that children creativity and a detailed-oriented attitude are critical for this career container, gurus additionally need first rate verbal exchange potential, and that they have to be at ease with consumer carrier.

elementary suggestions

Macromedia Flash designers at the moment are referred to as Adobe Flash designers. they're the artistic minds in the back of the building and implementation of interactive, animated images, and textual content on web sites. Flash designers work for quite a lot of customers to showcase individuals, items, and ideas via special digital results. journey with Adobe creative workplace Suite, image design and computer programming is required.

Required schooling affiliate's or bachelor's degree different requirementsadventure with Adobe artistic workplace Suite, desktop programming, image design, animation and illustration; voluntary certification attainable Projected Job increase (2014-2024) 27%* (for net builders) Median revenue (2016) $fifty three,527**

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

Flash dressmaker Job Description

these drawn to becoming a Macromedia Flash dressmaker should still observe that Adobe purchased Macromedia in 2005. while the items and job responsibilities are the equal, job-seekers should be aware the update and title alterations in the company and application.

Flash designers work with the Adobe artistic workplace suite. They spruce up websites with the aid of developing interactive photos and animation, incorporating visuals and including sound to provide visitors a sensory experience in addition to featuring them with the assistance provided on the web site. Flash designers talk with customers and coworkers about what a comprehensive product should still look like earlier than customizing the audio and visuals for each web page and page. Designers can also also be responsible for growing and publishing entire web sites and integrating animation to those better tasks.

discover schools that present these conventional programs

  • advice programs security
  • Networking management
  • techniques Administration
  • Webmaster and Multimedia administration
  • more courses

    requirements of a Flash dressmaker

    Most Flash designers have either experience or education in desktop programming, picture design, animation, and illustration. potential of HTML and the internet in addition to web site-constructing basics are vital.

    Employers might also require proficiency with different design software such as Adobe Photoshop, Illustrator, or Dreamweaver. There are a variety of courses licensed by way of Adobe that offer working towards in their certain desktop courses. in a similar fashion, Adobe offers certification for designers (and different Adobe software users) who want to supplement and enhance their résumé and maybe even compete for a much better salary or different jobs. Flash design classes are offered all through the USA.

    Flash designers might also decide to be self-employed. during this case, continuing schooling and certification can be as much as the individual's discretion, but an extensive resume is essential. outdoor of the education and experience required of Flash designers, it's vital that each and every candidate cultivates and at all times proves a strong work ethic.

    as with all impartial contractor position, Flash designers should be productive in time management and private scheduling. They must be capable of meet deadlines, be flexible, and allow for alterations in plan. Flash designers can self-teach by using studying informational books, observing tutorials, attending seminars, or completing courses provided in technical and design colleges.

    income information and Job Outlook

    according to PayScale.com, the majority of Flash designers working in October 2016 earned between $30,913 and $eighty one,645 per year. however the U.S. Bureau of Labor statistics (BLS) does not supply tips specific to the container of Flash designers, the BLS did venture that the employment of all web developers should still enhance via a quicker-than-ordinary cost of 27% from 2014-2024.

    Macromedia Flash designers, extra frequently now called Adobe Flash designers, create interactive kinds of media, principally for online users. These authorities want wide competencies of computer systems, programming languages, web page design, and web site building, and that they can reap this abilities from undergraduate diploma programs, certificate programs, or standalone Flash training lessons.


    Adobe promotes former Macromedia chief to CTO submit | killexams.com Real Questions and Pass4sure dumps

    In an announcement late Tuesday, Adobe pointed out it is advertising its present senior vice president and chief application architect, Kevin Lynch, to what looks to be a brand new put up with higher stage of seniority.

    Kevin Lynch became the executive utility Architect of Adobe methods, having joined the enterprise via its 2005 acquisition of Macromedia, the place he changed into viewed as the co-creator of the Dreamweaver net web site development ambiance. Now it appears he'll be taking on new obligations there.

    A cryptically worded remark from Adobe late this afternoon seems to point out Lynch -- who on old occasions had in fact been brought as the enterprise's CTO anyway -- will now oversee greater than just Flash, Flex, AIR, and the business units he helped increase at Macromedia. BetaNews has requested Adobe's representatives for further comment, which could be coming near near.

    Newly appointed Adobe Systems CTO Kevin LynchWhat isn't yet clear is how, or if, the move will shake up the company structure. Up unless this afternoon, Adobe had 13 executives who sat on the Senior vice president level, with six of these having purview over some factor of expertise, and with a type of SVPs -- mainly John Brennan -- protecting the same title as SVP of the Platform business Unit as did Lynch. If this is a standard merchandising in which the CTO submit is easily created, the different 5 technological SVPs might document to Lynch, and Lynch would then report without delay to President and CEO Shantanu Narayen.

    simply closing week, when Adobe superior its PDF 1.7 specification to the ISO for consideration as a full foreign average, it became Lynch who turned into chosen to speak on behalf of his business. "As governments and agencies increasingly request open codecs, upkeep of the PDF specification via an exterior and participatory firm will support continue to power innovation and expand the prosperous PDF ecosystem that has advanced during the last 15 years," read Lynch's observation at the time.

    besides that instance, youngsters, Lynch has kept a comparatively low government profile, apart from at conferences the place he is prevalent to have interaction audiences with his informal, personable trend.

    Update ribbon (small)

    9:30 pm ET February 5, 2008 - Tuesday evening, an Adobe systems spokesperson tested to BetaNews that Adobe's new CTO Kevin Lynch will record directly to president and CEO Shantanu Narayen.

    moreover, the spokesperson introduced, "As CTO, Kevin will head a brand new organization called the journey & expertise community, which comprises adventure design and core know-how as neatly because the Platform company Unit."


    9A0-602 Certified Macromedia Flash MX 2004 Developer

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

    January 17, 2004

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

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

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

    The Way It Streams From Here

    The earliest days of the Web were characterized by what is commonly described as “static” media—text and still photos, little 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 see 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 also listening and viewing on demand without having to wait for lengthy download times of the earlier audio and video delivery. With this streaming technology, the Web user could enjoy 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 way videos are transmitted over the Internet, from time-consuming downloads to real-time viewing. The product was bundled with RealAudio in RealPlayer 4.0. For the product’s debut, three short films featuring acclaimed director Spike Lee were offered on the site of what was then Progressive Networks. Within 24 hours, viewers downloaded more than 100,000 copies of RealPlayer 4.0.

    Progressive Networks changed its name to RealNetworks in September 1997. The fact that RealAudio and RealVideo both made it possible to see and hear content over the Web in “real” time was a major impetus for this new 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 have 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 take advantage of the updated version’s better use 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 new 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 new WMP ran on Microsoft's proprietary streaming audio and video formats, and brought the former functions of Media Player in to form 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 also 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 still 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 ability 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 also added support for new 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 big help for consumers with comparatively slow, dial-up connections, the video smoothing technology built into Windows Media Player 9 smoothes out streams by inserting interpolated (estimated range of display characteristics) frames into content.

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

    Brand: BigFix

    Agency: Rassak Experience

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

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

    What set it apart: During last year's election season, there was no shortage of campaigns that sought to use the political event to their own advantage. But what made the difference 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 experience you are creating for people," Kassar says. "We climbed into the skin of our viewer, and we sweated every detail of how this campaign would first appear 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 get 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 campaign offered real touchpoints (including a Facebook page, Flickr photos, and a blog) that enabled people and reporters to engage on their own terms.

    Advice: "Never bank on media coverage and never, ever bank on viral," Kassar says. "Both are gifts, and if you believe you deserve them, you will get hurt. All you can do is make something as good 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 New York Times, Akron Beacon Journal, Toronto Star

    Campaign: After receiving a Twitter challenge to do 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 outrageous Super Bowl snacks. The campaign helped drive traffic to the duo's blog, which has helped Chronister and Day turn 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 critical factors.

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

    The second factor, according to Chronister, was the name, which even he admits is a little over the top. But, he says, one can't deny the power of an over-the-top name 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 good (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 push the campaign, BBQ Addicts relied heavily on social networking tools like Twitter and Facebook. But, according to Chronister, many brands often misuse those platforms.

    "Many companies haven't embraced the real nature of social networking and are hesitant due to fear of backlash," Chronister explains. "What they need to understand is any feedback at all is good, even negative responses. It's an instant survey and one of the fastest ways to improve whatever it is they're offering. All 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 need to stop being afraid of their customers and start building relationships."

    In BBQ Addicts' case, that relationship led to a conversation, which turned into a challenge, which in turn became a recipe that put 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 charm the thieves into submission.

    The campaign 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 campaign were small (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). We aimed to make the campaign as unexpected as possible because people always talk about the things that surprise 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 new 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 surprise factor, he also believes that using employees as actors in the ads made a big difference. "Using real-life employees added a bit of human interest and upped the news value of the story," Morse explains.

    The use of employees also 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 appear genuine.

    Brand: Honda

    Agency: RPA

    Sample coverage: Salon, The New 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 join 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 mean 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 have dabbled in short films (most notably BMW), few have taken the bold step of making an earnest documentary that barely features the brand name 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 important because we didn't want this campaign to be about Honda, we 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 get 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 decision to confront failure) may not be palatable for every brand, Barbush does believe that one takeaway all marketers can use has to do with the vast size and scope of the web. According to Barbush, one of the keys to the campaign was that Honda didn't try to keep the conversation confined to its site.

    "We used the full web; it's a big place," Barbush says. "For this campaign, we pushed comments to YouTube because they just didn't fit on our site. Marketers shouldn't be afraid to take people away from the destination. That may mean you're soft on metrics, but you need to look at the bigger picture to see 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 share stories that revolve around the beverage. 

    What set it apart: "If you talk to people who drink Colt 45, one truth immediately comes to the surface -- they always have a story 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 campaign worked because it didn't get in the way of how people actually use the product or try to force an artificial image. But the story-based approach also gave the campaign a life of its own because it asked people to share their experiences, which in turn prompted numerous reporters and bloggers to joke about their own memories of drinking Colt 45. While that may have made for some tongue-in-cheek coverage, it did garner press nonetheless, which helped make the brand relevant for a hipper demographic.

    Advice: Stories aside, one critical factor for any campaign seeking to get press coverage is its ability to exploit something happening in social culture right now. "If you're tapping into something that's really happening, you have a good chance to get some media attention," Peterson says.

    In Colt's case, the beverage resonated with budget-conscious hipsters because the low price was an implicit part 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 last 50 years. Despite social media's weighty impact, one could make the argument that it is part of a larger trend that has existed long before the coining of the term "social media" (or more specifically, its use 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 see the initiatives that some deploy, it becomes obvious that many have not bothered to actually read it. Toward the beginning 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 support for creating and sharing one's creations with others
  • With some type 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 care what other people think about what they have created).
  • As marketers strive to reap 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 seem to continuously fall 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 have a social connection with a brand; they can either have 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 way to make people feel their contributions matter. Point four in the definition above talks about people's incentives for being active 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 beautiful 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 look 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 old ways of doing things, may I present Bob Dylan:

    Come gather 'round peopleWherever you roamAnd admit that the watersAround you have 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 new generation of marketers takes the strategic reins, fragmentation is becoming less of a hot topic, but why? This new generation of marketers is used to living 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 still struggle with the ability to tell effective stories across platforms. Channel integration and transmedia storytelling are no longer just interesting 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 story arc.

    When assessing the importance of platform thinking, one must consider that the internet is now everywhere. The current media landscape is experiencing a rapid divergence in the types of devices we use, but the content spread across these devices is similar, yet packaged differently. The day will soon come when our devices will be smart enough to detect content and automatically fit it for the particular device it is being accessed from. But we are at a crossroads, a challenging time in which it is the marketer's job to ensure that all communications can be accessed everywhere, in a way that makes sense for the way in which it is being accessed, and increasingly, at the time and place it is accessed. Branded utilityA concept near and dear to my heart, branded utility is, in my opinion, one of the most important aspects of advertising and marketing innovation. In a world of infinite alternatives, even quality can become a commodity. Brands that push out products of similar quality to their competition need to find new ways to differentiate. This fact challenges marketers to ask the question, "What more can I do to add value?"

    Given the weight of this concept, it is not easy to achieve. It is also not possible to create branded utility all the time without becoming redundant. While all marketing initiatives cannot be branded utility (you actually see very few examples in the market that truly fit the definition), the idea behind this trend is incredibly powerful and possesses an unparalleled ability 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 idea of innovation because both branded utility and innovation require creativity and have 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 experience is meeting new, really smart people. While the details are subject 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 New YorkJerome Austria, interactive creative director, Wieden+Kennedy NYCJason Clement, director of digital strategy, Wieden+Kennedy NYCIvan Askwith, director of strategy, Big 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 look forward to seeing you at this groundbreaking event. Keep in mind, this track is not just about people speaking at you. There will be a conversational portion. Furthermore, I will be sure 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? Follow iMedia at @iMediaTweet.


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

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

    The recent introduction of the new 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 help provide some balance and clarity onto this discussion.

    I have a particularly unique perspective, stake and role in this discussion. My first company (Allaire) was born during the advent of the Web, with the idea that a browser and HTML could form the basis for creating content-rich, interactive software applications, ones that didn’t require native code and could be platform and operating system independent. We built ColdFusion as a way to realize this vision. We later became deeply committed to the world of HTML as a developer format, acquiring and building 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 fast enough, and that with the emerging world of broadband internet connectivity that an entirely new realm of rich internet applications would be possible. We (Allaire and Macromedia) merged our companies with the vision that a new class of browser-based applications would emerge, and that we could evolve Macromedia Flash Player from its origins as an animation and motion-graphics engine into a real application platform and rich 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 we launched the Macromedia MX Platform, anchored around the new Flash runtime, and realized this vision for the transformation of the Web experience and enabling a new class of rich, browser-based applications.

    For several years, the Flash Platform was unique in its ability to create highly interactive browser based applications. Around 2003-2004 HTML/JavaScript (Ajax) started to meaningfully emerge as a competing approach to building apps on the Web. Meanwhile, as new Flash 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 center of these new battles over the future of web content and app formats and runtimes. We work with thousands of media publishers who aim to maximize the distribution, reach and user opportunities with their content. This new re-fracturing of web content runtimes is creating challenges (and opportunities) for us and our peers.

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

    I think it’s critical 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. Flash vs. Native Apps has little to do with what is the right technical approach, or whether something is open or closed, it has to do 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 ability 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 reach for their advertising platforms and products. For Adobe, this about creating major new 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 make 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 like and highly interactive experiences. They often require seamless integration with existing web content and data. For several years, the Flash 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 have 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 also a class of Web Productivity Apps where Flash 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 use both Flash and HTML as the technology needs require. Other examples of this include rich data visualization applications, where Flash has gained prominence inside of enterprises because of its rich data and visualization features.

    The second broad class of applications are what I would call Rich Media Apps. These kinds of applications include largely consumer-facing, audience and media centric experiences. In particular, this includes online video, rich media advertising and marketing, and online games (casual games). All of these kinds of applications are highly focused on having a great and immersive experience that just works, and the creators of these apps are very focused on audience reach — anything that impedes 100% consumer acceptance is a significant concern. Here, Flash 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 all positioned to replace Flash for these categories, though it is clearly worth watching how consistent rich media runtimes find their way 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 new dynamic into the content and app run-time battles which in turn will have 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 new and largely blank canvas for content and applications. First, these devices offer new native services and OS-specific features (location, multi-touch UI, local media, wireless networking APIs, cameras, offline) that are giving birth to a massive new 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 new “disposable content apps”.

    Hand-held platforms create a new opportunity for platform vendors to disrupt runtime hegemony from platforms that have seen ascendance on the PC/Web, and controlling these new run-times and developer adoption of these runtimes has a direct impact on these platform vendors ability 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 apparent that it is not a zero-sum game. Three runtime platforms will gain adoption and often even inter-mingle — HTML5 content and apps, Native Apps (that may contain Flash and HTML content), and HTML5 apps that contain and leverage Flash Player. There is a rich pallet of capabilities emerging, and each developer will need to consider what will be appropriate for their specific audience or application. It is also clear that the adoption of these diverse run-time platforms has the real potential to reconstitute fundamental relationships to audiences and monetization systems.

    Video as a Cornerstone Issue

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

    On the PC/Web, video has gained enormous momentum as a fundamental media type for all content on the Web. This has largely been driven by the adoption of Flash Video, which has approximately 75% market-share for online video. For most web and content app developers, this is fine, it is a great run-time and offers an excellent user experience and Adobe has done a very good job keeping the platform contemporary 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 eager to have 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 turn lead to owning downstream audience and monetization opportunities.

    The basic idea 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 need for the Flash run-time to render video in browsers. But there are enormous challenges with this, some political, some technical and some based on audience behavior.

    First, right now, there is a lack of common approach among browser makers on what format to use for the HTML video object. This lack 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 introduce a new 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 use 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 all users of the technology. How can the open Web adopt a format that has such restrictions? It can’t. Google will make 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 all of the same technical benefits as H.264. All of this is a long way of saying that there is still significant format tension and that it will take 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 have extremely broad adoption. Until penetration rates consistently reach 80%, it will be hard for publishers to switch and adopt a single, new solution. It is more likely that HTML5 Video adoption will reach that critical 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 support for Flash Video. From advertising formats, to business logic for the interaction of video with ads and analytics, hundreds of 3rd party technology companies who have built solutions around online video that are built on Flash, not to mention high quality design and authoring tools that sit at the center of a large labor market for Flash design and development; all of this creates inertia for Flash and a relatively high industry-wide switching cost.

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

    It’s All 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 reach is still king. For platform makers, these battles will continue as they all seek to drive sufficient reach 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 reach will ultimately drive what is adopted by publishers, developers and ISVs.

    While it is easy to take 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.


    Adobe: Universal apps could be 1yr away | killexams.com real questions and Pass4sure dumps

    Adobe today said it would not deliver native Intel versions of currently shipping professional products and that customers would have to wait until future major releases--which could be more than one year away--for native Intel Mac support. While noting an upcoming release of a native Intel Mac beta of Lightroom, its newly introduced professional applications for photographers, Adobe refused to provide additional release dates on the native Intel versions of its applications, except to say it was moving its development to Apple's Xcode development platform to help ease the Intel transition and was focused on the next major releases of its professional, which due to planned development cycles would delay the release of any native Intel Mac support.

    The company, however, reiterated its support for the new Intel-based Mac platform, noting that at last year's Apple's Worldwide Developer Conference, Adobe CEO Bruce Chizen expressed "strong support" for Apple's transition plans: "We think this is a really smart move on Apple's part and we plan to create future versions of our Creative Suite for Macintosh that support PowerPC and Intel processors."

    14 months away?

    The next major release of the Adobe's Creative Suite could be between eight and 14 months away. Adobe declined to provide specific release dates--per company policy--but pointed to its "consistent track record of releasing significant upgrades" every 18 to 24 months. Adobe's Creative Suite 2 was release in April of 2005. The FAQ suggests that the earliest Adobe Creative Suite customers could see an upgrade with native Universal Binary support is September, but that the next major release could be as far out as April 2007.

    Release of the recently acquired Macromedia platform may even be further away, as Macromedia delivered major software upgrades in August 8, when it released Studio 8, which included the popular Dreamweaver 8, Flash 8, and Fireworks 8. The company also only recently released Adobe Affect Effects 7.0, a major new release of its video editing software, which could mean that those customers would wait at least another 18 months before seeing a native Intel version.

    Adobe admits performance gap on Intel Macs

    During his keynote at Macworld Expo San Francisco, Jobs showed Photoshop running smoothly under Apple's emulation environment called Rosetta, but noted while Photoshop was usable for a few tasks, the performance would not be adequate for professionals.

    While Adobe confirmed virtually all of its applications run under Apple's Rosetta emulation environment, it said that customers would experience a few problems as well as a noticeable performance gap.

    "In general, applications that are not designed to run on Intel-based Mac computers, including current versions of Adobe's creative professional applications, may be noticeably slower than they are running on PowerPC-based Macs. Instead of experiencing much-anticipated speed enhancements, customers are likely to see some degradation of performance."

    The company said that customers could mitigate some of these performance issues by using machines with large amounts of memory--at least one gigabyte of RAM, but recommends that professionals use PowerPC-based Macs for maximum workflow efficiency.

    "Mac-based customers looking for optimal performance may prefer to run Adobe Creative Suite 2, Studio 8, and their components on PowerPC systems until we release future versions of our software as Universal applications," the company said.

    In addition, it noted that Adobe's Version Cue Workspace, a component of Creative Suite 2, is not compatible with Rosetta.

    Lightroom beta expected "shortly"

    The Lightroom beta is expected "shortly" and will be available as a free download. The company said it will be able to quickly release an Universal Binary version of Lightroom because the application is currently in beta and does not require as much testing as release-quality software.

    "Because this is a beta and not yet a certified, shipping product, we have more freedom to release it quickly without the exhaustive testing required of production software. Customers are encouraged to experiment with this beta version as a preview of the performance they can expect from future Universal releases of Adobe products."

    No official support for Rosetta

    Professional customers will only be able to turn to Adobe's online support resources for any questions or problems running its applications under Rosetta, as the company says it will direct callers to this website because it "may not be able to address installation or compatibility issues that arise from running under Rosetta."

    According to the company FAQ, Adobe says that while Rosetta "should offer most existing applications a basic compatibility," it will not be extensively testing and certifying it to run under Rosetta and will focus on moving its software development to Xcode to support Universal versions of the next major releases.

    Testing integral to transition

    Adobe said it is currently working on or evaluating transition plans for most of its products, including Adobe Creative Suite, Photoshop, Illustrator, InDesign, GoLive, InCopy, Acrobat Professional, and After Effects as well as its recently acquired Macromedia applications: Studio, Dreamweaver, Flash (both Professional and Basic versions), Fireworks, and Contribute.

    "[We are] investing thousands of testing hours in certifying that Universal versions of our applications meet the level of quality our creative professional customers require. This includes testing on the new iMac and MacBook Pro systems that are shipping in the first quarter of 2006, as well as on any of Apple's upcoming Intel-based professional desktop systems."

    The company, however, did not note any native Intel Mac development plans for Coldfusion MX, its development application to build and deploy Internet applications. The company released a new native Mac OS X in September, but did not provide any commtiment for the application.

    [Update: Coldfusion info added]



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