Category Archives: Tablet

Flipboard Unveils Storyboard For Multimedia Ad Messages 10/14/2016


flipboardDigital publishing platform Flipboard is keeping pace with the frenetic world of social media with the launch of Storyboard, a new advertising product that emphasizes flexibility in combiningmultiple ad formats.

Storyboard is also available to publishers for multimedia editorial content. It allows brands to deliver messages combining articles, images, gifs, video and audio, to formengaging multimedia narratives.

Storyboard helps advertisers compose the narratives with algorithms that gather their existing branded content from across the Web, allowing them to craftStoryboard messages without the need to create new content.

Users can browse the selection of ads and branded content, following an unfolding narrative, by swiping through the full-bleed Storyboard carousel. Like Flipboard’s platform for editorial content, the ads are optimized for consumption on mobile devices including both smartphones and tablets.

The new ad offeringdebuts with cosmetics retail brand Sephora as a launch partner. It is targeting readers of beauty-related content with a new holiday campaign, carrying the tagline: “Tis the Season, Love is theReason, Let’s Beauty Together.”

Source: Flipboard Unveils Storyboard For Multimedia Ad Messages 10/14/2016


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Multitasking Pushes Adult Media Use To Half a Day, Every Day 06/17/2016

According to a new eMarketer report, “US Time Spent with Media: eMarketer’s Updated Estimates for Spring 2016,” US adults will squeeze an average of 12 hours, 5 minutes per day ofmedia usage into their waking hours this year, thanks to media multitasking, nearly an hour more than the average in 2011. But the daily figure is expected to grow by just 3 minutes between 2016 and2018.

While mobile devices enable people to consume media content anywhere at any time, the numbers suggest a saturation point is near, says the report, and that increased time spent with onemedium will tend to come at the expense of time spent with another,



Source: Multitasking Pushes Adult Media Use To Half a Day, Every Day 06/17/2016

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Web Surfing And TV Watching Going Hand-In-Hand 06/08/2016

According to eMarketer’s first forecast of simultaneous media usage, this year, 182.9 million Americans will use the internet while watching TV at least once a month, That’s 80.3% ofinternet users. With Americans’ attention increasingly divided among an ever-expanding array of internet-connected devices, the number of people multitasking while watching television continuesto rise, while cord-cutting also accelerates.

Smartphones are the device of choice for multitaskers. This year, 146.9 million Americans will browse the web or use internet-connected apps ontheir phone (including chat apps) while they watch TV, representing more than two-thirds of internet users. And 68.0% of US internet users will use an internet-connected smartphone to do so. By 2018,that figure is expected to climb to 79.1%, the same year that 91.6% of internet users will use the web and TV at the same time.

Source: Web Surfing And TV Watching Going Hand-In-Hand 06/08/2016

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News Corp. Brings a Tablet Publishing Model to the Web – Fortune

But will it work? Since the arrival of the consumer Internet, it’s become axiomatic in the media industry that a news site should be updated whenever there is news—in other words, every minute of every day.News Corp., however, is taking a different approach with two of its British newspapers: The Times of London and the Sunday Times. The website belonging to the two publications will only be updated four times a day.The motivating force behind this model, Times executives say, is that breaking news has more or less become a commodity because anyone with a website—or even just a smartphone and a Twitter account—can publish news as fast or faster than a newspaper. So the Times explains it has decided to focus on adding analysis and context.(The power of an edition has endured at the Times for more than 230 years. Our challenge is to update this concept for the digital age: to put readers first and cut through the babble,” Times of London editor John Witherow told The Guardian.

Source: News Corp. Brings a Tablet Publishing Model to the Web – Fortune

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Apple iPad Pro 9.7 specs vs. Google Pixel C, Microsoft Surface Pro 4 and Samsung Galaxy TabPro S – CNET

Apple’s latest 9.7-inch iPad Pro has all the power and performance of the original extra-large iPad Pro, in a smaller size. Inside, there’s a powerful processor, up to 256GB of storage and a new “True Tone” display that adjusts its color based on the light around you.

Source: Apple iPad Pro 9.7 specs vs. Google Pixel C, Microsoft Surface Pro 4 and Samsung Galaxy TabPro S – CNET

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What Publishers Need to Know about Google AMP – Publishing Executive

Google Accelerated Mobile Pages (AMP), an open source initiative with the goal of speeding up the mobile web, officially launched today. The open-source program promises to reduce load times and optimize news articles for mobile reading. “An AMP page is four times faster and 10 times less data,” said Richard Gingras, senior director of news at Google, in an interview with Re/code. “It’s instantaneous. It’s there right away. And that’s really powerful.” Google reports that hundreds of publishers have already incorporated the AMP code into their articles.AMP works like this: when a user launches Google search in a mobile browser, AMP stories appear at the top of the results. They are labeled “AMP” and are designated by a green lightening bolt. Users can scroll horizontally through AMP stories and new articles will generate as they scroll. The pages are simplified, limiting things like embed codes and Flash, which can slow down load time. This could have a huge impact on publishers’ traffic as more consumers are accessing content via mobile as opposed to desktop.

Source: What Publishers Need to Know about Google AMP – Publishing Executive

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Sony Digital Paper

sonySony’s Digital Paper has a 13.3 inch display that shows full-screen views of letter-sized documents in the PDF format, eliminating the need to zoom or scroll when reading a page. The Digital Paper device sony_digital_paperretains the context of an entire page by displaying sharp, easy-to-read text and graphics that are nearly identical to printed documents or full-size notepads.  The device’s touch panel enables users to operate the menu or turn pages by simply touching the screen. Using the included stylus, professionals can write fluidly and directly on the panel, and also easily highlight and erase text, for a familiar and comfortable writing experience.

In addition to PDF source files, Microsoft Word, PowerPoint and Excel files can be converted to the PDF format and saved, viewed and annotated on the Digital Paper device.  For speedy retrieval and transfer, Sony’s Digital Paper incorporates wireless access to servers (via Wi-Fi) as well as USB connectivity.

Key features and functions that make Sony’s Digital Paper relevant to the day-to-day activities of professionals include:

  • World’s thinnest, lightest body among devices with comparable screen sizes (approximately 9/32″ and 12.6 oz.); slightly thicker than 30 sheets of paper
  • 13.3 inch (screen size measured diagonally) electronic paper display
  • High contrast display (1200 x 1600 dots), 16-level grayscale, incorporating “E Ink Mobius” technology from E Ink Corporation
  • No backlight enables text to be read clearly, even in bright sunlight
  • Built-in Wi-Fi functionality allows file sharing over a wireless network
  • Rechargeable thin lithium-ion battery – up to 3 weeks use on a single charge
  • AC adapter or USB rechargeable (computer-based charging)
  • Storage – approximately 2,800 PDF files; internal memory of 4 GB coupled with micro SD card slot for additional storage
  • Touch panel (IR touch) compatible with electromagnetic induction-type touch pen input
  • Dimensions  – Approximately 9 1/4″ width by 12 1/4″ height by 9/32″ depth (thickness)
  • Weight – Approximately 12.6 ounces

Digital Paper is planned to be available in May, initially through a select group of Worldox agents, with a suggested list price of $1,100.

For more information, please visit

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Adobe Digital Experience Manager

Adobe_logoAdobe Experience Manager, Adobe’s Web content management platform, offers Web designers a central repository of creative assets including text, video and audio, along with tools for customer acquisition via the Web, extending reach via the mobile Web and email, and loyalty building for mobile apps. The Digital Publishing Suite offers app publishing tools for tablets and mobile devices.

The combined publishing and content management platform will help publishers create a variety of content-rich apps, including interactive publications, with a consistent brand experience across the Web and mobile devices, using a central repository of common elements. It also promises to reduce publishing costs and time requirements across channels, and enable both creative and business staff to contribute content for mobile apps.

Now, the combination of DPS and Experience Manager allows organizations to deliver relevant, timely branded content by:

  • Authoring compelling app content faster—using Adobe Experience Manager’s intuitive, drag-and-drop interface, content and creative assets can now be seamlessly added to responsive HTML templates, which are then synced with DPS. Templates are uploaded as articles into an existing .folio within DPS for publishing to tablets, smartphones and the Web. Responsive templates automatically size to different mobile screen sizes allowing organizations to design once and streamline content publication to multiple devices and the Web.
  • Decreasing publishing costs across channels—creative teams, production staff and business managers can now leverage approved creative assets for delivery into content-centric apps, reducing dependence on Web production and design staff. They can ensure more timely delivery of content with greater control over mobile brand experiences as well as the ability to quickly update content as needed.
  • Maintaining a consistent brand and user experience—production staff can ensure brand consistency across Web and content-centric apps by using approved, versioned assets that are centrally located and managed through Experience Manager’s Digital Asset Management.

Additional Info: Click Here

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OpenEFT … Option To Adobe’s DPS .Folio

An Open Plea for OpenEFT

by Peter Meirs

OpenEFT_logoOpenEFT is a new open source standard for packaging and exchanging digital content that will be officially released by IDEAlliance at the end of September. The format can be used by content creators, advertisers and digital newsstands to publish digital magazines on tablets. OpenEFT is free to use and carries no restrictions on how it is customized or distributed. The OpenEFT format was created by the industry to give publishers an alternative to proprietary formats that are commercially licensed and locked down.

In the early days of digital publishing, almost every technology solution was an interdependent mix of code and proprietary hardware. Technology providers offered workflow solutions to publishers that could save OpenEFT_logothem time and increase their productivity. The cost of these systems would often exceed $1 million, but publishers made the investment in hopes of reducing significant labor costs.

This was the model for selling publishing systems in the 1990s, when technology companies made huge profits on single vendor solutions. In his book, “The Innovators Dilemma,” Clayton Christensen described the risks that successful companies carry when they focus on optimizing their specialized products, rather than anticipating changes in market demand. Those changes happened quickly, and they profoundly disrupted the publishing technology model.

Scitex, a provider of advanced graphic design systems in the 1980s and ’90s, sold expensive, proprietary workstations and had annual sales approaching $700 million at its peak. When Adobe and Quark created similar applications that ran on inexpensive hardware, the market shifted, and Scitex’s sales dropped by 85 percent. The captive supply model didn’t work in a world where buyers could choose less expensive alternatives.

While it wasn’t exactly a move to standardization, platforms like Apple’s Power Mac and Workgroup servers provided an open environment for running interoperable applications. This led to the creation of best-of-breed publishing workflows that usually included software from multiple vendors. Interoperability drove a competitive marketplace and solutions truly became cheaper, faster and better.

When Apple introduced the iPad in 2010, the focus on print workflows tilted heavily toward digital. Publishers scrambled to adapt their processes so they could also produce tablet versions. Woodwing, a company that provided print workflow systems, created a method for packaging content for its tablet apps. A year later, Woodwing opened its well implemented OFIP format to the public, free of charge. It was a noble attempt to standardize interactive publications across the industry.

In the short term, many providers and publishers benefitted from the new “OFIP standard.” This license-free format allowed third-party software companies to build their own tablet solutions, providing more choice to buyers. While the demand for magazines on tablets was still in question, at least the process to produce them was moving forward.

This is where the story turns. Opening OFIP to the public was not the same thing as making it an open source format. Woodwing offered its specification on a license-free basis, but it was not a true open source format under the control of a vendor-independent standards organization. As quickly as it was given, OFIP could be taken away. And that’s exactly what happened.

In October 2011, Adobe and Woodwing announced an alliance that involved, among other things, a “retirement” of the OFIP format. This meant all the niche players who had built solutions around OFIP were no longer able to create products using that format. Instead of using OFIP, Adobe’s DPS solution used a new format called .Folio. Adobe’s terms of service clearly restricts the use of the .Folio format to drive third-party viewers.

The sudden lack of an open standard for packaging and exchanging content prompted some industry players to approach IDEAlliance, a not-for-profit membership organization that supports the media supply chain. This resulted in an IDEAlliance-led effort to create a new, open format called OpenEFT.

The mission of OpenEFT is to serve as a universal format that will allow users to:

  • Export interactive digital magazine issues, using existing workflow tools, into a standardized format for exchange and rendition.
  • Deliver a standard, non-proprietary content package that digital newsstands can easily transform or customize.
  • Publish reader applications to a broad spectrum of platforms, with a single set of reader-independent XML based instructions.
  • Receive production-ready interactive ads from brands or agencies, packaged with all required media files, enhancements and business data.
  • Gather user metrics for both editorial and advertising for any analytics reporting model.

The value proposition for OpenEFT is far-reaching. Its adoption by publishers, technology providers, advertisers and digital newsstands would enable a frictionless supply chain that can allow unrestricted development and optimization of tablet applications. This would ultimately lead to a better consumer reading experience. Many companies that lost business when their OFIP-based products became unsupportable can again compete in an open marketplace.

Despite what some may think, OpenEFT was not created to compete with Adobe or with any other established industry player. IDEAlliance’s key objective is to re-establish a standardized format that was lost to industry with the deprecation of OFIP.

Publishing companies are desperately hoping that their subscribers will support paid digital editions. Unfortunately, the present model for producing digital renditions has not generated much consumer interest or publisher revenue. Demand will only happen when the perceived value of digital products matches that of print.

An industry standard technology like OpenEFT will enable a competitive marketplace that can innovate and disrupt the present model, much like Adobe and Quark did 15 years ago. Best of all, unlike OFIP, OpenEFT is a truly open format, maintained by a vendor-independent industry association. Industry players can confidently use the format to create, modify and exchange content without fear of losing access to the technology.

OpenEFT offers a great opportunity to increase both innovation and interoperability across the digital magazine supply chain. The question is whether publishers, advertisers, distributors and solution providers will agree to implement the format. The bigger question is, “Why wouldn’t they?”


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Filed under Adobe, App Creation, ePub, iPad, Magazine, Tablet

Digital Content Discoverability a Publisher’s Dilemma

How discoverability is putting the brakes on tablet publishing

by Doug Drinkwater August 8 2013, 6:33 pm

The rise of tablet newspapers and magazines continues, but there is still one big obstacle standing in publishers’ way.

The various big publishing houses now embrace the tablet form factor, readers seemingly prefer digital reading and there’s even talk of publishers being able to monetize their tablet editions as soon as next year.

Indeed, both readers and publishers have looked to benefit from the rush to tablets. Most  of the newspaper and magazine iPad apps I’ve seen have been enjoyable to read — offering slick gesture-friendly user interfaces and lots of interactive content — while publishers have seen this as an opportunity to offer bundle packages for readers to get both the print and digital edition.

This approach has even catered to different types of reading. For example, I once had a bundled subscription for British tech magazine T3. I read the app in short bursts, but held onto the print magazine for when I had more time. ABC News, meanwhile, even launched an iPad app which had different editions depending on the time of day.

However, there has been one catch to the rise of the tablet edition and that is discoverability.

Put simply, new readers have been left out of the loop. They’re often drawn to frustrating ‘container’ apps — which act like little more than a digital bookshelf — meaning that their only chance to try out a new or unfamiliar title has been by taking a try with Apple’s Newsstand.

This got me asking a few questions — What were publishers doing to attract new tablet readers? Why weren’t publishers viewing tablet readers as another channel altogether and not just an add-on their print business?

(App discoverability will be one of the key issues discussed at the upcoming Tablet Ecosystem conference coming to New York on November 13).

The challenge of finding new readers

I don’t have an answer for that. But in my bid to discover more, I found out that discoverability isn’t just an issue for readers, but for publishers too.

“A year ago I took part in a debate about magazines on tablets at the London College of Communications,” wrote experienced British editor David Hepworth, in a recent piece for The Guardian.

“All the panelists had enough experience of either translating paper magazines into this new format or trying something wholly new to have no stars in their eyes about how demanding it was in terms of magazine craft and how hard it was to find and win new readers on Apple’s Newsstand, where nobody can hear you scream.”

That last point is intriguing because, clearly, the buying process is so different when consumers browse titles digitally and in “real life” bricks-and-mortar stores.

Users don’t trawl the Newsstand they way they would a bookstore. In fact, I would hazard a guess that digital readers are less inclined to gamble on a surprise choice, however respectable the fee or brand, and are more inclined to simply type for a magazine they know and like.

But if discoverability is an issue, perhaps publishers could do more to help themselves.

For instance, faced with a similar dilemma of discoverability on the App Store, developers often adopt a freemium model (you pay for additional content in-app) or discount or make their apps free for a limited time.

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