With the availability of data like purchase history, consumer behavior and links clicked, as well as sophisticated software to implement campaigns, custom content has never been easier. Consider these personalization stats :. Top examples of businesses leveraging the power of personalization always include Netflix and Amazon, with their tailored recommended products or movie titles. Video marketing is one of, if not the , most important marketing trend today and likely for the next years. To witness higher engagement with your video marketing, you can make a video post or start a live broadcast on Facebook, Instagram or LinkedIn.
One of the issues that marketers have faced in recent years is the growing shift to mobile devices. But video can present the same information in a format that works perfectly regardless of platform. However, one of the most valuable benefits of implementing a video marketing campaign is how it allows you to easily reformat your content.
Instead of just publishing it to youtube you could also:. Influencers can be well-known celebrities, but more often they are Instagram or YouTube personalities with a huge following who can help spread the word about your business or product through their social channels.
For this reason, Iceland, a popular British supermarket chain, switched from TV ads to a campaign that featured real-life moms.
Influencer marketing is also going to be influenced by artificial intelligence. With each year, AI is making the process of finding the right influencers to partner with easier and faster. If you think social messaging apps are just for sending emojis to your friends, take a look at these numbers:. Visual search can take the user experience to a totally new level: people can upload an image to conduct a search and get more specific results. In the year and a half since the launch of Lens, Pinterest has continued to update its functionality :. Make sure you are optimizing for visual search, because not surprisingly the top search categories for Lens are:.
If you take a photo of a:. Instead of typing queries into a search engine, you can directly search through images to find similar images, price comparisons, local shopping results, etc. You can also take a picture of a movie poster and CamFind will show you movie information, trailers, showtimes and local theaters. And with Bing Visual Search , you can search for a specific element within an image without having to go through all the current hoops. As per Social Media Today :. Marketers can get the edge on competitors by jumping on the visual search trend in to draw customers and serve them the perfect product.
The growing popularity of micro-moments means that marketers must rethink the linear buyer funnel that follows a set path: awareness, consideration and decision. Our almost complete dependence on our smartphones aids and encourages this. The increasing use of voice search has made it important for companies to rethink their digital marketing strategies in Consider these numbers :.
Overall, people are expecting to be using voice search far more in the future :. Voice search plays an important role in providing all the relevant information people are searching for through audio content. AI is getting smarter and the number of errors made by voice assistants like Alexa, Siri and Google has reduced.
For all voice technology, remember to write in a conversational tone, focus on getting featured snippets on Google , and think about keywords that people will speak rather than type. Since these types of stories disappear after a set period of time, this is a great opportunity for marketers to make good use of FOMO fear of missing out. Notifications triggered by behavior are being used to re-engage users who have shown interest but failed to convert, and in recovering revenue from abandoned shopping carts.
Stats from Content Marketing Institute :. With Google continuing to value well-researched, regularly updated articles, content marketing is something that marketers are going to continue to invest in. In short, content marketing is a great way to attract new customers to your site and build relationships with them in real, quantifiable ways over a period of time. In March of this year, Instagram unveiled Instagram Checkout, which lets users complete their purchase from within Instagram :.
E-commerce brands hope this will reduce the risk that customers will abandon their purchase because they have to switch apps or sign in to an unknown store. The production of Poemfields resulted in a kind of circular process of material experimentation, involving a complex relationship between computer-generated and mechanical techniques. Einstine was colorized by transforming the grey tones of a signal into color tones. Siegel introduced color into a black and white signal by intervening electronically.
The device registered the voltages of the black-and-white signals and replaced them with color frequencies based on their gray values. Pixillation , a film by Lillian Schwartz, was produced in the early s, at a time when methods of image making and video editing had to be imagined in the absence of any sufficient technical training—a kind of pure state of experimentation imposed by rapid technical changes, not unlike the condition of digital image production today.
From to , Schwartz added color during post-production, using mechanically rotated color filters.
During those years, she produced a number of films by using the black-and-white output as the base for color addition. In order to produce the illusion of highly saturated images in her films UFOs and Enigma , for example , Schwartz devised a novel scheme for film editing that exceeded simply adding colors through the use of filters. Enigma was shot in black-and-white frames, and textures were introduced in a specific order to provoke the perception of color. Schwartz developed this editing process in collaboration with Bruce Cornwell, a New York based optical printer and film editor, via trial and error.
Vibrant color filters were created and inserted after each dark frame. The result was a stroboscopic effect of saturated colors. Pixillation mixed a catalog of black-and-white computer-generated pixel textures, interwoven with hand painted animations and microscope photographs of growing crystals.
That mixture was then colored using rotating filters. Editing and post-production involved, at times, intervening in the film to match the colors between all three media, and at others, exaggerating the mismatch between all media in order to increase vibrancy and saturation.
By the late s, Schwartz had become interested in the limitations and discrepancies between the pixel densities of a monitor and the pixel density of other output devices such as a scanner or a printer. For example, if a monitor can display colors, but the printer only 16 shades, a process of loss, elimination, and averaging occurs during the printing—processes that she productively incorporated as part of a general experimental field, rather than dismissed as a hardware deficiency.
It in this general moment that the question of compression became a primary consideration, rapidly expanding into an entire suite of techniques and speculative apparatuses in which image-error and image-failure could finally be explored and reinterpreted. In the case of visual-computational formats, this field extended from the algorithms used to sufficiently compress image data to the material resistances offered by the requisite transmission elements, and expressed themselves in layered signal-to-noise ratios.
Computational images do not exist without the notion of computational color, and vice versa. Exploring the vast territory of colorization requires learning, and becoming literate in, the technical structure of images and computational color, alongside not despite their traditional political, cultural, or aesthetic realities. These issues, because they complicate any overly simplistic or dismissive attitude towards color, bear heavily on emerging forms of representation in architecture. Computer graphics has its own history, which can easily relate to the history of computer visualization in architecture.
Understanding a possible history of computer graphics through the lens of architecture is key for beginning to approach images as a medium distinct from drawing. First, the tools that architects have used to represent and realize architecture has recently changed and expanded, the effects of which are significant and hard to measure.
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The tools and instruments architects use are inseparable from the way they think. Our tools are not neutral vessels of ideas; they form the media basis for how architects think about and represent their objects, and the world around them. This stable situation changed dramatically from the s onwards with the introduction of computers and electronic media into architecture, which opened up new ways of working and resituated architectural thinking itself within a kind of fluid and rapidly changing multimedia environment. This includes visualization and production technologies from the sciences and the culture industries rendering software, augmented and virtual reality platforms, video game engines , or numerical-materialization instruments from engineering and industry CNC and 3D printing technologies.
There is nothing wrong with this importation. It has been very productive for the design fields. In short, all the qualities that in architecture have been traditionally seen as crucial to experimentation and discovery. We have tried, in every project, and in diverse ways, to reestablish that space of experimentation. This involves imagining and testing methods by which computational image making can at times be used to disrupt the smooth workflows that define digital fabrication culture. In other words, if it is true that architecture has for centuries produced new ideas and forms by treating the media space of representation as a space of exploration and experimentation, 10 our work asks, over and over: how can techniques that belong to computational media—techniques that by design prioritize precision, accuracy, consistency, and optimization over uncertainty, ambiguity and accident—be implemented to engage this same experimental function?
And one crucial aspect of our work is the assertion that literacy is not merely skills acquisition or technical proficiency. It requires not only learning new technical skills, but also an ability to critically reflect on those skills, to understand their consequences for architecture and how it thinks about the world. These proto-architectures have no beginning or end—they are just sets of questions and intuitive impulses tumbling forward in time.
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But what they share in common is that they are all, by definition, isolated off from the cultural, social, political, even climatic realities that architects have no choice but to engage with in their work. In fact, the narrowness of our proto-architectures is even more extreme, because these projects are often even liberated from even more basic parameters such as scale, gravity, orientation, thermal boundary, etc.
They are bracketed off from those larger realties precisely so that we can focus on certain fundamental technical and material operations—such as stacking, folding, piling, extruding, cutting, subtracting, adding, layering—that have become somewhat confused by the rapid expansion of media formats and platforms over the past several decades.
In general, these experiments have focused on strategies belonging to two specific types of computer image projection: first, ray tracing, where simple Platonic shapes are rendered on a singular plane to achieve various optical and chromatic effects; and second, scanning, in which symmetrical shapes of differing textures and material properties transparent, matte, glossy, textured, porous etc.
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