Pantas Direnungkan

小時候，希望自己快點長大 ✽  
Dimasa kecil, ingin segera beranjak dewasa.

長大了，卻發現遺失了童年 ✽
Setelah dewasa, merasa kehilangan masa kanak-kanak.

單身時，開始羨慕戀人的甜蜜 ✽
Saat sendiri, mulai menginginkan manisnya hubungan asmara.

戀愛時，懷念單身時的自由 ✽
Saat memiliki kekasih, merindukan kebebasan masa-masa sendiri.

很多事物，沒有得到時總覺得美好 ✽
Banyak hal selalu nampak indah saat diri sendiri belum mendapatkannya.

得到時才開始明白「我們得到的同時就開始失去」所以，過好當下最重要！
Namun saat mendapatkannya, baru menyadari bahwa pada saat yang sama kita memperoleh , saat itu pula mulai kehilangan.
Oleh karena itu, yang terutama adalah menjalani "Saat Ini" dengan sebaik-baiknya

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'Transformers 3' Sparks Fourth-of-July Fireworks!

Setting a replacement 4th-of-July box workplace record, Michael Bay’s Transformers: Dark of the Moon has set a blistering pace earning $181.125 million in N. America since its debut last Tuesday night at 9pm. a replacement July fourth weekend record of $97.5 million for Friday through Sunday and $116.4 million for Friday through Monday (beating Spider-Man a pair of and its $88.2M and $115.8M July fourth records), shows that this latest Transformers benefited from nice word-of-mouth and audience excitement.  Fueled by a solid hour three-D revenue split and big IMAX showings of nearly $14 million domestically, the film was a complete winner for Paramount photos. Transformers three worldly earned $379 million with $217 million from the international territories whereas IMAX broke their own global record on T3 with their first-ever $20 million and gap because the film earned $22.5 million massive screen greenbacks worldwide with a $13.7M/$8.75M split.

Disney/Pixar’s Cars a pair of roared into second place weekend with $26.2 million for 3-days and $32 million for the four day amount.  The G-rated family-friendly film can cross the checkered flag on Monday night with over $120 million in North yank revenue $207.5 million worldwide greenbacks.

Sony’s R-rated comedy unhealthy Teacher from Sony took detention in third place when a stronger-than-expected debut last weekend.  A 3-day take of $14.5 million and 4-day figure of $17.6 million is on the report card for this modestly budgeted comedy that may create a tidy profit for the studio.  Cameron Diaz, Justin Timberlake and Jason Segel star within the film that may cross the $60 million mark in North America by the tip of fourth of July festivities on Monday.

Debuting in fourth place with $13 million for 3-days and $15.7 million for 4-days, Larry Crowne from Universal may be a dramatic comedy starring Oscar winners Tom Hanks and Julia Roberts.  The film offered an alternate to the child and robot-friendly fare that dominated the marketplace this vacation weekend drawing a decidedly a lot of subtle older audience searching for fewer explosions and no talking vehicles.

Paramount’s Super eight enters its fourth weekend with a 3-day gross of $7.8 million and a 4-day figure of $9.5 million.  The film crossed the $100 million mark this past week and is currently up to $110 million through Monday night.

The three-day portion of the weekend was “up” five-hitter vs. the comparable July fourth weekend last year, however the four day portion as led by the huge Twilight Saga: Eclipse in 2010 wound up “down” five-hitter as fueled by an incredibly robust Monday, July five of post-Fourth vacation movie-going.

In connected news Disney’s Pirates of the Caribbean: On Stranger Tides becomes solely the eighth film in history to high the $1 billion mark in world box workplace with an astounding $1,008.9 billion though Monday night creating it the seventh highest grossing film globally of all-time.

Weekend Box-Office
Top Movies - For Fourth-of-July Weekend (4-Day Estimates)
    Movie                                                     F-S-S-M Gross     Total so far
1   Transformers: Dark of the Moon (PG13)     $116.4M            $181.1M
2   Cars a pair of (G)                                        $32.1M              $123.0M
3   unhealthy Teacher (R)                                  $17.6M              $63.0M
4   Larry Crowne (PG13)                                 $15.7M              $15.7M
5   Super eight (PG13)                                      $9.5M                $110.1M

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The End of Demographics: How Marketers Are Going Deeper With Personal information

 

Jamie Beckland is a Digital and Social Media Strategist at Janrain where he helps Fortune 1000 companies integrate social media technologies into their websites to improve user acquisition and engagement. He has built online communities since 2004. He tweets as @Beckland.

Marketers have built a temple that needs to be torn down. Demographics have defined the target consumer for more than half a century — poorly. Now, with emerging interest graphs from social networks, behavioral data from search outlets and lifecycle forecasting, we have much better ways of targeting potential customers.
The rise of mass-produced consumer goods also brought the rise of mass-market advertising. In the 1950s and 1960s, the goal of television was to aggregate the most possible eyeballs for advertisers. In order to convince consumers that an advertising message was relevant to them, consumers had to buy the idea that they were just like everyone else.
Marketers created that buy-in by bucketing people into generations. When you lump 78 million people into one group called “Baby Boomers,” it’s much easier to sell them stuff, especially when consumers accepted their generational classification.
But now, that entire system has broken down. The year that someone was born will not tell you how likely he is to buy your product.
Fragmentation is now the norm because the pace of change is accelerating. Generations have been getting smaller because there are fewer unifying characteristics of young people today than ever before:

With the recent rise of the social web, people self-select into groups so small, so fragmented, and so temporal, that no overarching top-down approach could be successful at driving marketing performance.
Marketers have responded by adding more demographic information to the mix, but even that is a losing battle. I worked with one client who was introducing a technology product, and had identified a target market of “connected consumers.” Connected consumers were 34-55, had a household income over $120k, and read technology publications regularly. This target market represented 14 million consumers.
They were targeting 14 million consumers to sell 50,000 units — that means they were hoping for 3.5 sales for every 1,000 people with whom they connected through their marketing.
What if, instead, you could get 500 sales from every 1,000 people you marketed to?
It’s possible through psychographic profiling. Psychographics look at the mental model of the consumer in the context of a customer lifecycle. Amazon.com has long been a leader in this space, through innovations like “recommended products” and “users like me also bought.” Its algorithms have learned to predict its users, and what they are interested in. And now, there are a number of tools that any business can use to leverage psychographics.
Here’s how a psychographic profile might look different from a traditional marketing profile target for a childcare provider:

Psychographics provide much more useful information about users. There are multiple data sources making this possible today. Social profile data, behavioral data and customer lifecycle data can now finally be leveraged to contact people who are ready to buy.

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Social Profile Data

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Profile data from social networks consist of all the fields users grant permission for brands to use on their behalf. Most things that users track on social networks can be leveraged to create a closer relationship with a customer. Fields like relationship status, alma mater, interests and occupation can all be managed through social profile data management tools.
Social profile data is the critical cornerstone of psychographic insights. The level of nuance and insight provided by social data, when compared to standard demographics, is the difference between performing surgery with a scalpel or a butter knife. Previously unimaginable questions are now routine:

• Are customers who kayak more likely to buy water shoes than those who canoe?
• Who is more likely to spend over $100 on an order: Seattle Seahawks fans or Seattle Mariners fans?
• Are your customers more likely to purchase when they move across the state or across the country?

In addition, companies such as GraphEffect are measuring purchase intent by doing semantic analysis on Facebook status updates. This type of qualitative analysis can move users into specific marketing funnels from their very first online experience with your brand.

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Behavioral Data

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Retargeting advertising messages is gaining popularity among marketers, but its very success has jeopardized its effectiveness. Ads that follow users around the web have been implemented — usually poorly. Every ad network quickly incorporated the ability to place cookies in users’ browsers, and display specific ads to them any time they visit a site that’s part of their networks.
The next generation of ad targeting will focus more on telling the customer a story over time, based on specific behavior triggers. That means ad networks and clickstream data aggregators will work together to trigger when a customer moves forward in a mental model toward a purchase event.
Site content and product recommendations will also be informed by clickstream analysis. Companies such as RichRelevance, Certona, Baynote and Monetate all offer the ability to personalize information to specific visitors based on their behavior. Leveraging those alongside a payload of social profile data can turbocharge those services from the first moment a new user visits a site.

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Customer Lifecycle Data

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Social profile data can also be used to predict customer lifecycle. Imagine knowing not only if a customer has children, but the exact ages of those children. In addition, key indicator purchases, like buying diapers for the first time, indicate a customer entering a new lifecycle. Other key indicators, like shipping address changes, first purchases of furniture, or first purchases of substantially higher-value goods can all indicate the start of a new customer mentality and behavior pattern.
These patterns are predictable, so you know the future behavior of high school seniors by looking at the current behavior of college freshmen. By using demographics alone, all high school graduates would be marketed to identically. Using psychographics, we know who is likely to be interested in specific product or content recommendations at a specific time — such as when they actually start their first day of college.
This vision is starting to gain traction among serious marketers. At the 2009 Internet Strategy Forum, Xerox’s VP of Interactive Marketing, Duane Schulz, said that a 1% clickthrough rate was a huge failure — even though it is 10 times the industry average. In his mind, a successful campaign would never waste 99% of its impressions. Using psychographic data, you don’t have to waste any impressions.
We have seen a similar upheaval in marketing before. In the 1960s, marketers who embraced the power of television, broad-based insights into psychology and demographic data created world-class brands and billions of dollars in value. At that time, if you didn’t advertise on TV, you lost. Today’s new tools offer a similar choice: Build a deep understanding of your customer, or risk irrelevance.
Image courtesy of iStockphoto, porcorex

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Sneak Preview: Gmail contains a New Look, Too

First Google rolls out Google+, then redesigns Google Calendar, and currently it’s fiddling around with Gmail.

Hidden within the Themes section of the interface and named “Preview” and “Preview (dense),” the clean look is a lot of opened up than the classic Gmail interface, basking in white area that creates it easier to browse.

According to Google’s official Gmail Blog, the concept was to “strip out unnecessary litter and build Gmail as stunning because it is powerful.” It’s all a part of Google’s drive for a higher expertise that it calls “more centered, elastic and effortless” across every of its merchandise.

The company says it'll be gradually engaged on these new styles over subsequent few months. For now, you'll be able to get a sneak peak of the look you see here by about to the Themes tab in Gmail settings, and you’ll see the 2 new decisions listed. The one at the highest of this page is that the “dense” version, and also the alternative one is slightly a lot of opened up.

Google’s calling these 2 preview themes “a kind of sneak peek” as a result of it plans to form this style a permanent a part of Gmail’s new interface, that “will eventually expand dynamically to accommodate totally different screen sizes and user preferences, however till then you'll be able to choose the knowledge density that you just like.”

If you don’t like either of those themes, all the opposite themes are still there, otherwise you will merely follow what you have got currently. i feel this is often an enormous improvement, creating Gmail easier to browse and a lot of economical to use. What does one think?

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Reverse Video Tutorial

Using adobe Premiere for editing your video

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25+ Best Movie Editing in Adobe Premiere Pro CS4 Tutorials

Best Video editing’s Tutorials using Adobe Premiere Pro CS4, there is collection from some famous websites layersmagazine, 5min and some of from youtube, I really like these of all for you who like to work in Adobe Premiere Pro CS4 and also trainings for beginners and professionals, in listed Video tutorials you may get trainings of clip trimming, use clip notes, add titles, create sequence, reconnecting footage, time remap, slow motion effects, adjust frame sizes, chroma key, hold and clip speed, text rolls and crawls, storyboarding, text attributes, creating transitions and custom titles show very professional inspirations for your future projects.

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Adobe Premiere: The Basics Pt 1

A look at how to use Adobe Premiere CS3. this WILL get you to be know how to edit/create movies and the options within this program. I hope you if you watch these 2 part video you will have an idea on how to do things within Premiere. (Original File) from Premiere was 2.2 Gig but converted it to 30Mb so sorry for the loss of quality.

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How to Use Motion Tracking – Adobe Premiere Elements 8

How to use motion tracking in Adobe Premiere Elements 8. This video will show you how to use the tool to create quick motion tracking without having to use keyframing. It can be used to track any subject or part of a subject in your videos. This tool helps you make nice effects with clip art, videos, photos, or text.
Video Rating: 5 / 5





This video will show you how to make a lightsabre in Adobe Premiere Elements 8. It also shows you how to make lightning shoot from your hand. It is a great demo with effects and sound.

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Adobe Premiere Pro CS4 Essential Training DVD Part 10/60

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Premiere Pro CS5 Ultra Key Sample Footage

Sample footage produced by the Adobe Premiere CS5 Ultra Key. This footage was produced with Panasonic AVCCAM footage (HMC150) edited “RAW” in Premiere Pro CS5. No rendering was required during editing, it played in real time on the timeline, and Premiere exported this seven or so minutes of keyed footage in less than fifteen minutes. Meaning — it took longer to upload this to YouTube than it did to encode it.
Video Rating: 0 / 5






It’s no secret that two of the biggest enhancements in CS5 are the Mercury Engine and the new metadata workflow. What is surprising is how much faster CS5 previews and renders, especially when editing H.264 based formats (like AVCHD or footage from the Canon EOS 7D) or encoding to H.264 formats. This webinar will quantify these performance enhancements using real world projects and detail the optimal CPU, OS, RAM and graphics card configuration. If you produce script-based productions, and value metadata in the production and output pipeline, you’ll really appreciate the script to screen workflow that Adobe created in CS5, including the new Adobe Story, a script development tool, the enhanced Adobe OnLocation, for shot list creation and metadata collection during the shoot, to Premiere Pro for editing and out to Flash. There’s even a new time-based workflow for automatically matching OnLocation placeholder shots with clips shot with a non-tethered camera. In addition, there are several critical new features in Premiere Pro, SoundBooth and Adobe Media Encoder, like the Ultra Chromakey effect from Serious Magic, now a GPU accelerated effect in Premiere Pro. You’ll read a bunch of hype about the new release, this webinar will lay the new features out for you and tell you the investment in hardware and software that you’ll need to fully leverage them. If you’re considering upgrading from CS3 or CS4, you’ll find this 90 minutes very informative and worthwhile.

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Vary changes to speed or direction with Time Remapping

Vary change to clip speed

Move an unsplit speed keyframe

Move a split speed keyframe

Play a clip backward, then forward

Remove the Time Remapping effect

You can speed up, slow down, play backward, or freeze video portions of a clip using the Time Remapping effect. Using speed keyframes, you can change speed numerous times within the same clip. Take a clip of a man walking, for example. You can show him moving forward quickly, slowing suddenly, stopping mid-step, and even walking backward, before resuming his forward motion. Unlike Clip Speed/Duration which applies a constant speed across the entire clip, Time Remapping allows you to vary the speed throughout the clip. Also, you can ease in or ease out speed changes.

You can apply time remapping only to instances of clips in a Timeline panel, not to master clips.

When you vary the speed of a clip with linked audio and video, the audio remains linked to the video, but remains at 100% speed. The audio does not remain synchronized with the video.

You create variable speed changes by applying speed keyframes. You can apply speed keyframes in the Effect Controls panel, or in a clip in a Timeline panel. Applying speed keyframes in either location is like keyframing Motion, Opacity, or any other keyframe effect, with one notable difference: a speed keyframe can be split to create a transition between two different playback speeds. When first applied to a track item, any change in playback speed on either side of a speed keyframe is instantaneous at that frame. When the speed keyframe is dragged apart and spread out beyond one frame, the halves form a speed change transition. Here, you can apply linear or smooth curves to ease in or ease out the change between playback speeds. See the video tutorial, Variable Speed Changes, at www.adobe.com/go/vid0235, or the video tutorial, Time Remapping In Premiere Pro CS3, on the Creative COW website.



Footage is displayed at constant speed in one direction.


Time-remapping distorts time for range of frames within clip.
Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips. Slowing any portion of a clip makes the duration of that clip longer. If a second clip immediately follows the lengthened clip in the video track, the lengthened clip is automatically trimmed where the second clip begins. To recover the frames trimmed from the lengthened clip, click the Track Select tool, Then Shift-drag the second clip toward the right to make room. All clips lying to the right move to the right. Click the Selection Tool, then drag the right edge of the lengthened clip to the right, exposing its trimmed frames.
Vary change to clip speed

1. In a Timeline panel, click the Clip Effect menu and choose Time Remapping > Speed. (The Clip Effect menu appears next to the filename of every clip in a video track. Zoom in, if necessary, to make enough room in the clip to display the menu.)

A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed-control track appears in the upper portion of the clip, just below the clip title bar.

Choosing Time Remapping > Speed from a video effect control

2. Ctrl-click (Windows) or Command-click (Mac OS) at least one point on the rubber band to set a keyframe. Speed keyframes appear near the top of the clip, above the rubber band in the white speed-control track. Speed keyframes can be split in half, acting as two keyframes for marking the beginning and end of a speed-change transition. Adjustment handles also appear on the rubber band, in the middle of the speed-change transition.

Moving a speed keyframe up or down. Note its separable halves.
A. Speed keyframeB. Rubber band
3. Do one of the following:

Drag the rubber band on either side of the speed keyframe up or down to increase or decrease the playback speed of that portion. (Optional) Press Shift while dragging to limit the speed change values to 5% increments.

Shift-drag the speed keyframe to the left or right to change the speed of the portion to the left of the speed keyframe.

Both the speed and duration of the segment change. Speeding up a segment of a clip makes the segment shorter, and slowing down a segment makes it longer.
(Optional) To create a speed transition, drag the right half of the speed keyframe to the right, or the left half to the left.

A gray area appears between the halves of the speed keyframe, indicating the length of the speed transition. The rubber band forms a ramp between the two halves, indicating a gradual change in speed occurring between them. A blue curve control appears in the gray area.

Blue curve control in gray area between halves of a speed keyframe

4. (Optional) To change the acceleration or deceleration of the speed change, drag either of the handles on the curve control.

The change of speed eases in or eases out according to the curvature of the speed ramp.

Dragging a curve control handle to ease in a speed change

5. (Optional) To revert a transition speed change, select the unwanted half of the speed keyframe, and press Delete.
Note: Speed and Velocity values for the Time Remapping effect are shown in the Effect Controls panel for reference only. You cannot edit these values directly there.
Move an unsplit speed keyframe
In a Timeline, Alt-click (Windows) or Option-click (Mac OS) the unsplit speed keyframe, and drag it into its new position.
Move a split speed keyframe
In the white control track area of the clip, drag the grey-shaded area of the speed transition into its new position.
Play a clip backward, then forward
In a Timeline panel, click the Clip Effect menu and choose Time Remapping > Speed. (The Clip Effect menu appears next to the filename of every clip in a video track. Zoom in, if necessary, to make enough room in the clip to display the menu.)

A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed control track appears in the upper portion of the clip, just below the clip title bar.
Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe .
Ctrl-drag (Windows) or Command-drag (Mac OS) a speed keyframe (both halves) to the place where you want the backward motion to end. A tool tip shows the speed as a negative percentage of the original speed. The Program monitor displays two panes: the static frame where you initiated the drag, and a dynamically updating frame that reverse playback returns to before switching to forward speed. When you release the mouse button to end the drag, an additional segment is added for the forward playback portion. The new segment has the same duration as the segment you created. An additional speed keyframe is placed at the end of this second segment. Left-pointing angle brackets appear in the speed-control track, indicating the section of the clip playing in reverse.
The segment plays backward at full speed from the first keyframe to the second. Then, it plays forward at full speed from the second to the third keyframe. Finally, it returns to the frame at which the backward motion began. This effect is called a palindrome reverse.
You can create a segment that plays in reverse and doesn't return to forward playback. Use the Razor tool or the Trim tool to remove the segment of the clip with the forward playback section.

Keyframes, left-pointing angle brackets, and rubber band in a palindrome reverse
6. (Optional) You can create a speed transition for any part of the change in direction. Drag the right half of a speed keyframe to the right, or the left half to the left.

A gray area appears between the halves of the speed keyframe, indicating the length of the speed transition. The rubber band forms a ramp between the two halves, indicating a gradual change in speed occurring between them. A blue curve control appears in the gray area.

Blue curve control in gray area between the halves of a speed keyframe

(Optional) To change the acceleration or deceleration of any part of the directional change, drag either of the handles on the curve control.

The change of speed eases in or eases out according to the curvature of the speed ramp.

Dragging a curve control handle to ease in a speed change

Remove the Time Remapping effect

You cannot toggle the Time Remapping effect on and off like other effects. Enabling and disabling Time Remapping affects the duration of the clip instance in a Timeline. In effect, Time Remapping performs an edit. However, you can use the Toggle Animation control in the Effect Controls panel.
Click the Effect Controls tab to make this panel active.
Click the triangle next to Time Remapping to open it.
Click the Toggle Animation button next to the word Speed, to set it to the off position.

This action deletes any existing speed keyframes, and disables Time Remapping for the selected clip.
Note: To re-enable Time Remapping, click the Toggle Animation button back to the on position. You cannot use Time Remapping with this button in the off position.

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Color Correction Tutorial – Adobe Premiere Elements

Here is my updated version on a Color Correction Tutorial in Adobe Premiere Elements (7.0). My Personal Channel: www.youtube.com Twitter: www.twitter.com

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Reverse Video Tutorial

Using adobe Premiere for editing your video

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