First a little about podcasting…

A podcast is one in a series of digital media files (usually in either  audio MP3 or video M4V format) that is released periodically and made available for download by means of web syndication.

This syndication aspect of the content delivery is what differentiates podcasts from other ways of accessing files, such as simple download or streaming. Special client software applications called RSS aggregators (also known colloquially as podcatchers) such as Apple  iTunes or Nullsoft Winamp can  automatically identify and retrieve new podcast files in a given series when they are made available, by accessing a centrally-maintained ‘feed’ that lists all files currently associated with that particular series.

New files can be downloaded automatically by the podcatcher and stored locally on the user’s computer or other media device for offline use, enabling the audience to download content that is released episodically without having to manually check that new material has been made available.

According to the Horizon Report (2006) podcasting is

At the leading edge of a wave that will last for the next several years and beyond, personal broadcasting takes advantage of small, easy-to-use devices that people already carry to capture and share personal experiences, information, and events. This trend, which has roots in text-based media (personal websites and blogs), is expanding to include audio and video, as the tools for capturing and sharing those media become smaller and better. From podcasting to video blogging (vlogging), personal broadcasting is an increasingly popular trend that is impacting… audiences.

(p.11)

It’s easy to see why podcasts have value in e-learning. Will Richardson states in Blogs, Wikis, Podcasts, and Other Powerful Web Tools for Classrooms that the

underlying technology here is digital recording and the idea that it is now very easy to create and publish these recordings… As long as you have a way to make the recording, and as as long as your students have access to the Internet, you can make this work.

(p.113)

Now that I have started publishing podcasts, I’m obviously going to write a series of articles about developing and delivering content using this learning channel. What’s more, I will discuss podcast authoring using production techniques, based upon my experiences as a radio documentary maker in a ‘previous life’ – I’ll be talking about the craft of writing for audio, as well as the technical aspects of the process.

Now, [drum roll] I want to introduce you to the E-Learning Curve’s Other Podcast. This podcast service is about subjects that interest me other than e-learning. Topics I’ll be covering include aviation, history and music, among others. The first set of podcasts is called Transatlantic: the Flying Boats of Foynes:

July 2009 is the 70th anniversary of the first scheduled trans-Atlantic airplane passenger service. Told against a backdrop of the momentous events of World War Two, this eight-part podcast documentary series by Michael Hanley tells the story of a unique era in world aviation.

Airlines like Pan American Airways (PAA) and the British Overseas Airways Corporation (BOAC) with their flying boats like the Short series of planes, and the massive Boeing 314 ‘Clippers’ were welcomed to the seaport of Foynes, in the embrace of the River Shannon estuary on the Western edge of Europe. Come with me now as we fly back in time to the Golden Age of Aviation, a era of adventure, conflict – and the invention of Irish Coffee.

Parts 1 and 2 of the series are now available. You can listen and subscribe to each episode here, or you can access the podcast via iTunes. The next installment, The Glamour of Travel will be released on Tuesday July 28th, 2009.

The more observant among you will have noticed that this podcast channel is called the Other Podcast, which implies that there is a regular E-Learning Curve Podcast, discussing subjects associated with learning and development.

Yes there is. And it’s on it’s way soon. More about this closer to its launch.
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References:

The New Media Consortium (2006). 2006 Horizon Report. [Internet] Available from: http://www.nmc.org/pdf/2006_Horizon_Report.pdf Accessed 15 July 2009

Richardson, W. (2006) Blogs, Wikis, Podcasts, and Other Powerful Web Tools for Classrooms. Thousand Oaks, CA: Corwin Press.

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…I think that the technology decision has to include consideration of the client capabilities of the audience you are serving as well as the network you will ultimately be streaming into and their openness to the ports and protocols. Most enterprise networks close the streaming ports.

Communications and collaboration using streaming media platforms only work if the client side has the facility to access the content. If you or your organization has a requirement to deliver content (on-demand courseware or a pre-sales demo, for example ) to a customer, you are probably familiar with the refrain " I can’t see the content" from the prospective attendee or viewer. There are many reasons why this may occur, but all other things being equal, the probability is that the client cannot access the content because their firewall is blocking the data delivery.

According to Wikipedia, a firewall is

a part of a computer system or network that is designed to block unauthorized access while permitting authorized communications. It is a device or set of devices configured to permit, deny, encrypt, decrypt, or proxy all (in and out) computer traffic between different security domains based upon a set of rules and other criteria.

To control the flow of data, numbered ports in the firewall are either opened or closed to specific types of packets. The firewall reviews two pieces of information in each arriving or departing packet: the protocol through which the packet is being delivered and the port number to which it is being sent. If the firewall is configured to accept the specified protocol through the targeted port, the packet is allowed through. The most commonly-known example of this process is probably Port 80, the access point for TCP, UDP, and the Hypertext Transfer Protocol (HTTP).

Firewall policy management is beyond the remit of this blog, but suffice it to say that most organizations are understandably cautious about providing ‘open house’ access to their networks. The downside of this caution is that when a legitimate need arises to provide access via a rarely-used port, most organizations’ IT departments have reservations (to say the least) about granting access. 

Table 1 describes all of the ports needed to facilitate the delivery of unicast streaming via Microsoft Media Server 9.

Table 1 Delivering a Unicast Stream via MS Media Serve 9

Table 1 only represents a small portion of Windows Media Server 9’s requirements, the platform has separate port access requirements for:

• Delivering a multicast stream
• Streaming from an encoder
• Distributing content
• Administering the server remotely

Apple, on the other hand, provides proxy server software to get around firewalls, by the IT department maintaining the firewall must install the proxy software.

The Flash Streaming Server platform uses what Michael Topic (2002) calls a "drastic solution" to negotiate this problem: HTTP tunneling

Where [Real Time Protocol] RTP packets are wrapped inside ordinary HTTP packets so that they can pass through the firewall.

(p.99)

"Unfortunately" he notes, this approach adds "significant overhead to the stream" taking up more bandwidth. Adobe Systems solution to this issue (and the one implemented by Digital Chalk, as well as a broad  range of e-learning vendors and other enterprises and institutions) is to implement the proprietary Real-Time Messaging Protocol for streaming audio, video and data over the Internet, between a Flash player and a server..

According to Adobe

The Real-Time Messaging Protocol (RTMP) was designed for high-performance transmission of audio, video, and data between Adobe Flash Platform technologies, including Adobe Flash Player and Adobe AIR. RTMP is now available as an open specification to create products and technology that enable delivery of video, audio, and data in the open AMF, SWF, FLV, and F4V formats compatible with Adobe Flash Player.

The protocol works by a client (such as the Flash Player) communicating with a Flash Communication Server (for example via a corporate Adobe Connect solution) using RTMP protocol over port 1935. If that fails, it will try again over ports 443 and 80 in an attempt to get around firewall policies within an organization, which prevent TCP/IP connections over non-standard ports.

According to Adobe this approach allows "approximately 96% of all users to access publicly accessible Flash Communication servers."

More…
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References:

Adobe DevNet (2009). Real-Time Messaging Protocol (RTMP) specification. [Internet] Available from: http://www.adobe.com/devnet/rtmp/ Accessed 11th July 2009

Adobe TechNote (2009). HTTP Tunneling protocols [Internet] Available from: http://kb2.adobe.com/cps/166/tn_16631.html Accessed 11th July 2009

Nelson, D. (2007) Firewall Information for Windows Media Services 9 Series. [Internet] Available from:  http://www.microsoft.com/windows/windowsmedia/forpros/serve/firewall.aspx Accessed 11th July 2009

Topic, M. (2002) Streaming Media Demystified. McGraw-Hill Professional. eBook, United States.

Wikipedia (2009) Firewall. [Internet] Available from: http://en.wikipedia.org/wiki/Firewall Accessed 11th July 2009

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Using this paradigm, the initial request for data originates from the client, and then is responded to by the server. When using digital media, uncompressed audio and video is first compressed into a single, muxed (multiplexed) media file for delivery over the Internet or a network at a specific bit rate. The media file is then placed on a regular web server. A web page containing the media file’s URL is also created and placed on the same web server. When the link on the web page is clicked on, a client-side player (such a Windows Media Player or QuickTime Player) downloads and plays the requested media file.

In the context of e-learning, it’s pretty standard for a video demo (for example) to be stored and progressively streamed from a Moodle LMS running on an Apache  such as Apache server (see Figure 1) 

Figure 1. Demonstration: Uploading a WMV file to Moodle, and playback via HTTP streaming in Windows Media Player
[Click to play the demo]

From a user’s perspective, this process looks and feels identical a download-and-play case use case. From a technical point of view, the difference lies in how the client functions.

Unlike the download-and-play model, the client player starts actually starts playing the streamed digital media file while it’s being  downloaded. This is possible because the content is cached: a process of collecting the first part of a media file before playing. This small ‘buffer’ of information allows the content to continue playing even during periods of high network congestion. With this delivery method, the client retrieves data as fast as the Web server, network and client will allow, regardless of the quality of the compressed stream. Only certain media file formats support this type of progressive playback including  Microsoft’s Windows Media format (WMV) and Apple’s QuickTime (MOV).

Web server streaming uses the Hyper Text Transport Protocol (HTTP), the standard Web protocol used by all Web servers and Web browsers for communication between the server and the client. HTTP operates on top of the Transmission Control Protocol (TCP), which handles all the data transfers.

It’s useful to remember that HTTP/TCP is optimized for asynchronous, static   applications, such as displaying static Web pages, and file transfer; this can affect the distribution and delivery of motion-based, asynchronous (’on-demand’) content. Users may experience interruptions, ‘glitches,’ and temporary loss of playback because to the limitations of the HTTP and TCP protocols when handling multimedia content.

More…

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• Collaboration Platform Technology
• Synchronous Delivery
• Asynchronous Delivery
• Overview of Products on the Market
• Production Considerations
• What works (and what doesn’t work)
• The Online Instructor
• Mentoring
• Integrating Collaboration Solutions and Other E-Learning Channels

This is an area of technology in education that I’m especially interested in, so I’m really looking forward to bringing this set of blog posts to you here on the E-Learning Curve Blog. As the series is still under development, there’s an opportunity to request an article on an aspect of this topic that you might like to see covered: let me know and I’ll see what I can do.

In the meantime, I thought I’d give you a ‘heads up’ by discussing some of the fundamentals surrounding using collaboration solutions: streaming media.

Until about five years ago, Web-based audio and video – or digital – media was primarily a download-and-play technology. Users had to download an entire media file before it could be played back. If you’re over 30, you’ll  remember those postage stamp-sized video clips (usually in ASF or MOV format) that took forever to load over your dial-up connection (and were hardly worth the wait). Because digital media files are usually very large and take a long time to download, the only content found on the Web was short, low motion clips. Even these files could take 20 minutes or longer to download.

How video used to look – Marc J. Rosenberg discusses personalized learning
[Click to play video]

With the increasing availability of high-speed internet access, streaming digital media has become more prevalent. In the consumer market, this has led to the rise in popularity of  services like YouTube, and the current emergence of video-on-demand (VOD) solutions like Hulu, as well as ustream and for lifecasting and live video streaming of events online.

Streaming media works almost instantaneously: other than a short delay before the requested file starts to play, you don’t have to wait to start watching, no matter if the file lasts thirty seconds or thirty minutes in duration.

Broadly speaking, there are two way of delivering streaming digital media content over the Web. The first method uses a standard HTTP Web server to deliver the audio and video data  to a media player. The second approach uses a separate streaming media server designed specifically to stream digital media. Using a streaming server is more efficient and flexible, provides a better user experience, and is more secure than HTTP streaming.

Both approaches have their advantages and disadvantages, and I will begin to look at these tomorrow.

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What have we learned? More of that anon, but for now I’m going to cover the the Seels and Glasgow Model in this E-Learning Curve Blog series on a systems approach to instruction design.

Now read on…

In a 2008 article called Can we reinvent e-learning? I asserted that

ADDIE emerged from the principles of project management, and resembles the philosophy and practice to this discipline’s methodology more than a pedagogy. Treating learning like a project leads to "training outcomes" equivalent to project deliverables.

In my view this is no bad thing: the reality is that Learning & Development is a pragmatic discipline, tasked with facilitating individuals in their endeavors to learn, educators would be poorly served if the theoretical, methodological, and pedagogical epistemologies of the domain did not at least tacitly acknowledge the practical challenges associated with implementing learning programs. 

Barbara Seels and Zita Glasgow’s Model (see Figure 1) reflect this assertion; they situate their understanding of ISD and their model on the thesis that design occurs in the context of project management (p. 177).

Figure 1. The Seels and Glasgow Model
[Click to enlarge]

Their model is distributed across the three phases of project management:

1. Needs Analysis Management
2. Instructional Design Management
3. Implementation Management

This distribution allows a learning program (or project) to be planned, resourced, and managed much as any other project in an organization is arranged.

In this model, the first phase (Needs Analysis) includes the establishment of the instructional goals, requirements, and context for the courseware. Next, the Instructional Design phase begins when Needs Analysis is completed: this second phase consists of six activities:

1. task analysis
2. instructional analysis
3. objectives and tests
4. formative evaluation
5. materials development
6. instructional strategy and delivery systems

- all of which are linked via feedback and interaction communications channels. In Phase Three of the model (Implementation and Evaluation) the development and production of materials, training delivery, and summative evaluation are undertaken.

As is usual in a systems-based approach to ID, the phases in this model can are typically applied in a linear fashion, but they are often applied iteratively. As Gustafson and Branch highlight, the steps in the instructional design phase are interdependent and concurrent, and multiple iterations of this process may occur during this part of the development lifecycle (2001, p.43).

In this sense – and reflecting on my ADDIE/PM remarks, we can say that this is a product-oriented approach to content development. According to Chen

Developing an instructional project involves skill sets ranging from project management and interface design to sound preparation and programming…Design teams represent various fields of expertise (producers, instructors, editors, etc.).

(2007 pp.2-3)

Managing potentially large teams and and hundreds (if not thousands) of media assets needs substantial resources and commitment, and requires strong project management to stay on time and budget at the appropriate quality of outputs.  To support this objective, Seels and Glasgow focus on the importance of well-designed materials, the need to identify and understand communication patterns within organizations, develop strategies for diffusion of innovations, and the importance of supporting learners.

Interestingly, Seels and Glasgow also include the concept of diffusion of innovations in their model:

The strategies that lead to diffusion are most effective if used during all the phases of a project.

(1998, p. 178)

They consider that when their model is applied ,the phases are generally linear in nature but

it is not necessary to complete a step before proceeding, and the order can be changed so that steps can be performed concurrently.

(1998, p 179)

We can say that this model successfully aligns to the systems philosophy epitomized in ADDIE quite will, while acknowledging the needs and limitations of the practical application of instructional design. Much like 3PD, formative evaluation via a feedback mechanism (multiple iterations rather than recursion) is a distinguishing (but not unique) characteristic of Seels and Glasgow’s approach.

Next time: What have we learned? The implications of Instructional Systems Design for E-Learning
___________

References:

Chen, I. (2007) Instructional Design Methodologies. In: Kidd, T. & Song, H. (Eds.). Handbook of Research on Instructional Systems and Technology. IGI Global

Seels, B. & Glasgow, Z. (1990). Exercises in instructional Technology. Columbus OH: Merrill Publishing Co.

Seels, B., & Glasgow, Z. (1998). Making Instructional Design Decisions. (2nd ed.) Upper Saddle River, NJ: Merrill.

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According to Morrison et al, there are nine key elements to instructional design:

1. Identify instructional problems, and specify goals for designing an instructional program.
2. Examine learner characteristics that should receive attention during planning.
3. Identify subject content, and analyze task components related to stated goals and purposes.
4. State instructional objectives for the learner.
5. Sequence content within each instructional unit for logical learning.
6. Design instructional strategies so that each learner can master the objectives.
7. Plan the instructional message and delivery.
8. Develop evaluation instruments to assess objectives.
9. Select resources to support instruction and learning activities.

These elements are independent of each other, in that they do not need to be considered in a linear fashion and there is no particular start- and end point. The oval shape of this model (see Figure 1) is constructed to convey the idea that the design and development process is an iterative cycle that needs constant planning, design, development and assessment to ensure effective instruction.

Figure 1. The Morrison-Ross-Kemp Model
[Click to enlarge]

The model is systemic and nonlinear; it encourages designers to work in all areas of ID as appropriate. The use of ovals emphasizes this flexibility visually; the graphical design communicates a continuous non-linear cycle that requires iterative planning, design, development and assessment.  The inner oval (surrounding the core) illustrates that revision/formative evaluation activities can be undertaken at each stage of the development process, something that is not always built into other models, usually because of the constraints of time and money.

The outer oval includes a typical post-instruction activity (summative evaluation) and also highlights three elements usually absent from other models – namely project planning, project management, and support services. The latter are required both for the project itself while it is in development, and afterwards to support the actual instruction.

We can say that it describes a holistic approach to instructional design that considers all factors in the environment; the starting point and order in which the designer addresses them is not prescribed, though the elements in the model may form a logical design sequence when read anti-clockwise (see Figure 2).

Figure 1. The ADDIE steps applied to the M-R-K Model
(after Morrison, Ross & Kemp 2004, p.29)
[Click to enlarge]

The flexibility of this approach is reinforced by the absence of lines or arrows that would dictate a specific design sequence (see Dick and Carey’s Model) as a comparison. According to Presenera (2002) the Kemp Model is designed to primarily to appeal to (classroom-based) teachers, who may not have specific instructional design experience.

The Morrison-Ross-Kemp model has three characteristics that differentiate it from some other models:

• instruction is considered from the perspective of the learner
• the model takes a general systems or even object-oriented view towards instructional development
• the model emphasizes management of the instructional design process

Using the model

Using this model the instructional designer begins by asking six questions related to the skills or knowledge to be learned: required level of learner readiness; instructional strategies and media that are be most appropriate for the content and the target population; level of learner support required; measurement of achievement; and strategies for formative and summative evaluation.

(Morrison, Ross, and Kemp, 2004, p. 4).

Because of the lack of connectivity between elements and the facility for IDs to start at any place within the model, a designer can examine the entire scope of a project – or just as effectively work on a single learning object or lesson. Using this classroom-oriented model, an individual with little instructional design skill can develop a piece of instruction using few or no additional resources and with minimal front-end analysis. Similarly, there is no requirement to conduct formative and summative evaluation on the final materials (Gustafson and Branch 2002, p.16). A more experienced designer (or one with access to more resources) can also use this model in the design of a complex and widely-distributed learning program.

___________

References:

Gustafson, K. L., & Branch, R. M. (2002). What is instructional design? In R.A. Reiser & J. A. Dempsey (Eds.), Trends and issues in instructional design and technology (pp. 16-25). Saddle River, NJ: Merrill/Prentice-Hall.

Kemp, J. E. (1985). The instructional design process. New York: Harper & Row.

Kemp, J. E., Morrison, G. R., & Ross, S. V. (2004). Design effective instruction, (4th Ed.). New York: John Wiley & Sons

Prestera, Gus. (2002). Instructional Design Models [Internet]. Available from: http://www.effectperformance.com/sites/prestera/html/M4/L1%20-%20ISD/M4L1P1.htm#kemp Accessed: 3rd June 2009

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Now read on…

Criterion Tests
These are instruments to enable learners and instructors alike to determine whether the learner is ready to move to the next unit of instruction, hence the term criterion-referenced assessment. They are not intended to determine how well a student performed in comparison with other students or norm-referenced assessment, or grading on the curve.

Practices
The description should list tools and equipment needed, and environmental requirement if relevant.  The instructional designer is typically guided by the conditions specified in the objective.

Content derivation
When objectives, criterion tests, practices and audience are all defined, the relevant content can be produced.  Key learning points are listed along with examples, questions and illustrations.  Often the instructional designer will undertake a “mapping” exercise to a particular textbook, for example a Microsoft Office User Specialist-certified publication can be used if the course if training office productivity skills on the PC. The example in Table 1 is a (modified) extract of a specification of a time management e-learning product.

Table 1 A Sample Mapping

Delivery System Selection
This determines the combination of media, resources, job aids,  and classroom exercises needed for both instruction and practice.

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Here’s what the Forum will cover:

It wasn’t long ago that e-Learning developers thought that putting a simple Flash animation and a small sound file into their e-Learning offerings was really leading-edge stuff. But today much more advanced technology, like higher bandwidth, gaming, and immersive learning techniques, is easily available. And, ever-more-sophisticated learners, who are demanding more effective and absorbing e-Learning programs, are pushing for adoption of advanced media techniques.

This Online Forum will show you how to use audio, video, animation, and other technologies to enhance the engagement and “stickyness” of your e-Learning offerings. You’ll see real-life examples, and learn various design approaches for effectively using media. This Online Forum is your best chance to focus on improving the e-Learning you create for your organization, and to…

• EXPLORE how using different media tools and processes can enhance your e-Learning offerings,
• DISCOVER how better use of media enhances a wide variety of topics and formats,
• EXAMINE the design and development of media-use techniques to achieve specific goals,
• LEARN how other organizations are using media to build engagement into their e-Learning programs, and
• ENSURE that your e-Learning meets both your learners’ and your organizations’ goals.

I’m pleased to announce that I will be presenting the Forum session on using audio in e-learning. Called Integrating Audio into E-Learning Courseware, session participants will learn the audio production lifecycle, see examples and demonstrations, and get hints, tips, and tricks-of-the-trade to enable you to produce high-quality audio for your courseware. You’ll  learn how recording subject matter experts as they describe a process, task, or activity, when well-recorded and produced can, in most cases, be integrated into courseware without taking the extra steps of hiring a professional voice-over artist to re-record the narration. This can lead to considerable savings in time and money, as well as reduce the time-to-market of courseware.

In this session, you will learn:

• Why use audio in e-Learning?
• The uses of non-linear editing tools
• How to record audio
• How to produce audio
• How to integrate audio into commonly-used rapid e-Learning applications and podcasts

When learning with multimedia, research shows that visual imagery is better retained when accompanied by verbal information; that learners are better able to integrate information via multi-modal instruction. Called the Six Principles of Learning, it describes how information encoded and transmitted using both visual and auditory channels reduces the cognitive load on the learner, so their working memory can process information more effectively.

However, most e-learning professionals perceive that creating and integrating high-quality audio is a highly-specialized activity outside of their expertise. But now more than ever, e-learning technology and content production skills are a key requirement for learning professionals who wish to interact with their audience.

So join me on Thursday by clicking here to register for the event. if you haven’t already registered, I’ll be delighted to see you there.

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Here’s what they say about Educate:

Featuring inbuilt lesson planning, student tracking, teaching strategies and eLearning tools, Educate provides teachers with a holistic approach to engaging students in 21st century learning environments. 

While the iApp is not yet available via the iTunes Store, you can check out their website for more information about Educate in action. 

According to their website, Educate’s key features include:

	Lesson planning	Educate’s inbuilt weekly planner keeps all your planning in one place. Personalize your weekly timetable and plan for individual lessons all from a single interface
	Effective teaching strategy implementation	Access easy to follow strategies for engaging students in your lessons. Choose from a variety of individual or collaborative activities directly aimed at improving learning outcomes.
	Student attendance and progress monitoring	Quickly and easily track student attendance or performance in all your classes via ready made scales. Update records as you teach and export to your PC, Mac or Learning Management System
	Collaboration with other Educate users	Use your Facebook account to connect with other Educate users to discuss pedagogical practice, suggest application features and seek support
	Engage with eLearning	Post content to your Moodle learning space, anytime, anywhere. Also, access critical tools such as a voice recorder for anecdotal notes, a camera that allows you to tag images and a stopwatch for time-critical tasks

This short video outlines the product’s features.

(Alternatively the video is available on YouTube here)

I think that this app has a lot of potential for educators, and I’ll be following its progress with interest. I’ll certainly review it when it becomes available.

More on instructional design tomorrow.
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As you may recall, I posted on eLS when the suite was released, and while welcoming this addition the e-learning practitioners’ content development toolkit, I tempered my enthusiasm as follows:

Where I think Adobe missed a trick is that they should have released this package at least five years ago. While we can say that in the early 2000’s, the e-learning industry wasn’t as large a market segment as it is today, it was substantial enough. Certainly enough of a market segment to be a valuable revenue-generating stream for the company. Unlike DTP, graphical design, and video post-production (which were digitized evolutions of existing industries) e-learning was a whole new industry, a real-life child of the World Wide Web.

I’ll give with one hand and take away with the other: well done Adobe, great to see you’ve finally committed to e-learning; equally, an e-learning suite of tools is such an obvious addition to your product range that you should have done this years ago.

The suite consists of the following apps:

	Tool	Adobe’s Description
	Adobe Captivate® 4	Create and deliver rich interactive content
	Adobe Dreamweaver® CS4 with CourseBuilder Extension	Design, develop, and maintain standards-based websites and applications
	Adobe Flash® CS4 Professional with Learning Interactions	Create and deliver rich interactive content
	Adobe Photoshop® CS4 Extended	Discover new dimensions in digital imaging
	Adobe Presenter 7	Rapidly create high-impact Adobe Flash presentations and eLearning courses from PowerPoint
	Adobe Soundbooth® CS4	Create and edit audio with ease
	Adobe Acrobat® 9 Pro	Protect documents and accelerate information exchange with PDF

Very full-featured indeed: if I was starting work today as a learning and development professional and I was handed this set of applications as my courseware production platform, I would be very happy with it.

But don’t just take my word for it: here’s (a very highly abridged version of) what Donald Clark has to say:

It is a complete and tightly integrated solution for authoring rich learning content. …All-in-all the Adobe eLearning suite is a great product for designers, being that it is the first elearning suite.

His review describes the applications and functionality of the Suite in very good detail, and Donald uses his own experience of using the platform to throw further light on how the applications integrate to enable e-learning designers (“instructional designers, developers, and other learning specialists”) to create high-quality courseware.

Donald concludes his article by discussing what he’d like to see in version next of the Suite and his overall impression of the package. Click here to read the review in full.

Note: Adobe have published and are maintaining a useful blog for Captivate users. Click here for more.

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