You have selected free tutorial of the AutoDesk for the Adobe Certified Associate (ACA) :
Adobe Certified Associate in Interactive Media Using Adobe Flash Professional CS 6 / CC
Topics : Setting Project Requirements : Understand options for producing accessible interactive media content.
Listing available media files
- In this project, some media has already been acquired for the project. What do you have to work with?
- Aerial clips from a construction site
- Music from the Brain Buffet stock library
- Company logo from the client
- Voiceover audio files
That set of media is sufficient to complete the job, so you don’t need to acquire any more media and editing can begin.
Suppose you are in a group discussion among your all known friend’s fellows which all are well acquainted with each other in respect to the communication languages abilities, personalities and body languages. Instead of that one can not make understand the other about required delivered content. Why?
where is the problem ?
- They are so emotional to talk every things at a time.
- they are taking to much , If a video will deliver too much oints, it says nothing. It will feel like "noisy" and makes it hard for the viewer to focus on the main idea. This reality is similar to the design concept of focal point.
- it is required your focal point to get all your creative projects. It’s important to clearly define and pin down the most important goals of a project.
- Sometimes, clients are trying to clearly define their purpose, vision, or dreams for their organization.
- The overall goals and dreams for the business are helpful in the design process and should be heard so that you understand your client. But to get a project done efficiently—and create a project that communicates well—
- you must work with the client to establish and narrow down the goals for this project. This short version of a campaign’s goals is often called the "elevator pitch" because it summarizes the project in the time that it would take for an elevator ride. It’s communicating your purpose in a short, simple sentence.
- Normally, I push a client to shoot for seven words or less. The aim is to clearly define the goals for this particular design project.
- Here are some elevator pitches related to the scenarios listed earlier:
- Come to our free concert. Help child victims of a disaster.
- Get safe cleaning services for your office.
- Trees removed without damaging your yard.
- Get healthy and avoid hidden dangers.
Our little photo lights are fun and functional. Admittedly, these pitches are not elegant or enticing. There’s no "pop" to the message. But they’re the very core of what you’re trying to communicate. It is the reason your client is paying you to produce the video.
You’ll need more detail than this to deliver an effective video, but focusing on this core goal can help you rein in the insidious forces of project creep (which we’ll talk about later in this chapter).
But first, let this sink in:
- Your client’s goals are your number-one priority. If the goal is unclear, the finished product will be unclear.
- Figure out the goal, and you can always come back to it as a "home base" when the project starts to grow or lose its focus.
Sometimes the goal isn’t obvious, or it turns out to be different than it first appeared. But it’s always critical, and one of your first jobs is to help the client focus on the primary goal of the project. Nonetheless, at the end of the day you work for the client, so the client calls the shots, has the final say, and makes the decisions—even if you disagree. Now we’ll talk about the second-most important person on the project—the one who doesn’t really exist. I’m talking about the ideal audience viewer of the piece.
Finding the Target Audience
Identifying a target demographic for your project is a critical step, second only to defining the client’s goals. And generally, it’s also a part of the client’s goals. For example, when you want to create a new fishing pole, you can easily picture your target audience: fishermen. So you’re probably not going to use the same graphics, words, images, or feel as you would to reach a punk rock audience. At the same time, expectant mothers probably wouldn’t be drawn to images that would reach your fish or punk target. Identifying a demographic helps you focus on who you want to get your message. Understand the goals of your viewer as well as the speaker, your client. Make sure you share information in a way that will connect or resonate with that audience. And if you understand what your audience needs and feels, you can show how what you’re sharing meets those needs. The easiest way to do this is to create imaginary "perfect fits" for your client’s project. Here are some things to
- Income: Determine if you want to focus on quality, exclusivity, or price.
- Education: Establish the vocabulary and complexity of the design. Age: Dictate the general appeal, attitude, and vocabulary.
- Hobbies: Help in choosing images, insider vocabulary, and attitudes.
- Concerns, cares, and passions: Identify core beliefs, trigger points, and so on.
It’s easy to see how different audiences will need different images. You don’t want images of extreme sports in an ad aimed at expectant mothers. You wouldn’t use a crowded nightclub image in a promo video for a camping and canoe outfitter company. Inexperienced editors sometimes try to make a production to please themselves, and that isn’t always what pleases the target audience. What makes your audience unique? Who has the problems that this product solves? Have those pictures in your mind. Work these ideas over with your client and help them envision their typical customer. Then look for clips that will appeal to that ideal customer, this project’s target demographic. Think of yourself as a matchmaker. You’re trying to introduce your client to the perfect customer or consumer. Speak in the language that the ideal client would want to hear, and use images that will bring their lifestyle and outlook together with your client.
The golden rule for client projects
Effective video helps someone else convey their vision. It communicates a message. When you’re starting a new edit, use the business version of the golden rule: He who has the gold makes the rules.
Ultimately, you work for your clients. Help them see what you regard as the most effective way and identify the right questions to ask, but don’t fight with them. They might have insight or perspective about their target audience that you don’t have. Even when you disagree with a client about a design decision, you still need to help them realize their vision for their project. If you don’t like it, you don’t have to put the final piece in your portfolio, but you’ll still get to put their check in the bank. If it comes down to what the client wants versus what you think their audience will respond to, do what the client asks. It’s their project, their audience, and their money.
There’s one exception to this rule that you need to follow at all times. When your client asks you to skirt copyright law, you’re still responsible for respecting the law and your fellow producers. Often the clients are just confused and you can help them understand that you can’t copy other designs or employ copyrighted materials without authorization. Along those lines, let’s take a moment to talk about copyright.
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