26. 2005 Adobe Systems Incorporated. All Rights Reserved.
Video para diversos dispositivos!
+
27. 2006 Adobe Systems Incorporated. All Rights Reserved.
Ubiquidade
Unica forma para atingir o maior número de usuários
Flash streaming
28. 2006 Adobe Systems Incorporated. All Rights Reserved.
28
Adoção do Flash Player
Source: NPD September 2003 – March 2006; Millard Brown September 2006 – December 2006
3 months
0
10
20
30
40
50
60
70
80
90
100
6 months 9 months 12 months
Flash Player 8
Flash Player 7Flash Player 9
29. 2006 Adobe Systems Incorporated. All Rights Reserved.
Flash Video - Vantagens
“Funciona”
Customizavel
Interatividade
Maior número de profissionais
30. 2005 Adobe Systems Incorporated. All Rights Reserved.
PROTOCOLOS
UDP (User Datagram Protocol )
TCP (Transmission Control Protocol)
RTMP (Real Time Messaging Protocol )
RTMPE - 128 bit encryption
31. 2006 Adobe Systems Incorporated. All Rights Reserved.
Cliente – Flash Player
Player criado no Flash
Lógica do cliente via ActionScript
Pode enviar interações do cliente para o
servidor
Chamada a funções remotas no Media Server
Streaming Server
Lógica do servidor via
ActionScript
Conexão persistente
Chamadas remotas
Streams via:
RTMP protocol (TCP based)
Qualquer porta (configuravel)
Suporta SSL
Arquitetura
32. 2006 Adobe Systems Incorporated. All Rights Reserved.
Mostra swf, imagens or executa o primeiro
frame no player
Determine a melhor (mais rápida) porta a
usar
Adobe aconselha a 1935
Use 80 ou 443 em caso de firewalls/proxies
Detecta a largura de banda do cliente e seleciona o
video correto
Monitora a performance, e se necessário
troca o video
FMS: Melhor Método para distribuição de vídeos
Code for above available here: http://www.adobe.com/devnet/flashcom/articles/flv_bestpractices.html
33. 2006 Adobe Systems Incorporated. All Rights Reserved.
FMS: Segurança
Segurança do Flash
Sem URLs expostas e endereços de arquivos
Controle sobre a informação que está sendo
exposta
Segurança adicional do Flash Media Server
Sem cache
Protocolo prõprio limita captura do stream
Suporte a SSL
Autenticação por scripting
34. 2006 Adobe Systems Incorporated. All Rights Reserved.
Interatividade
Hotspots com acompanhamento do streaming
35. 2006 Adobe Systems Incorporated. All Rights Reserved.
Interatividade
Cue Points
36. 2006 Adobe Systems Incorporated. All Rights Reserved.
Interatividade
Gerenciamento de camadas com propagandas
Em tempo de execução
37. 2006 Adobe Systems Incorporated. All Rights Reserved.
Interatividade
Manipulação de pixels em tempo de execução
38. 2006 Adobe Systems Incorporated. All Rights Reserved.
Media Server 3
Performance aprimorada
Banda e Conexões Ilimitadas
39. 2006 Adobe Systems Incorporated. All Rights Reserved.
ADOBE MEDIA PLAYER
ADOBE INTEGRATED
RUNTIME (AIR)
40. 2006 Adobe Systems Incorporated. All Rights Reserved.
.swf
.air
.swf
Web Browser
Desktop Adobe Media Player
41. 2006 Adobe Systems Incorporated. All Rights Reserved.
AIR / APIs
HTML
JavaScript
CSS
XML
SWF
ActionScript
Flex
XML
Video
Audio PDFPDF
SWFHTML
Mac, Windows, Linux
42. 2006 Adobe Systems Incorporated. All Rights Reserved.
Media content publishers, content owners,
content producers
Um Desktop Media Player cross-platform
1. Download & Streaming Playback
2. Offline Playback
3. DRM Support
4. Delivery / Subscription
Management
5. Branded & Advertising Support
6. Social Features Support
Adobe Media Player
43. 2006 Adobe Systems Incorporated. All Rights Reserved.
Demonstração
Adobe Media Player
49. 2006 Adobe Systems Incorporated. All Rights Reserved.
Viacoms website
Pimp my Ride
with Aggregate Button
50. 2006 Adobe Systems Incorporated. All Rights Reserved.
Media DRM
Embedded Playback Download & Play
Use Case Availability
Protected Streaming Now
Content Integrity TBD
Identity Based Licensing TBD
Conditional access to Protected Streams available now
Use Case Availability
Protected Streaming AMP
Content Integrity AMP
Identity Based Licensing AMP
Conditional access to Protected Streams available now
51. 2006 Adobe Systems Incorporated. All Rights Reserved.
Revolucionando
como o mundo se envolve
com idéias e informações.
Editor's Notes
This graph overlays the releases over the first 12 months
FP9 83.4% WW at 9 months
FP9 84.5% US at 9 months
FP9 at 34% at 3 months, 45% at 4 months
FP9 at 35.9% penetration at 3 months WW and Emerging markets
FP8 89.1 at 12 months
Flash video has quickly become the premier solution for Web video. It’s done this because it offer publishers key benefits that other platforms can’t match:
It Just Works: Because the Flash Player is installed on over 98% of all connected desktops spanning all platforms and browsers, publishers can deliver video completely confident that it will be seen by their viewers in a consistent, high quality experience regardless of the viewer’s platform.This enables publishers to reach the largest audience at the lowest cost with the best experience. It will reduce dev and QA costs since video experiences no longer need to be encoded and developed multiple times for multiple platforms while lower customer support costs and customer satisfaction.
Full Creative Control: Flash video integrates seamlessly into a publisher’s website and can be completely customized by the publisher to any look and feel or any set of functionality. It offers the best experience for the end user and the opportunity for publishers to extend their brand.
Interactive: Consumers of Web video prefer to take an interactive, or “lean forward” approach to their video. Because Flash video starts playing instantly and streams are fully programmatically controllable, publishers can offer unprecedented levels of interactivity with their video. This extends not only to on-demand video but also the control of live video streams also.
FLASH SOLVES TRADITIONAL BARRIERS
Barriers for SITE video viewing according to a report published in Feb 2005 from the Online Publishers Association –
Didn’t know there were videos available – 45.1%
Didn’t want to register to access video – 28%
Didn’t want to download the necessary plug-ins/software – 26%
FLASH PAYS OFF
ESPN
“…of the 16 million individuals who visit ESPN.com every month, only about 2 million have been using Motion [the video service] – probably because you had to install a program from the ESPN Web site to make it work. “It’s been a lesson to me,” [ESPN exec John Skipper] says. “Getting people to download software is difficult.” His solution: a Flash version that requires no download.”
Wired Magazine
Showtime
"Showtime Networks Inc. said video-clip viewership has jumped 150% on its Web site (www.sho.com) since its introduction of Macromedia Inc.’s “Flash Video” software."
Multichannel News
Inherent Capabilities Built into Flash
Flash offers a number of digital media protection capabilities that are included from the get-go. Delivering content with Flash Media Server provides even more advanced protection (covered next).
Here are a couple of protection features built into all content delivered with Flash Player:
No exposed URLs and media file locations. The location of media on the Internet can often be compromised by URLs that point back to the content source. Most media players on the market enable users to see the location of the media clip that is playing rather easily. With Flash, external media file locations are compressed into binary format in the SWF file and are unavailable for website visitors—all but eliminating the ability for visitors to obtain the file and server location for media delivered using Flash Player.
Control over information that is exposed. Traditional media players often provide more information about the media than you may be willing to share—for example, filenames, file types, encoding options, delivery methods, and more. With Flash you can completely customize your media player to display only the information you want your customers to see. File information is not readily available unless the publisher chooses to make it so.
KEY POINTS
Production efficiency continues to be vital for many of our customers. Do more, do it faster, better, cheaper…
The more efficiency they can achieve, the more they can invest in innovation to differentiate themselves.
They need more and better ways to produce cutting-edge creative that crosses media while increasing efficiency. The thing they prize most about working with Adobe products is how we combine quality, reliability, and integration with innovation—all of which helps them push productivity and design ideas.
Boundaries are also shifting, blurring, even disappearing: Between work and home, business and pleasure, traditional and new media, experts and hobbyists, content author and audience, etc.
Old hierarchies are breaking down: New York City still dominates design, but it’s now vying with Bangkok, Rio, and Berlin to produce the best creative and design ideas. The competition is increasingly global, and emerging economies are sometimes more nimble and resourceful.
Designer-developer workflows are increasingly important to produce the kind of engaging, interactive experiences people expect…audi.com, shopbop.com (just purchased by Amazon), piperlime.com (just launched by the GAP to try to renew their brand and open a new avenue for revenue after year over year declines in profits), JotSpot.com, RedBullCoPilot.com, etc. etc.
Designers and developers can’t afford to be on two sides of a divide, tossing content and results over the transom to each other. That’s the historical and even current reality. They need to have tightly integrated workflows that don’t require a lot of rework to move from initial design comp to fully built experience—it also helps if they can stray into each other’s workflow, so a designer could, for example, create an animation that previously only happened programmatically or a developer could integrate native design files into the experience they’re building.
The more integrated and efficient this workflow, the easier it is to vanquish the first challenge…do more, do it faster, better, cheaper…
The final challenge…and opportunity…for creatives is that technology is democratizing the creation and publishing of content and allowing people who are not classically trained to do things that they could not have done 5 years ago.
That’s because professional creative tools are more accessible – i.e. digital camera, digital video, professional printing, citizen journalism via camera phones and blogging. In addition, the creation of web sites to share information, content, and enable e-commerce are common today.
While the craft of design continues to be valued—the quality of type on a page, or the use of color—it’s not enough on its own to distinguish a designer or a business. It’s more and more about the marriage of form and function, not about form on its own.
Today, creatives are being pushed to master more media and to turn their technical savviness into new business opportunities. The more software can help them, the more they can do.
Vertical markets such as magazines and newspaper publishers are also under pressure to excel at what they produce on “the printed page”, while demonstrating that they can reach into new markets through the web, mobile devices, etc.
KEY POINTS
Production efficiency continues to be vital for many of our customers. Do more, do it faster, better, cheaper…
The more efficiency they can achieve, the more they can invest in innovation to differentiate themselves.
They need more and better ways to produce cutting-edge creative that crosses media while increasing efficiency. The thing they prize most about working with Adobe products is how we combine quality, reliability, and integration with innovation—all of which helps them push productivity and design ideas.
Boundaries are also shifting, blurring, even disappearing: Between work and home, business and pleasure, traditional and new media, experts and hobbyists, content author and audience, etc.
Old hierarchies are breaking down: New York City still dominates design, but it’s now vying with Bangkok, Rio, and Berlin to produce the best creative and design ideas. The competition is increasingly global, and emerging economies are sometimes more nimble and resourceful.
Designer-developer workflows are increasingly important to produce the kind of engaging, interactive experiences people expect…audi.com, shopbop.com (just purchased by Amazon), piperlime.com (just launched by the GAP to try to renew their brand and open a new avenue for revenue after year over year declines in profits), JotSpot.com, RedBullCoPilot.com, etc. etc.
Designers and developers can’t afford to be on two sides of a divide, tossing content and results over the transom to each other. That’s the historical and even current reality. They need to have tightly integrated workflows that don’t require a lot of rework to move from initial design comp to fully built experience—it also helps if they can stray into each other’s workflow, so a designer could, for example, create an animation that previously only happened programmatically or a developer could integrate native design files into the experience they’re building.
The more integrated and efficient this workflow, the easier it is to vanquish the first challenge…do more, do it faster, better, cheaper…
The final challenge…and opportunity…for creatives is that technology is democratizing the creation and publishing of content and allowing people who are not classically trained to do things that they could not have done 5 years ago.
That’s because professional creative tools are more accessible – i.e. digital camera, digital video, professional printing, citizen journalism via camera phones and blogging. In addition, the creation of web sites to share information, content, and enable e-commerce are common today.
While the craft of design continues to be valued—the quality of type on a page, or the use of color—it’s not enough on its own to distinguish a designer or a business. It’s more and more about the marriage of form and function, not about form on its own.
Today, creatives are being pushed to master more media and to turn their technical savviness into new business opportunities. The more software can help them, the more they can do.
Vertical markets such as magazines and newspaper publishers are also under pressure to excel at what they produce on “the printed page”, while demonstrating that they can reach into new markets through the web, mobile devices, etc.
KEY POINTS
Production efficiency continues to be vital for many of our customers. Do more, do it faster, better, cheaper…
The more efficiency they can achieve, the more they can invest in innovation to differentiate themselves.
They need more and better ways to produce cutting-edge creative that crosses media while increasing efficiency. The thing they prize most about working with Adobe products is how we combine quality, reliability, and integration with innovation—all of which helps them push productivity and design ideas.
Boundaries are also shifting, blurring, even disappearing: Between work and home, business and pleasure, traditional and new media, experts and hobbyists, content author and audience, etc.
Old hierarchies are breaking down: New York City still dominates design, but it’s now vying with Bangkok, Rio, and Berlin to produce the best creative and design ideas. The competition is increasingly global, and emerging economies are sometimes more nimble and resourceful.
Designer-developer workflows are increasingly important to produce the kind of engaging, interactive experiences people expect…audi.com, shopbop.com (just purchased by Amazon), piperlime.com (just launched by the GAP to try to renew their brand and open a new avenue for revenue after year over year declines in profits), JotSpot.com, RedBullCoPilot.com, etc. etc.
Designers and developers can’t afford to be on two sides of a divide, tossing content and results over the transom to each other. That’s the historical and even current reality. They need to have tightly integrated workflows that don’t require a lot of rework to move from initial design comp to fully built experience—it also helps if they can stray into each other’s workflow, so a designer could, for example, create an animation that previously only happened programmatically or a developer could integrate native design files into the experience they’re building.
The more integrated and efficient this workflow, the easier it is to vanquish the first challenge…do more, do it faster, better, cheaper…
The final challenge…and opportunity…for creatives is that technology is democratizing the creation and publishing of content and allowing people who are not classically trained to do things that they could not have done 5 years ago.
That’s because professional creative tools are more accessible – i.e. digital camera, digital video, professional printing, citizen journalism via camera phones and blogging. In addition, the creation of web sites to share information, content, and enable e-commerce are common today.
While the craft of design continues to be valued—the quality of type on a page, or the use of color—it’s not enough on its own to distinguish a designer or a business. It’s more and more about the marriage of form and function, not about form on its own.
Today, creatives are being pushed to master more media and to turn their technical savviness into new business opportunities. The more software can help them, the more they can do.
Vertical markets such as magazines and newspaper publishers are also under pressure to excel at what they produce on “the printed page”, while demonstrating that they can reach into new markets through the web, mobile devices, etc.
KEY POINTS
Production efficiency continues to be vital for many of our customers. Do more, do it faster, better, cheaper…
The more efficiency they can achieve, the more they can invest in innovation to differentiate themselves.
They need more and better ways to produce cutting-edge creative that crosses media while increasing efficiency. The thing they prize most about working with Adobe products is how we combine quality, reliability, and integration with innovation—all of which helps them push productivity and design ideas.
Boundaries are also shifting, blurring, even disappearing: Between work and home, business and pleasure, traditional and new media, experts and hobbyists, content author and audience, etc.
Old hierarchies are breaking down: New York City still dominates design, but it’s now vying with Bangkok, Rio, and Berlin to produce the best creative and design ideas. The competition is increasingly global, and emerging economies are sometimes more nimble and resourceful.
Designer-developer workflows are increasingly important to produce the kind of engaging, interactive experiences people expect…audi.com, shopbop.com (just purchased by Amazon), piperlime.com (just launched by the GAP to try to renew their brand and open a new avenue for revenue after year over year declines in profits), JotSpot.com, RedBullCoPilot.com, etc. etc.
Designers and developers can’t afford to be on two sides of a divide, tossing content and results over the transom to each other. That’s the historical and even current reality. They need to have tightly integrated workflows that don’t require a lot of rework to move from initial design comp to fully built experience—it also helps if they can stray into each other’s workflow, so a designer could, for example, create an animation that previously only happened programmatically or a developer could integrate native design files into the experience they’re building.
The more integrated and efficient this workflow, the easier it is to vanquish the first challenge…do more, do it faster, better, cheaper…
The final challenge…and opportunity…for creatives is that technology is democratizing the creation and publishing of content and allowing people who are not classically trained to do things that they could not have done 5 years ago.
That’s because professional creative tools are more accessible – i.e. digital camera, digital video, professional printing, citizen journalism via camera phones and blogging. In addition, the creation of web sites to share information, content, and enable e-commerce are common today.
While the craft of design continues to be valued—the quality of type on a page, or the use of color—it’s not enough on its own to distinguish a designer or a business. It’s more and more about the marriage of form and function, not about form on its own.
Today, creatives are being pushed to master more media and to turn their technical savviness into new business opportunities. The more software can help them, the more they can do.
Vertical markets such as magazines and newspaper publishers are also under pressure to excel at what they produce on “the printed page”, while demonstrating that they can reach into new markets through the web, mobile devices, etc.
KEY POINTS
Production efficiency continues to be vital for many of our customers. Do more, do it faster, better, cheaper…
The more efficiency they can achieve, the more they can invest in innovation to differentiate themselves.
They need more and better ways to produce cutting-edge creative that crosses media while increasing efficiency. The thing they prize most about working with Adobe products is how we combine quality, reliability, and integration with innovation—all of which helps them push productivity and design ideas.
Boundaries are also shifting, blurring, even disappearing: Between work and home, business and pleasure, traditional and new media, experts and hobbyists, content author and audience, etc.
Old hierarchies are breaking down: New York City still dominates design, but it’s now vying with Bangkok, Rio, and Berlin to produce the best creative and design ideas. The competition is increasingly global, and emerging economies are sometimes more nimble and resourceful.
Designer-developer workflows are increasingly important to produce the kind of engaging, interactive experiences people expect…audi.com, shopbop.com (just purchased by Amazon), piperlime.com (just launched by the GAP to try to renew their brand and open a new avenue for revenue after year over year declines in profits), JotSpot.com, RedBullCoPilot.com, etc. etc.
Designers and developers can’t afford to be on two sides of a divide, tossing content and results over the transom to each other. That’s the historical and even current reality. They need to have tightly integrated workflows that don’t require a lot of rework to move from initial design comp to fully built experience—it also helps if they can stray into each other’s workflow, so a designer could, for example, create an animation that previously only happened programmatically or a developer could integrate native design files into the experience they’re building.
The more integrated and efficient this workflow, the easier it is to vanquish the first challenge…do more, do it faster, better, cheaper…
The final challenge…and opportunity…for creatives is that technology is democratizing the creation and publishing of content and allowing people who are not classically trained to do things that they could not have done 5 years ago.
That’s because professional creative tools are more accessible – i.e. digital camera, digital video, professional printing, citizen journalism via camera phones and blogging. In addition, the creation of web sites to share information, content, and enable e-commerce are common today.
While the craft of design continues to be valued—the quality of type on a page, or the use of color—it’s not enough on its own to distinguish a designer or a business. It’s more and more about the marriage of form and function, not about form on its own.
Today, creatives are being pushed to master more media and to turn their technical savviness into new business opportunities. The more software can help them, the more they can do.
Vertical markets such as magazines and newspaper publishers are also under pressure to excel at what they produce on “the printed page”, while demonstrating that they can reach into new markets through the web, mobile devices, etc.
Applications can be built using the following technologies
Flash / Flex / ActionScript
HTML / JavaScript / CSS / AJAX
Combination of these technologies
PDF can be leveraged with any application
